'Crossing Brooklyn Ferry' by Walt Whitman
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FLOOD-TIDE below me! I watch 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.
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;10
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.
It avails not, neither time or place--distance avails not;20
I am with you, you men and women of a generation, or ever so many
generations hence;
I project myself--also I return--I am with you, and know how it is.
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-
stem'd pipes of steamboats, I look'd.
I too many and many a time cross'd the river, the sun half an hour
high;
I watched the Twelfth-month sea-gulls--I saw them high in the air,
floating with motionless wings, oscillating their bodies,
I saw how the glistening yellow lit up parts of their bodies, and
left the rest in strong shadow,30
I saw the slow-wheeling circles, and the gradual edging toward the
south.
I too 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 around the shape of my
head in the sun-lit water,
Look'd on the haze on the hills southward and southwestward,
Look'd on the vapor as it flew in fleeces tinged with violet,
Look'd toward the lower bay to notice the arriving ships,
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,40
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 sun-set,
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 store-houses 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.
These, and all else, were to me the same as they are to you;50
I project myself a moment to tell you--also I return.
I loved well those cities;
I 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.)
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;60
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.
It is not upon you alone the dark patches fall,
The dark threw patches down upon me also;
The best I had done seem'd to me blank and suspicious;70
My great thoughts, as I supposed them, were they not in reality
meagre? would not people laugh at me?
It is not 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.80
But I was Manhattanese, friendly and proud!
I 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.
Closer yet I approach you;
What thought you have of me, I had as much of you--I laid in my
stores in advance;90
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 but I am as good as looking at you now, for all you cannot
see me?
It is not you alone, nor I alone;
Not a few races, nor a few generations, nor a few centuries;
It is that each came, or comes, or shall come, from its due emission,
From the general centre of all, and forming a part of all:
Everything indicates--the smallest does, and the largest does;
A necessary film envelopes all, and envelopes the Soul for a proper
time.100
Now I am curious what sight can ever be more stately and admirable to
me than my mast-hemm'd Manhattan,
My river and sun-set, and my scallop-edg'd waves of flood-tide,
The sea-gulls oscillating their bodies, the hay-boat in the twilight,
and the belated lighter;
Curious 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;
Curious 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?
What the push of reading could not start, is started by me
personally, is it not?110
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 sun-set! 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!120
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 sun-lit 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;130
You necessary film, continue to envelop the soul;
About my body for me, and your body for you, be hung our 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.
We descend upon you and all things--we arrest you all;
We realize the soul only by you, you faithful solids and fluids;
Through you color, form, location, sublimity, ideality;
Through you every proof, comparison, and all the suggestions and
determinations of ourselves.
You have waited, you always wait, you dumb, beautiful ministers! you
novices!140
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.
Editor 1 Interpretation
Crossing Brooklyn Ferry: A Celebration of Human Connectedness
Walt Whitman's Crossing Brooklyn Ferry is an ode to the universal human experience of connection and the power of poetry to bridge spatial and temporal distances. Written in free verse, the poem explores the speaker's journey across the East River on a ferry, taking in the sights and sounds of the bustling city and contemplating the continuity of human experience across time and space. Whitman's use of repetition, imagery, and naturalistic language creates a sense of unity and transcendence that speaks to the human spirit and its capacity for empathy and wonder.
The Poem's Structure and Symbolism
Crossing Brooklyn Ferry is divided into nine sections, each marked by a Roman numeral. The poem follows the speaker's journey on a ferry from Manhattan to Brooklyn and back, but also delves into philosophical musings on the nature of time, identity, and the human condition. The poem's structure is cyclical, with the speaker returning to the same ferry ride and the same contemplative mood at the end as at the beginning. This cyclical structure reinforces the poem's message of continuity and interconnectedness.
The ferry itself serves as a powerful symbol throughout the poem. It is a vehicle for physical transportation, but also for emotional and intellectual connection. The speaker acknowledges the presence of other passengers on the ferry, recognizing them as fellow humans with their own thoughts and experiences. He also imagines the future generations who will ride the same ferry and marvel at the same sights as he does. The ferry thus becomes a symbol of the human journey through time and space, connecting past, present, and future.
The Power of Repetition
One of the most striking features of Crossing Brooklyn Ferry is its use of repetition. The poem begins with the phrase "Flood-tide below me! I see you face to face!" and this refrain is repeated throughout the poem, sometimes with variations. This repetition creates a sense of unity and continuity, as if the speaker is addressing the same audience across time and space.
The repetition also reinforces the speaker's sense of connection to the natural world. He describes the river as "flowing" and "ever-returning" and notes the "mirrored clouds" and "sunshine" that reflect off its surface. The repetition of these naturalistic images creates a sense of harmony between the human and natural worlds, emphasizing the interconnectedness of all things.
The Language of Transcendence
Whitman's use of language in Crossing Brooklyn Ferry is both naturalistic and transcendent. He often uses lists of concrete details to create a sense of immediacy and specificity. For example, he describes the ferry's "black-hull'd swift-sail'd ships" and the "stately and rapid river boats" that pass by. These details anchor the poem in the physical world.
At the same time, Whitman's language is often elevated and transcendent. He speaks of the "eternal reciprocity of all things" and imagines the "immense and unstopping ages" that have come before and will come after the present moment. This language of transcendence emphasizes the poem's theme of human interconnectedness and suggests that the speaker's experience on the ferry is part of a larger cosmic pattern.
The Poem's Relevance Today
Despite being written over 150 years ago, Crossing Brooklyn Ferry remains a powerful meditation on the human experience. Its message of connectedness and empathy is as relevant today as it was in Whitman's time. In a world that often emphasizes division and conflict, the poem reminds us of our shared humanity and the power of poetry to bring us together.
Moreover, the poem's celebration of the natural world and the human journey through time and space has become even more urgent in the face of environmental degradation and climate change. Whitman's vision of the interconnectedness of all things is a powerful reminder of the need to protect our planet and work towards a sustainable future.
Conclusion
Crossing Brooklyn Ferry is a masterpiece of American poetry, a celebration of human connectedness and the power of language to bridge distances. Its structure, symbolism, and language all contribute to a sense of unity and transcendence that speaks to the human spirit. Whitman's poem is a timeless meditation on the human experience that remains as relevant today as it did when it was first written.
Editor 2 Analysis and Explanation
Poetry Crossing Brooklyn Ferry: A Timeless Journey
Walt Whitman's "Crossing Brooklyn Ferry" is a timeless poem that captures the essence of human connection and the beauty of the natural world. Written in 1856, the poem is a celebration of the journey of life and the shared experiences that connect us all. It is a poem that speaks to the heart and soul of humanity, and its message is as relevant today as it was over 150 years ago.
The poem is divided into nine sections, each of which explores a different aspect of the journey. The first section sets the tone for the rest of the poem, as Whitman describes the beauty of the river and the city that surrounds it. He speaks of the "sparkling waves" and the "glittering eddies" that dance in the sunlight, and he marvels at the "tall-growing masts" of the ships that pass by. This opening section is a celebration of the natural world and the wonders that it holds.
As the poem progresses, Whitman turns his attention to the people who inhabit the city and the river. He speaks of the "crowds of men and women" who cross the ferry, and he marvels at the diversity of their experiences. He notes that they come from all walks of life and that they are united by their shared journey. This section of the poem is a celebration of human connection and the power of community.
In the third section, Whitman reflects on the passage of time and the way that it shapes our lives. He notes that the river and the city have changed since he first crossed the ferry, and he wonders what the future will hold. He speaks of the "unseen future" and the "long, long procession" of generations that will follow in his footsteps. This section of the poem is a meditation on the passage of time and the way that it shapes our lives.
The fourth section of the poem is a celebration of the senses. Whitman speaks of the "perfumes" and the "sounds" that fill the air, and he marvels at the way that they evoke memories and emotions. He notes that the senses are a powerful tool for connecting us to the world around us, and he encourages us to embrace them fully.
In the fifth section, Whitman reflects on the way that our experiences shape our perceptions of the world. He notes that the river and the city look different to him now than they did when he first crossed the ferry, and he wonders if others see them the same way. He speaks of the way that our experiences color our perceptions of the world, and he encourages us to be open to new experiences and perspectives.
The sixth section of the poem is a meditation on the way that we are all connected to each other and to the natural world. Whitman notes that the river and the city are "part of me as I am part of them," and he speaks of the way that we are all connected by a shared humanity. This section of the poem is a celebration of the interconnectedness of all things.
In the seventh section, Whitman reflects on the way that our memories shape our perceptions of the world. He notes that the river and the city are filled with memories for him, and he wonders if others have similar memories. He speaks of the way that our memories shape our perceptions of the world, and he encourages us to cherish our memories and the experiences that have shaped us.
The eighth section of the poem is a meditation on the way that our experiences are part of a larger, universal journey. Whitman notes that the river and the city have been crossed by countless generations before him, and that they will be crossed by countless generations after him. He speaks of the way that our experiences are part of a larger, universal journey, and he encourages us to embrace our place in that journey.
The final section of the poem is a celebration of the present moment. Whitman notes that the river and the city are "always the same, always changing," and he speaks of the way that the present moment is all that we truly have. He encourages us to embrace the present moment fully, and to cherish the experiences that it brings.
In conclusion, Walt Whitman's "Crossing Brooklyn Ferry" is a timeless poem that speaks to the heart and soul of humanity. It is a celebration of the natural world, human connection, and the journey of life. Its message is as relevant today as it was over 150 years ago, and it encourages us to embrace the present moment fully, to cherish our memories and experiences, and to be open to new perspectives and experiences. It is a poem that inspires us to connect with the world around us and to embrace our place in the larger, universal journey of life.
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