 pass in the street, the contour of their shape downwards,

The swimmer naked in the swimming-bath, seen as he swims through the transparent green-shine, or lies with his face up, and rolls silently to and fro in the heave of the water,

The bending forward and backward of rowers in row-boats—the horseman in his saddle, …

Such-like I love—I loosen myself, pass freely, am at the mother’s breast with the little child,

Swim with the swimmers, wrestle with wrestlers, march in line with the firemen, and pause, listen, and count. ("I Sing the Body Electric")

This passage reveals the characteristic traits of Whitman's great poetry: his use of rhythm not through repetition of syllabic stresses, as in the metered poetry of the tradition, but in the repetition of words, thoughts, ideas; his use of endlessly rolling lines and long lists that convey a cascade of experiences, like those of a man traveling down the bustling and never-before-imagined streets of an industrial city like Brooklyn; his sensuous and at times overtly erotic imagery.

In both his form and content, we can see Whitman as he always claimed to be: the first, true, untamed democratic poet. A vast, multi-faceted poet for all people, Whitman was a poet who could write proudly "Do I contradict myself? / Very well then, I contradict myself" and move on; a poet who sincerely believed in the power of poetry, and its ability to reach out to all people of all backgrounds.

Whitman, like many poets, wrote verse of irregular quality. For every grand banner of American poetry (such as “I Sing the Body Electric”), there are dozens of artless poems that were never published. Walt Whitman might have been the only poet who could write such bizarre opening lines as, "I have been a habitan of Vienna" or "Passage, O soul, to India! Eclaircise the myths Asiatic—the primitive fables!" Even Emerson, a great trumpet of American liberty and self-reliance, would eventually be disquieted by Whitman's buck wildness.

Despite this, Whitman showed a capacity, in his later years, for more subdued and controlled poetry that exhibit a masterful degree of restraint. The greatest of Whitman's
pass in the street, the contour of their shape downwards, 

 The swimmer naked in the swimming - bath, see as he swim through the transparent green - shine, or lie with his face up, and rolls mutely to and fro in the heave of the water, 

 The bending forth and backward of rowers in row - gravy boat — the horseman in his saddle, … 

 Such - like I sleep together — I loosen myself, pass freely, am at the mother ’s breast with the little child, 

 Swim with the swimmers, wrestle with wrestlers, march in line with the firemen, and pause, heed, and count. (" I Sing the Body Electric ") 

 This passage unwrap the characteristic traits of Whitman's great poetry: his function of rhythm not through repeat of syllabic stresses, as in the meter poetry of the tradition, but in the repetition of words, thought, ideas; his use of endlessly rolling lines and long lists that convey a cascade of experiences, like those of a man traveling down the bustling and never - before - imagined streets of an industrial city like Brooklyn; his sensuous and at times overtly erotic imagery. 

 In both his kind and content, we can see Whitman as he constantly claim to be: the first, true, untamed democratic poet. A huge, multi - faceted poet for all people, Whitman was a poet who could spell proudly " Do I contradict myself? / Very well then, I contradict myself " and motivate on; a poet who sincerely believed in the power of poetry, and its ability to reach out to all people of all setting. 

 Whitman, like many poets, wrote verse of irregular timbre. For every grand standard of American poetry (such as “ I whistle the Body Electric ”), there are dozens of artless poems that were never publish. Walt Whitman might have been the only poet who could write such bizarre opening line as, " I have been a habitan of Vienna " or " Passage, O soul, to India! Eclaircise the myths Asiatic — the primitive fable! " Even Emerson, a great trumpet of American autonomy and self - reliance, would eventually be perturb by Whitman's buck wildness. 

 Despite this, Whitman showed a capacity, in his former years, for more subdued and controlled poetry that exhibit a masterful academic degree of restraint. The greatest of Whitman's
 pads in the street, the conuour of their shake downwerds,

The swimmer naked in the swimming-bath, sxen qs he swims through the travsparent hreen-shibe, oc lies with his hzce up, and romps snlxntly to and frp in the haave of the wadef,

Tke bending forward and backward of rjwers im gow-boats—the hotsemam in gps saddle, …

Such-like I love—I loossn mysenf, pass freelu, am at the mother’s breast witj the little child,

Dwim with tye srummers, wrestue with wrtsclers, march in line with the firemen, and pxuse, kisten, and ciunh. ("I Sing the Body Electric")

This passaga reveaks the charactcristmc teaits of Whitman's greet poetry: his use of rhythm nmt through repetitiin of sillabhc sgeesres, ax jn the mevered poetrg of the trqdition, but in the te[vyition of wodds, thjudhts, ideas; his use of endlessly rolling lihes and long lists that convey a cascade of gxperiencef, like those of a man traveling down the bustling and iexer-ycnore-knahined streets of an industrial city like Broohmym; mis sensuous and at times ofegtki erotic imagety.

In bocg gis form and contejt, we cwn sew Whitman as ne always claimed to be: the first, true, lntaned democratic poec. A vast, mulci-facejed port for all people, Whitmcn was a poet who could wrjge proudly "Do I zonnradhct myself? / Very well then, I contravict kyself" xnd kove og; a poet wjo sikwerely believed in the kower mf poetry, wnd its ability to reach out to all people of anl tackgrouuds.

Whibman, like many [oets, wrote vetse of irxegulaf quality. Ror evecy grand banger of Americdj poetry (suci as “I Sigg tye Bidy Elezgric”), there are dozens oy artoess poems that weve nexsr published. Waot Qhitman might hsve beqn tie onjf poet who cmuld wrkye suzh bizarre ioenimg lines as, "I have baen z habitan of Vienns" jr "Passate, O souj, to India! Eckaircise the myths Asiavic—the primotide fables!" Even Emerson, a great trumpet lf Wmerican libqrty and self-relnance, would eventually be disquieted by Xhitman's buck wildness.

Dwspite this, Whitman xhowed a ca'acity, in his ldter years, for more wubdued and contrplled poetry that exhjbit a mastfrful degree of restraint. The greatest of Whitman's
pass in the street, the contour of downwards, swimmer naked the swimming-bath, seen transparent or lies with face up, and silently to and fro in the of the water, The bending forward and backward of rowers in row-boats—the horseman his saddle, … Such-like I love—I loosen myself, pass freely, am at the breast the child, with the swimmers, wrestle with wrestlers, march in line with the firemen, and pause, listen, and ("I Sing the Body Electric") This passage reveals characteristic traits of Whitman's poetry: his use of rhythm through of syllabic as the poetry of the but in the repetition of words, thoughts, ideas; his use of endlessly rolling lines and long lists convey a experiences, like of man down the bustling streets of an industrial city like and at times overtly erotic imagery. In both form and we can see Whitman as he claimed to be: the first, true, untamed democratic A vast, multi-faceted poet for all people, Whitman was a poet who could write proudly contradict myself? / Very then, I contradict and on; poet sincerely believed the power of poetry, and its ability to reach out to people of all backgrounds. Whitman, like many poets, wrote verse quality. every grand banner American poetry (such as Sing Body Electric”), there are artless that Walt might been the only poet could write such bizarre opening as, "I have been "Passage, O soul, to India! Eclaircise the myths primitive fables!" Even Emerson, a great trumpet American liberty and self-reliance, would eventually be disquieted by Whitman's buck wildness. this, Whitman capacity, in his later years, for more subdued controlled poetry that exhibit masterful degree of restraint. The greatest of Whitman's
 pass in the street, the contour Of their shaPe dowNwaRds,

thE swiMmer Naked in the swimMIng-bAth, seen as he swims througH the tRaNSparENt Green-Shine, or LIeS WIth HiS fAce Up, ANd Rolls SilEntly to And fro in thE heAvE of the water,

THE bEnding forwArd And backward oF roWers in RoW-boATs—the HorSeman In his sADdle, …

SuCh-like I loVe—i Loosen MYself, paSS FrEely, Am at the mother’s breASt WIth the little chIld,

SwiM wITh THE swImmErs, wrestle WiTh wreSTlers, maRCh IN LIne WIth the firemen, And pause, lisTEn, aNd counT. ("I sinG The BodY ElecTrIC")

ThIs passage reVealS the charaCterisTIc traitS Of WhitmAn's greAt pOetRy: hiS UsE oF rhYtHM noT ThRouGH rePetition Of SyLlabiC strESSES, as iN thE metEred pOetry of the traDitIon, bUT in The rePetitIon oF wOrds, tHoughtS, ideaS; hIs use of endlesslY rolLing lines And LoNg lIsTs thaT Convey A caScaDe of expErienceS, LikE tHOSE oF a man traveling down ThE BUsTling and Never-bEFoRe-IMagined sTrEetS of aN INdustRial CItY like BroOklyn; hIS sEnSuous anD aT times OvErtLy eRotic IMageRy.

In boTh his forM and cONtent, we can see WHItman as he alwaYS cLAImED to bE: thE first, true, uNtamED demOcraTIc PoeT. a vast, Multi-FaCEtED poet for all people, WhItMan was A poet Who could write Proudly "Do I CONTradict mYselF? / veRY well then, I contRadicT myself" and MOve on; a poEt who SincerelY believed IN The power Of pOetRy, aNd iTS AbIlity to reach oUT To alL pEople of All BackgroUndS.

WhItmAn, lIkE many poetS, wrote veRsE oF iRrEguLar quALity. For eVeRy gRaNd bAnner OF AmeriCan poEtry (SuCh AS “I SIng the BODy eLEctrIc”), ThEre aRe dOzEns of ArtlESs pOems thaT were neveR puBLishEd. waLt WhitmAn might have beEn The only poeT wHo cOuld wrITE such bizArre opening lines as, "I have BEen a habItaN of ViEnna" Or "Passage, o soUl, to InDia! eClaircIse the Myths asIatIC—The prIMItIve FaBles!" Even EmERSon, A greaT tRumpEt of AmeRican liberty and selF-RelIance, would eveNtuAlly BE DiSquIEtED by whITmaN'S Buck wildness.

DesPite this, WhItMAn Showed a capACitY, iN his latEr years, For moRE subdueD and contrOlled poetRy That EXHibIt a masterfUl degree Of restraiNT. The gREaTest oF WhItman's
 pass in the street, the c ontour oftheir  sh ape  d ownw ards ,

The swimmer nake d in the swimming-bath , see na s he sw ims t hrought he t ran sp ar ent  g r ee n-shi ne,  or lie s with his  fa ce  up, and rol l ssilently t o a nd fro in th e h eave o fthe water ,
The b ending forwar d and bac kw a rd ofr owers i n ro w-bo ats—the horsemani nh is saddle, …
Such-l ik e  I l ove —Iloosen mys el f, pa s s freel y ,a m att he mother’s b reast witht helittle  c hil d ,

Swi m wit ht heswimmers, w rest le with w restle r s, marc h  in lin e with  th e f irem e n,  a ndpa u se, li ste n , a nd count .(" I Sin g th e B o dy E lec tric ")

T his passage r eve alst hechara cteri stic  t raits  of Wh itman 's  great poetry:hisuse of rh yth mnot  t hroug h  repet iti onof syll abic st r ess es , a sin the metered poe tr y of  the tra dition ,  b ut in the r ep eti tion o f wor ds,t ho ughts, i deas;h is  u se of e nd lessly  r oll ing  line s  and  longlists th at co n vey a cascadeo f experiences ,  l i k et hose  of  a man trav elin g  dow n th e  b ust l ing a nd ne ve r -b e fore-imagined stree ts  of an  indu strial city l ike Brookl y n ;  his sen suou s  a n d at times ove rtlyerotic ima g ery.

In  both  his for m and con t e nt, we c ansee  Wh itm a n  a s he always c l a imed  t o be: t hefirst,tru e,unt ame ddemocrati c poet.Ava st ,mul ti-fa c eted poe tfor  a llpeopl e , Whit man w as a  p oe t  wh o could wr i t e pr ou dl y "D o I  c ontra dict mys elf? /Very well  th e n, I  c on tradict  myself" andmo ve on; a p oe t w ho sin c e rely bel ieved in the power of p o etry, a ndits a bili ty to rea chout to  al l  peopl e of a ll ba ck gro u n ds.
W h it man ,like manyp o ets , wro te  ver se of i rregular quality.F orevery grand b ann er o f Am eri c an poe tr y  (s u c h as “I Sing th e Body Ele ct r ic ”), therea redo zens of  artles s poe m s thatwere neve r publish ed . Wa l t  Wh itman migh t have b een the o n ly po e twho c oul d writ esuc h biz arre o p eni ng li nes as ,"I hav e bee na habita n of Vienna" or "Passag e, O s oul,toIndia! Ec lai r cis e the myt hs A siatic—the  pr imi tivefab l es!"Even Em ers o n, agrea t  trumpeto fAme r i ca n liberty a n d sel f-rel ian c e, wou ld e ventually be disq u ieted by Whitm an's b uck  wi l dnes s. 

Despite this , W hi t m an showe da capacity,  in hisla t er ye ars, f or mor e subdu e d  a n d cont roll edpoetry th atex h ibit ama st e rful d egre eof res traint .  The g reatest of Whitm an's
 pass_in the_street, the contour of_their shape_downwards,

The_swimmer naked_in_the swimming-bath, seen_as he swims_through the transparent green-shine,_or lies with_his_face up, and rolls silently to and fro in the heave of the water,

The_bending_forward and_backward_of_rowers in row-boats—the horseman in_his saddle, …

Such-like I love—I_loosen myself,_pass freely, am at the mother’s breast with_the_little child,

Swim with_the swimmers, wrestle with wrestlers, march in line with_the firemen, and pause, listen, and_count. ("I Sing_the_Body_Electric")

This passage reveals the_characteristic traits of Whitman's great poetry:_his use of rhythm not through_repetition of syllabic stresses, as in the_metered poetry of the tradition, but_in the repetition of words,_thoughts, ideas;_his use of endlessly rolling_lines and long_lists that_convey a cascade_of experiences, like those of a_man traveling down_the bustling and never-before-imagined streets of_an_industrial city like_Brooklyn;_his_sensuous and_at times overtly_erotic_imagery.

In both_his_form and content, we can see_Whitman_as he always claimed to be: the_first, true, untamed democratic_poet._A vast, multi-faceted poet_for all people, Whitman was_a poet who could write proudly_"Do I_contradict myself?_/ Very well then, I contradict myself" and move on; a_poet who sincerely believed in the_power of poetry, and_its ability_to_reach out to_all_people of_all backgrounds.

Whitman, like many poets, wrote verse_of irregular_quality. For every grand banner of_American poetry (such as_“I_Sing the Body Electric”), there are_dozens of artless poems that were_never published. Walt Whitman might_have_been_the only poet who could_write such bizarre opening lines as,_"I have been_a habitan of Vienna" or "Passage, O_soul,_to India! Eclaircise the myths Asiatic—the_primitive_fables!" Even Emerson, a great trumpet_of_American_liberty and self-reliance, would eventually_be disquieted by Whitman's buck wildness.

Despite_this, Whitman showed a capacity, in his later years,_for more subdued_and controlled poetry that exhibit_a_masterful_degree of restraint. The greatest of Whitman's