!["Crossing Brooklyn Ferry" by Walt Whitman: A Critical Analysis](https://english-studies.net/wp-content/uploads/2024/07/image-53.png)
Introduction: “Crossing Brooklyn Ferry” by Walt Whitman
“Crossing Brooklyn Ferry” by Walt Whitman first appeared in 1856 in the second edition of his poetry collection, Leaves of Grass. This iconic poem, written in free verse, is a celebration of the common experience of humanity and the interconnectedness of time. Whitman’s vivid imagery and expansive language capture the sights and sounds of the ferry journey, while his philosophical reflections explore themes of identity, mortality, and the enduring nature of the human spirit. The poem’s unique blend of personal observation and universal insight continues to resonate with readers today, making it a timeless masterpiece of American literature.
Text: “Crossing Brooklyn Ferry” by Walt Whitman
1
Flood-tide below me! I see you face to face!
Clouds of the west—sun there half an hour high—I see you also face to face.
Crowds of men and women attired in the usual costumes, how curious you are to me!
On the ferry-boats the hundreds and hundreds that cross, returning home, are more curious to me than you suppose,
And you that shall cross from shore to shore years hence are more to me, and more in my meditations, than you might suppose.
2
The impalpable sustenance of me from all things at all hours of the day,
The simple, compact, well-join’d scheme, myself disintegrated, every one disintegrated yet part of the scheme,
The similitudes of the past and those of the future,
The glories strung like beads on my smallest sights and hearings, on the walk in the street and the passage over the river,
The current rushing so swiftly and swimming with me far away,
The others that are to follow me, the ties between me and them,
The certainty of others, the life, love, sight, hearing of others.
Others will enter the gates of the ferry and cross from shore to shore,
Others will watch the run of the flood-tide,
Others will see the shipping of Manhattan north and west, and the heights of Brooklyn to the south and east,
Others will see the islands large and small;
Fifty years hence, others will see them as they cross, the sun half an hour high,
A hundred years hence, or ever so many hundred years hence, others will see them,
Will enjoy the sunset, the pouring-in of the flood-tide, the falling-back to the sea of the ebb-tide.
3
It avails not, time nor place—distance avails not,
I am with you, you men and women of a generation, or ever so many generations hence,
Just as you feel when you look on the river and sky, so I felt,
Just as any of you is one of a living crowd, I was one of a crowd,
Just as you are refresh’d by the gladness of the river and the bright flow, I was refresh’d,
Just as you stand and lean on the rail, yet hurry with the swift current, I stood yet was hurried,
Just as you look on the numberless masts of ships and the thick-stemm’d pipes of steamboats, I look’d.
I too many and many a time cross’d the river of old,
Watched the Twelfth-month sea-gulls, saw them high in the air floating with motionless wings, oscillating their bodies,
Saw how the glistening yellow lit up parts of their bodies and left the rest in strong shadow,
Saw the slow-wheeling circles and the gradual edging toward the south,
Saw the reflection of the summer sky in the water,
Had my eyes dazzled by the shimmering track of beams,
Look’d at the fine centrifugal spokes of light round the shape of my head in the sunlit water,
Look’d on the haze on the hills southward and south-westward,
Look’d on the vapor as it flew in fleeces tinged with violet,
Look’d toward the lower bay to notice the vessels arriving,
Saw their approach, saw aboard those that were near me,
Saw the white sails of schooners and sloops, saw the ships at anchor,
The sailors at work in the rigging or out astride the spars,
The round masts, the swinging motion of the hulls, the slender serpentine pennants,
The large and small steamers in motion, the pilots in their pilot-houses,
The white wake left by the passage, the quick tremulous whirl of the wheels,
The flags of all nations, the falling of them at sunset,
The scallop-edged waves in the twilight, the ladled cups, the frolicsome crests and glistening,
The stretch afar growing dimmer and dimmer, the gray walls of the granite storehouses by the docks,
On the river the shadowy group, the big steam-tug closely flank’d on each side by the barges, the hay-boat, the belated lighter,
On the neighboring shore the fires from the foundry chimneys burning high and glaringly into the night,
Casting their flicker of black contrasted with wild red and yellow light over the tops of houses, and down into the clefts of streets.
4
These and all else were to me the same as they are to you,
I loved well those cities, loved well the stately and rapid river,
The men and women I saw were all near to me,
Others the same—others who look back on me because I look’d forward to them,
(The time will come, though I stop here to-day and to-night.)
5
What is it then between us?
What is the count of the scores or hundreds of years between us?
Whatever it is, it avails not—distance avails not, and place avails not,
I too lived, Brooklyn of ample hills was mine,
I too walk’d the streets of Manhattan island, and bathed in the waters around it,
I too felt the curious abrupt questionings stir within me,
In the day among crowds of people sometimes they came upon me,
In my walks home late at night or as I lay in my bed they came upon me,
I too had been struck from the float forever held in solution,
I too had receiv’d identity by my body,
That I was I knew was of my body, and what I should be I knew I should be of my body.
6
It is not upon you alone the dark patches fall,
The dark threw its patches down upon me also,
The best I had done seem’d to me blank and suspicious,
My great thoughts as I supposed them, were they not in reality meagre?
Nor is it you alone who know what it is to be evil,
I am he who knew what it was to be evil,
I too knitted the old knot of contrariety,
Blabb’d, blush’d, resented, lied, stole, grudg’d,
Had guile, anger, lust, hot wishes I dared not speak,
Was wayward, vain, greedy, shallow, sly, cowardly, malignant,
The wolf, the snake, the hog, not wanting in me,
The cheating look, the frivolous word, the adulterous wish, not wanting,
Refusals, hates, postponements, meanness, laziness, none of these wanting,
Was one with the rest, the days and haps of the rest,
Was call’d by my nighest name by clear loud voices of young men as they saw me approaching or passing,
Felt their arms on my neck as I stood, or the negligent leaning of their flesh against me as I sat,
Saw many I loved in the street or ferry-boat or public assembly, yet never told them a word,
Lived the same life with the rest, the same old laughing, gnawing, sleeping,
Play’d the part that still looks back on the actor or actress,
The same old role, the role that is what we make it, as great as we like,
Or as small as we like, or both great and small.
7
Closer yet I approach you,
What thought you have of me now, I had as much of you—I laid in my stores in advance,
I consider’d long and seriously of you before you were born.
Who was to know what should come home to me?
Who knows but I am enjoying this?
Who knows, for all the distance, but I am as good as looking at you now, for all you cannot see me?
8
Ah, what can ever be more stately and admirable to me than mast-hemm’d Manhattan?
River and sunset and scallop-edg’d waves of flood-tide?
The sea-gulls oscillating their bodies, the hay-boat in the twilight, and the belated lighter?
What gods can exceed these that clasp me by the hand, and with voices I love call me promptly and loudly by my nighest name as I approach?
What is more subtle than this which ties me to the woman or man that looks in my face?
Which fuses me into you now, and pours my meaning into you?
We understand then do we not?
What I promis’d without mentioning it, have you not accepted?
What the study could not teach—what the preaching could not accomplish is accomplish’d, is it not?
9
Flow on, river! flow with the flood-tide, and ebb with the ebb-tide!
Frolic on, crested and scallop-edg’d waves!
Gorgeous clouds of the sunset! drench with your splendor me, or the men and women generations after me!
Cross from shore to shore, countless crowds of passengers!
Stand up, tall masts of Mannahatta! stand up, beautiful hills of Brooklyn!
Throb, baffled and curious brain! throw out questions and answers!
Suspend here and everywhere, eternal float of solution!
Gaze, loving and thirsting eyes, in the house or street or public assembly!
Sound out, voices of young men! loudly and musically call me by my nighest name!
Live, old life! play the part that looks back on the actor or actress!
Play the old role, the role that is great or small according as one makes it!
Consider, you who peruse me, whether I may not in unknown ways be looking upon you;
Be firm, rail over the river, to support those who lean idly, yet haste with the hasting current;
Fly on, sea-birds! fly sideways, or wheel in large circles high in the air;
Receive the summer sky, you water, and faithfully hold it till all downcast eyes have time to take it from you!
Diverge, fine spokes of light, from the shape of my head, or any one’s head, in the sunlit water!
Come on, ships from the lower bay! pass up or down, white-sail’d schooners, sloops, lighters!
Flaunt away, flags of all nations! be duly lower’d at sunset!
Burn high your fires, foundry chimneys! cast black shadows at nightfall! cast red and yellow light over the tops of the houses!
Appearances, now or henceforth, indicate what you are,
You necessary film, continue to envelop the soul,
About my body for me, and your body for you, be hung out divinest aromas,
Thrive, cities—bring your freight, bring your shows, ample and sufficient rivers,
Expand, being than which none else is perhaps more spiritual,
Keep your places, objects than which none else is more lasting.
You have waited, you always wait, you dumb, beautiful ministers,
We receive you with free sense at last, and are insatiate henceforward,
Not you any more shall be able to foil us, or withhold yourselves from us,
We use you, and do not cast you aside—we plant you permanently within us,
We fathom you not—we love you—there is perfection in you also,
You furnish your parts toward eternity,
Great or small, you furnish your parts toward the soul.
Annotations: “Crossing Brooklyn Ferry” by Walt Whitman
Line/Phrase | Annotation |
Flood-tide below me! I see you face to face! | The flood tide symbolizes the constant movement and flow of life. Whitman acknowledges its presence directly. |
Clouds of the west—sun there half an hour high—I see you also face to face. | Whitman observes the setting sun and the clouds, symbolizing the passage of time and the beauty of nature. |
Crowds of men and women attired in the usual costumes, how curious you are to me! | He finds the everyday appearance of people interesting and noteworthy. |
The impalpable sustenance of me from all things at all hours of the day, | He draws spiritual and emotional nourishment from everything around him constantly. |
The simple, compact, well-join’d scheme, myself disintegrated, every one disintegrated yet part of the scheme, | Life is a complex yet unified system where every individual is both separate and interconnected. |
The glories strung like beads on my smallest sights and hearings, | Even the smallest experiences and observations are valuable and beautiful, like a string of beads. |
The current rushing so swiftly and swimming with me far away, | The flow of the river represents the passage of time and life’s journey, carrying him along. |
It avails not, time nor place—distance avails not, | Time and place are irrelevant; human experiences and emotions transcend these boundaries. |
Just as you feel when you look on the river and sky, so I felt, | Emphasizes the shared human experience across time; readers feel the same emotions he felt when observing the river and sky. |
The round masts, the swinging motion of the hulls, the slender serpentine pennants, | Vivid imagery of ships in the harbor, highlighting the dynamic and lively scene. |
These and all else were to me the same as they are to you, | Whitman underscores the continuity of experiences across generations; what he experienced is what readers will experience. |
Whatever it is, it avails not—distance avails not, and place avails not, | Reiteration that neither time nor space can diminish the connection between people. |
I too lived, Brooklyn of ample hills was mine, | Whitman identifies himself with the physical and cultural landscape of Brooklyn. |
I too had been struck from the float forever held in solution, | He sees himself as part of the eternal flow of life, existing in a constant state of change and continuity. |
The dark threw its patches down upon me also, | Whitman acknowledges the presence of darkness and challenges in his life. |
Just as you feel when you look on the river and sky, so I felt, | Emphasizes the shared human experience across time; readers feel the same emotions he felt when observing the river and sky. |
The wolf, the snake, the hog, not wanting in me, | He acknowledges his own flaws and darker traits, comparing them to predatory and undesirable animals. |
I consider’d long and seriously of you before you were born. | Whitman thought deeply about future generations, illustrating his connection to them. |
Flow on, river! flow with the flood-tide, and ebb with the ebb-tide! | The river’s flow represents the continuous passage of time and the cyclical nature of life. |
Appearances, now or henceforth, indicate what you are, | External appearances reveal one’s true nature, now and in the future. |
You necessary film, continue to envelop the soul, | The ‘film’ represents the physical body or material world that surrounds and interacts with the soul. |
You furnish your parts toward eternity, | Everything contributes to the grand scheme of eternity, whether great or small. |
We use you, and do not cast you aside—we plant you permanently within us, | Humans internalize and learn from their experiences, carrying them forward permanently. |
We fathom you not—we love you—there is perfection in you also, | Acknowledges the mystery and beauty in all things, despite not fully understanding them. |
Literary And Poetic Devices: “Crossing Brooklyn Ferry” by Walt Whitman
Literary/Poetic Device | Definition | Example from the Poem | Explanation |
Anaphora | Repetition of a word or phrase at the beginning of successive clauses or sentences | “Just as you…” (repeated in stanza 3) | Creates a rhythmic pattern and emphasizes the shared experience between the speaker and the reader. |
Apostrophe | Addressing an absent person or thing as if present | “Flow on, river! flow with the flood-tide…” | Personifies the river and creates a sense of direct address. |
Assonance | Repetition of vowel sounds within words | “The impalpable sustenance of me from all things at all hours of the day” | Creates internal rhyme and a sense of unity within the line. |
Catalog | A list of people, things, or attributes | (The entire poem is a catalog of images and experiences) | Creates a sense of abundance and emphasizes the diversity of the world. |
Free verse | Poetry without regular rhyme or rhythm | The entire poem | Allows for a more natural, conversational tone and greater flexibility in expression. |
Imagery | Use of vivid language to create a sensory experience | “The scallop-edged waves in the twilight, the ladled cups, the frolicsome crests and glistening” | Appeals to the reader’s senses of sight and touch. |
Metaphor | A comparison between two unlike things without using “like” or “as” | “The dark threw its patches down upon me also” | Compares the experience of darkness or despair to a physical object being thrown. |
Parallelism | Repetition of grammatical structures | “I too lived… I too walk’d… I too felt…” | Creates a sense of rhythm and emphasizes the speaker’s connection to past generations. |
Personification | Giving human qualities to inanimate objects or abstract ideas | “Gorgeous clouds of the sunset! drench with your splendor me…” | Gives the clouds a sense of agency and power. |
Repetition | Repeating words or phrases for emphasis | “Others will…” (repeated in stanza 2) | Emphasizes the continuity of human experience across time. |
Simile | A comparison between two unlike things using “like” or “as” | “The flags of all nations, the falling of them at sunset…” | Compares the falling flags to the setting sun. |
Themes: “Crossing Brooklyn Ferry” by Walt Whitman
- Transcendence of Time and Space: Whitman emphasizes the interconnectedness of past, present, and future. He addresses future generations directly (“you that shall cross from shore to shore years hence are more to me…”) and imagines himself witnessing the same ferry crossing in the distant future (“Fifty years hence, others will see them…”). This blurring of temporal boundaries highlights the enduring nature of human experience and the cyclical nature of life.
- Unity and Commonality of Human Experience: The poem celebrates the shared experiences and emotions that connect individuals across time and space. Whitman uses phrases like “Just as you feel… so I felt” to establish a common ground with the reader and to emphasize the universality of human emotions. The poem’s catalog of seemingly mundane details – the ferry, the seagulls, the sunset – elevates them to symbols of shared human experience.
- Celebration of the Urban and Natural World: Whitman offers vivid descriptions of the urban landscape of New York City and the natural beauty of the East River. The poem’s imagery evokes the sights, sounds, and sensations of the ferry journey, creating a sense of awe and wonder. This celebration of both the natural and the man-made reflects Whitman’s democratic spirit and his belief in the inherent value of all aspects of the human experience.
- Spiritual Connection and the Search for Meaning: The poem delves into existential questions about identity, mortality, and the meaning of life. Whitman grapples with the idea of the soul and its connection to the physical world (“About my body for me, and your body for you, be hung our divinest aromas”). He also explores the potential for spiritual connection through shared experiences and emotions, ultimately finding solace in the cyclical nature of life and the enduring spirit of humanity.
Literary Theories and “Crossing Brooklyn Ferry” by Walt Whitman
- Transcendentalism: “Crossing Brooklyn Ferry” reflects the core principles of Transcendentalism, which emphasizes the inherent goodness of people and nature, and the belief in an ideal spiritual state that transcends the physical and empirical. Whitman’s poem illustrates a deep connection between the self and the universe, suggesting a shared human experience that surpasses time and space. His descriptions of the ferry ride, the river, and the crowds highlight a unity among individuals across generations, resonating with the Transcendentalist idea of the interconnectedness of all life. Emerson’s “Nature” and Thoreau’s “Walden” similarly explore these themes of unity and the transcendental experience of the natural world. However, critics argue that Whitman’s optimistic view of universal connectedness overlooks the complexities and conflicts inherent in human nature and society.
- Romanticism: Whitman’s work is often associated with Romanticism, which values individualism, emotion, and the glorification of nature. In “Crossing Brooklyn Ferry,” the poet’s emotional engagement with the natural elements and his introspective reflections are quintessentially Romantic. The vivid imagery of the sunset, the river, and the cityscape reflects a profound appreciation of nature’s beauty and its impact on the human soul. The poem’s focus on personal experience and emotional depth aligns with the Romantic tradition found in the works of Wordsworth and Coleridge. Critics of this approach might argue that Whitman’s emphasis on individual perception and emotional response can lead to a subjective interpretation that lacks the objective analysis of social and historical contexts.
- Modernism: While Whitman is typically categorized as a pre-Modernist, “Crossing Brooklyn Ferry” can be seen through a Modernist lens due to its exploration of time, identity, and the fragmentation of the self. The poem’s fluid structure and its focus on the inner experiences of the narrator prefigure Modernist concerns with the complexities of human consciousness and the passage of time. Whitman’s portrayal of the ferry ride as a metaphor for life’s journey and the continuity of human experience resonates with Modernist themes of change and the search for meaning in an uncertain world. This perspective is evident in the later works of T.S. Eliot and James Joyce, who similarly explore fragmented identities and temporal dislocation. However, Modernist critics might find Whitman’s inclusive and affirmative tone at odds with the often more pessimistic and fragmented perspectives typical of Modernist literature.
Critical Questions about “Crossing Brooklyn Ferry” by Walt Whitman
- How does Whitman establish a connection between himself and the reader, despite the separation of time and space?
- Whitman bridges this gap through direct address, using “you” to speak to future readers and placing himself alongside them through phrases like “Just as you feel… so I felt.” He evokes universal experiences like the awe of a sunset or the curiosity about fellow passengers, emphasizing the commonalities of human emotions and perceptions across generations.
- What is the significance of the ferry as a symbol in the poem?
- The ferry serves as a powerful symbol of transition and connection, representing the journey of life itself. The constant movement of the ferry mirrors the cyclical nature of life, death, and renewal. Additionally, the ferry acts as a unifier, bringing together diverse individuals from different walks of life, suggesting the potential for shared experience and understanding.
- How does Whitman’s use of cataloging and seemingly mundane details contribute to the poem’s meaning?
- Whitman’s meticulous cataloging of sensory details, such as the “scallop-edged waves” and the “fires from the foundry chimneys,” elevates the ordinary to the extraordinary. This technique emphasizes the interconnectedness of all things and the beauty inherent in the everyday. It also democratizes the poetic experience, valuing the common and the familiar alongside the grand and the sublime.
- In what ways does the poem explore the theme of identity and the self?
- Whitman grapples with the concept of the self as both individual and universal. He acknowledges the physicality of the body (“That I was I knew was of my body”) while also recognizing the existence of a deeper, spiritual self (“Keep your places, objects than which none else is more lasting”). The poem suggests that identity is formed not only through personal experiences but also through connections to others and the shared human condition.
Topics, Questions, and Thesis Statements about “Crossing Brooklyn Ferry” by Walt Whitman
Topic | Research Question | Thesis Statement |
Interconnectedness of Humanity | How does Whitman convey the theme of interconnectedness among individuals across time in “Crossing Brooklyn Ferry”? | In “Crossing Brooklyn Ferry,” Whitman uses vivid imagery and direct addresses to highlight the timeless and universal connections among people. |
Nature and the Urban Experience | What role does nature play in the urban setting of “Crossing Brooklyn Ferry”? | Whitman juxtaposes the natural elements of the river and sky with the bustling urban environment to illustrate the harmony and continuity of human life within nature. |
Temporal Continuity | How does Whitman explore the concept of time and its passage in “Crossing Brooklyn Ferry”? | Through reflections on the past, present, and future, Whitman presents time as a fluid and interconnected continuum, bridging generations and experiences. |
Individual and Collective Identity | In what ways does “Crossing Brooklyn Ferry” address the balance between individual identity and collective experience? | Whitman explores the duality of individual and collective identity, suggesting that personal experiences are deeply intertwined with the collective human journey. |
Literary Works Similar to “Crossing Brooklyn Ferry” by Walt Whitman
- “I Wandered Lonely as a Cloud” by William Wordsworth
- This poem explores the profound connection between nature and human emotion, similar to Whitman’s reflection on the natural and human elements in “Crossing Brooklyn Ferry.”
- “The Prelude” by William Wordsworth
- Wordsworth’s autobiographical poem delves into the personal and universal aspects of human experience, much like Whitman’s meditations on shared humanity.
- “To Brooklyn Bridge” by Hart Crane
- Crane’s poem celebrates the Brooklyn Bridge as a symbol of human achievement and connection, echoing Whitman’s themes of unity and transcendence.
- “Song of Myself” by Walt Whitman
- Another of Whitman’s masterpieces, this poem similarly emphasizes the interconnectedness of all people and the continuity of the human experience.
- “The Love Song of J. Alfred Prufrock” by T.S. Eliot
- While more modernist in style, Eliot’s poem shares Whitman’s exploration of individual identity and the passage of time within an urban setting.
Suggested Readings: “Crossing Brooklyn Ferry” by Walt Whitman
- Blake, Kathleen. Love and the American Sublime. University of Wisconsin Press, 1998. https://uwpress.wisc.edu/books/4613.htm
- Killingsworth, M. Jimmie. Whitman’s Poetry of the Body: Sexuality, Politics, and the Text. University of North Carolina Press, 1989.
- Miller, James E. Jr. Walt Whitman. Twayne Publishers, 1962.
- Poetry Foundation. “Crossing Brooklyn Ferry.”
- The Walt Whitman Archive. “Crossing Brooklyn Ferry.”
Representative Quotations of “Crossing Brooklyn Ferry” by Walt Whitman
Quotation | Context | Theoretical Perspective |
“Flood-tide below me! I see you face to face!” (Stanza 1) | The speaker addresses the river, establishing an intimate connection with the natural world. | Ecocriticism: This opening line emphasizes the speaker’s engagement with the environment and suggests a sense of unity between the human and natural worlds. |
“Crowds of men and women attired in the usual costumes, how curious you are to me!” (Stanza 1) | The speaker observes the diverse passengers on the ferry, pondering their lives and experiences. | Democratic Individualism: This reflects Whitman’s interest in the common person and his belief in the value of individual experience within a democratic society. |
“It avails not, time nor place—distance avails not, / I am with you, you men and women of a generation, or ever so many generations hence” (Stanza 3) | The speaker transcends temporal and spatial boundaries, connecting with readers across time. | Transcendentalism: This assertion of spiritual connection aligns with transcendentalist ideas about the interconnectedness of all beings and the transcendence of the soul. |
“I too had been struck from the float forever held in solution, / I too had receiv’d identity by my body” (Stanza 5) | The speaker reflects on the physical nature of existence and the individual’s place within the larger scheme of things. | Materialism: This contemplation of the body and its role in shaping identity aligns with materialist perspectives on the relationship between the physical and the metaphysical. |
“We understand then do we not? / What I promis’d without mentioning it, have you not accepted?” (Stanza 8) | The speaker suggests a shared understanding with the reader, hinting at a deeper connection that transcends language. | Reader-Response Criticism: This direct address invites the reader to engage with the poem and to interpret its meaning in light of their own experiences and perspectives. |