per’s Weekly and the New York Leader on September 28, 1861; see Joann P. Krieg,
A Whitman Chronology (Iowa City: U Iowa P, 1998), 46.
13.LG, 284–291.
- Quoted in Ehrenreich, Blood Rites, 218, 222.
15. On the piano as Whitman’s symbol for conventional, effeminate verse, see
also “To a Certain Civilian” and “To a Locomotive in Winter,” LG, 323, 471–472.
“Well-gristled” literally means well-endowed with cartilage, or soft tissue. Pos-
sibly Whitman meant strong-boned or perhaps even well-grizzled, like his gray-
ing self. Samuel Johnson’s Dictionary of the English Language (London, 1818) cites
“Grisled. See Grizzled.” - Whitman, Memoranda During the War, 7.
- On Whitman’s attitude toward hanging, see Rubin, Historic Whitman, 117;
UPP, 2:15–16; Loving, Walt Whitman, 496, no. 28. On Whitman’s enthusiasm for the
Mexican War, see Thomas L. Brashear, Whitman as Editor of the Brooklyn Daily Eagle
(Detroit: Wayne U Press, 1970), 87–90. - Ellen Calder cited in Myerson, Whitman in His Own Time, 208 (the words
attributed to Whitman are only an approximation, according to Mrs. Calder). The
“secession slave-power” is mentioned in Democratic Vistas, in PW1892, 2:377.
19.Corr, 1:114–115 ( July 7, 1863). - A few weeks after he began visiting soldiers at the Washington hospitals, he
noted that he had spent about two hours every day doing so: NUPM, 2:582. Consid-
ering the many overnight visits and vigils and many longer visits, the total hours may
be reckoned in the thousands. - Whitman, Memoranda During the War, 57–58.
- In covertly editing Dr. Richard Maurice Bucke’s Walt Whitman (1883), Whit-
man changed John Burroughs’s reference to his “maternal soul” to read “paternal
soul”; see Harold Jaffe, “Bucke’s Walt Whitman: A Collaboration,” Walt Whitman
Review 15 (1969), 192. Homosexuality had not been de¤ned by midcentury, and the
references to Whitman’s supposedly “feminine” side, observed by both men and
women contemporaries, deserve further study; see also page 000 and note 57, below. - Davis, Whitman and the Romance of Medicine, 14, 50–51.
- Paul Zweig, Walt Whitman: The Making of a Poet (New York: Basic Books,
1984), 343. - Introduction to Whitman, Memoranda During the War, 17.
26.WWC, 2:52–53. On Whitman’s photographic imagery, see also Ed Folsom,
Walt Whitman’s Native Representations (Cambridge: Cambridge UP, 1997), 126. - Introduction to Whitman, Memoranda During the War, 14–15.
- Glicksberg, Walt Whitman and the Civil War, 121–123.
- For a gallery of Whitman photographs, see WWQR 4 (1986–1987), 1–72.
- Glicksberg, Walt Whitman and the Civil War, 82 n. The quotation, from Notes
& Fragments, 96, appears in Howard J. Waskow, Whitman’s Exploration in Form (Chi-
cago: U Chicago P, 1966), 54. In 1859 Whitman credited Dante with “a great vigor, a
lean muscular ruggedness, and the fascination there always is in a well-told tragedy,
no matter how painful and repulsive,” but free from the ®orid style of Shakespeare
(NUPM, 5:163).
264 / Notes to Pages 166–172