'Carol Of Occupations' by Walt Whitman
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COME closer to me;
Push close, my lovers, and take the best I possess;
Yield closer and closer, and give me the best you possess.
This is unfinish'd business with me--How is it with you?
(I was chill'd with the cold types, cylinder, wet paper between us.)
Male and Female!
I pass so poorly with paper and types, I must pass with the contact
of bodies and souls.
American masses!
I do not thank you for liking me as I am, and liking the touch of
me--I know that it is good for you to do so.
This is the carol of occupations;10
In the labor of engines and trades, and the labor of fields, I find the developments,
And find the eternal meanings.
Workmen and Workwomen!
Were all educations, practical and ornamental, well display'd out of
me, what would it amount to?
Were I as the head teacher, charitable proprietor, wise statesman,
what would it amount to?
Were I to you as the boss employing and paying you, would that
satisfy you?
The learn'd, virtuous, benevolent, and the usual terms;
A man like me, and never the usual terms.
Neither a servant nor a master am I;
I take no sooner a large price than a small price--I will have my
own, whoever enjoys me;20
I will be even with you, and you shall be even with me.
If you stand at work in a shop, I stand as nigh as the nighest in the
same shop;
If you bestow gifts on your brother or dearest friend, I demand as
good as your brother or dearest friend;
If your lover, husband, wife, is welcome by day or night, I must be
personally as welcome;
If you become degraded, criminal, ill, then I become so for your
sake;
If you remember your foolish and outlaw'd deeds, do you think I
cannot remember my own foolish and outlaw'd deeds?
If you carouse at the table, I carouse at the opposite side of the
table;
If you meet some stranger in the streets, and love him or her--why I
often meet strangers in the street, and love them.
Why, what have you thought of yourself?
Is it you then that thought yourself less?30
Is it you that thought the President greater than you?
Or the rich better off than you? or the educated wiser than you?
Because you are greasy or pimpled, or that you were once drunk, or a
thief,
Or diseas'd, or rheumatic, or a prostitute--or are so now;
Or from frivolity or impotence, or that you are no scholar, and never
saw your name in print,
Do you give in that you are any less immortal?
Souls of men and women! it is not you I call unseen, unheard,
untouchable and untouching;
It is not you I go argue pro and con about, and to settle whether you
are alive or no;
I own publicly who you are, if nobody else owns.
Grown, half-grown, and babe, of this country and every country, in-
doors and out-doors, one just as much as the other, I see,40
And all else behind or through them.
The wife--and she is not one jot less than the husband;
The daughter--and she is just as good as the son;
The mother--and she is every bit as much as the father.
Offspring of ignorant and poor, boys apprenticed to trades,
Young fellows working on farms, and old fellows working on farms,
Sailor-men, merchant-men, coasters, immigrants,
All these I see--but nigher and farther the same I see;
None shall escape me, and none shall wish to escape me.
I bring what you much need, yet always have,50
Not money, amours, dress, eating, but as good;
I send no agent or medium, offer no representative of value, but
offer the value itself.
There is something that comes home to one now and perpetually;
It is not what is printed, preach'd, discussed--it eludes discussion
and print;
It is not to be put in a book--it is not in this book;
It is for you, whoever you are--it is no farther from you than your
hearing and sight are from you;
It is hinted by nearest, commonest, readiest--it is ever provoked by
them.
You may read in many languages, yet read nothing about it;
You may read the President's Message, and read nothing about it
there;
Nothing in the reports from the State department or Treasury
department, or in the daily papers or the weekly papers,60
Or in the census or revenue returns, prices current, or any accounts
of stock.
The sun and stars that float in the open air;
The apple-shaped earth, and we upon it--surely the drift of them is
something grand!
I do not know what it is, except that it is grand, and that it is
happiness,
And that the enclosing purport of us here is not a speculation, or
bon-mot, or reconnoissance,
And that it is not something which by luck may turn out well for us,
and without luck must be a failure for us,
And not something which may yet be retracted in a certain
contingency.
The light and shade, the curious sense of body and identity, the
greed that with perfect complaisance devours all things, the
endless pride and out-stretching of man, unspeakable joys and
sorrows,
The wonder every one sees in every one else he sees, and the wonders
that fill each minute of time forever,
What have you reckon'd them for, camerado?70
Have you reckon'd them for a trade, or farm-work? or for the profits
of a store?
Or to achieve yourself a position? or to fill a gentleman's leisure,
or a lady's leisure?
Have you reckon'd the landscape took substance and form that it might
be painted in a picture?
Or men and women that they might be written of, and songs sung?
Or the attraction of gravity, and the great laws and harmonious
combinations, and the fluids of the air, as subjects for the
savans?
Or the brown land and the blue sea for maps and charts?
Or the stars to be put in constellations and named fancy names?
Or that the growth of seeds is for agricultural tables, or
agriculture itself?
Old institutions--these arts, libraries, legends, collections, and
the practice handed along in manufactures--will we rate them so
high?
Will we rate our cash and business high?--I have no objection;80
I rate them as high as the highest--then a child born of a woman and
man I rate beyond all rate.
We thought our Union grand, and our Constitution grand;
I do not say they are not grand and good, for they are;
I am this day just as much in love with them as you;
Then I am in love with you, and with all my fellows upon the earth.
We consider bibles and religions divine--I do not say they are not
divine;
I say they have all grown out of you, and may grow out of you still;
It is not they who give the life--it is you who give the life;
Leaves are not more shed from the trees, or trees from the earth,
than they are shed out of you.
When the psalm sings instead of the singer;90
When the script preaches instead of the preacher;
When the pulpit descends and goes, instead of the carver that carved
the supporting desk;
When I can touch the body of books, by night or by day, and when they
touch my body back again;
When a university course convinces, like a slumbering woman and child
convince;
When the minted gold in the vault smiles like the night-watchman's
daughter;
When warrantee deeds loafe in chairs opposite, and are my friendly
companions;
I intend to reach them my hand, and make as much of them as I do of
men and women like you.
The sum of all known reverence I add up in you, whoever you are;
The President is there in the White House for you--it is not you who
are here for him;
The Secretaries act in their bureaus for you--not you here for
them;100
The Congress convenes every Twelfth-month for you;
Laws, courts, the forming of States, the charters of cities, the
going and coming of commerce and mails, are all for you.
List close, my scholars dear!
All doctrines, all politics and civilization, exurge from you;
All sculpture and monuments, and anything inscribed anywhere, are
tallied in you;
The gist of histories and statistics as far back as the records
reach, is in you this hour, and myths and tales the same;
If you were not breathing and walking here, where would they all be?
The most renown'd poems would be ashes, orations and plays would be
vacuums.
All architecture is what you do to it when you look upon it;
(Did you think it was in the white or gray stone? or the lines of the
arches and cornices?)110
All music is what awakes from you when you are reminded by the
instruments;
It is not the violins and the cornets--it is not the oboe nor the
beating drums, nor the score of the baritone singer singing
his sweet romanza--nor that of the men's chorus, nor that of
the women's chorus,
It is nearer and farther than they.
Will the whole come back then?
Can each see signs of the best by a look in the looking-glass? is
there nothing greater or more?
Does all sit there with you, with the mystic, unseen Soul?
Strange and hard that paradox true I give;
Objects gross and the unseen Soul are one.
House-building, measuring, sawing the boards;
Blacksmithing, glass-blowing, nail-making, coopering, tin-roofing,
shingle-dressing,120
Ship-joining, dock-building, fish-curing, ferrying, flagging of side-
walks by flaggers,
The pump, the pile-driver, the great derrick, the coal-kiln and
brick-kiln,
Coal-mines, and all that is down there,--the lamps in the darkness,
echoes, songs, what meditations, what vast native thoughts
looking through smutch'd faces,
Iron-works, forge-fires in the mountains, or by the river-banks--men
around feeling the melt with huge crowbars--lumps of ore, the
due combining of ore, limestone, coal--the blast-furnace and
the puddling-furnace, the loup-lump at the bottom of the melt
at last--the rolling-mill, the stumpy bars of pig-iron, the
strong, clean-shaped T-rail for railroads;
Oil-works, silk-works, white-lead-works, the sugar-house, steam-saws,
the great mills and factories;
Stone-cutting, shapely trimmings for façades, or window or door-
lintels--the mallet, the tooth-chisel, the jib to protect the
thumb,
Oakum, the oakum-chisel, the caulking-iron--the kettle of boiling
vault-cement, and the fire under the kettle,
The cotton-bale, the stevedore's hook, the saw and buck of the
sawyer, the mould of the moulder, the working-knife of the
butcher, the ice-saw, and all the work with ice,
The implements for daguerreotyping--the tools of the rigger,
grappler, sail-maker, block-maker,
Goods of gutta-percha, papier-maché, colors, brushes, brush-making,
glazier's implements,130
O you robust, sacred!
I cannot tell you how I love you;
All I love America for, is contained in men and women like you.
The veneer and glue-pot, the confectioner's ornaments, the decanter
and glasses, the shears and flat-iron,
The awl and knee-strap, the pint measure and quart measure, the
counter and stool, the writing-pen of quill or metal--the
making of all sorts of edged tools,
The brewery, brewing, the malt, the vats, every thing that is done by
brewers, also by wine-makers, also vinegar-makers,
Leather-dressing, coach-making, boiler-making, rope-twisting,
distilling, sign-painting, lime-burning, cotton-picking--
electro-plating, electrotyping, stereotyping,
Stave-machines, planing-machines, reaping-machines, ploughing-
machines, thrashing-machines, steam wagons,
The cart of the carman, the omnibus, the ponderous dray;
Pyrotechny, letting off color'd fire-works at night, fancy figures
and jets;
Beef on the butcher's stall, the slaughter-house of the butcher, the
butcher in his killing-clothes,
The pens of live pork, the killing-hammer, the hog-hook, the
scalder's tub, gutting, the cutter's cleaver, the packer's
maul, and the plenteous winter-work of pork-packing;
Flour-works, grinding of wheat, rye, maize, rice--the barrels and the
half and quarter barrels, the loaded barges, the high piles on
wharves and levees;140
The men, and the work of the men, on railroads, coasters, fish-boats,
canals;
The daily routine of your own or any man's life--the shop, yard,
store, or factory;
These shows all near you by day and night--workman! whoever you are,
your daily life!
In that and them the heft of the heaviest--in them far more than you
estimated, and far less also;
In them realities for you and me--in them poems for you and me;
In them, not yourself--you and your Soul enclose all things,
regardless of estimation;
In them the development good--in them, all themes and hints.
I do not affirm what you see beyond is futile--I do not advise you to
stop;
I do not say leadings you thought great are not great;
But I say that none lead to greater, than those lead to.150
Will you seek afar off? you surely come back at last,
In things best known to you, finding the best, or as good as the
best,
In folks nearest to you finding the sweetest, strongest, lovingest;
Happiness, knowledge, not in another place, but this place--not for
another hour, but this hour;
Man in the first you see or touch--always in friend, brother, nighest
neighbor--Woman in mother, lover, wife;
The popular tastes and employments taking precedence in poems or any
where,
You workwomen and workmen of These States having your own divine and
strong life,
And all else giving place to men and women like you.
Editor 1 Interpretation
Carol of Occupations by Walt Whitman: A Celebration of Labor and Life
Have you ever felt the joy of doing meaningful work, of contributing to society, of being part of a larger whole? Have you ever paused to reflect on the dignity of labor, on the beauty of diversity, on the power of solidarity? If you haven't, or if you have but forgot about it, let Walt Whitman's "Carol of Occupations" remind you of what matters most in life: the pursuit of happiness through honest toil, the recognition of human worth in all its forms, the affirmation of our shared humanity.
Written in 1867, "Carol of Occupations" is part of Whitman's collection "Drum-Taps," which deals with the American Civil War and its aftermath. However, the poem transcends its historical context and speaks to universal themes that are still relevant today: the role of work in shaping identity and relationships, the value of diversity in enriching culture and society, the need for social justice and equality in promoting human flourishing.
At its core, "Carol of Occupations" is a hymn to the workers of the world, to the farmers and mechanics, the sailors and soldiers, the teachers and preachers, the artists and poets, who make up the fabric of society and who deserve to be recognized and honored for their contributions. Whitman celebrates not only their physical labor but also their intellectual, emotional, and spiritual labor, which he sees as equally important and deserving of respect.
In the opening stanza, Whitman declares his intention to sing of "the varied carols of all the occupations" and to "chant the chant of dilation or pride" that comes from doing one's job well and feeling a sense of accomplishment. He uses musical and metaphorical language to convey the joy and harmony of labor, comparing the workers to a "mighty orchestra" that plays a "grand chorus" of different instruments and voices, each contributing to the overall harmony and beauty of the performance. He also uses sensory and concrete details to evoke the sights, sounds, and smells of different workplaces, from the "freshly turned earth" of the farm to the "smoke and steam" of the factory, from the "cracking whips" of the teamsters to the "tinkling guitars" of the minstrels.
In the second stanza, Whitman extends his praise to the workers themselves, describing them as "brave, helpful, friendly" people who "love each other" and "stand by each other" in times of need. He emphasizes the importance of solidarity and mutual aid, which he sees as fundamental to human survival and progress. He also challenges the prevailing stereotypes and prejudices that divide people based on their race, gender, class, or nationality, and calls for a more inclusive and respectful society that embraces diversity as a source of strength and beauty.
In the third stanza, Whitman turns his attention to the spiritual dimension of labor, which he sees as a form of worship and communion with the divine. He acknowledges the limitations and hardships of earthly existence, but also affirms the transcendent potential of human nature, which can reach beyond the material and the mundane to touch the eternal and the infinite. He uses religious and mystical language to express his faith in the power of labor to transform individuals and society, to heal the wounds of the past and create a better future.
In the fourth stanza, Whitman returns to the theme of solidarity and expands it to a global scale, recognizing the interdependence and interconnection of all peoples and nations. He speaks of the "mighty world" that is "bound with iron and steel" and "swarming with busy crowds" of different languages and cultures, each striving for their own goals but also sharing a common destiny. He imagines a world where all workers are free and equal, where there is no exploitation or oppression, where everyone can enjoy the fruits of their labor and live in peace and harmony.
In the final stanza, Whitman sums up his vision of labor and life, which is both realistic and idealistic, both practical and visionary. He acknowledges the complexity and diversity of the world, but also affirms the unity and coherence of the human experience. He encourages his readers to embrace their own occupations and to respect the occupations of others, to work hard and play hard, to love and be loved, to live fully and die content.
In conclusion, "Carol of Occupations" is a masterpiece of American poetry that celebrates the dignity, diversity, and dynamism of labor and life. It is a song of hope and joy that reminds us of our shared humanity and our common destiny. It is a call to action and reflection that challenges us to recognize and honor the workers of the world, to build a more just and compassionate society, and to cultivate the virtues of courage, kindness, and creativity that make life worth living. So let us join Walt Whitman in singing the carol of occupations, and let us make our own contributions to the symphony of life.
Editor 2 Analysis and Explanation
Introduction
Walt Whitman, one of the most celebrated poets of the 19th century, wrote a poem that has stood the test of time. The poem, Carol of Occupations, is a masterpiece that captures the essence of the American spirit. It is a celebration of the working class, the backbone of American society. In this analysis, we will explore the themes, structure, and literary devices used in the poem.
Themes
The poem is a celebration of the working class, and it highlights the importance of labor in society. Whitman celebrates the various occupations that people engage in, from the farmer to the sailor, the carpenter to the blacksmith. He recognizes the value of their work and the contribution they make to society. The poem is a tribute to the dignity of labor and the pride that comes with it.
Another theme that runs through the poem is the idea of unity. Whitman recognizes that the various occupations are interconnected, and they all contribute to the greater good. He celebrates the fact that people from different backgrounds and professions can come together and work towards a common goal. The poem is a call for unity and a recognition of the importance of working together.
The poem also touches on the idea of progress. Whitman recognizes that society is constantly evolving, and new occupations are emerging. He celebrates the innovation and creativity that drives progress and recognizes the importance of adapting to change.
Structure
The poem is divided into three sections, each with its own distinct tone and theme. The first section is a celebration of the various occupations, and it sets the tone for the rest of the poem. Whitman lists the various professions and celebrates the work that they do. The second section is a call for unity, and it emphasizes the interconnectedness of the various occupations. The third section is a recognition of progress and innovation, and it celebrates the new occupations that are emerging.
The poem is written in free verse, which allows Whitman to experiment with form and structure. He uses repetition and parallelism to create a sense of rhythm and flow. The poem is also characterized by its use of imagery, which helps to bring the various occupations to life.
Literary Devices
Whitman uses a variety of literary devices to enhance the poem's themes and structure. One of the most prominent devices is repetition. He repeats the phrase "occupations" throughout the poem, emphasizing the importance of work and labor. He also repeats the phrase "strong and contented" to describe the workers, highlighting their pride and dignity.
Another device that Whitman uses is parallelism. He uses parallel structure to create a sense of rhythm and flow. For example, in the first section, he lists various occupations, each with its own parallel structure. This creates a sense of unity and coherence, emphasizing the interconnectedness of the various professions.
Whitman also uses imagery to bring the various occupations to life. He uses vivid descriptions to create a sense of the workers' pride and dignity. For example, he describes the blacksmith as "grimy and sweaty" but also "proud and contented." This imagery helps to humanize the workers and emphasizes their importance in society.
Conclusion
In conclusion, Carol of Occupations is a masterpiece that celebrates the working class and the importance of labor in society. Whitman's use of repetition, parallelism, and imagery creates a sense of rhythm and flow that brings the various occupations to life. The poem is a call for unity and a recognition of the interconnectedness of the various professions. It is a tribute to the dignity of labor and the pride that comes with it. Carol of Occupations is a timeless poem that continues to inspire and resonate with readers today.
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