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O CAPTAIN, MY CAPTAIN! O Captain, my Captain!
O the bleeding drops of red, Where on the deck my Captain lies Fallen cold and dead.
O Captain, my Captain, rise up and hear the bells.
My Captain does not answer, his lips are pale and still My father does not feel my arm, he has no pulse
Exult O shores, and ring O bells, But I with mournful tread Walk the deck my Captain lies, To analyze
by the indolent waves, I am exposed, cut by bitter and poisoned hail Steeped amid honeyed morphine , my
darkness Our vessel riddled and slowly sinking—preparations to pass to the one we had conquered— The captain
WHEN LILACS LAST IN THE DOORYARD BLOOM'D . . . 255 O CAPTAIN, MY CAPTAIN . . . . . . . . 262 HUSH'D BE
O CAPTAIN! MY CAPTAIN! O CAPTAIN! my Captain!
O the bleeding drops of red, Where on the deck my Captain lies, Fallen cold and dead. O Captain!
my Captain!
My Captain does not answer, his lips are pale and still, My father does not feel my arm, he has no pulse
WHEN LILACS LAST IN THE DOORYARD BLOOM'D . . . 255 O CAPTAIN, MY CAPTAIN . . . . . . . . 262 HUSH'D BE
O CAPTAIN! MY CAPTAIN! O CAPTAIN! my Captain!
O the bleeding drops of red, Where on the deck my Captain lies, Fallen cold and dead. O Captain!
my Captain!
or "To the Leaven'd Soil they Trod," Or "Captain! My Captain!"
Now I laugh content, for I hear the voice of my little captain,(says my grandmother's father;) We have
my Captain!
O CAPTAIN! MY CAPTAIN! 1 O CAPTAIN! my captain!
Leave you not the little spot, Where on the deck my captain lies.
Fallen cold and dead. 2 O captain! my captain!
We closed with him . . . . the yards entangled . . . . the cannon touched, My captain lashed fast with
I laughed content when I heard the voice of my little captain, We have not struck, he composedly cried
Only three guns were in use, One was directed by the captain himself against the enemy's mainmast, Two
Serene stood the little captain, He was not hurried . . . . his voice was neither high nor low, His eyes
Then the mechanics take him for a mechanic, And the soldiers suppose him to be a captain . . . . and
whom we knew not before Then the great authors take him for an author And the great soldiers for a captain
O laugh when my eyes settle the land The imagery and phrasing of these lines bears some resemblance to
and dwells serenely behind it.— When out of a feast I eat bread only corn and roast potatoes fo for my
dinner, through my own voluntary choice it is very well and I much content, but if some arrogant head
inspiration . . . . the beating of my heart . . . . the passing of blood and air through my lungs.
We closed with him, the yards entangled, the can- non cannon touched, My captain lashed fast with his
I laughed content when I heard the voice of my little captain, We have not struck, he composedly cried
Only three guns were in use, One was directed by the captain himself against the enemy's main-mast, Two
Serene stood the little captain, He was not hurried, his voice was neither high nor low, His eyes gave
riddled and slowly sinking, prepara- tions preparations to pass to the one we had conquered, The captain
We closed with him—the yards entangled—the can- non cannon touch'd; My captain lash'd fast with his own
Now I laugh content, for I hear the voice of my little captain, We have not struck, he composedly cries
Only three guns are in use; One is directed by the captain himself against the ene- my's enemy's main-mast
Serene stands the little captain; He is not hurried—his voice is neither high nor low; His eyes give
The black ship, mail'd with iron, her mighty guns in her turrets—but the pluck of the captain and engineers
We closed with him—the yards entangled—the cannon touched, My captain lashed fast with his own hands.
I laughed content when I heard the voice of my little captain, We have not struck, he composedly cried
Only three guns were in use, One was directed by the captain himself against the enemy's main-mast, Two
Serene stood the little captain, He was not hurried—his voice was neither high nor low, His eyes gave
Then the mechanics take him for a mechanic, And the soldiers suppose him to be a captain, and the sailors
revision, appeared in the eleventh poem in the 1855 edition of Leaves of Grass, later titled Who Learns My
a makes raises but bubble of the sea-ooze in comparison with against that unspeakable Something in my
—I look back upon that time in my own days.— I have no gibes nor mocks mockings or laughter;—I have only
the 1855 edition of Leaves of Grass, which was ultimately titled "Song of Myself": "Backward I see in my
faces of my kind something that presents the sentiment of the Druid walking in the woods " " of the Indian
The first several lines of the notebook draft were revised and published as "My Picture-Gallery" in The
bit of pathos—indubitably human—in my eye, confess now am I not a man and a brother?"
place, with my own day, here."
my dwell- dwelling .)"
'O the life of my senses and flesh, transcending my senses and flesh.'
my South! O quick mettle, rich blood, impulse and love! good and evil! O all dear to me!"
my South!O quick mettle, rich blood, impulse and love! good and evil! O all dear to me!"
The first several lines of that poem were revised and published as My Picture-Gallery in The American
when I visited the Asylum and they showed me their most smeared and slobbering idiot, Yet I knew for my
for my consolation, of the great laws that emptied and broke my my brother s Whitman probably drafted
/ Why are there men and women that while they are nigh me the sun-light expands my blood?
/ Why when they leave me do my pennants of joy sink flat and lank?
blood—that if I walk with an arm of theirs around my neck, my soul leaps and laughs like a new-waked
—(Am I loved by them boundlessly because my love for them is more boundless?
truth, my sympathy, and my dignity.
my special word to thee. Hear me illustrious!
lengthen- ing lengthening shadows, Prepare my starry nights.
my city! ALL IS TRUTH.
WEAVE IN, MY HARDY LIFE.
Then my realities; What else is so real as mine?
my special word to thee. Hear me illustrious!
lengthen- ing lengthening shadows, Prepare my starry nights.
my city! ALL IS TRUTH.
WEAVE IN, MY HARDY LIFE.
Then my realities; What else is so real as mine?
I say to my own greatness, Away!
outward" (1855, p. 51). may be related to a similar phrase in the poem eventually titled "Who Learns My
in the 1856 edition of Leaves of Grass : "The best I had done seemed to me blank and suspicious, / My
—I doubt whether who my greatest thoughts, as I had supposed them, are not shallow.
—My pride is impotent; my love gets no response.
This face owes to the sexton his dismalest fee, An unceasing death-bell tolls there. 3 Features of my
I saw the face of the most smear'd and slobbering idiot they had at the asylum, And I knew for my consolation
what they knew not, I knew of the agents that emptied and broke my brother, The same wait to clear the
near the garden pickets, Come here she blushingly cries, Come nigh to me limber-hipp'd man, Stand at my
upon you, Fill me with albescent honey, bend down to me, Rub to me with your chafing beard, rub to my
This face owes to the sexton his dismalest fee, An unceasing death-bell tolls there. 3 Features of my
I saw the face of the most smear'd and slobbering idiot they had at the asylum, And I knew for my consolation
what they knew not, I knew of the agents that emptied and broke my brother, The same wait to clear the
near the garden pickets, Come here she blushingly cries, Come nigh to me limber-hipp'd man, Stand at my
upon you, Fill me with albescent honey, bend down to me, Rub to me with your chafing beard, rub to my
Features of my equals, would you trick me with your creased and cadaverous march?
I saw the face of the most smeared and slobbering idiot they had at the asylum, And I knew for my consolation
what they knew not, And I knew of the agents that emptied and broke my brother, The same wait to clear
she blushingly cries—Come nigh to me, limber-hipp'd man, and give me your finger and thumb, Stand at my
upon you, Fill me with albescent honey, bend down to me, Rub to me with your chafing beard, rub to my
Features of my equals, would you trick me with your creased and cadaverous march?
I saw the face of the most smeared and slobbering idiot they had at the asylum, And I knew for my consolation
what they knew not, I knew of the agents that emptied and broke my brother, The same wait to clear the
she blushingly cries—Come nigh to me, limber-hipp'd man, and give me your finger and thumb, Stand at my
upon you, Fill me with albescent honey, bend down to me, Rub to me with your chafing beard, rub to my
Features of my equals, would you trick me with your creas'd and cadaverous march?
I saw the face of the most smear'd and slobbering idiot they had at the asylum; And I knew for my consolation
what they knew not; I knew of the agents that emptied and broke my brother, The same wait to clear the
pickets, Come here, she blushingly cries—Come nigh to me, lim-ber-hipp'dlimber-hipp'd man, Stand at my
upon you, Fill me with albescent honey, bend down to me, Rub to me with your chafing beard, rub to my
Features of my equals, would you trick me with your creased and cadaverous march?
I saw the face of the most smeared and slobbering idiot they had at the asylum, And I knew for my consolation
what they knew not; I knew of the agents that emptied and broke my brother, The same wait to clear the
Come nigh to me limber-hip'd man and give me your finger and thumb, Stand at my side till I lean as high
Fill me with albescent honey . . . . bend down to me, Rub to me with your chafing beard . . rub to my
Features of my equals, would you trick me with your creas'd and cadaverous march?
I saw the face of the most smear'd and slobbering idiot they had at the asylum; And I knew for my consolation
what they knew not; I knew of the agents that emptied and broke my brother, The same wait to clear the
pickets, Come here, she blushingly cries—Come nigh to me, lim-ber-hipp'dlimber-hipp'd man, Stand at my
upon you, Fill me with albescent honey, bend down to me, Rub to me with your chafing beard, rub to my
I loafe and invite my soul, I lean and loafe at my ease observing a spear of summer grass.
My tongue, every atom of my blood, form'd from this soil, this air.
My special word to thee. Hear me illustrious!
woodedge, thy touching-distant beams enough, or man matured, or young or old, as now to thee I launch my
lengthening shadows, prepare my starry nights.
Features of my equals, would you trick me with your creas'd and cadaverous march?
I saw the face of the most smear'd and slobbering idiot they had at the asylum; And I knew for my consolation
what they knew not; I knew of the agents that emptied and broke my brother, The same wait to clear the
pickets, Come here, she blushingly cries—Come nigh to me, lim-ber-hipp'dlimber-hipp'd man, Stand at my
upon you, Fill me with albescent honey, bend down to me, Rub to me with your chafing beard, rub to my
Phantoms welcome, divine and tender, Invisible to the rest, henceforth become my companions; Follow me
Perfume therefore my chant, O Love! immortal Love!
For that we live, my brethren—that is the mission of Poets.
the sisters Death and Might, incessantly softly wash again, and ever again, this soil'd world. … For my
where he lies, white-faced and still in the coffin—I draw near; I bend down and touch lightly with my