Leaves of Grass: First and Death-Bed Editions

by Walt Whitman

  I Sing the Body Electric, p. 254: This was the fifth poem in the 1855 edition of Leaves of Grass. In 1856 it became “Poem of the Body”; in 1860, “Enfans d‘Adam. 3”; and in 1867 it received its current title and section numbers. Minor revisions were made to the poem in the 1871 and 1881 editions of Leaves of Grass.

  A Woman Waits for Me, p. 263: “Poem of Procreation” in the 1856 edition, this became “Enfans d‘Adam. 6” in 1860 and received its current title in 1867. Minor changes were made through the 1871 edition.

  Spontaneous Me, p. 264: Originally titled “Bunch Poem” in 1856, this poem became “Enfans d‘Adam. 5” in 1860 and received its present title and form in 1867. Both the first and final titles allude to the poem’s subject: masturbation.

  One Hour to Madness and Joy, p. 267: Originally “Enfans d‘Adam. 6” in 1860, this poem received its present title in the 1867 edition of Leaves of Grass. The current form of the text was achieved in 1881.

  Out of the Rolling Ocean the Crowd, p. 268: This poem originally appeared in Drum-Taps (1865) and was moved to the “Children of Adam” cluster in Leaves of Grass (1871).

  Ages and Ages Returning at Intervals, p. 268: “Enfans d‘Adam. 12” in 1860, this poem gained its present title (and capitalized ”Sex“ for the first time) in 1867.

  We Two, How Long We Were Fool‘d, p. 269: Known as “Enfans d’Adam. 7” in 1860, this poem received its current title in 1867. Minor revisions (mostly punctuation changes) were made through the 1881 edition.

  O Hymen! O Hymenee!, p. 269: “Enfans d‘Adam. 13” in 1860, this poem received its current title in 1867.

  I Am He That Aches with Love, p. 270: Originally “Enfans d‘Adam. 14” in 1860, the poem’s title was permanently changed in 1867.

  Native Moments, p. 270: “Enfans d‘Adam. 8” in 1860, this poem received its current title in 1867.

  Once I Pass’d Through a Populous City, p. 270: Originally “Enfans d‘Adam. 9” in 1860, this poem gained its present title in 1867.

  I Heard You Solemn-Sweet Pipes of the Organ, p. 271: First published in the New York Leader of October 12, 1861, as “Little Bells Last Night,” the poem was included in Sequel to Drum-Taps (1865-1866) and moved to the “Children of Adam” cluster in Leaves of Grass (1871).

  Facing West from California’s Shores, p. 271: “Enfans d‘Adam. 10” in 1860, this poem gained its current title in 1867. Minor revisions (mostly changes in punctuation) were made between these editions.

  As Adam Early in the Morning, p. 272: “Enfans d‘Adam. 15” in 1860, this poem was permanently renamed in 1867. It has always been the final poem of the ”Children of Adam“ cluster; along with the first poem (”To the Garden the World“), it frames the collection with Edenic scenes.

  Calamus, p. 274: The manuscript source for this cluster is a series of twelve poems now known as the “Live Oak with Moss” cluster, narrating an unhappy love affair that may have had special significance for Whitman. Assembled as a cluster of forty-five poems in the 1860 edition of Leaves of Grass, “Calamus” was reduced to forty-two poems in 1867 (excluded were “Calamus” 8, 9, and 16—“Long I Thought That Knowledge Would Suffice,” “Hours Continuing Long,” and “Who Is Now Reading This?”). In 1871 Whitman added “The Base of All Metaphysics” to the cluster and removed four others to Passage to India, making a final total of thirty-nine “Calamus” poems.

  In Paths Untrodden, p. 274: “Calamus. 1” in 1860, this poem took its current title in 1867.

  Scented Herbage of My Breast, p. 274: “Calamus. 2” in 1860, this poem gained its present title in 1867.

  Whoever You Are Holding Me Now in Hand, p. 276: “Calamus. 3” in 1860, this poem took its current title in 1867.

  For You O Democracy, p. 278: The lines of this poem are taken from “Calamus. 5” of the 1860 edition. ”Calamus. 5” (titled “States!” when it was reprinted in 1901) did not appear in another edition of Leaves of Grass during Whitman’s lifetime (see “Poems Excluded from the ‘Death-bed’ Edition,” below). Whitman used the poetic text to form two poems: “Over the Carnage Rose Prophetic a Voice,” which appeared in Drum-Taps, and “A Song” of 1867, which became “For You O Democracy” in 1881.

  These I Singing in Spring, p. 278: “Calamus. 4” in 1860, this poem gained its present title and form in 1867.

  Not Heaving from My Ribb’d Breast Only, p. 280: “Calamus. 6” in 1860, the poem was given its current title in 1867.

  Of the Terrible Doubt of Appearances, p. 280: “Calamus. 7” in 1860, this poem gained its current title in 1867.

  The Base of All Metaphysics, p. 281: Not part of the original 1860 “Calamus” cluster, this new poem was added to the collection in 1871.

  Recorders Ages Hence, p. 282: Originally “Calamus. 10” in 1860, the poem gained its present title in 1867.

  When I Heard at the Close of the Day, p. 283: “Calamus. 11” in 1860, this poem gained its current title in 1867.

  Are You the New Person Drawn toward Me?, p. 283: “Calamus. 12” in 1860, this poem was given its present title in 1867.

  Roots and Leaves Themselves Alone, p. 284: “Calamus. 13” in 1860, this poem was given its final title in 1867.

  Not Heat Flames Up and Consumes, p.:284: “Calamus. 14” in 1860, this poem gained its present title and form in 1867.

  Trickle Drops,p. 285: “Calamus. 15” in 1860, this poem was given its final title and form in 1867.

  City of Orgies, p. 285: “Calamus. 18” in 186o, this poem gained its present title in 1867.

  Behold This Swarthy Face, p. 286: “Calamus. 19” in 1860, this poem gained its present title in 1867, when it also lost its first two lines (”Mind you the timid models of the rest, the majority? / Long I minded them, but hence I will not—for I have adopted models for myself, and now offer them to you“).

  I Saw in Louisiana a Live-Oak Growing, p. 286: “Calamus. 20” in 1860, this poem gained its current title and form in 1867.

  To a Stranger, p. 287: “Calamus. 22” in 1860, this poem received its final title in 1867.

  This Moment Yearning and Thoughtful, p. 287: “Calamus. 23” in 1860, the poem gained its final title and form in 1867.

  I Hear It Was Charged Against Me, p. 288: “Calamus. 24” in 1860, the poem received its final title in 1867.

  The Prairie-Grass Dividing, p. 288: “Calamus. 25” in 1860, this poem received its current title in 1867.

  When I Peruse the Conquer’d Fame, p. 289: “Calamus. 28” in 1860, this poem received its final title in 1867.

  We Two Boys Together Clinging, p. 289: “Calamus. 26” in 1860, this poem gained its current title in 1867, when it also lost one descriptive line (between current lines 7 and 8).

  A Promise to California, p. 289: “Calamus. 30” in 1860, the poem gained its present title in 1867.

  Here the Frailest Leaves of Me, p. 290: “Calamus. 44” in 1860, the poem gained its present title in 1867.

  No Labor-saving Machine, p. 290: “Calamus. 33” in 1860, the poem gained its current title in 1867. It received minor revisions through 1881.

  A Glimpse, p. 290: “Calamus. 29” in 1860, the poem received its final title in 1867.

  A Leaf for Hand in Hand, p. 291: “Calamus. 37” in 1860, the poem was permanently retitled in 1867.

  Earth, My Likeness, p. 291: “Calamus. 36” in 1860, the poem was titled ”Earth! My Likeness!” in 1867, and its punctuation was finalized in 1871.

  I Dream’d in a Dream, p. 291: “Calamus. 34” in 1860, this poem became ”I Dreamed in a Dream“ in 1867, with the current wording taking shape in 1871.

  What Think You I Take My Pen in Hand?, p. 292: “Calamus. 32” in 1860, the poem gained its present title in 1867.

  To the East and to the West, p. 292: “Calamus. 35” in 1860, this poem gained its current title in 1867.

  Sometimes with One I Love, p. 292: “Calamus. 39” in 1860, this poem gained its current title in 1867.

  To a Western Boy, p. 293: “Calamus. 42” in 1860, the poem gained i
ts current title in 1867.

  Fast-anchor’d Eternal O Love!, p. 293: “Calamus. 38” in 1860, this poem gained its current title in 1867. The first line of the 1860 version read: ”Primeval my love for the woman I love.”

  Among the Multitude, p. 293: “Calamus. 41” in 1860, this poem gained its current title in 1867.

  O You Whom I Often and Silently Come, p. 293: “Calamus. 43” in 1860, this poem gained its present title in 1867.

  That Shadow My Likeness, p. 294: “Calamus. 40” in 1860, the poem gained its current title in 1867, and received minor revisions until 1881.

  Full of Life Now, p. 294: “Calamus. 45” in 1860, the poem gained its final title in 1867 and its last revisions for the 1871 edition.

  Salut au Monde!, p. 294: Originally titled “Poem of Salutation,” this poem was first published in Leaves of Grass (1856). It gained its current title, as well as its stanza numbers, in 1860, with section numbers following in 1867. Minor revisions were made until the text achieved its current form in 1881.

  Song of the Open Road, p. 305: “Poem of the Road” in 1856 and 1860, the poem received its current title in the 1867 edition of Leaves of Grass. The poem was given very minor revision, with only one new line added to the final text in 1881 (line 6).

  Crossing Brooklyn Ferry, p. 316: Originally “Sun-down Poem” in 1856, the poem received its current title in 1860. Stanza numbers were added in 1860, section numbers in 1871. Several lines were changed or dropped, including (originally after line 21): “I project myself, also I return—I am with you, and know how it is.” The poem achieved its final form in 1881.

  Song of the Answerer, p. 322: This poem underwent many revisions from its beginnings as the seventh poem (“A Young Man Came to Me ...”) in the 1855 edition of Leaves of Grass. In 1856 the poem was split into two parts, as “14—Poem of the Poet” and “19—Poem of the Singers, and of the Words of Poems”: In 1860 these poems became “Leaves of Grass. 3” and “Leaves of Grass. 6,” respectively. These poems were retitled “Now List to My Morning’s Romanza” and “The Indications” in the 1867 edition, and included as the first and second poems in the new cluster “The Answerer” in 1871. In 1881 the poem was assembled out of the two sections and titled “The Answerer.” It received a new section and its present title in 1881.

  Our Old Feuillage, p. 327: “Chants Democratic. 4” in 1860, this poem became ”American Feuillage“ in 1867. It took its present title and form in 1881.

  A Song of Joys, p. 332: First appearing in 186o as “Poem of Joys,” the poem became “Poems of Joy” in 1867. Two more title switches and many revisions later, “A Song of Joys” appeared in its present form in 1881.

  Song of the Broad-Axe, p. 339: First appearing as “Broad-Axe Poem” in 1856 and “Chants Democratic. 2” in 1860, the poem took its final title in 1867, though its text was much revised through 1881. Stanza numbers were added in 1856, section numbers in 1867.

  Song of the Exposition, p. 351: This poem was written as a tribute to the Annual Exhibition of the American Institute in 1871. It first appeared in several newspapers, and then as a booklet entitled “After All Not to Create Only: Recited by Walt Whitman on Invitation of Managers American Institute, on Opening Their 40th Annual Exhibition, New York, Noon, September 7, 1871.” “After All, Not to Create Only” was annexed to the 1872 impression of Leaves of Grass; in 1876 it was published as “Song of the Exposition” in “Centennial Songs,” a separately published cluster annexed to Two Rivulets. An explanatory preface explaining the “impulses” that led to the poem’s initial “oral delivery” was dropped in 1881.

  Song of the Redwood-Tree, p. 361: First published in Harper’s Magazine in February 1874, the poem was one of four in “Centennial Songs,” a separately published cluster annexed to Two Rivulets (1876). It appeared in its final form in the 1881 edition of Leaves of Grass.

  A Song for Occupations, p. 365: Originally the second poem in the 1855 edition of Leaves of Grass, “A Song for Occupations” underwent many revisions and changes in title until it appeared in its final state in 1881. In the 1856 edition of Leaves of Grass it was titled “Poem of the Daily Work of the Workmen and Workwomen of These States”; in 1860, “Chants Democratic. 3”; in 1867, ”To Workingmen“; and ”Carol of Occupations” in 1871 and 1876. Comparisons of this last revision with the first reveal some of the major changes in Whitman’s verse over the course of his career, including diminished intimacy and specific references, as well as regularized line lengths and punctuation. Stanza numbers were added in 1860, and section numbers in 1867.

  A Song of the Rolling Earth, p. 373: Originally “Poem of the Sayers of the Words of the Earth” in 1856, this poem became “To the Sayers of Words” in 1860 and 1867, and “Carol of Words” in 1871 and 1876. It gained its present title and form in 1881, with stanza numbers added in 1860 and section numbers in 1867.

  Youth, Day, Old Age and Night, p. 379: This poem is lines 19-22 of “[Great Are the Myths],” the last of the twelve poems of the 1855 edition. When Whitman excluded “Great Are the Myths” from the 1881 edition, he retained these four lines as a separate work.

  Birds of Passage, p. 380: This cluster of seven poems first appeared in 1881, though the individual poems had all appeared in earlier editions of Leaves of Grass.

  Song of the Universal, p. 380: On June 17, 1874, this poem was included as part of commencement exercises at Tufts College. In 1876 it became one of the four “Centennial Songs,” a separately published cluster annexed to Two Rivulets.

  Pioneers! O Pioneers!, p. 382: First appearing in Drum-Taps (1865), the poem also appeared in the “Drum-Taps” annex of Leaves of Grass (1867). It was included in a cluster entitled “Marches Now the War Is Over” in 1871 and 1876, and took its final form in 1881.

  To You, p. 387: First appearing in the 1856 edition as “Poem of You, Whoever You Are,” this poem became “To You Whoever You Are” in 1860, and “Leaves of Grass. 4” in 1867. In 1871 it achieved its present title.

  France, The 18th Year of These States, p. 389: The poem first appeared in the 1860 edition of Leaves of Grass, under its current title.

  Myself and Mine, p. 390: “Leaves of Grass. 10” in 1860 and ”Leaves of Grass. 2” in 1867, the poem gained its present title in 1871.

  Year of Meteors (1859-60), p. 392: First appearing in Drum-Taps (1865), this poem was moved to a “Leaves of Grass” cluster in 1871 and finally included in the “Birds of Passage” cluster in 1881.

  With Antecedents, p. 393: First published in the New York Saturday Press of January 14, 1860, as “You and Me and To-Day,” this poem was included in the 1860 edition as “Chants Democratic. 7.” It gained its present title in 1867.

  A Broadway Pageant, p. 395: First published in the New York Times of June 27, 1860, as “The Errand-Bearers,” the poem was included in Drum-Taps (1865) as “A Broadway Pageant (Reception Japanese Embassy, June 16, 1860)”; in 1870 it was retitled “Broadway Pageant. Reception Japanese Embassy, June, 1860.” It gained its current title in 1871. Stanza numbers were included in 1865, section numbers in 1871.

  Sea-Drift, p. 400: This cluster of eleven poems was new to the 1881 edition. It absorbed the “Sea-Shore Memories” cluster of Passage to India (1871), plus two new poems and two transferred poems.

  Out of the Cradle Endlessly Rocking, p. 400: The poem was first published as “A Child’s Reminiscence” in the New York Saturday Press on Christmas Eve 1859. For the 1860 edition of Leaves of Grass, Whitman heavily revised the poem and retitled it “A Word Out the Sea.” The present title was first seen in Passage to India (1871), and the poem took its final form by 1881.

  As I Ebb’d with the Ocean of Life, p. 406: In April 1860 this poem was published in the Atlantic Monthly under the title “Bardic Symbols.” It became “Leaves of Grass. 1” in 1860 and ”Elemental Drifts“ for the 1867 edition, and gained its current title in 1881.

  Tears, p. 409: Originally appearing as “Leaves of Grass. 2” in 1867, the poem gained its current title
in Passage to India (1871).

  To the Man-of-War-Bird, p. 410: The poem was first published in the London Athenaeum on April 1, 1876. One of six poems that were intercalations in copies of the 1876 Leaves of Grass “Author’s Edition, with Portraits and Intercalations” (along with “As in a Swoon,” “The Beauty of the Ship,” “When the Full-grown Poet Came,” “After an Interval,” and “From Far Dakota’s Canons”). It appeared in its final form in the 1881 edition.

  Aboard at a Ship’s Helm, p. 411: “Leaves of Grass. 3” in 1867, the poem received its current title in Passage to India (1871). It was first included in Leaves of Grass in 1881.

  On the Beach at Night, p. 411: First included under the current title in Passage to India (1871), the poem became part of the “Sea-Drift” cluster in Leaves of Grass of 1881.

  The World below the Brine, p. 412: “Leaves of Grass. 16” in 1860 and ”Leaves of Grass. 4” in 1867, the poem first appeared under its present title in Passage to India (1871). Whitman moved it to Leaves of Grass in 1881.