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Volume I: 1834–1846 (New York: Peter Lang, 1998).
Its history from 1854 to the time of Whitman's visit was a crucible for the struggle that played such
Every move of him has the free play of the muscle of one who never knew what it was to feel that he stood
William Wycherley (1641-1716) was an English playwright whose plays juxtaposed deep-seated Puritanism
William Wycherley (1641-1716) was an English playwright whose plays juxtaposed deep-seated Puritanism
Grundy is a character from Thomas Morton's play Speed the Plough (1798); by the nineteenth century her
Grundy is a character from Thomas Morton's play Speed the Plough (1798); by the nineteenth century her
is a rational animal, and not like the beasts, which have no sense; and all effort on his part to play
a passage remarkable for its nobility: "With music strong I come, with my cornets and my drums, I play
not marches for accepted victors only, I play Marches for conquer'd and slain persons.
Bucke, his intimate friend and truly able biographer, who plays Boswell to Whitman's Johnson, reports
Peter Bayne. Among Whitman's personal friends were Bryant and Longfellow.
1991), 28-103; Jay Grossman, " Manuprint " ( Walt Whitman Quarterly Review , 37.1 [2019], 46–65); and Peter
He sees eternity less like a play with a prologue and denouement . . . . he sees eternity in men and
I play not a march for victors only . . . . I play great marches for conquered and slain persons.
Play up there! the fit is whirling me fast.
I hope the fifes will play Yankee Doodle.
He sees eternity less like a play with a prologue and denouement . . . . he sees eternity in men and
I play not a march for victors only . . . . I play great marches for conquered and slain persons.
The most renowned poems would be ashes . . . . orations and plays would be vacuums.
Play up there! the fit is whirling me fast.
I hope the fifes will play Yankee Doodle.
I play not a march for victors only, I play great marches for conquered and slain persons.
play the part that looks back on the actor or actress!
Play the old role, the role that is great or small, according as one makes it!
I am a dance—Play up, there! the fit is whirling me fast!
Let priests still play at immortality! Let death be inaugurated!
I play not here marches for victors only—I play great marches for conquered and slain persons.
Let priests still play at immortality! Let Death be inaugurated!
to hear the bugles play, and the drums beat! To hear the artillery!
play the part that looks back on the actor or actress!
I am a dance—Play up, there! the fit is whirling me fast!
some playing, some slumbering? Who are the girls? who are the married women?
play the part that looks back on the actor or actress!
The most renown'd poems would be ashes, orations and plays would be vacuums.
to hear the bugles play, and the drums beat! To hear the crash of artillery!
Let the priest still play at immortality! Let death be inaugurated!
some playing, some slumbering? Who are the girls? who are the married women?
play the part that looks back on the actor or actress!
The most renown'd poems would be ashes, orations and plays would be vacuums.
I love to look on the stars and stripes—I hope the fifes will play Yankee Doodle.
Let the priest still play at immortality! Let death be inaugurated!
- ing playing within me.
play the part that looks back on the actor or actress!
To go to battle—to hear the bugles play and the drums beat!
The passionate teeming plays this curtain hid!)
I am a dance—play up there! the fit is whirling me fast!
- ing playing within me.
play the part that looks back on the actor or actress!
To go to battle—to hear the bugles play and the drums beat!
The passionate teeming plays this curtain hid!)
I am a dance—play up there! the fit is whirling me fast!
the openings, and the pink turf, Different colors, pale gray and green, purple, white, and gold—the play
he unceremoniously exited Washington for Camden, which left him separated from his intimate friend, Peter
Whitman explains the function of the "Passage to India" cluster in this way: "As in some ancient legend-play
the openings, and the pink turf, Different colors, pale gray and green, purple, white, and gold—the play
limitless—in vain I try to think how limitless; I do not doubt that the orbs, and the systems of orbs, play
I hope the fifes will play Yankee Doodle.
The most renowned poems would be ashes . . . . orations and plays would be vacuums.
eddies of the wind, A few light kisses . . . . a few embraces . . . . a reaching around of arms, The play
stand open and ready, The dried grass of the harvest-time loads the slow-drawn wagon, The clear light plays
From the cinder-strewed threshold I follow their movements, The lithe sheer of their waists plays even
I play not a march for victors only . . . . I play great marches for conquered and slain persons.
lights, The steam-whistle . . . . the solid roll of the train of approaching cars; The slow-march played
Play up there! the fit is whirling me fast.
underhold—the hair rumpled over and blinding the eyes; The march of firemen in their own costumes—the play
what was expected of heaven or feared of hell are now consumed, Mad filaments, ungovernable shoots play
play the part that looks back on the actor or actress!
Play the old role, the role that is great or small according as one makes it!
To go to battle-to hear the bugles play and the drums beat!
I love to look on the Stars and Stripes, I hope the fifes will play Yankee Doodle.
How my thoughts play subtly at the spectacles around! How the clouds pass silently overhead!
Play up there! the fit is whirling me fast” (71).
Miller Jr., Colleen Lamos, Wayne Koestenbaum, and John Peter.
See also Peter, “Postscript (1969),” 165–66; and James E.
Peter also discusses canto 26 (“Postscript [1969],” 170).
Bellis, Peter J. “Whitman in 1855: Against Representation.”
own part, Witty, sensitive to a slight, ready with life or death for a friend, Fond of women, . . played
In his philosophy justice attains its proper dimensions: "I play not a march for victors only: I play
Whitman played an important role in the friendship of the two men.
Allen sees the grandfather in this story as a variation on the cruel father theme that plays through
The number forty seems to have played an important part in theological history.
Then the trees and their dark and glistening verdure play their part.
Thoughts of the boundless Creation must have expanded my mind, for it certainly played the most unconscionable
inheritance of the English language—all the rich repertoire of traditions, poems, historics, metaphysics, plays
See Peter Ross and William Smith Pelletreau, A History of Long Island: From Its Earliest Settlement to
Whitman quotes a conversation between Horatio and Hamlet in Shakespeare's play: "Thrift, thrift, Horatio
.; Whitman quotes a conversation between Horatio and Hamlet in Shakespeare's play: "Thrift, thrift, Horatio
And the dark and glistening water formed an under-tone to the play of vehement color up above.
Have you not, in like manner, while listening to the well-played music of some band like Maretzek's,
thematically combines music and marine imagery as he explains the crucial role that the Leviathanic Whitman plays
mighty dweller on the earth, in love with Earth in an earthly way, this face of a giant who, as if playing
. . .( , 84)] Whitman's famous imagined cities of amativeness and adhesiveness here arise as if in play
Tennyson;" "Slang in America;" "Father Taylor and Oratory;" "What lurks behind Shakespeare's Historical Plays
Volume I: 1834–1846 (New York: Peter Lang, 1998).
Although Whitman was not an eyewitness, his close companion, Peter Doyle, was at Ford's Theater, and
Saturday contained a long notice, accompanied by extracts of a work which it denominates "Carlyle's Peter
some secret understanding with 'De Santy' has procured advance intelligence of the aforesaid "Life of Peter
Volume I: 1834–1846 (New York: Peter Lang, 1998).
Recchia (New York: Peter Lang, 1998): 1: 9–10; "A Visit to Greenwood Cemetery," May 5, 1844, Sunday Times
Volume I: 1834–1846 (New York: Peter Lang, 1998).
likely Charlotte Cushman (1816–1876), an American stage actress who also lived in Europe and could play
Volume I: 1834–1846 (New York: Peter Lang, 1998).
likely Charlotte Cushman (1816–1876), an American stage actress who also lived in Europe and could play
Volume I: 1834–1846 (New York: Peter Lang, 1998).
Volume I: 1834–1846 (New York: Peter Lang, 1998).
Volume I: 1834–1846 (New York: Peter Lang, 1998).
The principal and choicest of the play tracks was in that avenue, the third from the water, known to