Critique of Whitman’s Pedagogy
(A critique of Walt Whitman’s themes and ideas in Song of Myself 6, 46, 47)
Pedagogy is a teaching style that is used to help students learn. Teachers often have a unique pedagogy that they prefer to follow. Some teachers prefer to lecture, others model, some simply assign the work, and to each their own. “…there is some evidence of teachers abandoning formal pedagogies in favor of informal ones…” (Cain).
Walt Whitman is known for his excellence in writing and poetry during the mid 19th century in American Literature. The Leaves of Grass is one of his more memorable works of literature. The work expresses many thoughts and opinions about art, nature, and early nationalism. It also includes a multitude messages for the readers in an attempt to capture the reader and reinforce his points.Within the Preface of the work he talks about issues that he feels are important to inform his audience before they continue into the literature. These observations made by Whitman signify some importance to him in one way or another. Using his rhetorical skills, Walt Whitman attempts to educate his audience about the importance of self improvement and self awareness
Whitman and Homosexuality
While responses to Whitman's poetry have always been diverse in some ways, the interpretations of his homosexuality can be divided into three stages. In general terms, Whitman's earliest critics tried to deny Whitman's "deviance"; later critics accepted his homosexuality yet framed it as a marginalized truth; and contemporary critics have exploded in response to these years of oppression, outing Whitman in loud declarations of his intense feelings for men.
In 1914, Basil de Selincourt in his work, Walt Whitman: A Critical Study, fights desperately against the homosexual innuendos and imagery in the "Calamus" poems, failing to name directly, in the process, that of which he is trying to prove Whitman guiltless.
Whitman in his time was not well understood, and his style of writing put off as childish and obscene, but what was once looked upon as overly simplistic and droll is now regarded as literary nobel, and the writer one of the greats. Part of this successful transition can be accredited to Whitman himself, for using obtuse allegory, refusing to date his poetry with the earmarks of that century, and going against traditional poetic standards. His poetry has been used a century later, especially lyrics from the 45-poem- cluster "Calamus" cluster,to become the manifesto of the 1970s gay liberation movement, (http://www.u-s- history.com/pages/h3833.html, ND, ¶ 9) proving that while not the most popular in life, Walt Whitman has left his undisputed mark on the history of poetry.
Current, Richard N., Freidel, Frank, and Williams, T. Harry. American History: A Survey. New York: Alfred A. Knopf, 1971. Pages 292-293 Encyclopedia of Biography: Volume 16. "Walt Whitman." New York: Gale Research Publications, 1998. Pages 249-251 Kaplan, Justin. Walt Whitman: A Life. New York: Simon and Schuster, 1980. Pages 124-145, 202-222, 270-303 Lowen, Nancy. Voices in Poetry: Walt Whitman. Minnesota: Creative Editions, 1994 Various. A Treasury of the Worlds’ Best Loved Poems. New York: Avenel Books, 1951. Pages 143-161 Webster, Orville III. 50 Famous Americans. Los Angeles: JBG Publishing, 1991. Pages 122-124.
Whitman's Music as a Means of Expression
In his verses, Walt Whitman eradicates divisions of individual entities while simultaneously celebrating their unique characteristics. All components of the universe are united in a metaphysical intercourse, and yet, are assigned very distinct qualities so as to keep their identities intact. Often times, Whitman demonstrates these conceptions through elements of song. “Walt Whitman caroled throughout his verse.
Much of the poetry of the 19th century and before was designed in an identical way. Most of the poems that were produced at the time had the same conventional meters, rhymes, structures, and traditional subjects. No one was going against the grain, and the traditional form of poetry was becoming a habit. One man broke free from that habit, earned a name for himself as the "Father of the Free Verse," and took a place in history as one of the most important and innovative orchestrators of American poetry. Walt Whitman set himself apart from the traditional rules that governed poetry.
Reconciling Disparate Objects in Walt Whitman's Leaves of Grass
Walt Whitman begins this excerpt from Leaves of Grass by describing an elusive 'this':
"This is the meal pleasantly set . . . . this is the meat and drink for natural hunger. "
These two clauses that are set next to each other describe 'this' as very different things. " A meal pleasantly set," evokes a quiet table in a genteel household. In contrast, "the meat and drink for natural hunger," recalls a more rugged table at which the food will be consumed after strenuous activity.
Early reviews of Walt Whitman's Leaves of Grass evince an incipient awareness of the unifying and acutely democratic aspects of the poetry. An article in the November 13th, 1856, issue of the New York Daily Times describes the modest, self-published book of twelve seemingly formless poems: "As we read it again and again, and we will confess that we have returned to it often, a singular order seems to arise out of its chaotic verses" (2). The Daily Times's identification of "order" out of "chaos" in Leaves of Grass parallels America's theoretical declaration of e pluribus unum, one out of many—a uniquely democratic objective. Also manifesting the early perception of the democratic poetic in Leaves of Grass, yet focusing more on Whitman and his content, an 1856 edition of the North American Review asserts, "Walter Whitman, an American,—one of the roughs,—no sentimentalist,—no stander above men and women, or apart from them,—no more modest than immodest,—has tried to write down here, in a sort of prose poetry, a good deal of what he has seen, felt, and guessed at in a pilgrimage of some thirty-five years" (275). Here, Whitman is seen as the archetypal American, practicing the democratic ideal of human equality. The reviewers' awareness of order out of chaos and of the ideological American attitude of equality is a written history of the problems of nineteenth-century, post-Jacksonian America, for the presence of their observations, which celebrate Whitman's democratic vision, can only suggest the absence of that vision in American politics and culture.
Walt Whitman was born May 31, 1819, in West Hills, Long Island. His early years included much contact with words and writing; he worked as an office boy as a pre-teen, then later as a printer, journalist, and, briefly, a teacher, returning eventually to his first love and life’s work—writing. Despite the lack of extensive formal education, Whitman experienced literature, "reading voraciously from the literary classics and the Bible, and was deeply influenced by Goethe, Carlyle, Emerson, and Sir Walter Scott" (Introduction vii).