{"links":{"self":"https://arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Subseries\u0026page=7278\u0026view=compact","prev":"https://arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Subseries\u0026page=7277\u0026view=compact","next":"https://arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Subseries\u0026page=7279\u0026view=compact","last":"https://arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Subseries\u0026page=7283\u0026view=compact"},"meta":{"pages":{"current_page":7278,"next_page":7279,"prev_page":7277,"total_pages":7283,"limit_value":10,"offset_value":72770,"total_count":72826,"first_page?":false,"last_page?":false}},"data":[{"id":"vi_vi05543_c01_c07","type":"Subseries","attributes":{"title":"Youth Suicide Prevention,\n\t1988-2002.","breadcrumbs":{"id":"https://arvasarchive.org/catalog/vi_vi05543_c01_c07#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vi_vi05543_c01_c07","ref_ssm":["vi_vi05543_c01_c07"],"id":"vi_vi05543_c01_c07","ead_ssi":"vi_vi05543","_root_":"vi_vi05543","_nest_parent_":"vi_vi05543_c01","parent_ssi":"vi_vi05543_c01","parent_ssim":["vi_vi05543","vi_vi05543_c01"],"parent_ids_ssim":["vi_vi05543","vi_vi05543_c01"],"parent_unittitles_ssm":["Records of the Virginia Commission on Youth, \n1991-2001","Study documentation records, \n1991-2001."],"parent_unittitles_tesim":["Records of the Virginia Commission on Youth, \n1991-2001","Study documentation records, \n1991-2001."],"text":["Records of the Virginia Commission on Youth, \n1991-2001","Study documentation records, \n1991-2001.","Youth Suicide Prevention,\n\t1988-2002."],"title_filing_ssi":"Youth Suicide Prevention,\n\t 1988-2002 .","title_ssm":["Youth Suicide Prevention,\n\t1988-2002."],"title_tesim":["Youth Suicide Prevention,\n\t1988-2002."],"normalized_title_ssm":["Youth Suicide Prevention,\n\t1988-2002."],"component_level_isim":[2],"repository_ssim":["Library of Virginia"],"collection_ssim":["Records of the Virginia Commission on Youth, \n1991-2001"],"has_online_content_ssim":["false"],"child_component_count_isi":6,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":320,"_nest_path_":"/components#0/components#6","timestamp":"2026-05-21T11:34:33.799Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vi_vi05543","ead_ssi":"vi_vi05543","_root_":"vi_vi05543","_nest_parent_":"vi_vi05543","ead_source_url_ssi":"data/lva/vi05543.xml","title_ssm":["Records of the Virginia Commission on Youth, \n1991-2001"],"title_tesim":["Records of the Virginia Commission on Youth, \n1991-2001"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["42945\n"],"text":["42945\n","Records of the Virginia Commission on Youth, \n1991-2001","34.35 cubic feet (35 Boxes)","There are no access restrictions.\n","This collection is arranged into the following series:","Study documentation records, 1991-2001 (42945);","The Virginia Commission on Youth was established by the 1989 General Assembly (statutes §30-174 and §30-175). The formation of the Commission was a legislative response to a two-year study examining the issues related to services to chronic status offenders. Virginia code mandates the Commission \"to study and provide recommendations addressing the needs of and services to the Commonwealth's youth and families.\" Enacted in 1989, the Commission began operations in 1991.\n","The Commission on Youth is a standing legislative commission of the Virginia General Assembly. It is comprised of twelve members: six Delegates appointed by the Speaker of the House, three Senators appointed by the Senate Committee on Rules, and three citizens appointed by the Governor.","The Commission on Youth provides a legislative forum in which complex issues related to Virginia youth and their families may be explored and resolved. The Commission provides a bipartisan forum for complex issues related to youth and their families. It is responsible for monitoring developments in federal, state and local policies and laws which impact youth and their families, while also contributing to the General Assembly's ability to make sound policy decisions based on well-studied and reasoned recommendations. The Commission assists General Assembly members in developing bills on study issues which reflect consensus among key agencies, organizations and special interests. The Commission also conducts legislative studies on issues related to youth and their families, and serves as a resource for constituent concerns and the general public. Members of the Commission often speak to professional associations, civic and community groups about the legislative process, state and national policy issues impacting youth, and specific topical areas, as well as educate interested groups on Commission studies. Members may also serve on varied private and governmental task forces convened on children's issues.","Each year the Virginia Commission on Youth compiles a summary of legislative action impacting youth and their families across the Commonwealth. The Commission also produces a yearly newsletter, the General Assembly Overview, which outlines the year's legislative and gubernatorial actions affecting children and their families.","This collection has been processed using minimal processing standards: the original arrangement has been maintained, the container list is brief and simple, and the records have not been refoldered and fasteners have not been removed. \n","Accession 42945: Study documentation records, 1991-2001, include records related juvenile detention, juvenile justice reform, truants and runaways, juvenile records, Virginia Juvenile Community Crime Control Act, serious juvenile offenders, education needs of homeless youth, youth suicide prevention, early intervention services, incarcerated youth, guardians ad litem, and adoption laws. These records may contain correspondence, articles, briefing materials, legislation, policies, presentation, reports, statistics, summaries, and surveys.  Records have been minimally processed and are in original order.\n","Note: The Commission on Youth studies respond to issues identified by the Virginia General Assembly.  During the 1990s there were a number of juvenile justice issues related to the newly established Virginia Juvenile Community Crime Control Act (VJCCCA).  Studies during this time period were in sequential order and/or interrelated, in that issues raised in one year were also investigated in subsequent years, directly or indirectly.  In these files, research gathered in one study might have been used in another study, thus these files are not always clearly distinguishable and may be intermingled.","There are no use restrictions.\n","English\n"],"unitid_tesim":["42945\n"],"normalized_title_ssm":["Records of the Virginia Commission on Youth, \n1991-2001"],"collection_title_tesim":["Records of the Virginia Commission on Youth, \n1991-2001"],"collection_ssim":["Records of the Virginia Commission on Youth, \n1991-2001"],"repository_ssm":["Library of Virginia"],"repository_ssim":["Library of Virginia"],"creator_ssm":["Virginia Commission on Youth\n"],"creator_ssim":["Virginia Commission on Youth\n"],"acqinfo_ssim":["Accession 42945 was transferred from the Virginia Commission on Youth on November 6, 2006. \n"],"has_online_content_ssim":["false"],"physdesc_tesim":["34.35 cubic feet (35 Boxes)"],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\n\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions\n"],"accessrestrict_tesim":["There are no access restrictions.\n"],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged into the following series:\u003c/p\u003e","\u003clist type=\"simple\"\u003e\n        \u003citem\u003eStudy documentation records, 1991-2001 (42945);\u003c/item\u003e\n\t\n      \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement\n"],"arrangement_tesim":["This collection is arranged into the following series:","Study documentation records, 1991-2001 (42945);"],"bioghist_html_tesm":["\u003cp\u003eThe Virginia Commission on Youth was established by the 1989 General Assembly (statutes §30-174 and §30-175). The formation of the Commission was a legislative response to a two-year study examining the issues related to services to chronic status offenders. Virginia code mandates the Commission \"to study and provide recommendations addressing the needs of and services to the Commonwealth's youth and families.\" Enacted in 1989, the Commission began operations in 1991.\n\u003c/p\u003e","\u003cp\u003eThe Commission on Youth is a standing legislative commission of the Virginia General Assembly. It is comprised of twelve members: six Delegates appointed by the Speaker of the House, three Senators appointed by the Senate Committee on Rules, and three citizens appointed by the Governor.\u003c/p\u003e","\u003cp\u003eThe Commission on Youth provides a legislative forum in which complex issues related to Virginia youth and their families may be explored and resolved. The Commission provides a bipartisan forum for complex issues related to youth and their families. It is responsible for monitoring developments in federal, state and local policies and laws which impact youth and their families, while also contributing to the General Assembly's ability to make sound policy decisions based on well-studied and reasoned recommendations. The Commission assists General Assembly members in developing bills on study issues which reflect consensus among key agencies, organizations and special interests. The Commission also conducts legislative studies on issues related to youth and their families, and serves as a resource for constituent concerns and the general public. Members of the Commission often speak to professional associations, civic and community groups about the legislative process, state and national policy issues impacting youth, and specific topical areas, as well as educate interested groups on Commission studies. Members may also serve on varied private and governmental task forces convened on children's issues.\u003c/p\u003e","\u003cp\u003eEach year the Virginia Commission on Youth compiles a summary of legislative action impacting youth and their families across the Commonwealth. The Commission also produces a yearly newsletter, the General Assembly Overview, which outlines the year's legislative and gubernatorial actions affecting children and their families.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information\n"],"bioghist_tesim":["The Virginia Commission on Youth was established by the 1989 General Assembly (statutes §30-174 and §30-175). The formation of the Commission was a legislative response to a two-year study examining the issues related to services to chronic status offenders. Virginia code mandates the Commission \"to study and provide recommendations addressing the needs of and services to the Commonwealth's youth and families.\" Enacted in 1989, the Commission began operations in 1991.\n","The Commission on Youth is a standing legislative commission of the Virginia General Assembly. It is comprised of twelve members: six Delegates appointed by the Speaker of the House, three Senators appointed by the Senate Committee on Rules, and three citizens appointed by the Governor.","The Commission on Youth provides a legislative forum in which complex issues related to Virginia youth and their families may be explored and resolved. The Commission provides a bipartisan forum for complex issues related to youth and their families. It is responsible for monitoring developments in federal, state and local policies and laws which impact youth and their families, while also contributing to the General Assembly's ability to make sound policy decisions based on well-studied and reasoned recommendations. The Commission assists General Assembly members in developing bills on study issues which reflect consensus among key agencies, organizations and special interests. The Commission also conducts legislative studies on issues related to youth and their families, and serves as a resource for constituent concerns and the general public. Members of the Commission often speak to professional associations, civic and community groups about the legislative process, state and national policy issues impacting youth, and specific topical areas, as well as educate interested groups on Commission studies. Members may also serve on varied private and governmental task forces convened on children's issues.","Each year the Virginia Commission on Youth compiles a summary of legislative action impacting youth and their families across the Commonwealth. The Commission also produces a yearly newsletter, the General Assembly Overview, which outlines the year's legislative and gubernatorial actions affecting children and their families."],"prefercite_html_tesm":["\u003cp\u003eRecords of the Virginia Commission on Youth, 1991-2001. Accession 42945, State government records collection, The Library of Virginia, Richmond, Va. 23219.\n\u003c/p\u003e"],"prefercite_tesim":["Records of the Virginia Commission on Youth, 1991-2001. Accession 42945, State government records collection, The Library of Virginia, Richmond, Va. 23219.\n"],"processinfo_html_tesm":["\u003cp\u003eThis collection has been processed using minimal processing standards: the original arrangement has been maintained, the container list is brief and simple, and the records have not been refoldered and fasteners have not been removed. \n\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information\n"],"processinfo_tesim":["This collection has been processed using minimal processing standards: the original arrangement has been maintained, the container list is brief and simple, and the records have not been refoldered and fasteners have not been removed. \n"],"scopecontent_html_tesm":["\u003cp\u003eAccession 42945: Study documentation records, 1991-2001, include records related juvenile detention, juvenile justice reform, truants and runaways, juvenile records, Virginia Juvenile Community Crime Control Act, serious juvenile offenders, education needs of homeless youth, youth suicide prevention, early intervention services, incarcerated youth, guardians ad litem, and adoption laws. These records may contain correspondence, articles, briefing materials, legislation, policies, presentation, reports, statistics, summaries, and surveys.  Records have been minimally processed and are in original order.\n\u003c/p\u003e","\u003cp\u003eNote: The Commission on Youth studies respond to issues identified by the Virginia General Assembly.  During the 1990s there were a number of juvenile justice issues related to the newly established Virginia Juvenile Community Crime Control Act (VJCCCA).  Studies during this time period were in sequential order and/or interrelated, in that issues raised in one year were also investigated in subsequent years, directly or indirectly.  In these files, research gathered in one study might have been used in another study, thus these files are not always clearly distinguishable and may be intermingled.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content\n"],"scopecontent_tesim":["Accession 42945: Study documentation records, 1991-2001, include records related juvenile detention, juvenile justice reform, truants and runaways, juvenile records, Virginia Juvenile Community Crime Control Act, serious juvenile offenders, education needs of homeless youth, youth suicide prevention, early intervention services, incarcerated youth, guardians ad litem, and adoption laws. These records may contain correspondence, articles, briefing materials, legislation, policies, presentation, reports, statistics, summaries, and surveys.  Records have been minimally processed and are in original order.\n","Note: The Commission on Youth studies respond to issues identified by the Virginia General Assembly.  During the 1990s there were a number of juvenile justice issues related to the newly established Virginia Juvenile Community Crime Control Act (VJCCCA).  Studies during this time period were in sequential order and/or interrelated, in that issues raised in one year were also investigated in subsequent years, directly or indirectly.  In these files, research gathered in one study might have been used in another study, thus these files are not always clearly distinguishable and may be intermingled."],"userestrict_html_tesm":["\u003cp\u003eThere are no use restrictions.\n\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions\n"],"userestrict_tesim":["There are no use restrictions.\n"],"language_ssim":["English\n"],"total_component_count_is":649,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T11:34:33.799Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vi_vi05543_c01_c07"}},{"id":"viu_viu03090_c01_c513","type":"Subseries","attributes":{"title":"Youth Violence Project,\n\t2000, n.d.","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_viu03090_c01_c513#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viu_viu03090_c01_c513","ref_ssm":["viu_viu03090_c01_c513"],"id":"viu_viu03090_c01_c513","ead_ssi":"viu_viu03090","_root_":"viu_viu03090","_nest_parent_":"viu_viu03090_c01","parent_ssi":"viu_viu03090_c01","parent_ssim":["viu_viu03090","viu_viu03090_c01"],"parent_ids_ssim":["viu_viu03090","viu_viu03090_c01"],"parent_unittitles_ssm":["Papers of Emily Couric\nca. 1983-2002","Series I: Legislative Issues and Files"],"parent_unittitles_tesim":["Papers of Emily Couric\nca. 1983-2002","Series I: Legislative Issues and Files"],"text":["Papers of Emily Couric\nca. 1983-2002","Series I: Legislative Issues and Files","Youth Violence Project,\n\t2000, n.d.","box-folder 44:15"],"title_filing_ssi":"Youth Violence Project,\n\t 2000, n.d. \n\t","title_ssm":["Youth Violence Project,\n\t2000, n.d."],"title_tesim":["Youth Violence Project,\n\t2000, n.d."],"normalized_title_ssm":["Youth Violence Project,\n\t2000, n.d."],"component_level_isim":[2],"repository_ssim":["University of Virginia, Special Collections Dept."],"collection_ssim":["Papers of Emily Couric\nca. 1983-2002"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":514,"containers_ssim":["box-folder 44:15"],"_nest_path_":"/components#0/components#512","timestamp":"2026-05-21T13:08:35.004Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_viu03090","ead_ssi":"viu_viu03090","_root_":"viu_viu03090","_nest_parent_":"viu_viu03090","ead_source_url_ssi":"data/uva-sc/viu03090.xml","title_ssm":["Papers of Emily Couric\nca. 1983-2002"],"title_tesim":["Papers of Emily Couric\nca. 1983-2002"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["12986, 12986-a\n"],"text":["12986, 12986-a\n","Papers of Emily Couric\nca. 1983-2002","There are no restrictions.\n","\nSeries I: Legislative Issues and Files (Boxes 1-45)\nSeries II: Campaigns (Boxes 46-64)\nSubseries A: 1995 Campaign (Boxes 46-51)\nSubseries B: 1999 Campaign (Boxes 51-62)\nSubseries C: Lt. Governor Campaign (Boxes 63-64)\nSeries III: Administrative Files (Boxes 65-68)\nSeries IV: Constituent Mail (Boxes 69-78)\nSeries V: Speeches (Boxes 79-80)\nSeries VI: Audiovisual Materials (only materials in 12986-a)\nSubseries A. Legislative\nSubseries B. Couric for Senate\nSubseries C. Other Politics\nSubseries D. Presentation and Demo Reels \nSubseries E. Memorial and Tributes\nSubseries F. National Television\nSubseries G. Miscellaneous\nSubseries H. Public Television\nSubseries I. Medical\nSubseries J. Politics General\nSubseries K. Debates\n","Emily Couric (1947-2001) was elected to the Virginia Senate in 1995 and 1999, representing the 25th Senate District of the Commonwealth of Virginia, consisting of Charlottesville, Albemarle County, Madison County, Green County, and parts of Nelson County and Orange County. Couric also served as the Chairwoman of the Democratic Party of Virginia, and was preparing for a campaign for lieutenant governor in 2001 when she was diagnosed with cancer.  \n","\nShe served on the boards of several organizations, including the Jefferson Area Board for the Aging, Boys \u0026 Girls Club, Camp Holiday Trails and the Sustainability Council for the Thomas Jefferson Planning District, as well as chairman of the Charlottesville School Board, where she served for six years.\n","\nCouric began her career as a high school biology teacher in Cambridge, Massachusetts (1969-1971) and worked for the U.S. Department of the Interior, Fish \u0026 Wildlife Service (1971-1973), the U.S. Department of Labor (1974-1978), and as a reporter for  Legal Times , Washington, D.C. (1979-1981). Until she began her service in the Virginia Senate, she worked as a writer, publishing in a variety of law-related and general interest publications. She also published two books with St. Martin's Press pertaining to the law,  The Trial Lawyers  and  Divorce Lawyers . \n","\nShe was born in Atlanta, Georgia, on June 5, 1947, and moved to Virginia in 1951, graduating from Yorktown High School, Arlington, Virginia, in 1965. Couric attended Smith College and graduated in 1969, magna cum laude and Phi Beta Kappa.  At the time of her death, she was married to Dr. George A. Beller and had two sons, Ray and Jeff, from a previous marriage.\n","This collection consists of the papers of Virginia State Senator Emily Couric (1947-2001), ca. 1983-2002, ca. 20,000 items (80 Hollinger boxes, 33.5 linear shelf feet). The collection consists of files regarding Emily Couric's legislation in the Virginia General Assembly; constituent mail and replies; her Virginia Senate campaigns in 1995 and 1999, as well as her initial steps toward declaring candidacy for lieutenant governor; speeches; and files of media appearances (newspaper and magazine articles, audio and Videotapes). Some personal correspondence is present. The largest groups of material in the legislative issues series reflect her interests in issues pertaining to education and health.  \n","Interest Groups and Ideology  (Spring 1994), Accepting the Nomination as the Democratic Candidate for the 25th District of the Senate of Virginia (May 16, 1995),  The More General Diffusion of Knowledge - Curry School of Education Forum, University of Virginia (September 1995), Campaign Victory Speech (November 1995)\t\n\t","Including: Graduation Speech- Charlottesville-Albemarle Technical Education Center (June 12, 1996), Nelson County High School Commencement Exercises  (June 15, 1996), Orange County Special Education Workshop (1996), Curry School of Education Dinner (November 22, 1996).\n\t","Including: Red Cross Breakfast (March 19, 1997), Mary Baldwin College Commencement (May 25, 1997), Leadership 2000 Remarks  Responsible Self-Governance  (June 4, 1997),  Our Government and Our Children: The Responsibilities and Limitations of Public Policy  (September 4, 1997),  Higher Education: Critical Issues for Virginia's Next Generation - Forum on Higher Education (October 2, 1997),  The Final Exam: Dealing in Faith - Rosh Hashanah 5758 October 1997).\n\t","Including: University of Virginia School of Nursing School Health Conference Keynote Address (March 7, 1998), Charlottesville Women's Forum Speech (March 20, 1998), Virginia Emergency Nurses Association-  Legislators, Legislation, and Health Care Reform  (March 24, 1998), Salvation Army Annual Dinner (March 24, 1998), Mid-Atlantic Association of Women in Law Enforcement 1998 Conference (April 6, 1998), University of Virginia Women Faculty and Professional Association and the Junior League of Charlottesville (April 9, 1998), Virginia Council Against Poverty (April 9, 1998), Nurses' Day Celebration, University of Virginia (May 6, 1998), Village School Commencement Address (June 4, 1998), Virginia Association of Assessing Officers (July 15, 1998).\n\t","\n\tIncluding: Virginia Sheriffs Association Annual Conference (September 1998),\nPortsmouth Public Schools Back-to-School Convocation, (September 2, 1998), AARP Charlottesville-Albemarle Chapter Luncheon Meeting (September 3, 1998),  The Role of State and Local Governments in the Support and Development of Technology Businesses - Charlottesville Venture Group (October 20, 1998), Page County Democratic Committee Dinner (October 22, 1998), Wise County Democratic Committee Luncheon (October 31, 1998), VA COOL Keynote Address-  Changing the World, One Student at a Time  (November 7, 1998), Downtown Charlottesville Speech (1998).\n\t","\n\tIncluding: Re-Election Campaign Announcement Speech (March 30, 1999), Charlottesville-Albemarle Technical Education Center (CATEC) Ceremony (April 22, 1999), Breast Health Coalition Recognition Breakfast (May 12, 1999), Remarks Upon Accepting the Democratic Nomination for the 25th District of the Senate of Virginia (May 26, 1999), Veterans of Foreign Wars Memorial Day Ceremony (May 31, 1999), Monticello High School Graduation (June 1999),  Standards, School Reform and Equalizing Educational Opportunity in the Next Millennium  Panel Discussion, Curry School of Education (July 7, 1999), Piedmont Environmental Council Annual Meeting (September 11, 1999), Youth Leadership Initiative Senate Candidate Debate (October 19, 1999), AARP Conference (November 1999), Virginia Cooperative Extension Leadership Council Fall District Meeting (November 11, 1999).\n\t","Including:\n\tThird Regional Conference on Community Relations Keynote Luncheon Speech \t\t \t\t(May 4, 2000), Arlington Young Democrats 2000 Spring Banquet (May 11, 2000). \n\t","\n\tIncluding:  The Role of Government in Protecting Individuals Against Genetic Discrimination - University of Virginia School of Medicine (March 30, 2001), Knickerbocker Luncheon (September 20, 2001), Speech on Education (n.d.), Speech on Education- Reference Materials. \n\t","\n\tIncluding:\n\tPhi Delta Kappa Initiation Remarks, Downtown Charlottesville Speech, Education Funding, Rural Preservation Speech, Roast of L.F. Payne.\n\t","See the \n             \n            University of Virginia Library’s use policy.","English\n"],"unitid_tesim":["12986, 12986-a\n"],"normalized_title_ssm":["Papers of Emily Couric\nca. 1983-2002"],"collection_title_tesim":["Papers of Emily Couric\nca. 1983-2002"],"collection_ssim":["Papers of Emily Couric\nca. 1983-2002"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"acqinfo_ssim":["This collection arrived in two phases; the first group (MSS 12986) was given by Dr. George Beller, Charlottesville, Virginia, on March 20, 2004. The second group (MSS 12986-a) was given by Tracy Eppard, from the office of Creigh Deeds, Charlottesville, Virginia, on March 14, 2005. The two groups were considered as a unit and have been interfiled under the original accession number (MSS 12986), with a single guide and box arrangement.\n"],"has_online_content_ssim":["false"],"accessrestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\n\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no restrictions.\n"],"arrangement_html_tesm":["\u003cp\u003e\nSeries I: Legislative Issues and Files (Boxes 1-45)\nSeries II: Campaigns (Boxes 46-64)\nSubseries A: 1995 Campaign (Boxes 46-51)\nSubseries B: 1999 Campaign (Boxes 51-62)\nSubseries C: Lt. Governor Campaign (Boxes 63-64)\nSeries III: Administrative Files (Boxes 65-68)\nSeries IV: Constituent Mail (Boxes 69-78)\nSeries V: Speeches (Boxes 79-80)\nSeries VI: Audiovisual Materials (only materials in 12986-a)\nSubseries A. Legislative\nSubseries B. Couric for Senate\nSubseries C. Other Politics\nSubseries D. Presentation and Demo Reels \nSubseries E. Memorial and Tributes\nSubseries F. National Television\nSubseries G. Miscellaneous\nSubseries H. Public Television\nSubseries I. Medical\nSubseries J. Politics General\nSubseries K. Debates\n\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement\n"],"arrangement_tesim":["\nSeries I: Legislative Issues and Files (Boxes 1-45)\nSeries II: Campaigns (Boxes 46-64)\nSubseries A: 1995 Campaign (Boxes 46-51)\nSubseries B: 1999 Campaign (Boxes 51-62)\nSubseries C: Lt. Governor Campaign (Boxes 63-64)\nSeries III: Administrative Files (Boxes 65-68)\nSeries IV: Constituent Mail (Boxes 69-78)\nSeries V: Speeches (Boxes 79-80)\nSeries VI: Audiovisual Materials (only materials in 12986-a)\nSubseries A. Legislative\nSubseries B. Couric for Senate\nSubseries C. Other Politics\nSubseries D. Presentation and Demo Reels \nSubseries E. Memorial and Tributes\nSubseries F. National Television\nSubseries G. Miscellaneous\nSubseries H. Public Television\nSubseries I. Medical\nSubseries J. Politics General\nSubseries K. Debates\n"],"bioghist_html_tesm":["\u003cp\u003eEmily Couric (1947-2001) was elected to the Virginia Senate in 1995 and 1999, representing the 25th Senate District of the Commonwealth of Virginia, consisting of Charlottesville, Albemarle County, Madison County, Green County, and parts of Nelson County and Orange County. Couric also served as the Chairwoman of the Democratic Party of Virginia, and was preparing for a campaign for lieutenant governor in 2001 when she was diagnosed with cancer.  \n\u003c/p\u003e","\u003cp\u003e\nShe served on the boards of several organizations, including the Jefferson Area Board for the Aging, Boys \u0026amp; Girls Club, Camp Holiday Trails and the Sustainability Council for the Thomas Jefferson Planning District, as well as chairman of the Charlottesville School Board, where she served for six years.\n\u003c/p\u003e","\u003cp\u003e\nCouric began her career as a high school biology teacher in Cambridge, Massachusetts (1969-1971) and worked for the U.S. Department of the Interior, Fish \u0026amp; Wildlife Service (1971-1973), the U.S. Department of Labor (1974-1978), and as a reporter for \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLegal Times\u003c/title\u003e, Washington, D.C. (1979-1981). Until she began her service in the Virginia Senate, she worked as a writer, publishing in a variety of law-related and general interest publications. She also published two books with St. Martin's Press pertaining to the law, \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Trial Lawyers\u003c/title\u003e and \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eDivorce Lawyers\u003c/title\u003e. \n\u003c/p\u003e","\u003cp\u003e\nShe was born in Atlanta, Georgia, on June 5, 1947, and moved to Virginia in 1951, graduating from Yorktown High School, Arlington, Virginia, in 1965. Couric attended Smith College and graduated in 1969, magna cum laude and Phi Beta Kappa.  At the time of her death, she was married to Dr. George A. Beller and had two sons, Ray and Jeff, from a previous marriage.\n\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical/Historical Information\n"],"bioghist_tesim":["Emily Couric (1947-2001) was elected to the Virginia Senate in 1995 and 1999, representing the 25th Senate District of the Commonwealth of Virginia, consisting of Charlottesville, Albemarle County, Madison County, Green County, and parts of Nelson County and Orange County. Couric also served as the Chairwoman of the Democratic Party of Virginia, and was preparing for a campaign for lieutenant governor in 2001 when she was diagnosed with cancer.  \n","\nShe served on the boards of several organizations, including the Jefferson Area Board for the Aging, Boys \u0026 Girls Club, Camp Holiday Trails and the Sustainability Council for the Thomas Jefferson Planning District, as well as chairman of the Charlottesville School Board, where she served for six years.\n","\nCouric began her career as a high school biology teacher in Cambridge, Massachusetts (1969-1971) and worked for the U.S. Department of the Interior, Fish \u0026 Wildlife Service (1971-1973), the U.S. Department of Labor (1974-1978), and as a reporter for  Legal Times , Washington, D.C. (1979-1981). Until she began her service in the Virginia Senate, she worked as a writer, publishing in a variety of law-related and general interest publications. She also published two books with St. Martin's Press pertaining to the law,  The Trial Lawyers  and  Divorce Lawyers . \n","\nShe was born in Atlanta, Georgia, on June 5, 1947, and moved to Virginia in 1951, graduating from Yorktown High School, Arlington, Virginia, in 1965. Couric attended Smith College and graduated in 1969, magna cum laude and Phi Beta Kappa.  At the time of her death, she was married to Dr. George A. Beller and had two sons, Ray and Jeff, from a previous marriage.\n"],"prefercite_html_tesm":["\u003cp\u003ePapers of Emily Couric, Accession #12986, 12986-a, Special Collections, University of Virginia Library, Charlottesville, Va.\n\u003c/p\u003e"],"prefercite_tesim":["Papers of Emily Couric, Accession #12986, 12986-a, Special Collections, University of Virginia Library, Charlottesville, Va.\n"],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of the papers of Virginia State Senator Emily Couric (1947-2001), ca. 1983-2002, ca. 20,000 items (80 Hollinger boxes, 33.5 linear shelf feet). The collection consists of files regarding Emily Couric's legislation in the Virginia General Assembly; constituent mail and replies; her Virginia Senate campaigns in 1995 and 1999, as well as her initial steps toward declaring candidacy for lieutenant governor; speeches; and files of media appearances (newspaper and magazine articles, audio and Videotapes). Some personal correspondence is present. The largest groups of material in the legislative issues series reflect her interests in issues pertaining to education and health.  \n\u003c/p\u003e","\u003cp\u003e\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eInterest Groups and Ideology\u003c/title\u003e (Spring 1994), Accepting the Nomination as the Democratic Candidate for the 25th District of the Senate of Virginia (May 16, 1995), \u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThe More General Diffusion of Knowledge\u003c/title\u003e- Curry School of Education Forum, University of Virginia (September 1995), Campaign Victory Speech (November 1995)\t\n\t\u003c/p\u003e","\u003cp\u003eIncluding: Graduation Speech- Charlottesville-Albemarle Technical Education Center (June 12, 1996), Nelson County High School Commencement Exercises  (June 15, 1996), Orange County Special Education Workshop (1996), Curry School of Education Dinner (November 22, 1996).\n\t\u003c/p\u003e","\u003cp\u003eIncluding: Red Cross Breakfast (March 19, 1997), Mary Baldwin College Commencement (May 25, 1997), Leadership 2000 Remarks \u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eResponsible Self-Governance\u003c/title\u003e (June 4, 1997), \u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eOur Government and Our Children: The Responsibilities and Limitations of Public Policy\u003c/title\u003e (September 4, 1997), \u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eHigher Education: Critical Issues for Virginia's Next Generation\u003c/title\u003e- Forum on Higher Education (October 2, 1997), \u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThe Final Exam: Dealing in Faith\u003c/title\u003e- Rosh Hashanah 5758 October 1997).\n\t\u003c/p\u003e","\u003cp\u003eIncluding: University of Virginia School of Nursing School Health Conference Keynote Address (March 7, 1998), Charlottesville Women's Forum Speech (March 20, 1998), Virginia Emergency Nurses Association- \u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLegislators, Legislation, and Health Care Reform\u003c/title\u003e (March 24, 1998), Salvation Army Annual Dinner (March 24, 1998), Mid-Atlantic Association of Women in Law Enforcement 1998 Conference (April 6, 1998), University of Virginia Women Faculty and Professional Association and the Junior League of Charlottesville (April 9, 1998), Virginia Council Against Poverty (April 9, 1998), Nurses' Day Celebration, University of Virginia (May 6, 1998), Village School Commencement Address (June 4, 1998), Virginia Association of Assessing Officers (July 15, 1998).\n\t\u003c/p\u003e","\u003cp\u003e\n\tIncluding: Virginia Sheriffs Association Annual Conference (September 1998),\nPortsmouth Public Schools Back-to-School Convocation, (September 2, 1998), AARP Charlottesville-Albemarle Chapter Luncheon Meeting (September 3, 1998), \u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThe Role of State and Local Governments in the Support and Development of Technology Businesses\u003c/title\u003e- Charlottesville Venture Group (October 20, 1998), Page County Democratic Committee Dinner (October 22, 1998), Wise County Democratic Committee Luncheon (October 31, 1998), VA COOL Keynote Address- \u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChanging the World, One Student at a Time\u003c/title\u003e (November 7, 1998), Downtown Charlottesville Speech (1998).\n\t\u003c/p\u003e","\u003cp\u003e\n\tIncluding: Re-Election Campaign Announcement Speech (March 30, 1999), Charlottesville-Albemarle Technical Education Center (CATEC) Ceremony (April 22, 1999), Breast Health Coalition Recognition Breakfast (May 12, 1999), Remarks Upon Accepting the Democratic Nomination for the 25th District of the Senate of Virginia (May 26, 1999), Veterans of Foreign Wars Memorial Day Ceremony (May 31, 1999), Monticello High School Graduation (June 1999), \u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eStandards, School Reform and Equalizing Educational Opportunity in the Next Millennium\u003c/title\u003e Panel Discussion, Curry School of Education (July 7, 1999), Piedmont Environmental Council Annual Meeting (September 11, 1999), Youth Leadership Initiative Senate Candidate Debate (October 19, 1999), AARP Conference (November 1999), Virginia Cooperative Extension Leadership Council Fall District Meeting (November 11, 1999).\n\t\u003c/p\u003e","\u003cp\u003eIncluding:\n\tThird Regional Conference on Community Relations Keynote Luncheon Speech \t\t \t\t(May 4, 2000), Arlington Young Democrats 2000 Spring Banquet (May 11, 2000). \n\t\u003c/p\u003e","\u003cp\u003e\n\tIncluding: \u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThe Role of Government in Protecting Individuals Against Genetic Discrimination\u003c/title\u003e- University of Virginia School of Medicine (March 30, 2001), Knickerbocker Luncheon (September 20, 2001), Speech on Education (n.d.), Speech on Education- Reference Materials. \n\t\u003c/p\u003e","\u003cp\u003e\n\tIncluding:\n\tPhi Delta Kappa Initiation Remarks, Downtown Charlottesville Speech, Education Funding, Rural Preservation Speech, Roast of L.F. Payne.\n\t\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content\n"],"scopecontent_tesim":["This collection consists of the papers of Virginia State Senator Emily Couric (1947-2001), ca. 1983-2002, ca. 20,000 items (80 Hollinger boxes, 33.5 linear shelf feet). The collection consists of files regarding Emily Couric's legislation in the Virginia General Assembly; constituent mail and replies; her Virginia Senate campaigns in 1995 and 1999, as well as her initial steps toward declaring candidacy for lieutenant governor; speeches; and files of media appearances (newspaper and magazine articles, audio and Videotapes). Some personal correspondence is present. The largest groups of material in the legislative issues series reflect her interests in issues pertaining to education and health.  \n","Interest Groups and Ideology  (Spring 1994), Accepting the Nomination as the Democratic Candidate for the 25th District of the Senate of Virginia (May 16, 1995),  The More General Diffusion of Knowledge - Curry School of Education Forum, University of Virginia (September 1995), Campaign Victory Speech (November 1995)\t\n\t","Including: Graduation Speech- Charlottesville-Albemarle Technical Education Center (June 12, 1996), Nelson County High School Commencement Exercises  (June 15, 1996), Orange County Special Education Workshop (1996), Curry School of Education Dinner (November 22, 1996).\n\t","Including: Red Cross Breakfast (March 19, 1997), Mary Baldwin College Commencement (May 25, 1997), Leadership 2000 Remarks  Responsible Self-Governance  (June 4, 1997),  Our Government and Our Children: The Responsibilities and Limitations of Public Policy  (September 4, 1997),  Higher Education: Critical Issues for Virginia's Next Generation - Forum on Higher Education (October 2, 1997),  The Final Exam: Dealing in Faith - Rosh Hashanah 5758 October 1997).\n\t","Including: University of Virginia School of Nursing School Health Conference Keynote Address (March 7, 1998), Charlottesville Women's Forum Speech (March 20, 1998), Virginia Emergency Nurses Association-  Legislators, Legislation, and Health Care Reform  (March 24, 1998), Salvation Army Annual Dinner (March 24, 1998), Mid-Atlantic Association of Women in Law Enforcement 1998 Conference (April 6, 1998), University of Virginia Women Faculty and Professional Association and the Junior League of Charlottesville (April 9, 1998), Virginia Council Against Poverty (April 9, 1998), Nurses' Day Celebration, University of Virginia (May 6, 1998), Village School Commencement Address (June 4, 1998), Virginia Association of Assessing Officers (July 15, 1998).\n\t","\n\tIncluding: Virginia Sheriffs Association Annual Conference (September 1998),\nPortsmouth Public Schools Back-to-School Convocation, (September 2, 1998), AARP Charlottesville-Albemarle Chapter Luncheon Meeting (September 3, 1998),  The Role of State and Local Governments in the Support and Development of Technology Businesses - Charlottesville Venture Group (October 20, 1998), Page County Democratic Committee Dinner (October 22, 1998), Wise County Democratic Committee Luncheon (October 31, 1998), VA COOL Keynote Address-  Changing the World, One Student at a Time  (November 7, 1998), Downtown Charlottesville Speech (1998).\n\t","\n\tIncluding: Re-Election Campaign Announcement Speech (March 30, 1999), Charlottesville-Albemarle Technical Education Center (CATEC) Ceremony (April 22, 1999), Breast Health Coalition Recognition Breakfast (May 12, 1999), Remarks Upon Accepting the Democratic Nomination for the 25th District of the Senate of Virginia (May 26, 1999), Veterans of Foreign Wars Memorial Day Ceremony (May 31, 1999), Monticello High School Graduation (June 1999),  Standards, School Reform and Equalizing Educational Opportunity in the Next Millennium  Panel Discussion, Curry School of Education (July 7, 1999), Piedmont Environmental Council Annual Meeting (September 11, 1999), Youth Leadership Initiative Senate Candidate Debate (October 19, 1999), AARP Conference (November 1999), Virginia Cooperative Extension Leadership Council Fall District Meeting (November 11, 1999).\n\t","Including:\n\tThird Regional Conference on Community Relations Keynote Luncheon Speech \t\t \t\t(May 4, 2000), Arlington Young Democrats 2000 Spring Banquet (May 11, 2000). \n\t","\n\tIncluding:  The Role of Government in Protecting Individuals Against Genetic Discrimination - University of Virginia School of Medicine (March 30, 2001), Knickerbocker Luncheon (September 20, 2001), Speech on Education (n.d.), Speech on Education- Reference Materials. \n\t","\n\tIncluding:\n\tPhi Delta Kappa Initiation Remarks, Downtown Charlottesville Speech, Education Funding, Rural Preservation Speech, Roast of L.F. Payne.\n\t"],"userestrict_html_tesm":["\u003cp\u003eSee the \n            \u003cextref type=\"simple\" href=\"https://www.library.virginia.edu/policies/use-of-materials\"\u003e\n            University of Virginia Library’s use policy.\u003c/extref\u003e\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions\n"],"userestrict_tesim":["See the \n             \n            University of Virginia Library’s use policy."],"language_ssim":["English\n"],"total_component_count_is":1040,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T13:08:35.004Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_viu03090_c01_c513"}},{"id":"vi_vi05543_c01_c22","type":"Subseries","attributes":{"title":"Youth with Serious Emotional Disturbance Requiring Out-of-Home Treatment,\n\t2000-2001.","breadcrumbs":{"id":"https://arvasarchive.org/catalog/vi_vi05543_c01_c22#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vi_vi05543_c01_c22","ref_ssm":["vi_vi05543_c01_c22"],"id":"vi_vi05543_c01_c22","ead_ssi":"vi_vi05543","_root_":"vi_vi05543","_nest_parent_":"vi_vi05543_c01","parent_ssi":"vi_vi05543_c01","parent_ssim":["vi_vi05543","vi_vi05543_c01"],"parent_ids_ssim":["vi_vi05543","vi_vi05543_c01"],"parent_unittitles_ssm":["Records of the Virginia Commission on Youth, \n1991-2001","Study documentation records, \n1991-2001."],"parent_unittitles_tesim":["Records of the Virginia Commission on Youth, \n1991-2001","Study documentation records, \n1991-2001."],"text":["Records of the Virginia Commission on Youth, \n1991-2001","Study documentation records, \n1991-2001.","Youth with Serious Emotional Disturbance Requiring Out-of-Home Treatment,\n\t2000-2001."],"title_filing_ssi":"Youth with Serious Emotional Disturbance Requiring Out-of-Home Treatment,\n\t 2000-2001.","title_ssm":["Youth with Serious Emotional Disturbance Requiring Out-of-Home Treatment,\n\t2000-2001."],"title_tesim":["Youth with Serious Emotional Disturbance Requiring Out-of-Home Treatment,\n\t2000-2001."],"normalized_title_ssm":["Youth with Serious Emotional Disturbance Requiring Out-of-Home Treatment,\n\t2000-2001."],"component_level_isim":[2],"repository_ssim":["Library of Virginia"],"collection_ssim":["Records of the Virginia Commission on Youth, \n1991-2001"],"has_online_content_ssim":["false"],"child_component_count_isi":29,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":620,"_nest_path_":"/components#0/components#21","timestamp":"2026-05-21T11:34:33.799Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vi_vi05543","ead_ssi":"vi_vi05543","_root_":"vi_vi05543","_nest_parent_":"vi_vi05543","ead_source_url_ssi":"data/lva/vi05543.xml","title_ssm":["Records of the Virginia Commission on Youth, \n1991-2001"],"title_tesim":["Records of the Virginia Commission on Youth, \n1991-2001"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["42945\n"],"text":["42945\n","Records of the Virginia Commission on Youth, \n1991-2001","34.35 cubic feet (35 Boxes)","There are no access restrictions.\n","This collection is arranged into the following series:","Study documentation records, 1991-2001 (42945);","The Virginia Commission on Youth was established by the 1989 General Assembly (statutes §30-174 and §30-175). The formation of the Commission was a legislative response to a two-year study examining the issues related to services to chronic status offenders. Virginia code mandates the Commission \"to study and provide recommendations addressing the needs of and services to the Commonwealth's youth and families.\" Enacted in 1989, the Commission began operations in 1991.\n","The Commission on Youth is a standing legislative commission of the Virginia General Assembly. It is comprised of twelve members: six Delegates appointed by the Speaker of the House, three Senators appointed by the Senate Committee on Rules, and three citizens appointed by the Governor.","The Commission on Youth provides a legislative forum in which complex issues related to Virginia youth and their families may be explored and resolved. The Commission provides a bipartisan forum for complex issues related to youth and their families. It is responsible for monitoring developments in federal, state and local policies and laws which impact youth and their families, while also contributing to the General Assembly's ability to make sound policy decisions based on well-studied and reasoned recommendations. The Commission assists General Assembly members in developing bills on study issues which reflect consensus among key agencies, organizations and special interests. The Commission also conducts legislative studies on issues related to youth and their families, and serves as a resource for constituent concerns and the general public. Members of the Commission often speak to professional associations, civic and community groups about the legislative process, state and national policy issues impacting youth, and specific topical areas, as well as educate interested groups on Commission studies. Members may also serve on varied private and governmental task forces convened on children's issues.","Each year the Virginia Commission on Youth compiles a summary of legislative action impacting youth and their families across the Commonwealth. The Commission also produces a yearly newsletter, the General Assembly Overview, which outlines the year's legislative and gubernatorial actions affecting children and their families.","This collection has been processed using minimal processing standards: the original arrangement has been maintained, the container list is brief and simple, and the records have not been refoldered and fasteners have not been removed. \n","Accession 42945: Study documentation records, 1991-2001, include records related juvenile detention, juvenile justice reform, truants and runaways, juvenile records, Virginia Juvenile Community Crime Control Act, serious juvenile offenders, education needs of homeless youth, youth suicide prevention, early intervention services, incarcerated youth, guardians ad litem, and adoption laws. These records may contain correspondence, articles, briefing materials, legislation, policies, presentation, reports, statistics, summaries, and surveys.  Records have been minimally processed and are in original order.\n","Note: The Commission on Youth studies respond to issues identified by the Virginia General Assembly.  During the 1990s there were a number of juvenile justice issues related to the newly established Virginia Juvenile Community Crime Control Act (VJCCCA).  Studies during this time period were in sequential order and/or interrelated, in that issues raised in one year were also investigated in subsequent years, directly or indirectly.  In these files, research gathered in one study might have been used in another study, thus these files are not always clearly distinguishable and may be intermingled.","There are no use restrictions.\n","English\n"],"unitid_tesim":["42945\n"],"normalized_title_ssm":["Records of the Virginia Commission on Youth, \n1991-2001"],"collection_title_tesim":["Records of the Virginia Commission on Youth, \n1991-2001"],"collection_ssim":["Records of the Virginia Commission on Youth, \n1991-2001"],"repository_ssm":["Library of Virginia"],"repository_ssim":["Library of Virginia"],"creator_ssm":["Virginia Commission on Youth\n"],"creator_ssim":["Virginia Commission on Youth\n"],"acqinfo_ssim":["Accession 42945 was transferred from the Virginia Commission on Youth on November 6, 2006. \n"],"has_online_content_ssim":["false"],"physdesc_tesim":["34.35 cubic feet (35 Boxes)"],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\n\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions\n"],"accessrestrict_tesim":["There are no access restrictions.\n"],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged into the following series:\u003c/p\u003e","\u003clist type=\"simple\"\u003e\n        \u003citem\u003eStudy documentation records, 1991-2001 (42945);\u003c/item\u003e\n\t\n      \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement\n"],"arrangement_tesim":["This collection is arranged into the following series:","Study documentation records, 1991-2001 (42945);"],"bioghist_html_tesm":["\u003cp\u003eThe Virginia Commission on Youth was established by the 1989 General Assembly (statutes §30-174 and §30-175). The formation of the Commission was a legislative response to a two-year study examining the issues related to services to chronic status offenders. Virginia code mandates the Commission \"to study and provide recommendations addressing the needs of and services to the Commonwealth's youth and families.\" Enacted in 1989, the Commission began operations in 1991.\n\u003c/p\u003e","\u003cp\u003eThe Commission on Youth is a standing legislative commission of the Virginia General Assembly. It is comprised of twelve members: six Delegates appointed by the Speaker of the House, three Senators appointed by the Senate Committee on Rules, and three citizens appointed by the Governor.\u003c/p\u003e","\u003cp\u003eThe Commission on Youth provides a legislative forum in which complex issues related to Virginia youth and their families may be explored and resolved. The Commission provides a bipartisan forum for complex issues related to youth and their families. It is responsible for monitoring developments in federal, state and local policies and laws which impact youth and their families, while also contributing to the General Assembly's ability to make sound policy decisions based on well-studied and reasoned recommendations. The Commission assists General Assembly members in developing bills on study issues which reflect consensus among key agencies, organizations and special interests. The Commission also conducts legislative studies on issues related to youth and their families, and serves as a resource for constituent concerns and the general public. Members of the Commission often speak to professional associations, civic and community groups about the legislative process, state and national policy issues impacting youth, and specific topical areas, as well as educate interested groups on Commission studies. Members may also serve on varied private and governmental task forces convened on children's issues.\u003c/p\u003e","\u003cp\u003eEach year the Virginia Commission on Youth compiles a summary of legislative action impacting youth and their families across the Commonwealth. The Commission also produces a yearly newsletter, the General Assembly Overview, which outlines the year's legislative and gubernatorial actions affecting children and their families.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information\n"],"bioghist_tesim":["The Virginia Commission on Youth was established by the 1989 General Assembly (statutes §30-174 and §30-175). The formation of the Commission was a legislative response to a two-year study examining the issues related to services to chronic status offenders. Virginia code mandates the Commission \"to study and provide recommendations addressing the needs of and services to the Commonwealth's youth and families.\" Enacted in 1989, the Commission began operations in 1991.\n","The Commission on Youth is a standing legislative commission of the Virginia General Assembly. It is comprised of twelve members: six Delegates appointed by the Speaker of the House, three Senators appointed by the Senate Committee on Rules, and three citizens appointed by the Governor.","The Commission on Youth provides a legislative forum in which complex issues related to Virginia youth and their families may be explored and resolved. The Commission provides a bipartisan forum for complex issues related to youth and their families. It is responsible for monitoring developments in federal, state and local policies and laws which impact youth and their families, while also contributing to the General Assembly's ability to make sound policy decisions based on well-studied and reasoned recommendations. The Commission assists General Assembly members in developing bills on study issues which reflect consensus among key agencies, organizations and special interests. The Commission also conducts legislative studies on issues related to youth and their families, and serves as a resource for constituent concerns and the general public. Members of the Commission often speak to professional associations, civic and community groups about the legislative process, state and national policy issues impacting youth, and specific topical areas, as well as educate interested groups on Commission studies. Members may also serve on varied private and governmental task forces convened on children's issues.","Each year the Virginia Commission on Youth compiles a summary of legislative action impacting youth and their families across the Commonwealth. The Commission also produces a yearly newsletter, the General Assembly Overview, which outlines the year's legislative and gubernatorial actions affecting children and their families."],"prefercite_html_tesm":["\u003cp\u003eRecords of the Virginia Commission on Youth, 1991-2001. Accession 42945, State government records collection, The Library of Virginia, Richmond, Va. 23219.\n\u003c/p\u003e"],"prefercite_tesim":["Records of the Virginia Commission on Youth, 1991-2001. Accession 42945, State government records collection, The Library of Virginia, Richmond, Va. 23219.\n"],"processinfo_html_tesm":["\u003cp\u003eThis collection has been processed using minimal processing standards: the original arrangement has been maintained, the container list is brief and simple, and the records have not been refoldered and fasteners have not been removed. \n\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information\n"],"processinfo_tesim":["This collection has been processed using minimal processing standards: the original arrangement has been maintained, the container list is brief and simple, and the records have not been refoldered and fasteners have not been removed. \n"],"scopecontent_html_tesm":["\u003cp\u003eAccession 42945: Study documentation records, 1991-2001, include records related juvenile detention, juvenile justice reform, truants and runaways, juvenile records, Virginia Juvenile Community Crime Control Act, serious juvenile offenders, education needs of homeless youth, youth suicide prevention, early intervention services, incarcerated youth, guardians ad litem, and adoption laws. These records may contain correspondence, articles, briefing materials, legislation, policies, presentation, reports, statistics, summaries, and surveys.  Records have been minimally processed and are in original order.\n\u003c/p\u003e","\u003cp\u003eNote: The Commission on Youth studies respond to issues identified by the Virginia General Assembly.  During the 1990s there were a number of juvenile justice issues related to the newly established Virginia Juvenile Community Crime Control Act (VJCCCA).  Studies during this time period were in sequential order and/or interrelated, in that issues raised in one year were also investigated in subsequent years, directly or indirectly.  In these files, research gathered in one study might have been used in another study, thus these files are not always clearly distinguishable and may be intermingled.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content\n"],"scopecontent_tesim":["Accession 42945: Study documentation records, 1991-2001, include records related juvenile detention, juvenile justice reform, truants and runaways, juvenile records, Virginia Juvenile Community Crime Control Act, serious juvenile offenders, education needs of homeless youth, youth suicide prevention, early intervention services, incarcerated youth, guardians ad litem, and adoption laws. These records may contain correspondence, articles, briefing materials, legislation, policies, presentation, reports, statistics, summaries, and surveys.  Records have been minimally processed and are in original order.\n","Note: The Commission on Youth studies respond to issues identified by the Virginia General Assembly.  During the 1990s there were a number of juvenile justice issues related to the newly established Virginia Juvenile Community Crime Control Act (VJCCCA).  Studies during this time period were in sequential order and/or interrelated, in that issues raised in one year were also investigated in subsequent years, directly or indirectly.  In these files, research gathered in one study might have been used in another study, thus these files are not always clearly distinguishable and may be intermingled."],"userestrict_html_tesm":["\u003cp\u003eThere are no use restrictions.\n\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions\n"],"userestrict_tesim":["There are no use restrictions.\n"],"language_ssim":["English\n"],"total_component_count_is":649,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T11:34:33.799Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vi_vi05543_c01_c22"}},{"id":"viu_viu03978_c01_c120","type":"Subseries","attributes":{"title":"\"You Tides with Ceaseless Swell,\"\n[ca. 1888-1889],","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viu_viu03978_c01_c120#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eOne leaf in ink on lined paper with pencil revisions. \u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_viu03978_c01_c120#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viu_viu03978_c01_c120","ref_ssm":["viu_viu03978_c01_c120"],"id":"viu_viu03978_c01_c120","ead_ssi":"viu_viu03978","_root_":"viu_viu03978","_nest_parent_":"viu_viu03978_c01","parent_ssi":"viu_viu03978_c01","parent_ssim":["viu_viu03978","viu_viu03978_c01"],"parent_ids_ssim":["viu_viu03978","viu_viu03978_c01"],"parent_unittitles_ssm":["Papers of Walt Whitman\n1838-1987","Series 1: Literary Manuscripts"],"parent_unittitles_tesim":["Papers of Walt Whitman\n1838-1987","Series 1: Literary Manuscripts"],"text":["Papers of Walt Whitman\n1838-1987","Series 1: Literary Manuscripts","\"You Tides with Ceaseless Swell,\"\n[ca. 1888-1889],","AMs, 1 p. on 1 l., 25 cm. x 19.5 cm. , with typed transcription. #3829 (Bowers #24).","box-folder 2:26","One leaf in ink on lined paper with pencil revisions.\n"],"title_filing_ssi":"\"You Tides with Ceaseless Swell,\"\n [ca. 1888-1889],\n","title_ssm":["\"You Tides with Ceaseless Swell,\"\n[ca. 1888-1889],"],"title_tesim":["\"You Tides with Ceaseless Swell,\"\n[ca. 1888-1889],"],"normalized_title_ssm":["\"You Tides with Ceaseless Swell,\"\n[ca. 1888-1889],"],"component_level_isim":[2],"repository_ssim":["University of Virginia, Special Collections Dept."],"collection_ssim":["Papers of Walt Whitman\n1838-1987"],"physdesc_tesim":["AMs, 1 p. on 1 l., 25 cm. x 19.5 cm. , with typed transcription. #3829 (Bowers #24)."],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":607,"containers_ssim":["box-folder 2:26"],"scopecontent_html_tesm":["\u003cp\u003eOne leaf in ink on lined paper with pencil revisions.\n\u003c/p\u003e"],"scopecontent_tesim":["One leaf in ink on lined paper with pencil revisions.\n"],"_nest_path_":"/components#0/components#119","timestamp":"2026-05-21T12:34:19.739Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_viu03978","ead_ssi":"viu_viu03978","_root_":"viu_viu03978","_nest_parent_":"viu_viu03978","ead_source_url_ssi":"data/uva-sc/viu03978.xml","title_ssm":["Papers of Walt Whitman\n1838-1987"],"title_tesim":["Papers of Walt Whitman\n1838-1987"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["3829, etc., 5604\n"],"text":["3829, etc., 5604\n","Papers of Walt Whitman\n1838-1987","There are no restrictions.\n","The Papers of Walt Whitman are arranged in six series: Series I: Literary Manuscripts (arranged alphabetically by title); Series II: Miscellaneous Manuscripts (arranged chronologically); Series III:\nCorrespondence (arranged chronologically by author); Series IV: Miscellaneous Documents (arranged chronologically); Series V: Engravings, Prints, and Photographs (arranged chronologically); and Series VI: Odds and\nEnds.\n","For detailed biographical information, see the biography and chronology pages at  the Whitman Archive.","Some entries for literary manuscripts include the \"Bowers\" number, originally assigned by Fredson Bowers.\n","Many letters in the correspondence series were subsequently used by Whitman to draft poems. The originals of these items are filed in the manuscripts series and photocopies inserted in appropriate folders in\nthe correspondence series.\n","The description of the photographs includes the \"Saunders\" number, when known. An extensive description of the method used by Henry S. Saunders for cataloging photographs of Whitman is printed in  The Walt Whitman Quarterly Review,  Fall/Winter 1986-1987, which can be found in Box 5, Folder 50 of this collection.\n","Literary Manuscripts (Series I) includes numerous drafts, editions, and revisions of many of Whitman's poems and articles. Included are manuscripts of  Leaves of Grass, Song of Myself,\nSea-Drift, As I Sit in Twilight, A Carol for Harvest for 1867,  and biographical writings on Emerson, Carlyle, and Elias Hicks.\n","Miscellaneous Manuscripts (Series II), consists of legal documents, multiple versions of Walt Whitman's last will and testament, autograph signatures and envelopes, his Civil War diary written while visiting\nhospitals of the wounded in 1863, and a flower and pin he attached to his coat.\n","Correspondence (Series III), consists chiefly of Walt Whitman's personal correspondence; correspondents include Ellen C. Ahern, H. M. Alden, Jack Biriss, Richard Maurice Bucke, John Burroughs, Edward Carpenter,\nEdward Clifford, Peter Doyle, Ralph Waldo Emerson, Charles E. Feinberg, Charley Eldridge, Horace Howard Furness, Ann Gilchrist, J. B. Gilder, J. L. Gilder, Joseph Jackson, J. Johnston, Thomas Hancock Nunn, Jacob\nKlein, Edwin Miller, Albert B. Otis, James Parton, Abby H. Price, Ernest Rhys, T. W. Rollerston, J. H. Rome, Charles Rowley Jr., Oscar Wilde, and D. W. Zimmerman.\n","Miscellaneous Documents (Series IV), includes an advertisement for his lecture on Abraham Lincoln, publications, a mounted leaf from his tomb, the \"Official Walt Whitman stamp and envelope\" released in 1940,\nand a broadside for one of his poems: \"Poem describing a Perfect School.\"\n","Photographs, Engravings, and Prints (Series V), consists of numerous photographs of Walt Whitman taken throughout his life, ranging from 1854 to 1892. There are also photographs of Mary Davis, Horace L.\nTraubel, Louisa Van Velsor Whitman (Whitman's mother), Walter Whitman (Whitman's father), Walt Whitman's dog, and various photographs of his house, the Walt Whitman statue, and the beaches he frequented.\n","Odds and Ends (Series VI), consists of the wrappers in which  Leaves of Grass  was housed when acquired by Clifton Waller Barrett and an unbound copy of  Whitman's Manuscripts: Leaves of\nGrass (1860): a parallel text  by Fredson Bowers.\n"," Notes for a lecture on Homer and Emerson possibly given at Amherst College.\n","A draft of\n After the Supper and Talk\n  on one composite leaf comprising at least seven irregularly cut fragments of different types of white paper pasted to each other and, collectively, to one leaf (25 x 20 cm.) of blue-ruled white laid paper\nwith a partly visible watermark. In brown-black and black ink with extensive revisions in the same inks, in pencil, and in lighter brown ink. This poem was rejected by\n Harper's\n  in 1885 but published in\n Lippincott's Magazine\n  in November 1887, after which it eventually became the final poem in the \"first annex\" titled\n Sands at Seventy.\n  To the verso are pasted sections 16 and 18-19 of\n Poem of Joys\n  (final title:\n A Song of Joys\n ) clipped either from the independent book\n Passage to India\n  (1871) or from the\n Passage to India\n  supplement to\n Leaves of Grass.\n  The section numbers of these lines are deleted in orange crayon, and the whole paste-on is deleted in pencil, with the pencil note, in a hand other than Whitman's, \"Original mss/ Walt Whitman/ Poet\"\nappearing to the right of it.\n","This is an earlier draft than manuscripts located in the Feinberg Collection at the Library of Congress. The order of inscription seems to have been as follows, as deduced from incision patterns, paper types,\nand the overlap of letters on transferred sections of paper. First Whitman inscribed and heavily revised a draft of the poem on a section of gray-ruled wove paper. Wanting to avoid rewriting the clearest lines, he\nexcised these (comprising the first two verses and the words \"Shunning the...\" from the original third verse) and pasted them to a section of blue-ruled wove paper with letterhead reading, in part, \"Attorney.../\nWashington...,\" apparently discarding the section of gray-ruled paper upon which the rest of the original verses appeared. These excised verses he drafted again on the blue-ruled paper. He then used a paste-on\nfragment of laid paper to revise the second half of the verse beginning \"Shunning...\"; at the end of the sentence, however, he deleted the period and added the words \"so hard to unclasp his hand[s?]!\" (That he\nadded this as an afterthought is indicated by the fact that the half-line is crowded in over a preexisting curve along the lower edge of the laid fragment). Unsatisfied with the addition, he deleted part of it,\ntested and deleted the phrase \"release those hands\", deleted \"so hard to,\" and then, out of space, squeezed a revision of this line in on the gray-ruled paper after the verse \"Good-bye...repeating.\" It next\noccurred to Whitman to add an explanatory line beginning \"(No more will they meet...)\" after \"hands,\" but since he had no space in which to do so he cut apart the composite leaf and pasted the two halves to a\nsmall section of wove paper—just large enough to hold the pieces together and afford room for the parenthesis. In revising the parenthesis, however, he ran out of space again. It was at this point that he\nobtained the large section of blue-ruled laid paper upon which the other sections are all overlaid, and, cutting away the second half of the parenthetical verse, pasted both of what were now composite half-leaves\nto the blue-ruled leaf. He then inscribed on this leaf the title, his revision of the rest of the parenthetical verse (in space he left between the composite halves), and the revised final verse. (It is difficult\nto determine at what point Whitman excised the title and last verse from the composite leaves, beyond noting that he did so before pasting the leaves to the blue-ruled section).\n","Pasted to leaves in the volume are five variations on the poem\n As I Sit in Twilight, Late.\n  A transcription of the final version begins the volume.\n","This manuscript contains notes about the intellects of Plato and Aristotle. According to Floyd Stovall in\n The Foreground to Leaves of Grass\n  (Charlottesville, U of Virginia P, 1974, p. 176), these notes are based on F.W. Schlegel's\n Lectures on the History of Literature\n  (NY, 1841, 99f. or London [Bohn ed.], 1859, 82ff).\n","Noted as the preface to\n November Boughs\n  of 1888.\n","A partial draft of prose considering the nature of God and religion written on the verso of letter from Johnston dated 1874. The relationship of this prose to Whitman's published work is unknown.\n","This manuscript is a draft of part of Whitman's essay\n The Bible as Poetry,\n  which was published first in\n The Critic\n  on\n February 3, 1883\n . On the verso is letter dated\n January 13, 1883\n  from D.M. Zimmerman of the Camden and Atlantic Railroad, which offers Whitman a complimentary rail pass.\n","This manuscript contains notes about certain aboriginal peoples. A short article entitled\n The Wild Men of Borneo\n  is pasted toward the bottom of the leaf. The relationship of this manuscript to Whitman's published work is unknown.\n","Note at top of page states \"Sent Herald March 3—sent again April 9 '88.\" Written in purple pencil.\n","Including \"The Return of the Heroes.\" On 29 pages, many of them composite leaves, comprising five different cuttings or packs of paper on which two or more leaves are inscribed, and other cuttings on which only\none leaf is inscribed. All but a handful of the leaves are inscribed on white laid paper ruled in light blue-green on both sides or on all of one side and some of the other. In his\n 1954\n  edition and study of the manuscript in\n Modern Philology\n  (vol. 52, no. 1), Fredson Bowers grouped the leaves by cutting-type as follows (letters having been added here for convenience). Type A: Leaves 1 and 21. Type B: Leaves 2-3. Type C: Leaves 4-5 and 15-16.\nType D: Leaves 6-9, 12-14, and 19. Type E: Leaves 17-18. As Bradley and Blodgett note, this poem was first published in the\n September, 1867\n  issue of\n The Galaxy\n  and reprinted in the London-based\n Tinsley's Magazine\n  in October of that year. After appearing with various revisions in the\n 1871\n Passage to India\n  and the\n 1876\n Passage to India\n  supplement to\n Two Rivulets\n , the poem was permanently retitled\n The Return of the Heroes.\n  This took place in the\n 1881\n  edition of\n Leaves\n , where the poem appeared without its original first two verse paragraphs. At one point this manuscript was in the possession of Whitman scholar Clara Barrus, who clipped to Whitman's title page a note\nincluding these lines: \"...Precious souvenirs, given me by Thos. B. Harned, one of Whitman's literary executors. You can almost feel Walt's heart beat in these lines.\" This and other short notes by Barrus have\nbeen unclipped from the leaves. Annotations by Barrus (or another collector with a similar hand) are mentioned when significant enough to warrant attention, but are otherwise left undescribed.\n","On a section of type A paper measuring 19.5 x 12.5 cm. Multiple pinholes in center. Inscribed in pencil on both sides, with no revisions on the recto (title page) but some on the verso, where the lines\n(beginning \"As a huge muse[eum?] mowing\") are deleted with a single vertical pencil stroke. The title is underscored three times. The lines on the verso were revised to constitute verse paragraph 29 in section 12\nof the\n 1871\n  published version of the poem; in\n 1881\n  the verse paragraphs were not numbered and this section was permanently renumbered 8.\n","On a composite leaf, type B, formed by joining the upper section of verses excised from what is now the lower section of Leaf 3 to the head of another set of verses by means of a section of the same paper\npasted to the verso. The upper section measures 10.5 x 12.5 cm., the lower section measures 6.5 x 12.5 cm., and the backing strip measures 8 x 12 cm. Multiple pinholes in center. Inscribed in black ink, with heavy\nrevisions in the same ink and in pencil. Whitman's boxed pencil note \"Harvest carol for 1867\" runs up the left margin, followed by the unboxed note \"1867—the great/ Harvest.\" (The second line at the top of\nthe leaf, deleted, reads \"The great Harvest of 1867\"). After further revision these sections became, respectively, verse paragraphs 1 and 2 (together comprising section 1) of the 1871 version of the poem. In 1881,\nthis entire section, as noted above, was deleted from the poem.\n","On a composite leaf, type B, formed by joining the section of verses beginning \"For the Lands...\" to the lower set of verses excised from what is now the upper section of Leaf 2. The sections measure as\nfollows: 11 x 12.5 cm. (upper); 9.5 x 12.5 cm. (lower); 8 x 12 cm. (backing). Inscribed in black ink, with revisions in the the same ink and in pencil. Barrus jotted down the 1881 title and page number at the top\nof the leaf, along with the note \"I—.\" With further revision—including the deletion of the last line, beginning \"O theatre of Time,...\"—these sections became verse paragraphs 3 and 4 (comprising\nsection 2) of the 1871 version of the poem. In 1881 these paragraphs went unnumbered and, with the deletion of the original first section, together formed section 1 of the poem (hence the \"I\" added by Barrus).\n","On a section of type C paper (19.5 x 12.5 cm.), inscribed in black ink, with several revisions in the same ink. Whitman penned in the note \"?unfailing\" in the upper right corner of the leaf. Someone else, it\nseems—most likely Barrus—added the pencil note \"—2—\" in the top center of the page. Multiple pinholes in center. With a few small revisions these verses together with those on Leaf 5 became\nverse paragraph 5 (section 3) of the 1871 published version of the poem. In 1881 section 3 became section 2.\n","On a section of type C paper (19.5 x 12.5 cm.), inscribed in black ink, with heavy revisions in the same ink and in pencil. Multiple pinholes in center. The first few deleted lines on the page constitute false\nstarts. After further revision the remaining lines joined revised lines from Leaf 4 in section 3 (verse paragraph 5) of the 1871 version of the poem, and stayed with the Leaf 4 lines in section 2 of the 1881\nversion.\n","On a section of type D paper (19.5 x 12.5 cm.). Multiple pinholes in center. Inscribed and revised in pencil, with a single revision in brown-black ink. Barrus or another annotator, it seems, added the number\n\"—3—\" in the top center of this leaf. With some small revisions these lines became verses 1-6 of verse paragraph 6 (section 4) of the 1871 version, and in 1881 they comprised verses 1-6 of section 3.\nLeaves 7-9 contain the verses that would eventually complete this section, and, as Bowers notes, leaves 6-9 come from the same pack of paper, are all inscribed and revised in the same media, and feature matching\npinhole patterns.\n","On a section of type D paper (19.5 x 12 cm.). Multiple pinholes in center. Inscribed and extensively revised in pencil. Two deleted false starts appear at the head of the leaf. With some slight further\nrevisions these lines became verses 7-9 of section 4 (verse paragraph 6) in the 1871 version of the poem; in 1881 they comprised verses 7-9 of section 3.\n","On a section of type D paper (19.5 x 12.5 cm.), with multiple pinholes in center. Inscribed and revised in pencil, with one correction in brown-black ink. With slight revisions these lines became verses 10-12\nof section 4 (verse paragraph 6) in the 1871 version of the poem; in 1881 they constituted the same part of section 3.\n","On a section of type D paper measuring 19.5 x 12.5 cm., with multiple pinholes in center. Inscribed and heavily revised in pencil. All of the verses below the half-point of the page are deleted with a diagonal\npencil stroke. The remaining line was incorporated in the 1871 version of the poem as the final verse (13) of section 4 (verse paragraph 6), a position it maintained in section 3 of the 1881 version.\n","On a composite leaf formed by pasting together three sections (10 x 12.5, 13.5 x 12.5, and 6 x 12.5 cm.) of the white laid blue-ruled paper. Multiple pinholes in the area that becomes the center of the leaf\nwhen the bottom section is folded up. All three sections are inscribed in black ink, with extensive revisions in the same ink and in pencil. Barrus or another annotator has added the number \"—4—\" in\npencil at the head of the leaf. With some small revisions these lines became section 5 (verse paragraphs 7-10) of the 1871 version of the poem, and in 1881 they constituted the first three verse paragraphs of\nsection 4.\n","On a leaf of white laid paper (20 x 13 cm.) formerly creased in the middle and bearing a papermaker's seal (which appears to read \"W.H.\"[?]) in the upper left corner. A very small fragment of newspaper or other\nprinted matter (reading \"All hea.../ Made\") is affixed to the verso. Multiple pinholes in center. Inscribed very tightly in black ink, with extensive revisions in the same ink and in pencil. Whitman's pencil\nnumber 2 appears to the left of the verse beginning \"Pass;—then rattle drums again...\" This section was originally the beginning of an independent poem with the title\n Pass and room O proud brigades/ By Walt Whitman\n  (deleted in pencil here), indicating, as Bowers and others have noted, that\n A Carol of Harvest, for 1867\n  began life as two poems, one celebrating the abundant harvest of that year and another dealing with the human costs of the Civil War. With some small revisions the contents of this page became section 6\n(verse paragraphs 11-12) of the 1871 version of the poem, and in 1881 they comprised the second two unnumbered verse paragraphs of section 4.\n","On a section of type D paper (19.5 x 12.5 cm.), with multiple pinholes in center. Inscribed in (badly smudged) pencil, with extensive revisions in pencil and in brown-black ink. These lines were revised to\nconstitute verse paragraphs 13 and 14 (section 7) of the 1871 version of the poem; in 1881 they comprised the first two unnumbered verse paragraphs of section 5.\n","On a section of type D paper (19.5 x 12.5 cm.), with multiple pinholes in center. Inscribed and heavily revised in pencil, with several revisions in brown-black ink. These lines were revised to constitute verse\nparagraph 15 (section 7) of the 1871 version of the poem, and in 1881 made up the final unnumbered verse paragraph of section 5.\n","On a section of type C paper (19.5 x 12.5 cm.), with multiple pinholes in center. Inscribed and revised on both sides in pencil. The recto lines were revised to constitute the second part of verse paragraph 17\nand all of verse paragraph 18 (section 8) in the 1871 version of the poem. In 1881 they made up most of the second and all of the third unnumbered verse paragraphs of section 6. The verso lines (beginning \"Now a\npassage/ of/ Exultation\"), deleted with a single vertical pencil stroke, seem more like a note from Whitman to himself than a draft of poetic verses, but the word \"Exult\" does appear on leaves 15 and 16, as in\nverse paragraph 20 (section 9) of the 1871 version.\n","On a section of type C paper (20 x 12.5 cm.), with multiple pinholes in center. Inscribed in black ink and in pencil, with extensive revisions in pencil. The ink verse \"Exult O lands! under/ the powerful sun!\"\n(which was revised on Leaf 17), along with other trial verses in pencil, are all deleted with several pencil strokes. The remaining verses at the foot of the leaf were revised to form verse paragraph 19 (section\n9) in the 1871 version of the poem, which became the fourth unnumbered verse paragraph in section 6 of the 1881 version.\n","On a section of type E paper (19.5 x 11 cm.), irregularly torn, like Leaf 18, along the left margin. Multiple pinholes in center. Inscribed and extensively revised in pencil. Whitman's deleted note \"remember\nthe word—'deploy,'\" flanked by two cartoon hands, appears at the head of the leaf. His number \"2\" appears to the left of the verses beginning \"Melt, melt away,/ ye armies!...,\" which became the first part of\nverse paragraph 21 (section 9) in the 1871 version of the poem. The lines beginning \"Exult\" were slightly revised to form verse paragraph 20. In the 1881 version these lines made up the entire fifth unnumbered\nverse paragraph, and part of the sixth, in section 6.\n","On a section of type E paper (19.5 x 11 cm.), torn irregularly, like Leaf 17, along the left margin. Multiple pinholes in center. Inscribed and revised in pencil, with the word \"henceforth\" added in brown-black\nink. With slight revisions these lines became the second part of verse paragraph 21 (section 9) in the 1871 version, and in 1881 they constituted the final lines of section 6 (in the sixth unnumbered verse\nparagraph in the section).\n","On a section of type D paper (19.5 x 12.5 cm.), with multiple pinholes in center. Inscribed in pencil. The verses on the leaf are divided in two with a horizontal pencil stroke; the upper verses are heavily\nrevised and deleted (individually in many cases but also collectively, with two pencil strokes), while those below represent an unrevised fair copy of the upper ones. With small revisions these lines became verse\nparagraph 22 (section 10) in the 1871 version of the poem, and in 1881 they constituted the first unnumbered verse paragraph in section 7.\n","On a section of white laid paper (20 x 12.5 cm.), ruled in blue on one side, and more widely ruled than the other types of paper. A few pinholes appear in the center. Inscribed and revised in pencil, with one\ncorrection (the substitution of the word \"All\" for \"The endless,\" at the beginning) in brown-black ink. With slight revision these lines became verse paragraphs 23 and 24 (section 10) in the 1871 version of the\npoem, and in 1881 they comprised the second and third unnumbered verse paragraphs of section 7.\n","On a section of type A paper (19.5 x 12.5 cm.), with a few pinholes in the center. Inscribed in pencil with several revisions in pencil and in brown-black ink. With slight further revision these lines made up\nverse paragraph 25 (section 11) of the 1871 version, which in 1881 became the fourth unnumbered verse paragraph of section 7. The deleted line \"Busy the far, the sunlit/ panorama\" was incorporated in Leaf 22 and\nin the verse paragraph following this one in the published versions.\n","On a section of white laid paper (19.5 x 12.5 cm.), ruled in blue on both sides, with a few pinholes in the center. Inscribed in pencil, with several revisions in pencil and in brown-black ink. Whitman's number\n2 appears to the left of a section of verses beginning \"Lo! prairie, orchard,/ \u0026 the yellow grain...,\" from which it is separated by a diagonal pencil stroke. The verses on this leaf were condensed to form the\nfirst part of verse paragraph 26 (section 11) in the 1871 version, and in\n The Return of the Heroes\n  they comprised the unnumbered fifth verse paragraph in section 7 of the poem. The unused second verse (beginning \"The horse-ploughs and/ steam-ploughs\") appears to represent an intermediate stage between\nthe deleted notes on the verso of Leaf 1 and the lines on Leaf 25.\n","On a section of white laid paper, ruled in blue on the recto and part of the verso (19.5 x 12.5 cm.), with a few pinholes in the center. Inscribed in pencil, with extensive revisions in pencil and in brown-\nblack ink. With slight further revision these lines made up the second part of verse paragraph 26 (section 11) in the 1871 version of the poem, and in 1881 they completed the fifth and last unnumbered verse\nparagraph of section 7.\n","On a section of white laid paper (19.5 x 12.5 cm.), ruled in blue on one side. Multiple pinholes in center. Inscribed and revised on both sides in pencil, with one correction of several words made to the recto\nin brown-black ink. Whitman placed pencil \"x\" marks by each of the two verse paragraphs on the recto. The two sections of notes on the verso (beginning \"hops/ Sugar of Louisiana/ honey\" and \"The measureless/\npasturage\") are collectively deleted with a single diagonal pencil stroke. They represent early stages of lines on leaves 23 and 22, respectively. The recto lines became verse paragraphs 27 and 28 (section 12) in\n A Carol of Harvest, for 1867,\n  and in 1881 they comprised the first two unnumbered verse paragraphs of section 8.\n","On a section of white laid paper (20 x 13 cm.), ruled in blue on one side, with two pinholes in the center. Inscribed in pencil, with many revisions in pencil and in brown-black ink. These verses were revised\nto form almost all of verse paragraph 29 (section 12) in the 1871 version, and in 1881 they made up all but one line of the third unnumbered verse pargraph in section 8. Compare with leaves 1 (verso) and 22.\n","On a section of white laid paper (19.5 x 12.5 cm.), ruled in blue on one side and a small part of the other, with several pinholes in the center. Inscribed and revised on both sides in pencil. The heavily\nrevised verso lines, deleted with a single wavy pencil stroke, begin with three drafts of the title\n Harvest Carol for 1867.\n  The lines were further revised on the current Leaf 20, and eventually became verse paragraphs 23 and 24 (section 10) of the\n A Carol of Harvest, for 1867,\n  and the second and third unnumbered verse paragraphs of section 7 in\n The Return of the Heroes.\n  The single line on the recto was revised to constitute the last verse of verse paragraph 29 (section 12) in 1871, a position it maintained in the third verse paragraph of section 8 in 1881.\n","On a section of thick white laid paper (20 x 12.5 cm.), ruled in blue on one side, with wider rules than the majority of the other leaves. Two pinholes in center. Inscribed and heavily revised in pencil, with\none correction in brown-black ink. With further revision these lines became verse paragraphs 30 and 31 (section 12) of the 1871 version, along with the first two verses of paragraph 32 (section 13). In 1881 the\nlines constituted the unnumbered fourth and fifth verse paragraphs of section 8, along with the first two verses of the sixth paragraph.\n","On a section of thick white laid paper (20 x 12.5 cm.), whose wide ruled lines correspond to those on Leaf 27. Two pinholes matching those in Leaf 27 appear in the center. Inscribed and revised on the recto in\npencil (badly smudged towards the bottom), with one correction in brown-black ink. On the verso appear the last few lines of a draft of a letter by \"JMB[?]/ ActgAdjGl[?],\" deleted with a diagonal brown ink stroke.\nThe recto lines became verses 3-6 of verse paragraph 32 (section 13) of the 1871 version of the poem, a position they maintained in the sixth and final verse paragraph (section 8) of the 1881 version.\n","On a section of thin white unruled laid paper (19.5 x 13 cm.), badly worn or damaged by insects, with multiple pinholes in the center. Part of a watermark, reading \"NSON/ 862,\" is visible. The recto is\ninscribed and extensively revised in pencil, with two corrections in brown-black ink; the verso is inscribed and deleted (with two parallel strokes) in pencil. The recto lines became the final verses of the poem\nin both 1871 (7-11, verse paragraph 32, section 13) and 1881 (7-11, sixth verse paragraph, section 8). The trial line on the verso, beginning \"Actively moving, the curious/ machines...\"—followed by Whitman's\nnote \"(list)\"—represents an early draft of lines on leaves 1 (verso), 22, and 25, which were revised to form verse paragraph 29 (section 12) in 1871 and the third verse paragraph of section 8 in 1881.\nFollowing this leaf is a blank section of white wove paper (20 x 14.5 cm.), ruled in blue on both sides with a red and blue vertical rule, and featuring a thin section of hand-annotated printed matter affixed to\nthe left margin. The strip, only printed on one side, has been folded in half and pasted together; the only legible word on it is the holograph note \"(England)\" in dark brown ink, which may not be in Whitman's\nhand.\n","Written in pencil with ink revisions. Includes ADS.\n","Originally enclosed in John H. Johnston letter to Mr. Watson, March 11, 1912.\n","On one leaf (19.5 x 15.5 cm.) of blue laid paper, in medium brown-black ink, with minor revisions in the same and a check mark(?) in pink ink. These notes for a cluster of poems, \"(in the/ same way as Calamus\nLeaves\")/ expressing the idea and/ sentiment of/ Happiness,/ Extatic life, (or moods,)...\" appear on the verso of a page of half-prose, half-poetic notes, inscribed, revised, and deleted in pencil, for a poem or\nessay to be titled\n Living Pictures\n  or\n America.\n  As Edward F. Grier observes in his notes to Whitman's\n Notebooks and Unpublished Prose Manuscripts\n  (the fourth volume in\n The Collected Writings of Walt Whitman\n ; New York: New York University Press, 1984), the similarity of\n Living Pictures\n  to\n A Song for Occupations\n —first published, untitled, in the original 1855 edition of\n Leaves\n —combined with Whitman's use of the old long \"s\" in the word \"less,\" indicates that the leaf was inscribed quite early in Whitman's poetic career. Whitman's use of the title\n Calamus Leaves\n  on the other side of the leaf, as in some very similar notes currently housed at Duke University that point towards the 1860 cluster\n Enfans d'Adam,\n  dates the notes for this \"cluster,\" as Grier observes (referring to Fredson Bowers's system of dating), to some point in the late spring of 1859. The line beginning \"Strong, well-fibred, bearded,/\nathletic[,] full of love...\" calls to mind the verse \"If any thing is sacred the human body is sacred,/ And the glory and sweet of a man is the token of manhood untainted,/ And in man or woman a clean, strong,\nfirm-fibred body, is more beautiful/ than the most beautiful face\" from the untitled 1855 poem that would become\n I Sing the Body Electric\n  in 1867.\n","Note at bottom states \"Sent to H March 17.\" Whitman also notes at bottom: \"from a talk I had lately with a German spiritualist.\" Written in ink on lined paper.\n","This manuscript is a draft of an apparently unpublished essay about a country auction, written in pencil. On the verso is an AL fragment, [Walt Whitman] to \"My dear friend,\" [1878?] December 12.\n","On one leaf (12 x 19 cm.) of light brown laid paper, inscribed and extensively revised in pencil, with multiple pinholes in the center of the leaf. The poem was first published in the November 1880 issue of\n Cope's Tobacco Plant\n , and became one of the new poems in the 1881 edition of\n Leaves of Grass\n , where it appeared in the cluster\n By the Roadside.\n  At some point this leaf was pasted to an enclosed cardboard print of a photograph of Whitman stamped \"Thomas C. Watkins\" on the verso, but almost identical to one attributed by Henry Scholey Saunders,\nauthor of\n 100 Walt Whitman Photographs\n , to the studio of Frederick Gutekunst in Philadelphia, and reproduced in the 1889 pocket edition of\n Leaves\n .\n","Includes Drawing of Walt Whitman and portrait of Thomas Carlyle.\n","In black ink, the top two-thirds of the leaf seems to be a preface to a short sketch written by Whitman, which is pasted to the bottom third of the leaf. The sketch, detailing Whitman's visit to Emerson, was\ninserted into\n Specimen Days\n , a volume of prose published in 1882, under the title \"A Visit, at the Last, to R. W. Emerson.\" Emerson died in 1882.\n","Note at top states \"sent Herald March 8.\" Written in purple pencil with ink revisions on verso of letter with Houghton Mifflin Publishers letterhead.\n","On a very large composite leaf (35.5 x 21.5 cm.) of white wove paper, with the watermark L.L. Brown, formed by pasting an extra section of paper (11 x 21.5 cm.) to the top of the main leaf (26 x 21.5 cm.), and\nthen adding two paste-ons (roughly 5.5 and 4 x 21.5 cm.) to this extra section. Inscribed and revised in dark brown-black ink, with Whitman's signature and the note \"You can put the name W[alt] W[hitman?] either\nat the top or/ bottom as you prefer\" at the foot of the leaf. On the verso appear the notes \"Death's Valley\" (twice) and \"Magazine/ April, 1892\" in Whitman executor Horace Traubel's[?] hand. Whitman's\ncorrespondence indicates that the poem was written and sold to\n Harper's New Monthly Magazine\n  in 1889, although it did not appear there until April 1892, after the poet's death. Bradley and Blodgett note that Whitman originally included the poem in his 1891 manuscript for the \"second annex\"\n Good-Bye My Fancy,\n  and Traubel grouped it in the cluster\n Old Age Echoes,\n  which he added to\n Leaves\n  in 1897. The \"picture\" of the subtitle is\n The Valley of the Shadow of Death\n  by American painter George Inness, an engraving of which appeared in\n Harper's\n  facing the poem. An engraving of a painting of Whitman by J.W. Alexander appeared in the same issue. Included in this folder along with Whitman's verses are a copy of the Inness engraving on a piece of\ncardboard, along with the Alexander reproduction and the table of contents page, both removed from the April 1892 issue of\n Harper's. \n","\nA prose note regarding the Civil War. The relationship of this manuscript to Whitman's published work is unknown. On verso a note from N. W. Hunt, Canton, N.Y., requesting an autograph.  \n","This manuscript is a draft of an apparently unpublished essay about a country auction, written in pencil on four leaves of lined notebook paper. The manuscript is dated\n February 20, 1878\n .\n"," A biographical note about Elias Hicks, a late eighteenth, early nineteenth century religious leader and abolitionist. Whitman published\n Notes (such as they are) founded on Elias Hicks\n  in\n November Boughs\n  in 1888. Written in pencil on irregularly cut paper.\n","Written in ink with revisions in purple pencil. The manuscript appears to be a draft of a title or titles. The lines on the manuscript—\"Embers of Ending Day,\" \"Embers of day-fires mouldering\"—are\nechoed in the partial line \"the embers left from earlier fires\" in the 1888 poem,\n Continuities.\n  On the verso is a note, dated December 28, 1880, confirming a request for a set of WALT WHITMAN's books: \"Dear Sir, I shall be glad to supply you with a set (Two Volumes) of my books—There is only\none kind of binding—Walt Whitman.\"\n","Note pasted to bottom states \"Page from Walt Whitman's Essay on Emerson.\" Written in ink on lined paper.\n"," An article pasted to grey paper with a few revisions written in black ink, this manuscript is a continuation of the manuscript entitled \"The Dead Emerson,\" described above. The sketch, detailing Whitman's\nvisit to Emerson, was inserted into\n Specimen Days\n , a volume of prose published in 1882, under the title \"A Visit, at the Last, to R. W. Emerson.\" Emerson died in 1882.\n","Note on bottom states \"sent to Herald March 11.\" Written in purple pencil on verso of letter from Witcraft.\n","A prose note regarding the nature of truth. The relationship of this manuscript to Whitman's published work is unknown.\n","Includes photograph of Walt Whitman, 1887, by George C. Cox and news clipping regarding the saving of Whitman's birthplace.\n"," This manuscript contains most of the account of President Lincoln's appointment of James Harlan as Secretary of the Interior, as published in\n November Boughs.\n  It was Harlan who so disapproved of\n Leaves of Grass\n  that he removed Whitman from his position as clerk in the Department of the Interior. With typed transcription.\n","Notes on Military Hospitals in Washington, D.C. appearing in the New York Times [1863 February 26] and eventually published in\n Specimen Days.\n","On one leaf (14 x 22 cm.) of blue laid paper, in pencil, with heavy revisions in pencil and two additions in brown ink. This leaf contains two drafts of the poem\n Hast Never Come to Thee an Hour,\n  the first draft having been deleted with two horizontal and two diagonal pencil lines. The partly erased word \"Interp[ellation?]\" appears in the lower left corner. After further revision the poem appeared\nfor the first time in the 1881\n Leaves\n , in the cluster\n By the Roadside.\n","Seller's note: \"Apparently the first two drafts of the poem, on one sheet. Published in the Complete Works, but differently worded.\"\n","Includes 1888 copy of Samuel Hollyer engraving of Walt Whitman, 1855 Samuel Hollyer engraving of Walt Whitman, and typed transcription.\n","This manuscript is a prose note describing Whitman's longing to lecture to an audience of Civil War veterans and to speak about the death of Abraham Lincoln, written on two leaves of lined paper which are\npasted to the verso of a AL fragment, [unidentified autograph seeker] to Walt Whitman, 1878 March 27.\n","On one leaf of white wove paper (19.5 x 12.5 cm.), irregularly cut along the left margin. Inscribed in dark brown ink, with extensive revisions in the same ink, in a fine pen, and in pencil, apparently in that\norder. The subtitle has a horizontal pencil line through it, but a zig-zag pencil line through it seems to have been erased, along with the phrase \"(at the entrance)\" below it. The title\n Inscription\n  and the words \"One's-self\" and \"For You\" are inscribed in an ornamental style. This appears to be a revision of other\n Inscriptions\n  Whitman gathered in a notebook, along with prose drafts for a never-finished introduction to\n Leaves of Grass\n , and attached to his copy of the 1855 paper-bound edition of\n Leaves\n . (The entire collection of draft \"inscription\" and introductory material is currently housed at the New York Public Library.) In the 1867\n Leaves\n  Whitman culled material from this poem and the other\n Inscription\n  poems to create an italicized\n Inscription\n  that he placed before\n Starting from Paumanok\n  at the beginning of the book; in that edition he also transferred part of verse 2 to\n As I Sat Alone by Blue Ontario's Shore\n  (later the line was dropped and the title was revised to\n By Blue Ontario's Shore\n ). From 1872 onward, this poem, revised and retitled\n One's-Self I Sing,\n  was printed as the first of several poems in the\n Inscriptions\n  cluster that opened the book. In the 1888\n November Boughs\n , however, Whitman reprinted the 1867 version as\n Small the Theme of my Chant.\n  Note: This draft may have been written before the Civil War, since it does not include the 1867 line \"My Days I sing, and the Lands—with interstice I knew/ of hapless War.\"\n","Walt Whitman's response to criticism from\n The Nation\n , mailed to John Burroughs whom Walt Whitman asks to edit the MS and submit it under his own name. Consists of 8 leaves written in ink, pasted to archival paper, and bound together with string.\nTranscription of letter from Walt Whitman to John Burroughs reads: Dear John Burroughs, I enclose you an article from the Nation of Jan. 29. How will the MS. article I have scratched off do in the main as an\nanswer to it? (to help keep the pot a-boiling.) Do you feel like making up an article out of said MS—adding or excising what you see fit—signing your name to it—and sending to the Nation man?\n","These notes, inscribed on scraps of paper of diverse types and sizes, went into the making of a number of poems used in\n Leaves of Grass\n , although some of them never seem to have been used, and some are prose notes. In several cases a collector has pasted two or more leaves to the same sheet of more contemporary paper, but for convenience\nand accuracy the leaves are described individually here.\n","On a small section of light yellow wove paper (7 x 15 cm.) with all four corners cropped for mounting. Four pinholes appear in the center. Inscribed and revised on the recto in pencil; the first line on the\nverso (beginning \"I have all lives, all effects, all/ causes,...\") is inscribed and revised in the same brown ink as Leaf 2, and the two lines that follow it (beginning \"This is the earth's word—the round/\nand compact earth's,\") are inscribed, revised, and deleted (with a single vertical stroke) in pencil. Bucke prints both sets of lines on p. 32 of\n Notes and Fragments\n . Whitman apparently never used the recto lines, but the deleted lines on the verso bear a strong resemblance to the opening of his 1856\n Poem of The Sayers of The Words of The Earth,\n  titled in successive editions (as Bradley and Blodgett note)\n To the Sayers of Words\n  (1860 and 1867),\n Carol of Words\n  (1871, 1876), and, finally (in the 1881 edition of\n Leaves\n ),\n A Song of the Rolling Earth.\n  The undeleted ink line on the verso is a later(?) draft of a line inscribed in Feinberg notebook #697 at the Library of Congress, transcribed by Blodgett in\n Walt Whitman: An 1855-56 Notebook Toward the Second Edition of \"Leaves of Grass\"\n  (1956) and reprinted in his and Bradley's Comprehensive Reader's Edition of\n Leaves\n .\n","On a small section of the same light yellow wove paper as Leaf 1, cut and cropped irregularly down to 7 x 15.5 cm. Multiple pinholes appear in the center. This section was evidently pasted to and then pulled\naway from another page; some fragments of that other page remain affixed to the top. Beneath them can be discerned the ink number 2. In the upper left corner appears an \"X\" within parentheses, which was formerly\ncovered by the other page. Inscribed in the same brown ink as the undeleted line on the verso of Leaf 1; revised in that ink and in pencil. Whitman apparently never used this poem or fragment, but Bucke prints it\n(combined with other verses) on p. 29 of\n Notes and Fragments\n .\n","On a very small section of tan wove paper (4 x 8 cm.). All four corners are cropped for mounting. What seems to be a pinhole appears in the upper right corner. Inscribed in brown ink with no revisions. These\nnotes, along with those on Leaves 4 and 5, could have represented an early stage of a number of poems. One possibility is poem 18 in the\n Calamus\n  cluster, new to the 1860 edition of\n Leaves of Grass.\n  This poem was permanently retitled\n City of Orgies\n  in 1867 (see Leaf 4). Bucke prints the notes on p. 171 with an ellipses not present in the manuscript, and they are republished with the note \"Manuscript not found\" on p. 1372 of\n Notebooks and Unpublished Prose Manuscripts\n  (vol. 4).\n","On a very small section of uncropped white wove paper (4.5 x 12 cm.). No pinholes. Inscribed (hurriedly) in black ink using a thin nib. A bright pinkish-red ink check mark(?) appears in the upper right corner\nof the note. A faint horizontal line beneath part of \"A City Walk,\" along with the words' capitalization and central position on the page, indicate that Whitman may have contemplated using the words as the title\nof an independent poem. The closest he came to this title was\n City of Walks and Joys,\n  the name he originally assigned to\n Calamus\n  18 in his\n Blue Book\n  revisions of the 1860 edition of\n Leaves\n . This title was changed in the\n Blue Book\n  to\n City of orgies, walks and joys\n  and finally became\n City of Orgies\n  in the 1867 edition. These notes, written in the form of a single poetic verse, could represent an intermediate stage between the notes on Leaf 3 and those on Leaf 5. Bucke prints the lines in prose form\non p. 120 of\n Notes and Fragments\n . Bucke's transcription is republished, accompanied by the note \"Manuscript not found,\" on p. 1292 of the\n Notebooks and Unpublished Prose Manuscripts\n  (vol. 4).\n","On a composite leaf comprising two sections of white wove paper (7 x 16 and 4 x 15.5 cm.) pasted together. The majority of the eight corners are cropped for mounting; the upper section was apparently cropped\nbefore being pasted to the lower section. Inscribed in dark brown-black ink with no revisions. The trial verses on the lower section (beginning \"Poem—As of walking along a street\") are fragmentary and\nhurriedly inscribed, but the upper section is written in ornamental script, and both parts of the title are underlined. A wavy line appears at the foot of that section. The word \"Original\" at the head of the upper\nsection suggests that Whitman was sketching out a new poem for a revised edition of\n Leaves of Grass\n . If it was the 1860 edition, as his style of inscription here appears to indicate, it is possible that this leaf, like Leaves 3 and 4, could represent an early stage of the poem that would eventually\nbecome\n City of Orgies.\n  Bucke prints the lower set of notes on p. 45 of\n Notes and Fragments\n .\n","On a section of off-white wove paper (16 x 14 cm.) with all four corners cropped for mounting. Many pinholes cluster to the left of the center of the page. Inscribed and revised on both sides in pencil. The\nlines on the verso are deleted with a single vertical pencil stroke. They originally occupied the lower half of a full leaf of verse; after deleting these (current) verso lines and discarding the upper half of the\nleaf Whitman turned the page ninety degrees and flipped it over to use for the current recto notes. The recto notes represent an early stage of lines partially incorporated in\n Poem of Salutation,\n  the new third poem in the 1856 edition of\n Leaves of Grass\n , which was permanently retitled\n Salut au Monde!\n  in the 1860 edition. If the note or title \"Europe\" suggests that Whitman might have first intended to divide his salutations into discrete sections based on the different continents, this is a plan he did\nnot follow in the published version(s). The more polished (but deleted) lines on the verso represent a recasting in poetic form of several lines from the 1855 Preface to\n Leaves\n . These were further revised for the 1856\n Poem of Many in One,\n  after which the first verse drafted on this page (cut off here, and beginning \"over the Texan, Mexican, Florid[ian,]/ Cuban seas...\") was dropped. The two verses below this, however, were preserved\nrelatively unchanged through the poem's many transformations until the text was essentially fixed under the title\n By Blue Ontario's Shore\n  in 1881. Bucke prints the top section of notes (incorrectly) on p. 157, and the lower section of verses (beginning \"And the tough Scotch sailor crosses the Minch...\") on p. 10 of\n Notes and Fragments\n . On p. 1980 of the\n Notes and Unpublished Manuscripts\n  (vol. 5) Grier reports that this manuscript has not been found.\n","On one section of thick white wove paper (13 x 14.5 cm.) apparently taken from a sheet used for trial printings of a book engraving; a plate mark can be clearly seen on the verso. The lower corners are cropped\nfor mounting. Multiple pinholes in center. Inscribed and revised in pencil. Like the contents of Leaf 6, these two verses represent a draft (possibly a slightly later one than Leaf 6) of lines that would be\nfurther revised and incorporated in the new 1856 poem\n Poem of Salutation,\n  permanently retitled\n Salut au Monde!\n  in the 1860 edition of\n Leaves of Grass.\n  The second line (beginning \"And as the mountains of my land/ are to me...\"), greatly expanded, would become lines 49-54 (section 4) of\n Salut au Monde!\n  in Bradley and Blodgett's edition of the poem, and the first line seems to have been expanded even more in that section's description of the oceans of the world. Bucke transcribes the leaf on p. 11.\n","On a small section of white wove paper irregularly cut down to 6.5 x 15.5 cm. Inscribed and revised in dark brown ink. A phrase beginning \"Picture of one of/ the Greek games\" appears in the upper right corner,\ndelimited from the rest of the notes with two curved lines. The words \"Spanish bull fight\" appear in their own semicircle (damaged by Whitman's cutting) in the lower right corner. Bucke transcribes the notes on p.\n177, and Grier (p. 1294, vol. 4) republishes them, describing the manuscript as \"not found.\" To build on Grier's notes, the lines seem to occupy a middle space between the very early notebook poem\n Pictures\n  and the 1856\n Poem of Salutation\n  (ultimately\n Salut au Monde!\n ).\n","On a small composite leaf of white wove paper, ruled in blue on one side, formed by pasting a section (4 x 16 cm.) containing one line of notes (beginning \"runs through all the poems...\") below the set of notes\ntranscribed above, which were written on a section measuring 10.5 x 16 cm. Multiple pinholes in both sections. Both sections are inscribed in pencil, with one revision in black ink. Bucke transcribes these notes\non p. 167 of\n Notes and Fragments\n , and Grier republishes them (with the note \"Manuscript not found\") on p. 383 of the\n Notebooks and Unpublished Prose Manuscripts\n  (vol. 1).\n","On a section of off-white wove paper (10.5 x 14 cm.). Multiple pinholes cluster towards the top of the page. Inscribed and revised on both sides in pencil. The lines on the verso are deleted with a single\nvertical pencil stroke. Those on the recto are separated by a horizontal line. The verso lines (beginning with the individually deleted line \"O Walt Whitman, show us some/ pictures!\" and continuing \"America,\nalways Pictorial!\") represent a later draft of the beginning of the poem\n Pictures\n  than the most complete extant version, which is contained in the pre-1855\n Pictures\n  notebook currently housed at Yale University. Bucke dates the lines to around 1880, when Whitman was working on a short version of\n Pictures\n  both for magazine publication and for the 1881 edition of\n Leaves\n , where it was published as\n My Picture-Gallery.\n  (See the entry for\n My picture gallery\n  below.) But Whitman's early style of inscription in this draft, along with the line \"It is round—it has room for America, north and south\" and his use of his own name in the deleted first line, all\nsuggest that Whitman may have inscribed this draft around the same time that he was working on the new 1856\n Poem of Salutations\n  (eventually\n Salut au Monde!\n ). This draft also suggests that at one point he may have considered linking what would become\n Poem of Salutations\n  and the formally and thematically similar\n Pictures\n  more directly. Bucke prints the verso and recto lines, with several deleted words restored, on p. 27 of\n Notes and Fragments.\n","On a very small section of white laid paper cut and cropped irregularly down to 4.5 x 14.5 cm. Multiple pinholes run up the center of the section. The recto lines are inscribed and heavily revised in brown ink,\nand deleted (en masse) with a single vertical pencil stroke. Along the lower edge can be seen the tops of words discarded after cutting. These trial verses bear a strong resemblance to the (eventual) second verse\nparagraph in section 6 of\n Starting from Paumanok,\n  first published in 1860 as\n Proto-Leaf.\n  Bradley and Blodgett note other relationships to the fragment\n The Body—,\n  published on p. 37-8 of\n Notes and Fragments\n  and housed at Duke University, and to the poems that would eventually become\n Song of Myself\n  and\n I Sing the Body Electric.\n  The fragmentary lines on the verso (beginning \"Downward, buoyant, swif[t]\"), which are inscribed and revised in pencil, represent a different version of a line incorporated in the pre-1855 notebook poem\n Pictures\n  and of one inscribed in the 1854 notebook [I know a rich capitalist...], currently housed at the New York Public Library. Bucke prints incomplete transcriptions of the contents of both sides of Leaf 11 on\np. 38 of\n Notes and Fragments\n , and presents a different version of the recto lines (transcribed from the same manuscript?) on p. 48. Bradley and Blodgett's new transcription, under the title\n [Divine Is the Person],\n  appears on p. 602 of the expanded and revised edition of the Comprehensive Reader's Edition of\n Leaves\n .\n","On a section of light yellow wove paper (16 x 13 cm.) with all four corners cropped for mounting. Four pinholes appear in the center. Inscribed and revised in pencil. Below these trial verses, separated from\nthem by a diagonal pencil stroke, appears a cartoon hand pointing to the annotation \"I must have/ Poem[.]\" Bucke prints the verses (without the prose note) on p. 49 of\n Notes and Fragments\n .\n","These descriptions follow the present arbitrary but longstanding physical arrangement of the manuscripts, first collected in a series of folders, and now in two boxed binders. This arrangement groups\nmanuscripts according to their position in and out of the \"clusters\" comprising the 1860 edition of\n Leaves of Grass\n , although the 1860 order of the clusters themselves has not been followed by the collector who arranged the poems.\n Sparkles from the Wheel\n  and\n Fables\n  (both 1871; see [Vol. 2, p. 163] and [Vol. 2, p. 164]) are included in the list by virtue of being housed with earlier poems in the second binder.\n","All of these poems except for\n Sparkles from the Wheel\n  and\n Fables\n  were published in the 1860 edition of\n Leaves of Grass.\n  The manuscripts are generally followed by print versions of the poems disbound by a collector from the 1860 edition. Since Whitman apparently had no contact with the printed pages they have not been\ndescribed here. Neither have the annotations made by collectors on many of Whitman's leaves. The measurements given below are taken at the points of greatest height and width, in that order, for each page.\nFollowing Fredson Bowers's practice in describing the manuscripts, the location of major pinhole clusters in each page, where present, has also been noted. (The pinholes, as Bowers argues, can yield helpful clues\nas to Whitman's practices of revision. Intact pages have multiple pinholes in the middle; thus, pinholes at the top of a small page indicate that the fragment was removed from the lower section of a full leaf, and\nvice versa). The types of paper and writing implements used by Whitman in each case have been documented for the same reasons. Since, in many cases, after 1860 Whitman changed the poems' titles and revised and\ntransferred them elsewhere, a brief narrative of each poem's post-1860 evolution accompanies its description.\n\n","The entry after the page numbers is the first autograph line at the top of the page. Beginning at page 34 of volume 1, the corresponding published poems are removed from 1860 edition and interleaved with the\nmanuscripts.\n","On thirty-three leaves comprising four types of paper (in a variety of shapes and sizes): pink, blue wove, white wove, and light blue Williamsburgh (Brooklyn) tax forms—inscribed, Bowers argues, in that\norder. Each leaf is numbered consecutively by Whitman, in pencil, in the lower left corner. Each leaf is also stabbed in the left margin and punctured with numerous pinholes. Bowers has identified at least four\nstages of revision based on the writing implements and ink used by Whitman to make his corrections: first pencil, then dark ink with a fine pen, once again pencil, and finally thin light-brown ink.\n Premonition\n  was published as the introductory poem to the 1860 edition of\n Leaves of Grass\n  under the title\n Proto-Leaf.\n  In the 1867 and later editions it appeared directly after the opening\n Inscriptions\n  cluster as\n Starting from Paumanok.\n","On verso of light blue Williamsburgh tax form (21.5 x 12 cm.), in black ink, with corrections in the same ink and in pencil. Multiple pinholes in center. This is a revision of the fragment that appears at the\ntop of Leaf 2, and corresponds to section 1 of\n Proto-Leaf\n  in the 1860 edition.\n","On a small pink sheet (12 x 13 cm.), in original black ink, with extensive deletions and revisions in fine pen (black ink) and pencil. Pinholes near top. This seems to have been the original first leaf of\n Premonition.\n  In drafting the revised version of this first section on a Williamsburgh tax form (see Vol. 1, p. 1) Whitman excised and apparently destroyed the verses at the top of this leaf, striking through the\nverses (beginning \"[Boy of the] Mannahatta—boy of/ the prairies,...\") below the cut. He then left a revised section of verses on the lower part of the leaf (beginning \"Victory, union, faith, democracy,/\nprudence,...\") undeleted. These lines correspond to section 2 of\n Proto-Leaf.\n","On pink leaf (21 x 13 cm.), in black ink, with extensive revisions in fine pen, pencil, and light ink. Pinholes in the center. The three verse sections—beginning \"This then is life,\" \"How curious! How\nreal!,\" and \"Take my Leaves America! Make/ places...\"—correspond to sections 3, 4, and 13 of\n Proto-Leaf.\n","On verso of light blue Williamsburgh tax form cut down to 10.5 x 12 cm., in black ink, with revisions in pencil and light ink. Pinholes in the center. A revision of lines deleted from the top of Leaf 5;\ncorresponds to section 14 of\n Proto-Leaf.\n","On pink leaf (22 x 13 cm.), in black ink, with deletions and revisions in pencil and fine pen. Pinholes in center. Whitman struck through the section beginning \"I do not discredit old times,\" the revised\nversion of which appears on Leaf 4, and which corresponds to section 15 of\n Proto-Leaf.\n  Below a horizontal line he left revised but undeleted the section beginning \"Antiques of men,\" which corresponds to section 16 of\n Proto-Leaf.\n","On a pink leaf (21.5 x 13 cm.), in black ink, with extensive revisions in medium fine pen, pencil, and fine pen to the first section, corresponding to section 17 of\n Proto-Leaf.\n  Pinholes in center. In the next two sections—[The Soul!] and [I will make the poems of materials,...]—corresponding to sections 18 and 19 of\n Proto-Leaf,\n  only minor revisions have been made, these in fine pen.\n","On pink leaf cut down to 17 x 13 cm., in black ink, with revisions in pencil, medium fine pen, and light ink. Pinholes below center. Corresponds to section 20 of\n Proto-Leaf.\n  The excised portion contained several verses and was moved to Leaf 8 (see Vol. 1, p. 8).\n","On a torn sheet of blue wove paper (17 x 13 cm.), with the excised portion from pink Leaf 7 (beginning \"I will be the preparer of what is/ to come...\") pasted to the foot of the leaf. Pinholes mostly in center\nof composite leaf. The pasted-on section became the first three verses of section 21 in\n Proto-Leaf.\n  Whitman struck through six unaltered lines (beginning \"I am the child of Democracy,\") in light-brown ink on the upper portion of the original blue leaf; these, Bowers observes, represent an intermediate\nstage between verses on a leaf used for\n Enfans d'Adam\n  and verses on Leaf 12 of\n Premonition\n  (see Vol. 1, p. 47 and Vol. 1, p. 12). After appearing on Leaf 12, the verses—much altered from their earliest iteration on the\n Enfans d'Adam\n  leaf—next became section 23 of the published\n Proto-Leaf.\n","On pink leaf, cut down to 11 x 13 cm., written in black ink with no revisions. Pinhole clusters are located both at the foot of leaf, dating from before Whitman's cutting of it, and in the current center. The\nexcised portion was renumbered Leaf 17 (see Vol. 1, p. 17). Leaf 9's remaining verses correspond to the second two verses of section 21 of\n Proto-Leaf.\n","On blue wove page torn down to 16 x 13 cm. In light-brown ink, with extensive revisions in the same ink. Pinholes in center. Corresponds to the first six lines of section 22 of\n Proto-Leaf.\n","On blue wove page cut down to 9 x 13 cm., in light-brown ink with no revisions. Pinholes in the current center and at the foot of the page (the original center). Incision patterns indicate that the blank\nportion cut from the foot of the leaf was pasted to the back of Leaf 17 for reinforcement (see Vol. 1, p. 17). Corresponds to verses 7-9 of section 22 of\n Proto-Leaf.\n","On two sections (6.5 x 16.5 cm.; 14 x 16 cm.) of the same leaf of white wove paper cut apart and pasted back together in reverse order. In brown-black ink, with revisions in same ink and in pencil. Pinholes in\ncenter of the composite leaf and in the original center. The current first section represents the latest extant draft of the verses that would form section 23 of\n Proto-Leaf.\n  The second section of the leaf (\"Here myself I give,\") corresponds to section 24. The verso contains two deleted drafts, heavily revised in the same brown-black ink and pencil, of the first few verses of\nwhat would grow to become sections 25-36 of the published poem. An annotation, \"very crude,\" appears in the left verso margin.\n","On white wove paper (20 x 16 cm.), in dark-brown ink, with revisions in the same ink and in pencil. Pinholes in center. This is a later version of the drafts on the verso of Leaf 12 with additional materials,\nall of which would grow to become sections 25-36 of\n Proto-Leaf.\n  The verses at the foot of this leaf (corresponding to the first part of section 35) are continued in the same ink on Leaf 14, which is also written on white wove paper.\n","On white wove paper (20 x 16 cm.), in dark-brown ink, with revisions in the same ink and in pencil. Pinholes in center. A continuation of the lines on Leaf 13, corresponding to the last three lines of section\n35 and all of section 36 of\n Proto-Leaf.\n","On white wove paper cut down to 16.5 x 16.5 cm., in brown-black ink, with revisions in the same ink. Pinholes from center downwards. Written on the verso of a deleted draft of what would become section 11 of\n Calamus\n  in the 1860\n Leaves\n  (see Vol. 1, pp. 78 - 79; this draft begins, \"When I heard at the close of/ the day how I had been/ praised in the Capitol,...\"). The section excised from the foot of the page has been pasted to the top\nof Leaf 16. The first verse section on Leaf 15 was abandoned or transformed beyond recognition in\n Proto-Leaf,\n  but the next three long verses (\"As I have walked my walk through the rows of the/ orchard-trees,\" \"I have seen the he-bird also—I heard him,\" \"And I have perceived that what he really sang\") became\nsections 38-40 of the published poem.\n","On two small joined sections of white wove paper (measuring 4 x 16.5 and 10 x 16, for a total of 13 x 16.5 cm.), the top one taken from Leaf 15, with a fragment of the same\n Calamus\n  draft on its verso as on Leaf 15's (see Vol. 1, p. 15 and Vol. 1, pp. 78 - 79). Pinholes in center of composite leaf. Both sections are written in the same brown-black ink as Leaf 15, with revisions in\nthis ink and in pencil. The upper verses correspond to section 41 of\n Proto-Leaf,\n  and the lower ones (\"Ma femme!/ Our offspring shall be provided for,\") to section 42.\n","On a small leaf of pink paper (11 x 13 cm.) removed, as Bowers notes, from the foot of Leaf 9, and pasted for reinforcement to a blank piece of blue wove paper (7 x 13 cm.) aken, incision patterns indicate,\nfrom the foot of Leaf 11 (see Vol. 1, p. 9 and Vol. 1, p. 11). In black ink, with revisions and a paragraph mark at the beginning of the verses in light ink. Pinholes at top (original center) and near current\ncenter. These two long verses (the second one beginning \"And I will make the true/ poem of riches,...\") correspond to sections 43-44 of\n Proto-Leaf.\n","On a full leaf of pink paper (21.5 x 13 cm.), in black ink, with revisions in the same ink and, apparently, in a finer pen. Pinholes in center. A continuation of Leaf 17, these verses correspond to section 45\nof\n Proto-Leaf.\n","On a full leaf of pink paper (21.5 x 13 cm.), in black ink, with revisions in the same ink and in a finer pen. Pinholes in center. The first section continues the verses on Leaf 18, but the second (\"Was\nsomebody asking to see the soul?\") constitutes an independent unit on the page. The two parts correspond to sections 46 and 47 of\n Proto-Leaf,\n  respectively.\n","On a full leaf of pink paper (21.5 x 13 cm.), in black ink, with revisions in light ink. Pinholes in center. These verse paragraphs (the second and third ones beginning with the lines \"Of that which is really\nyou, and/ of any part of you,\" and \"Not the types set up by the/ printer...\") correspond to sections 48-50 of\n Proto-Leaf.\n","On a full leaf of pink paper (21.5 x 13 cm.), in black ink, with revisions in a finer pen. Pinholes in center. These verse paragraphs (with those after the first one beginning \"Whoever you are! to you endless/\nannouncements!,\" \"Daughter of the lands, did you wait/ for your poet?,\" and \"Toward the female of The States, and/ toward the male...\") correspond to sections 51-54 of\n Proto-Leaf.\n","On a full leaf of pink paper (21.5 x 13 cm.), in black ink, with revisions in pencil, in finer pen, and in light ink. Pinholes in center. These lines correspond to the first seven verses of section 55 of\n Proto-Leaf.\n","On a full leaf of pink paper (21 x 12.5 cm.), in black ink, with revisions in a finer pen. Pinholes in center. These lines correspond to verses 8-15 of section 55 of\n Proto-Leaf.\n","On a full leaf of pink paper (21 x 13 cm.), in black ink, with revisions in a finer pen and in light ink. Pinholes in center. These lines correspond to verses 16-24 of section 55 of\n Proto-Leaf.\n","On a full leaf of pink paper (21 x 13.5 cm.), in black ink, with revisions in a finer pen and in light ink. Pinholes in center. These lines correspond to verses 25-31 of section 55 of\n Proto-Leaf.\n","On a full leaf of pink paper (21 x 13.5 cm.), in black ink, with revisions in pencil, in a finer pen, and in light ink. Pinholes in center. The first section of verses corresponds to verses 32-36 of section 55\nof\n Proto-Leaf,\n  and the second and third verse paragraphs (\"With me, with firm holding, yet/ haste, haste on!\" and \"For your life, adhere to me,\") correspond to sections 56 and 57.\n","Consists of a section of pink paper (8 x 13.5 cm.) torn from the top of Leaf 30 (see Vol. 1, p. 30), numbered 26 1/2 by Whitman and pasted to the inscribed verso of a section of a blank, cut-down Williamsburgh\ntax form (12 x 11.5 cm.), numbered 27. In black ink, with heavy revisions (to the top section) in a finer pen and in light ink. Pinholes mostly in the center of the pink section and in the center of the composite\nleaf. The pink section's verses correspond to section 58 of\n Proto-Leaf,\n  and the tax form verses (\"On my way a moment I/ pause,\") to section 59.\n","On a full leaf of pink paper (21.5 x 13.5 cm.), in black ink, with revisions in finer pen and in light ink. Pinholes in center. Originally titled\n Aborigines,\n  this section corresponds to section 60 of\n Proto-Leaf.\n","On a full light-blue Williamsburgh tax form (21.5 x 12 cm.), in black and light ink, with revisions in light ink. Pinholes in center. The top verse section corresponds to section 61 of\n Proto-Leaf,\n  and the lower verses (\"These! These, my voice an-/nouncing—...\") became section 62.\n","On a torn section of pink paper (14 x 13.5 cm.), in black ink, with heavy revisions in pencil, in a finer pen, and in light ink. The section torn from the top (\"No dainty dolce affetuoso I,\") was renumbered \"26\n1/2\" and pasted to leaf 27 (see Vol. 1, p. 27). Pinholes in original and current center. These verses became the first five verses of section 63 of\n Proto-Leaf.\n","On a full leaf of pink paper (21 x 13 cm.), in black ink, with revisions and deletions in pencil, in a finer pen, and in light ink. Pinholes in center. Whitman corrected the leaf number from 30 to 31. The first\nverse on the page, deleted, begins \"See, by the sea-side bathing, free/ from costumes,...\" and the third verse, also deleted, begins \"See, the President, ashamed, scouted/ at by the people,...\" The undeleted lines\ncorrespond to verses 6-8 of section 63 of\n Proto-Leaf.\n","On a torn pink leaf (17.5 x 13 cm.), in black ink, with revisions in pencil, in a finer pen, and in light ink. Pinholes in the current and original centers. The verse or verses removed from the foot of the\npage, of which only the word \"at\" is legible, have apparently been lost. The remaining lines correspond to verses 9-12 of section 63 of\n Proto-Leaf.\n","On verso of a full light-blue Williamsburgh tax blank (21.5 x 12 cm.), in light ink, with no revisions. Pinholes in center and at top. Although these verses were written as one section, Whitman changed a\nsemicolon at the end of the fourth verse (before \"O a word to clear one's path/ ahead endlessly!\") to a period, creating sections 64 and 65 of\n Proto-Leaf.\n  An earlier draft of the last four verses appears, upside-down, on the verso of the top section of composite leaf 2:1:4 in\n Chants Democratic.\n","The following pages are in the order in which the poems appeared, after revision, in the 1860\n Leaves.\n  These pages contain drafts of poems that would become five of the main numbered sections of the new cluster\n Enfans d'Adam\n  in the 1860 edition of\n Leaves of Grass.\n  In the 1867 and later editions these poems appeared, with individual titles, under the group title\n Children of Adam.\n","On a white wove leaf (16 x 10 cm.), in light ink, with no revisions. Pinholes mostly in center. An earlier draft of this poem appears on the verso of Vol. 1, p. 99 (\"City of my walks and joys!\") the leaf that\nwould become section 18 of\n Calamus\n  in the 1860\n Leaves\n . After being incorporated as the first main section of\n Enfans d'Adam\n  in 1860, this poem received its own title,\n To the Garden, the World\n  in the 1867\n Leaves\n .\n","On three pink leaves (all roughly 21 x 13 cm.), in black ink, with revisions in pencil, fine pen, and light ink. Multiple pinholes in the center of each leaf, with two at the top where the leaves were pinned\ntogether. Originally numbered 84. This poem appeared in the 1860\n Leaves\n  as main section 7 of\n Enfans d'Adam,\n  and was retitled\n We Two—How Long We Were Fool'd\n  in 1867.\n","One and one-half white wove leaves, the first 18.5 x 16 cm. (with a narrow section of the upper-right corner torn off) and the second roughly cut down to 11 x 16 cm. In brown-black ink, with revisions in the\nfine pen. Pinholes in the center of both leaves, but also near the original center of the second leaf and in the left margins of both. This poem, numbered 82 in pencil (presumably by Whitman) became main section 8\nof\n Enfans d'Adam\n  in 1860, and was permanently retitled\n Native Moments\n  in 1867.\n","On a leaf of white wove paper (20 x 16 cm.), in brown-black ink, with extensive revisions in the same ink and in pencil. On the present verso appear, in pencil, two fragments: an undeleted verse that would be used in Satan's section of  Chanting the Square Deific\n  in  Sequel to Drum-Taps  (1865-66); and the earliest draft in the Barrett collection of what would become section 23 of  Proto-Leaf  (deleted; see Vol. 1, p. 8 for an intermediate version of the section and Vol. 1, p. 12 for the last version before publication). The undeleted verse is upside-down relative to the deleted section. The recto verses became main section 9 of  Enfans d'Adam  in 1860, and were retitled  Once I Pass'd Through a Populous City  in 1867.\n","On pink leaf (21 x 12.5 cm.), in black ink, with extensive revisions in fine pen and light ink. Very few pinholes in center. The number 80 appears above the deleted 79 (both in ink) above the title, along with a pencil question mark in parentheses. This poem was revised to form main section 10 of  Enfans d'Adam  in 1860, and in 1867 was given two new opening lines and retitled  Facing West from California's Shores.\n","Pages generally follow the order in which the poems appeared, after revision, in the 1860\n Leaves.\n","These pages contain drafts of poems that would become main sections 1-2, 4, 7-18, 20-23, 25-27, 30-32, 34, and 36-45 of the\n Calamus\n  cluster, which first appeared in the 1860 edition of\n Leaves of Grass.\n  In 1867 the poems received individual titles, and in that and subsequent editions a small number of poems were removed from and added to the cluster; but, with the exceptions noted below, the great\nmajority of the original poems remained in\n Calamus\n  through all the versions of\n Leaves\n . Twelve of the manuscript poems are taken from a small notebook and marked with ornamental Roman numerals, which Bowers used to reconstruct the original sequence upon which\n Calamus\n  was apparently built. This nucleus of poems is known as\n Live Oak, with Moss.\n","On white wove half-sheet (20 x 16 cm.), in dark brown ink, with heavy alterations in the same ink, in light ink, and in pencil. Appears on the verso of the second fragment of a pencil draft of an editorial,\n Important Questions in Brooklyn.—,\n  which Whitman apparently never published but which seems to have inspired at least two published editorials on the Brooklyn Water Works and the political quarrels surrounding control of the project. The\neditorials appeared in the Brooklyn\n Times\n  of March 15 and 16, 1859, supplying important clues to the dating of the Barrett manuscripts (see Bowers xxviii-xxix). Pinholes mostly in center. These verses became lines 6-10 of section 2 of\n Calamus\n  in the 1860 edition.\n","On white wove half-sheet (20.5 x 16 cm.), in dark brown ink, with heavy revisions in the same ink, in lighter ink, and in pencil. On verso of the first, titled half-page of\n Important Questions in Brooklyn—.\n  Pinholes mostly in center. These lines became verses 11-14 of section 2 in the 1860 version of\n Calamus.\n","On white wove half-sheet (20 x 16 cm.), in dark brown ink, with extensive revisions in the same ink, in a lighter ink, and in pencil. On verso of the third half-page of\n Important Questions in Brooklyn—.\n  Pinholes mostly in center. These lines became verses 15-20 of section 2 in the 1860 version of\n Calamus.\n","On white wove half-sheet (20 x 16 cm.), in dark brown ink, with extensive revisions in the same ink, in a lighter ink, and in pencil. On verso of the fourth and (apparently) final half-page of\n Important Questions in Brooklyn—.\n  Pinholes mostly in center. These lines became verses 21-29 of section 2 in the 1860 version of\n Calamus.\n","On white wove half-sheet (20 x 16 cm.), in dark brown ink, with extensive revisions in the same ink, in a lighter ink, and in pencil. Pinholes mostly in center. These lines became the final verses (30-40) of\nsection 2 in the 1860 version of\n Calamus.\n","On white wove leaf (16 x 10 cm.), in light brown ink, with no revisions. Pinholes at top and in center. This became section 1 of\n Calamus\n  in 1860, and was retitled\n In Paths Untrodden\n  in the 1867\n Leaves\n .\n","This leaf comprises two sections of a poem inscribed (with very few alterations) on the first and third sides of a folded half-sheet (21.5 x 16 cm.) of the same white wove paper used for \"Long I was held by the\nlife.\" Whitman also used the same light-brown ink for these passages as for [Long I was held by the life/ that exhibits itself,], and, as Bowers notes, the pinholes in the two leaves match up. On the first side of\nthe folded leaf a blue pencil was used to correct a pencil number 7 to a 1, and on the third side the blue pencil corrected a pencil 8 to a 2. The five verses beginning \"Was it I who walked the/ earth...\" were not\nused in\n Calamus,\n  but the five lines beginning \"Scented herbage of my breast\" became the opening verses of section 2 of the cluster in the 1860\n Leaves\n . In the 1867 and later editions the first line was used as the title of the poem. See the following five entries for drafts of the remaining verses in the section, written on larger leaves (roughly 20 x\n16 cm.) of the same paper, in darker ink, and all heavily revised.\n","These leaves comprise four sections of a poem inscribed on the first and third sides of two folded half-sheets (20 x 16 cm.) of the same white wove paper used for 1:3:1 and 1:3:2, in the same light brown ink\nand, like them, with only minor revisions. The pages were folded and pinned together to form a small pamphlet. Pinholes mostly at center-top and in what was the left margin of the pamphlet. The lines on page 1\nbecame verses 1-8 of section 4 of\n Calamus.\n  in 1860; page 2 (\"Solitary, smelling the earthy/ smell,...\") became verses 9-14; page 3 (\"Here lilac with a branch of/ pine,\") became verses 15-22; and page 4 (\"And stems of currants, and/ plum-blows,\")\nbecame verses 23-28. From 1867 on the poem was titled\n These I, Singing in Spring.\n","On two light blue Williamsburgh tax blanks (21.5 x 12 cm.), in light brown ink, with minor revisions. A few pinholes at the head and in the center. A blue pencil question mark appears to the left of the first\nline on the second form. The lines on the first leaf became verses 1-9 of section 7 of\n Calamus\n  in 1860, and the second leaf's lines (\"To me all these, and the/ like of these,...\"] became verses 10-16. Retitled\n Of the Terrible Doubt of Appearances\n  in 1867.\n","On three pieces of white wove paper (the first two 15 x 9.5 cm., the third 6.5 x 9.5 cm.), in black ink, with revisions in the same ink and in pencil. Whitman also penciled in the numbers 7, 8, and 8 1/2 in the\nlower-left corner of each page. Pinholes at the head and in the center of each page. This was the fifth poem of the original sequence\n Live Oak, with Moss\n ; the poem number is inscribed ornamentally, as with the Roman numerals Whitman used for other\n Live Oak\n  poems, and a wavy line appears after the last verse. The lines on the first leaf became verses 1-5 of section 8 of\n Calamus\n  in 1860; the second leaf's lines (\"Take notice, you Kanuck woods\") became verses 6-10; and the lines on the half-page (\"I am indifferent to my own/ songs—\") became verses 11-12. There were no\nfurther appearances of this poem during the poet's lifetime, Whitman having canceled it in his\n Blue Book Copy\n  of the 1860\n Leaves.\n","On two pieces of white wove paper, the first cut down to 9.5 x 9 cm. and the second comprising two sections (14.5 x 9 and 5 x 9.5 cm.) joined by means of a strip of pink paper. In brown-black ink, with\nrevisions in the same ink and in pencil. Pinholes mostly at top and in center of leaves. Whitman penciled in the numbers 11 and 12 (apparently over other numbers) in the lower-left corner of each page; his partly\nerased pencil note \"(finished in/ the other city)\" appears on the first page. The ornamental number \"VIII\" replaces a deleted ornamental \"IX\" on the first page, and the top of another \"IX\" appears at the foot of\nthe second page, beneath a wavy line indicating the end of the poem. Whitman removed the lower section of page 2 from the top of current leaf Vol. 1, p. 132 (\"I dreamed in a dream of a/ city...\"). This poem, the\neighth in the sequence\n Live Oak, with Moss,\n  became section 9 of\n Calamus\n  in 1860. This was its only appearance in\n Leaves\n . The first page contains what would become verses 1-3 in 1860, and the second (\"Hours discouraged, distracted,\") contains lines 4-12.\n","On two sections of white wove paper, the first cut down to 8 x 9 cm. and the second a composite of two pieces pasted together, the top measuring 14.5 x 9.5 and the bottom 5.5 x 9.5 cm. In black ink, with a few\nrevisions in the same ink. Pinholes at top and in center of both pages. Whitman numbered the first 9 1/2 and the second 10, in pencil, in the lower-left corner of each leaf. The Roman numeral is inscribed in an\nornamental style, and the poem terminates with a wavy line. The seventh poem in the sequence\n Live Oak, with Moss,\n  became section 10 of\n Calamus\n  in 1860 and was permanently retitled\n Recorders Ages Hence\n  in 1867. The lines on the first page correspond to verses 1-3 of the 1860 version, and those on the second page (\"Publish my name and hang up/ my picture...\") to lines 4-11.\n","On two leaves of white wove paper, both measuring 15 x 9.5 cm.; the lower half of the second page is pasted over with a section of white paper (8 x 9 cm.) containing four revised verses. In black ink, with\nrevisions in the same ink and in pencil. Pinholes mostly at top of both pages. Whitman numbered the pages 4 and 5, in pencil, in their lower-left corners. The third section of\n Live Oak, with Moss\n  (with ornamental Roman numeral), this poem became section 11 of\n Calamus\n  in 1860 and was permanently retitled\n When I Heard at the Close of the Day\n  in 1867. For an earlier draft of the poem numbered V please see the verso of leaves 15-16 of\n Premonition\n  (Vol 1, pp. 15-16). Bowers (p. 88) supplies the three earlier lines concealed by the paste-on revision to the second leaf. The lines on the first page correspond to verses 1-5 of the 1860 version, and\nthose on the second page (\"And when I thought how/ my friend,...\") to lines 6-13.\n","On two pieces of white wove paper, 13 x 11.5 and 20 x 16 cm., in brown-black ink, with substantial revisions in the same ink. Pinholes mostly at center and in left margins of both pages. This poem, featuring a\nnew first line, became section 12 of\n Calamus\n  in 1860; in 1867 Whitman dropped the last 2 1/2 lines and permanently retitled it\n Are you the New Person Drawn Toward Me?\n  The first page contains verses corresponding to lines 2-3 of the 1860 version, and the lines on the second page (\"Do you suppose you can easily/ be my lover,...\") became verses 4-11.\n","On pink leaf (21.5 x 13 cm.), in black ink, with minor revisions in the same ink.A few pinholes at top and near center. A pencil question mark appears in parentheses in the upper-right corner. The number 52\nappears to have been revised from 51. After adding several verses, Whitman designated this poem section 13 of\n Calamus\n  in the 1860\n Leaves\n , and, after dropping the first two and last three lines of the 1860 version, permanently retitled it\n Roots and Leaves Themselves Alone\n  in 1867.\n","On white wove leaf, 15 x 9 cm., in black ink, with the title\n Live Oak, with Moss\n  stricken out and\n Calamus-Leaves\n  added in light brown ink, and with one small revision in blue pencil. Whitman numbered this page 1 in pencil. The first section of the original sequence\n Live Oak, with Moss,\n  this became section 14 of\n Calamus\n  in 1860 and was permanently retitled\n Not Heat Flames up and Consumes\n  in the 1867\n Leaves\n .\n","On verso of light blue Williamsburgh tax blank (21.5 x 12 cm.), in light ink, with no revisions. Pinholes at top and in center. This poem became section 15 of\n Calamus\n  in 1860, and, with the addition of a new first line, was retitled\n Trickle, Drops\n  in 1867.\n","On two pink leaves (both 21.5 x 13 cm.), in black ink, with extensive revisions in the same ink, in pencil, and in fine pen. Pinholes mostly in center of both leaves, but also at top and in left margins. The\noriginal title was\n Leaflet.\n  On the second page Whitman added, in a combination of normal and blue pencil, the number 43 (1/2). With the addition of a new first line (\"1. Who is now reading this?\") the poem became section 16 of\n Calamus\n  in 1860; the lines on the first draft page correspond to verses 2-8 and those on the second page (\"Or as if interior in me\") to verses 9-10. This was the first and last appearance of the poem during\nWhitman's lifetime: he rejected it from his\n Blue Book Copy\n  of\n Leaves\n  in 1860.\n","On two pink leaves (21 x 13 cm.), in black ink, with revisions in the same ink and in light ink. Pinholes in center, at top, and in top-left corner. This poem was originally titled\n Leaf\n  and apparently numbered 78; Whitman inscribed its new title,\n Poemet,\n  in light ink. It became section 17 of\n Calamus\n  in 1860, with the lines on the first leaf corresponding to verses 1-7 and those on the second (\"And what I dreamed I will/ henceforth tell...\") to verses 8-13 of the first published version. Retitled\n Of Him I Love Day and Night\n  in 1867, it was transferred to the\n Whispers of Heavenly Death\n  cluster in\n Passage to India\n  in 1871. In 1881 Whitman incorporated it, with the rest of the cluster, in the main body of\n Leaves\n .\n","On a composite leaf consisting of two pieces of white wove paper, 8.5 x 10 and 20 x 16 cm.; the smaller section (in light brown ink, with few revisions) is pasted over some lines in the top-left corner of the\nlarger piece (in dark brown ink), from the top of which other lines were cut off. Whitman made extensive revisions to the larger piece in the same dark brown ink and in pencil before adding the smaller section. On\nthe verso of the larger piece appears an extensively revised pencil draft of the first poem in\n Enfans d'Adam\n  (see Vol. 1, p. 35; the lines on the composite page's verso represent an earlier draft of the poem). The verses on the current recto of the composite leaf became section 18 of\n Calamus\n  in 1860; the poem was permanently retitled\n City of Orgies\n  in 1867.\n","On two leaves of white wove paper, both 15 x 9.5 cm., in black ink, with extensive revisions in the same ink, in light brown ink, and in pencil. Pinholes mostly at top and in center of both pages. Whitman\nnumbered the pages 2 and 3 in pencil. This was originally the second section of the sequence\n Live Oak, with Moss\n  (one of the deleted lines reads \"I write/ these pieces, and name/ them after it [the Louisiana live-oak];\"), with ornamental Roman numeral. It became section 20 of\n Calamus\n  in 1860; the lines on the first manuscript page correspond to verses 1-7, and those on the second (\"It is not needed to remind/ me...\") to verses 8-13. The poem was retitled\n I saw in Louisiana a Live-Oak Growing\n  in 1867.\n","On two leaves of pink paper, both 21 x 13 cm., in black ink, with minor revisions in the same ink. Pinholes mostly in center and at top of both pages. This poem became section 21 of\n Calamus\n  in 1860; the lines on the first manuscript page became verses 1-6, and those on the second (\"I hear not the volumes of/ sound merely—...\") became 7-9. Retitled\n That Music Always Round Me\n  in 1867, it was transferred in 1871 to the\n Whispers of Heavenly Death\n  cluster in\n Passage to India.\n  In 1881 Whitman incorporated it, with the rest of the cluster, in the main body of\n Leaves\n .\n","On two leaves of pink paper, both 21 x 13 cm., in black ink, with revisions in the same ink and in light ink. Pinholes mostly in center and in left margin of each page. This poem was first numbered 94, and the\nfirst word was \"Stranger\"; Whitman penciled in a question mark, in parentheses, next to the title. It was numbered section 22 of\n Calamus\n  in 1860: the lines on the first page correspond to verses 1-6 of the 1860 version, and those on the second (\"You give me the pleasure\") to verses 7-10. Whitman reintroduced the title\n To a Stranger\n  in the 1867\n Leaves\n .\n","On one leaf of white wove paper, in dark brown ink, with revisions in pencil. Pinholes in center and at top. Whitman penciled in the number 6 in the lower-left corner. The fourth poem in the original sequence\n Live Oak, with Moss\n  (with ornamental Roman numeral), it became section 23 of\n Calamus\n  in 1860 and was permanently retitled\n This Moment, Yearning and Thoughtful\n  in 1867.\n","On one leaf of pink paper (21 x 13 cm.), in black ink, with revisions in an even blacker ink and in pencil. Pinholes in center. The poem was originally numbered 53. In 1860 Whitman designated it section 25 of\n Calamus,\n  transforming the title into a new first line and expanding the original first line into verses 2-4. In 1867 he further revised it, permanently retitling it\n The Prairie-Grass Dividing.\n","On one leaf of pink paper (21 x 12.5 cm.), in black ink, with minor revisions in the same ink. Pinholes in center. This poem was originally numbered 83. With the addition of the new first lines \"We two boys\ntogether clinging,/ One the other never leaving...\" and attendant revisions it became section 26 of\n Calamus\n  in 1860, and was permanently retitled\n We Two Boys Together Clinging\n  in 1867.\n","On one light blue Williamsburgh tax blank (21.5 x 12 cm.), in dark brown ink, with revisions in fine pen and pencil. Whitman penciled in a question mark, in parentheses, next to the title. With the addition of\nthe new first line \"O love!\" this became section 27 of\n Calamus\n  in 1860. In the 1867\n Leaves\n  it was retitled\n O Living Always—Always Dying!\n  Whitman next transferred it to the\n Passage to India\n  supplement bound in with\n Leaves\n , where it reappeared in 1876; in the 1881\n Leaves\n  Whitman permanently added it to the cluster\n Whispers of Heavenly Death.\n","On one leaf of pink paper (22 x 13 cm.), in black ink, with revisions in the same ink. Pinholes mostly in center. The original title was\n Leaflet,\n  and the original number seems to have been 70. After substantial revision (including the addition of the new first line \"A promise and gift to California,\") this poem became section 30 of\n Calamus\n  in 1860. Whitman further revised the poem before including it, permanently retitled\n A Promise to California,\n  in the 1867\n Leaves\n .\n","On one leaf of pink paper (21.5 x 13 cm.), in black ink, with a fair copy of the poem at the bottom of the leaf and a deleted draft featuring heavy revisions in the same ink and in pencil at the top. This poem\nwas originally numbered 68, and its title was\n Leaflet—.\n  In 1860 it became the second numbered verse paragraph of section 31 of\n Calamus.\n  In 1867 Whitman split up the two paragraphs and made them separate poems; these verses were moved to a position between the\n Calamus\n  and a\n Leaves of Grass\n  cluster and permanently retitled\n What Place Is Besieged?\n  In 1881 the poem was transferred to the cluster\n Inscriptions.\n","On one leaf of white wove paper (15 x 9.5 cm.), in medium-brown ink, with one revision in the same ink. Pinholes mostly at top and in center. The two sets of verses are divided by a short horizontal line. In\n1860 the first set, with the addition of a new first line (\"Here my last words, and the most baffling,\") became section 44 of\n Calamus\n ; the poem was permanently retitled\n Here the Frailest Leaves of Me\n , and the new first line dropped, in 1867. The second set was revised to form section 38 of\n Calamus\n  in 1860; in 1867 it was further revised and retitled\n Fast Anchor'd, Eternal, O Love.\n","On one leaf of white wove paper (14.5 x 9 cm.), in black ink, with revisions in pencil. Pinholes in center and at top. A blue-pencil number 3 appears in the upper right corner over an erased 9. With substantial\nadditions and revisions this evolved into section 37 of\n Calamus\n  in 1860; after further revision it became\n A Leaf for Hand in Hand\n  in 1867.\n","On one leaf of white wove paper (14.5 x 9.5 cm.), in brown-black ink, with revisions in lighter ink (including the deletion, undone in 1860, of the phrase \"My likeness!\" after \"Earth!\"). Pinholes mostly at top\nand in center. Whitman penciled in the number 15 in the lower-left corner. Originally poem XI in the sequence\n Live Oak, with Moss\n  (with the Roman numeral ornamentally drawn), this was revised to become section 36 of\n Calamus\n  in 1860. In 1867 Whitman retitled the poem\n Earth! My Likeness!\n","On one leaf of white wove paper cut down to 9.5 x 9 cm., in brown-black ink, with revisions in pencil. Pinholes at top and in center. Whitman numbered the leaf 13, in pencil, in the lower-left corner. The\nexcised top portion of the leaf became the bottom section of page 2 (Vol. 1, p. 72), the poem (eighth in the sequence\n Live Oak, with Moss\n ) beginning \"Hours continuing long, sore/ and heavy-hearted...\" In 1860 this poem was substantially revised to form section 34 of\n Calamus\n ; in 1867 it was retitled\n I Dreamed in a Dream.\n","On a composite leaf of white wove paper consisting of two sections (8.5 x 9 and 6.5 x 9 cm.) pasted together. Both sections are in black ink but, as Bowers notes, the lower verses were inscribed using a darker,\nthicker pen; the upper section is unrevised, but the lower section bears several alterations in the original ink. Pinholes at top of both sections and in the current center. Whitman numbered the page 9, in pencil,\nin the lower-left corner. Originally the sixth section of the sequence\n Live Oak, with Moss,\n  this poem was revised to form section 32 of\n Calamus\n  in 1860, and in 1867 was retitled\n What Think You I Take My Pen in Hand?\n","On one leaf of white wove paper (15 x 9.5 cm.), in light brown ink, with one revision in the same ink. Pinholes at top and in center. A blue pencil mark, possibly the number 4, has been inscribed in the upper\nright corner. Bowers notes that the page bears the imprint of a papermaker's lozenge die, perhaps that of Platner and Smith of Lee, Massachusetts. This poem became section 39 of\n Calamus\n  in 1860; in 1867 Whitman replaced the third line with a new one and permanently retitled the poem\n Sometimes with One I Love.\n","On one leaf of white wove paper (15 x 9 cm.), in black ink, with revisions in the same ink and in pencil. Whitman also penciled in the page number 16 in the lower-left corner. Pinholes in center and at top.\nThis page bears the same papermaker's mark as Vol. 1, p. 136. Twelfth in the original sequence\n Live Oak, with Moss\n  (with ornamental Roman numeral), it became section 42 of\n Calamus\n  in 1860. In 1867 Whitman changed the poem to an apostrophe, adding the first line \"O Boy of the West!\" (later removed) and permanently retitling it\n To a Western Boy.\n","On one leaf of pink paper (21.5 x 13 cm.), in black ink, with revisions in the same ink, in pencil, and in fine ink (in that order). Pinholes mostly in center. Originally titled\n To Those Who Will Understand\n  and numbered 100 (then 101, then the current ?100 in the fine pen). This was revised to form section 41 of\n Calamus\n  in 1860 and was permanently retitled\n Among the Multitude\n  in the 1867\n Leaves\n .\n","On one leaf of white wove paper (14.5 x 9 cm.), in brown-black ink, with revisions in the same ink. Pinholes mostly at the top, with a few lower down. The tenth section of the original sequence\n Live Oak, with Moss\n  (with ornamental Roman numeral), this was reformatted and renumbered but otherwise left unrevised as section 43 of\n Calamus\n  in 1860. In 1867 Whitman permanently retitled it\n O You Whom I Often and Silently Come.\n","One one leaf of lined light blue wove paper (17 x 9.5 cm.), in pencil, with one pencil revision. Only two sets of pinholes, both in center. This was revised to become section 40 of\n Calamus\n  in 1860; in 1867 it was retitled\n That Shadow, My Likeness.\n","On one composite leaf of pink paper formed of two sections (10 x 13 and 11.5 x 13 cm.) of the same page cut apart and pasted together in a new order. The poem number was originally 101 and then changed to 102;\nthis number was deleted and the current ?101 added in fine pen. Bowers explains that the poem, in two discrete verse sections and inscribed in black ink (with title), originally occupied one full side of this\nleaf. When Whitman wanted to expand the first section without having to retranscribe the second one, he simply cut the two sections apart, flipped the first section over (turning it upside-down in the process),\npasted the second section to the lower edge of the verso of the first section, and wrote his new first section (beginning \"Throwing far, throwing over the head/ of death\" and incorporating the original title as\nverse 3) in the blank space now created above the second section. The new first section is written and revised in light ink. As Bradley and Blodgett observe, the words \"thirty-eight years old the/ eighty-first\nyear of The States\" indicate that Whitman composed the poem in 1857; these were revised to read \"I, forty years old the Eighty-third Year of The States\" in the 1860\n Leaves\n , in which this poem constituted section 45 of\n Calamus.\n  In 1867 Whitman retitled the poem\n Full of Life, Now.\n","These fourteen poems were revised to form sections 4, 7-14, and 16-20 of the new cluster\n Chants Democratic and Native American\n  in the 1860 edition of\n Leaves of Grass.\n  In 1867 Whitman disbanded the cluster, and each poem then or later on received an individual title. This grouping carries over into Volume 2.\n","On sixteen leaves of pink paper, all basically the same size (21.5 x 13 cm.) and all in black ink, with a fair number of revisions in the same ink, in a darker ink, and in pencil. Multiple pinholes in the\ncenter, and also some at the top, of each leaf. This poem was originally numbered 89. Whitman also numbered each leaf in the lower-left corner in pencil: the leaves follow the order 1-9, 9 1/2 (a full page despite\nits number), and 10-15. The expression \"the Eightieth year of/ These States\" at the top of leaf 2 indicates, as Bradley and Blodgett note, that Whitman was working on this poem as early as 1856. It became section\n4 of\n Chants Democratic\n  in 1860. In 1867 Whitman ungrouped it and retitled the poem\n American Feuillage,\n  a name it kept until being permanently retitled\n Our Old Feuillage\n  in 1881. The lines on the manuscript leaves correspond to these verses in the 1860 edition: leaf 1 to verses 1-6; leaf 2 (\"The area the Eightieth year of/ These States,...\") to 7-12; leaf 3 (\"Always The\nWest, with strong native/ persons,...\") to 13-18; leaf 4 (\"In their northerly wilds, beasts of/ prey...\") to 19-24; leaf 5 (\"On solid land what is done/ in cities...\") to 25-29; leaf 6 (\"Rude boats descending the\nBig/ Pedee—...\") to 30-34; leaf 7 (\"Southern fishermen fishing—...\") to 35-38; leaf 8 (\"In Virginia, the planter's son/ returning...\" to 39-42; leaf 9 (\"Northward, young men of/ Mannahatta—...\")\nto 43-45; leaf 9 1/2 (\"The Texas cotton-field and/ the negro-cabins—...\") to 46-50; leaf 10 (\"The drama of the scalp-dance\") to 51-58; leaf 11 (\"The country-boy at the close/ of the day...\") to 59-61 and 63;\nleaf 12 (\"The athletic American matron\") to 64-70; leaf 13 (\"Otherways there, atwixt the banks/ of the Arkansaw,...\") to 71-73; leaf 14 (\"The migrating flock of wild-/geese...\") to 74-75; and leaf 15 (\"In the\nMannahatta, streets, piers,\") to verses 76-77 and 79-83.\n","On six leaves of pink paper, all 21 x 13 cm. in size, and all in the same black ink, with revisions in that ink, in a fine pen, in pencil, and in light ink. Each leaf has a pinhole cluster in the center and a\nfew pinholes in the left margin. The deleted title is\n Poemet—.\n  As Bowers notes,\n Evolutions.—\n  is written in the light ink, and the number \"41—\" in a darker ink than the text. Whitman numbered each leaf in pencil in the upper right corner. As Bradley and Blodgett note, this poem was first\npublished in the January 14, 1860 issue of the\n New York Saturday Press\n  under the title\n You and Me and To-day,\n  after which it became section 7 of\n Chants Democratic\n  in the 1860\n Leaves\n . In 1867 Whitman ungrouped it and permanently retitled it\n With Antecedents\n ; in 1881 it was permanently transferred to the new cluster\n Birds of Passage.\n  The manuscript leaves correspond to the published verses in the 1860\n Leaves\n  as follows: leaf 1 to verses 1-7; leaf 2 (\"With the sale of slaves—\") to verses 8-13; leaf 3 (\"With this year, sending itself/ ahead...\") to verses 15-22; leaf 4 (\"I have the idea of all, and/ am\nall,...\") to verses 24-30; leaf 5 (\"I promulge that all past/ days...\") to verses 31-38; and leaf 6 (\"And that there is no untruth/ in time...\") to verses 40-41.\n","On six leaves of pink paper, the first a composite leaf measuring 25.5 x 12.5 cm. and the rest standard-sized leaves of 21.5 x 12.5 cm. In black ink, with extensive revisions in the same ink, in pencil, and,\nfinally, in light ink. Whitman also numbered each leaf, in pencil, in the upper right corner. Each leaf has a pinhole cluster in the center and a few holes in the left margin. The first leaf consists of an\nexpanded opening section (title and three verses) in light ink inscribed on a small section of pink paper (9.5 x 12.5 cm.) pasted to what Whitman left (18 x 12 cm.) of the original leaf after apparently excising\nthe original opening verse(s). The lower left corner of this first leaf, with part of two or three words, has been worn away. In the 1860 edition of\n Leaves\n  Whitman published this poem as section 8 of\n Chants Democratic.\n  In 1867, Bradley and Blodgett note, he gave it the permanent title\n Song at Sunset\n  and moved it to the supplement\n Songs Before Parting\n ; in 1871 it was finally transferred to the cluster\n Songs of Parting\n  within the main body of\n Leaves\n . The leaves correspond to the verses in the 1860\n Chants Democratic\n  version as follows: leaf 1 to verses 1-12; leaf 2 (\"Illustrious the yet shining light!\") to verses 13-25; leaf 3 (\"To speak! To walk! To/ seize something by the/ hand!\") to verses 26-34; leaf 4 (\"How the\nwater sports and/ sings!...) to verses 35-42; leaf 5 (\"I too throb to the brain...\") to verses 43-49; and leaf 6 (\"As I roamed the streets of/ inland Chicago—...\") to verses 50-59.\n","On two leaves of pink paper, in black ink, with heavy revisions in the same ink, in pencil, in fine pen (very black ink), and in light ink. With the fine pen Whitman inscribed and circled the note \"2d/ piece/\nin Book\" in the upper-right corner of the first leaf. The first leaf is a standard page measuring 21.5 x 13 cm., while the second is a composite of two sections pasted together, the top section measuring 6 x 13\nand the bottom one 18.5 x 12.5 cm. The small top section is inscribed in light ink on the verso of some deleted draft verses excised from\n So Long!\n  (see Vol. 2, pp. 153-159); Bowers observes that Whitman seems to have cut away the original first verse(s) in order to attach this expanded verse (in light ink) to the main body of original verses.\n Thought\n  became section 9 of\n Chants Democratic\n  in 1860. In the 1867\n Leaves\n  Whitman combined it with the second\n Thought\n  (Vol. 2, pp. 21 - 22) to form the poem\n Thoughts\n  in the supplement\n Songs Before Parting.\n  (This particular\n Thought\n  was numbered section 1 of the composite poem.) In 1871\n Thoughts\n  appeared in the cluster\n Songs of Parting\n  within the main body of\n Leaves\n , and in 1881, Bradley and Blodgett note, it achieved its final position within that cluster. The leaves correspond to the verses in the 1860\n Chants Democratic\n  version as follows: leaf 1 to verses 1-6, and leaf 2 (\"How the great cities appear—\") to verses 7-14.\n","On two leaves of pink paper, the first a composite leaf consisting of a small section pasted to a larger one (9 x 12.5 and 17.5 x 13.5 cm.), and the second a normal leaf measuring 21 x 13.5 cm. In black ink,\nwith extensive revisions in the same ink, in fine pen, and in light ink. The paste-on revision is in light ink, and contains an expanded version of the original lines Whitman cut away and apparently discarded. The\nverso of the paste-on section contains, as Bowers notes, five undeleted draft lines that would become the final verses of\n Proto-Leaf\n  in the 1860\n Leaves\n ; Whitman's small note in the lower-right corner, in a semi-circle, reads \"end of Poem\" (see Vol. 1, p. 33 for a later version of these lines). This\n Thought\n  became section 11 of\n Chants Democratic\n  in 1860; in 1867 Whitman made it section 2 of the composite poem\n Thoughts\n , and the two\n Thought\n  poems were indivisible from that point on (see 2:1:3 for details). Leaf 1 corresponds to verses 9-15 in the\n Chants Democratic\n  version and leaf 2 (\"Of the new and good names—\") to verses 16-22.\n","On one large composite leaf of white lined laid paper, consisting of two pieces (measuring 20 x 16 and 11 x 16 cm.) pasted together. In dark brown ink, with heavy revisions in the same ink, in a darker ink, and\nin pencil. On the verso of both pieces appear fragments of extensive pencil notes for a speech or essay Whitman wrote (most likely) in 1856, and revised in 1858, under the working title\n Slavery—the Slaveholders—/ —The Constitution—the/ true America and Ameri-/cans, the laboring persons—.\n  The lines seem to represent fragments of an earlier, discarded draft of a manuscript currently housed at Duke University. See p. 2185 in vol. 6,\n Notes and Index\n , of Edward F. Grier's edition of Whitman's\n Notebooks and Unpublished Prose Manuscripts\n  in\n The Collected Writings of Walt Whitman\n  (New York: New York University Press, 1984). See the verso of\n To a Cantatrice.—\n  (Vol. 2, p. 92), inscribed on the same paper, for an additional fragment of the draft. After undergoing extensive revisions, in 1860\n To a Historian\n  became section 10 of\n Chants Democratic.\n  In 1867 Whitman deleted five verses, transferred the poem to the supplement\n Songs Before Parting,\n  and permanently retitled it\n To a Historian.\n  It appeared as the fifth poem in the opening cluster\n Inscriptions\n  in the 1872 and all later editions of\n Leaves\n .\n","On five leaves of pink paper (all roughly 22 x 13.5 cm.), in black ink, with extensive alterations in the same ink, in pencil, and in light ink. Pinhole cluster in center of each leaf. As Bowers notes, the poem\nwas originally numbered 67, and the partly erased pencil note \"Needs to be/ re-written/ or excluded\" appears in the upper-right corner of the first leaf. Whitman also numbered the leaves in pencil in their lower-\nleft corners. The leaves correspond to verses in section 12 of\n Chants Democratic\n  in the 1860\n Leaves\n  as follows: leaf 1 to verses 1-7; leaf 2 (\"Come duly to the divine/ power to use words?\") to verses 8-13; leaf 3 (\"Then toward that man or/ that woman...\") to verses 14-16; leaf 4 (\"O Now I see arise\norators/ fit for America,\") to verses 17-19; leaf 5 (\"Of a great vocalism, when/ you hear it,...\") to verses 20-26. After excising and altering numerous verses of the poem and numbering different verse paragraphs\nfor the\n Chants Democratic\n  version, Whitman next made the poem the second numbered section of the last\n Leaves of Grass\n  cluster in the 1867 edition of\n Leaves\n . From 1872 to 1876 it bore the title\n To Oratists.\n  Then, in 1881, Whitman deleted several lines, joining this poem with a previously unconnected poem known as\n Voices\n  to form\n Vocalism\n  in the cluster\n Autumn Rivulets,\n  a position and identity the now-composite poem retained from that point on.\n","On three leaves of pink paper (the first cut down to 19.5 x 12.5 cm., the second two measuring 21.5 x 12.5 cm.), in black ink, with revisions in the same ink, in fine pen, in pencil, and in light ink (including\nthe title). A partial horizontal line at the top of the first leaf indicates that Whitman cut away the original title and number; Bowers notes that in a list of his poems Whitman refers to this poem as\n 38. Walt Whitman's Laws.\n  Pinholes clustered mostly in center of each leaf, with some in the left margins and at least one pair in the upper right corner. Whitman numbered each leaf in pencil in the lower left corner. These pages\nwere transformed into section 13 of\n Chants Democratic\n  in the 1860\n Leaves\n  as follows: Leaf 1 to verses 1-6; Leaf 2 (\"Statements, models, censuses,\") to verses 7-12; Leaf 3 (\"What do you suppose Creation/ is?\") to verses 13-18. A pencil paragraph mark appears in the upper left\ncorner of the third leaf; the verses on it formed the third numbered sub-section of the poem in 1860. In 1867 it was greatly shortened and transferred to the final\n Leaves of Grass\n  cluster in\n Leaves\n . In 1872 the poem was permanently retitled\n Laws for Creations\n  Its final position was in the cluster\n Autumn Rivulets\n  Three earlier pencil drafts of most of the lines on Leaf 1 and some on Leaf 2 are housed under accession number 3829-i (see\n [Laws for Creations]\n ).\n","On two sides of a single page of white wove paper (20 x 16 cm.) folded to form a pamphlet. In light brown ink with only one minor revision. Pinholes in the left margin when folded. Whitman numbered the\ninscribed sides of the leaf 1 and 2, in pencil, in the upper right corners. Side 1 corresponds to verses 1-9 of section 14 of\n Chants Democratic\n  in the 1860\n Leaves\n ; side 2 (\"I expect that Kanadians,\") became verses 10-16 of that version. In 1867 it was shortened to make up section 4 of the final\n Leaves of Grass\n  cluster in\n Leaves\n . In 1872 it was permanently retitled\n Poets to Come\n  and transferred to the cluster\n The Answerer,\n  where it stayed until being moved to the\n Inscriptions\n  cluster in 1881.\n","On two leaves of pink paper (21.5 x 12.5 cm.), in black ink, with extensive revisions in the same ink, in a fine pen, and in light ink. Pinholes in center and at top of both leaves. This became section 16 of\n Chants Democratic\n  in 1860, with Leaf 1 corresponding to verses 1-6 and Leaf 2 (\"They shall train themselves/ to go in public,...\") to verses 7-11. In 1867 Whitman restored the title\n Mediums\n ; in 1871, Bradley and Blodgett note, it was transferred to\n Passage to India\n , and in 1881 took its final position in the cluster\n From Noon to Starry Night.\n","On two leaves of pink paper (both 21.5 x 13 cm.), in black ink, with revisions in the same ink, in a fine pen, and in light ink. Pinholes in center and in left margin. The poem was originally numbered 50.\nWhitman penciled in a question mark, in parentheses, in the upper-right corner. This became section 17 of\n Chants Democratic\n  in the 1860\n Leaves\n , with leaf 1 corresponding to verses 1-6 and leaf 2 (\"We confer on equal terms with/ each of The States,\") to verses 7-13. Although he dropped it from\n Leaves\n  in 1867, Whitman nonetheless used the poem, permanently retitled\n On Journeys through the States,\n  in\n Passage to India\n  in 1871. In 1872 and 1876 it appeared in the\n Passage to India\n  annexes to\n Leaves\n  and\n Two Rivulets\n , respectively, and in the 1881\n Leaves\n  it took its final position in the cluster\n Inscriptions.\n","On one leaf of pink paper (21 x 13 cm.), in black ink, with revisions in the same ink and in a blacker ink. A few pinholes in the center and left margin. Originally numbered 73. This became section 18 of\n Chants Democratic\n  in 1860; in 1867 it was permanently retitled\n Me Imperturbe,\n  and after various repositionings was finally transferred to the cluster\n Inscriptions\n  in 1881.\n","On one leaf of pink paper (21 x 13 cm.), in black ink and pencil, with revisions in the same ink, in fine pen (blacker ink), and possibly one more type of ink. Originally numbered 75; the pencil title\n Leaflet\n  appears, deleted, in the upper-right corner. Pinholes in center and in left margin (towards center and top). This became section 19 of\n Chants Democratic\n  in 1860; in 1867 it was permanently retitled\n I Was Looking a Long While,\n  and in 1881 was assigned to the cluster\n Autumn Rivulets.\n","On two leaves of pink paper (21.5 x 13 cm.), in black ink, with revisions in the same ink, in a lighter ink, and in the final light ink. Originally numbered 54 and titled\n Leaf.—\n ; Bowers notes that the title was next\n Songs—always wanted\n  and then\n Mouth-Songs.\n  Pinholes in center and upper-left corner of each leaf. This became section 20 of\n Chants Democratic\n  in 1860, with leaf 1 corresponding to verses 1-6 and leaf 2 (\"The delicious singing of the/ mother...\") to verses 8-10. In 1867 Whitman revised the first line and permanently retitled the poem\n I Hear America Singing\n ; in 1881 it achieved its final position in the cluster\n Inscriptions.\n","These eight poems were revised to constitute sections 13, 15-19, and 21-22 of the cluster\n Leaves of Grass\n  in the 1860 edition of\n Leaves\n ; in later editions they were revised and transferred to different clusters.\n","On the verso of three light blue Williamsburgh tax blanks (21.5 x 12 cm.), in medium-black ink, with revisions in the same ink and a lighter one. Pinholes in center and top of each leaf. After undergoing\nsubstantial deletions and revisions this poem became section 13 of the cluster\n Leaves of Grass\n  in 1860, with the manuscript leaves corresponding to the published version as follows: leaf 1 to numbered verse paragraphs 1 (now beginning \"O bitter sprig! Confession sprig!\") through 3 and 5; leaf 2\n(\"You felons on trial in courts,\") to 4 and most of 6; and leaf 3 (\"And I say I am of them—\") to the rest of 6. In 1867 Whitman permanently retitled the poem\n You Felons on Trial in Courts\n  and further shortened it by removing the first three verse paragraphs. The poem's final position, in 1881, was in the cluster\n Autumn Rivulets.\n","On three leaves of pink paper (all roughly 20 x 13 cm.), in medium-black ink, with revisions in the same ink, in black ink, and in light ink (including the title). As Bowers notes, Whitman cut off and flipped\nover the top section of the first leaf, gluing it to the rest of the leaf, in order to transform the original first line into the title. (The current verso of the top section still bears, undeleted, the first line\n\"Night on the prairies[,]\" along with the title\n Leaf.—\n  and the number 73, originally 72). Pinholes in center and in upper-left margin of each leaf. Whitman deleted the pencil numbers 16, 17, and 18 in the lower-left corner of the leaves, substituting the\nnumbers 1 through 3. This poem became section 15 of the cluster\n Leaves of Grass\n  in 1860, with the leaves corresponding to the published lines as follows: leaf 1 to numbered verse paragraphs 1-3 and half of 4; leaf 2 (\"I was thinking this globe/ enough for me...\") to the second half\nof 4, and 5; leaf 3 (\"O I see now that life/ cannot exhibit all...\") to verse paragraph 6. In 1867 Whitman restored the title\n Night on the Prairies\n  and revised the poem, transferring it and the two poems that follow it here to a different\n Leaves of Grass\n  group. After other repositionings it achieved its current place in the cluster\n Whispers of Heavenly Death\n  in 1881.\n","On two leaves of pink paper (both roughly 22 x 13 cm.), in black ink, with no revisions in the verses. (The poem itself was originally numbered 71). Pinholes in center and upper half of left margin of both\nleaves. Leaf 1 corresponds to verses 1-5 in section 16 of the 1860\n Leaves\n  cluster\n Leaves of Grass,\n  in which the poem was first published; leaf 2 (\"Vast sluggish existences/ grazing there,...\") corresponds to verses 6-11. In 1867 Whitman transferred this to a different\n Leaves of Grass\n  group with the poems that would become\n Night on the Prairies\n  and\n I Sit and Look Out.\n  After receiving the title\n The World Below the Brine\n  in the 1871\n Sea-Shore Memories\n  group of\n Passage to India\n , Bradley and Blodgett note, the final change was its transfer to the cluster\n Sea Drift\n  within the main body of\n Leaves\n  in 1881.\n","On two leaves of pink paper (21.5 x 13 cm.), in black ink, with revisions in pencil and fine pen. Pinholes in center and at top of both leaves. Originally numbered 77. This became section 17 of the cluster\n Leaves of Grass\n  in the 1860\n Leaves\n , with leaf 1 corresponding to verses 1-6 and leaf 2 (\"I observe a famine at sea—\") to verses 7-10. In 1867 it was transferred to the same new\n Leaves of Grass\n  group as Vol. 2, pp. 57 - 59 and Vol. 2, pp. 61 - 62, in the original order. In 1872 Whitman placed it in a different\n Leaves of Grass\n  group under the title\n I Sit and Look Out,\n  and in 1881 it took its final place in the cluster\n By the Roadside.\n","On four leaves of pink paper measuring roughly 21.5 x 13 (leaves 1 and 3-4) and 19.5 x 13 cm. (leaf 2). In medium-black ink, with extensive deletions and revisions in the same ink, a blacker ink, light ink, and\npencil. The second leaf is a composite formed when Whitman deleted and cut away the original first two verses on the leaf, flipped the new small section (7 x 13 cm.) over and upside-down, pasted it to the foot of\nthe remaining original verses (14.5 x 13 cm.), and inscribed a verse in light ink on the newly created blank space. Pinholes at top, in left margin, and in original and (in the case of the second leaf) current\ncenter of each leaf. This poem became section 18 of the cluster\n Leaves of Grass\n  in the 1860\n Leaves\n , with leaf 1 corresponding to part of numbered verse paragraph 1, leaf 2 (\"Discovering to-day there is/ no lie,...\") to the rest of paragraph 1 and to 2, leaf 3 (\"Where has failed a perfect/ return\nindifferent of lies or the truth?\") to paragraph 3 and part of 4, and leaf 4 (\"And that the truth includes/ all,...\") to the rest of paragraph 4. In 1872 the poem received the title\n All is Truth,\n  and in 1881, after various repositionings, it was finally transferred to the cluster\n From Noon to Starry Night.\n","On one composite leaf formed by the pasting together of three sections of pink paper (6.5 x 13, 8 x 13, and 12.5 x 13 cm.). The top section (consisting of the title and first verse) is inscribed in the light\nrevising ink, and the lower two sections are in the same black ink. The bottom section contains revisions in fine pen (very black ink). As Bowers notes, pinholes towards the foot of the bottom section indicate\nthat it was originally the top of a full leaf; the only other pinholes appear near the top of the middle section. This poem became section 19 of the cluster\n Leaves of Grass\n  in the 1860\n Leaves\n ; in 1867 Whitman moved it to a different\n Leaves of Grass\n  group in the\n Songs Before Parting\n  annex. In 1872 it was retitled\n Germs\n  and was ultimately transferred, in 1881, to the cluster\n By the Roadside.\n","On two leaves of pink paper (21 x 13 cm.), in black ink, with revisions in a fine pen (blacker ink) and the light ink. Pinholes in center and towards middle-left margin of both leaves. This became section 21 of\nthe cluster\n Leaves of Grass\n  in the 1860 edition of\n Leaves\n , with leaf 1 corresponding to the first three numbered verse paragraphs and leaf 2 (\"Now I believe that all/ waits for the right voices;\") to numbers 4-5. In 1867 Whitman placed it after what would\neventually become\n All is Truth\n  and\n Germs\n  (see Vol. 2, pp. 70 - 73 and Vol. 2, p. 75) as section 3 of a\n Leaves of Grass\n  group in the annex\n Songs Before Parting.\n  In 1872 Whitman restored the title\n Voices.\n  In 1881 he dropped the first two verses and added\n Voices\n  (as verse paragraph 2) to the previously unrelated poem\n To Oratists\n  to form\n Vocalism\n  in the cluster\n Autumn Rivulets\n  (see Vol. 2, pp. 27 - 31).\n","On one leaf of pink paper (21 x 13 cm.), with the title and first verse in black ink and the remaining section in light black ink or fine pen. Heavy revisions in the same inks, pencil, and a fine pen (very\nblack ink). Pinholes mostly in center and upper-left margin. This became section 22 of the cluster\n Leaves of Grass\n  in the 1860 edition of\n Leaves\n . In 1867 Whitman dropped the second 1860 verse and made it section 4 of a\n Leaves of Grass\n  group in the annex\n Songs Before Parting\n  (see Vol. 2, pp. 70-78). Whitman gave it the title\n What Am I After All\n  in\n Passage to India\n  (1871), and in 1881 it was finally transferred to the cluster\n Autumn Rivulets.\n","These poems were revised for publication, with independent titles, in the cluster\n Messenger Leaves\n  in the 1860 edition of\n Leaves\n . Between 1860 and the next edition, in 1867, Whitman disbanded the cluster and transferred the poems elsewhere in the book.\n","On two leaves of pink paper (both 21 x 13 cm.), in black ink, with revisions in the same ink, in pencil, and in fine pen. Pinholes in center and at top of both leaves. Originally numbered 95. This was published\nunder the same title, with only minor revisions, in the 1860\n Messenger Leaves\n  cluster. In 1871, Bradley and Blodgett note, Whitman made small but significant additions to the poem and transferred it to the supplement\n Passage to India.\n  In 1881 it was finally moved to the cluster\n Whispers of Heavenly Death.\n","On one leaf of pink paper (21 x 13 cm.), in black ink on recto and verso (in a finer pen), with revisions in the same inks and, on the recto, pencil and the light revising ink. A very few pinholes toward\ncenter. The interesting deleted verses on the back of the leaf represent an earlier version of the manuscript poem\n To the Future,\n  unpublished until 1959 and currently housed in the Huntington Library.\n To Rich Givers—\n  was originally numbered 98. In 1860 it formed part of the\n Messenger Leaves\n  cluster under the same title. After being ungrouped (1867) and transferred to the cluster\n Songs of Parting\n  (1872 and 1876), it finally appeared, in 1881, in the cluster\n By the Roadside.\n","On one light blue Williamsburgh tax blank (21 x 12 cm.) in black ink (fine pen) with revisions in the same ink and the title in light ink. The original title, it seems, was cut away. No pinholes. This was\nrevised somewhat and published under the same title in the\n Messenger Leaves\n  cluster of the 1860\n Leaves\n . It was ungrouped in 1867, transferred to a\n Leaves of Grass\n  group within the\n Passage to India\n  supplement in 1872 (also 1876), and finally moved to the cluster\n Autumn Rivulets\n  within\n Leaves\n  in 1881.\n","On two leaves of pink paper (21 x 13 cm.), in black ink and pencil, with revisions in pencil, in the original ink, and in fine pen. Whitman wrote and deleted the date 1858 in blue pencil in the upper right\ncorner of the first leaf, and inscribed the same date in normal pencil in the lower left corner of the second leaf. Multiple pinholes in center and left margin of both leaves. This became\n To The States,/ To Identify the 16th, 17th, or 18th Presidentiad\n  in the cluster\n Messenger Leaves\n  in the 1860\n Leaves\n . Ungrouped in 1867, it was transferred in 1872 to a\n Leaves of Grass\n  group within the main body of\n Leaves\n . In 1881 it was finally transferred to the cluster\n By the Roadside\n  Bradley and Blodgett observe that in his 1860\n Blue Book Copy\n  edition of\n Leaves\n  Whitman gave the dates of composition for the poem as \"1857-8-9\"; these editors also recommend comparing the poem with Whitman's pamphlet\n The Eighteenth Presidency!,\n  edited by Edward F. Grier.\n","On one section (9 x 16 cm.) of the same leaf of white ruled laid paper used for\n To a Historian,\n  in the same dark-brown ink, and with another fragment of the same pencil draft of the speech or essay\n Slavery—the Slaveholders—/ —The Constitution—the/ true America and Ameri-/ cans, the laboring persons.—\n  on verso (see Vol. 2, p. 25). Revisions in the same ink and in pencil. This was first titled\n To an artist,\n  then\n To an architect\n ; the smudged-out words \"Lecture[s]/ To\" appear in light ink in the upper-left corner. This was revised and published under the same title in the\n Messenger Leaves\n  cluster of 1860. After being ungrouped and permanently retitled\n To A Certain Cantatrice\n  in 1867, it was revised for inclusion in the cluster\n Songs of Insurrection\n  in the 1872 and 1876\n Leaves\n . In 1881 it was finally transferred to the cluster\n Inscriptions.\n","On one composite leaf consisting of two sections of pink paper (9 x 12.5 and 20 x 13 cm.) pasted together. Both sections in black ink (the upper section with a finer pen), with revisions in the same ink, in\nfine pen, and in light ink (the section numbers). Beneath the pasted-over section can be discerned a second title, also\n To You,\n  with the number 91 (mended from 90). In the 1860\n Leaves\n  Whitman divided the poems again, publishing them in reverse order under the same titles at the end of the cluster\n Messenger Leaves.\n  Section 1 was eventually published (1881) as one of the poems in the cluster\n Inscriptions,\n  but Whitman dropped section 2 from his published poems after an 1876 appearance in the supplement\n Passage to India.\n","These poems were published without a group title, roughly in the following order, after the\n Messenger Leaves\n  cluster in the 1860 edition of\n Leaves\n . In later editions they were transferred to different positions in the book.\n","On five leaves of pink paper (all 21 x 13 cm.) mounted on white paper stubs and joined into a booklet with linen tape. In black ink, with revisions in the same ink, in fine pen (blacker ink), and in light\nrevising ink. Originally numbered 56; Whitman numbered each leaf in pencil in the lower-left corner from 1 to 5. Pinhole clusters mostly in center of each leaf. The leaves correspond to the 1860 published version\nas follows: leaf 1 to verses 1-4; leaf 2 (\"Rich, hemmed thick all around with sailships\") to verses 5-9; leaf 3 (\"The down-town streets,\") to verses 10-14; leaf 4 (\"The mechanics of the city,\") to verses 15-19;\nleaf 5 (\"The beautiful city! The city of hurried and sparkling waters...\") to verses 20-23. In the 1872\n Leaves\n  it was transferred to a\n Leaves of Grass\n  group, and in 1881 took its final position in the cluster\n From Noon to Starry Night.\n","On eighteen leaves of pink paper and two of white wove paper, numbered in pencil by a collector (in the upper-right corners), and described individually as follows. (See Bowers 196-215 for more details.) Leaf 1\n(21.5 x 13 cm.): pink paper, in black ink, with revisions in the same ink, a blacker ink (the number 36), and the light revising ink. Multiple pinholes in center and left margin. Corresponds to verse paragraphs 1-\n4 in the 1860 published version. Leaves 2-3 (21.5 x 13 cm.): pink paper, in black ink, with revisions in pencil, in blacker ink, and in the light ink. Multiple pinholes in center and left margin. Whitman penciled\nin the numbers 56a and 56b at the top of the leaves, and also (possibly) a number 5 in the upper-left corner of leaf 2. These leaves correspond to verse paragraphs 5-8 and 9-12. Leaf 4 (21 x 13 cm.): pink paper\n(21.5 x 13 cm.), in black ink, with revisions in the same ink and light ink. Originally titled\n Contact\n  and inscribed, as Bowers notes, as if it were the beginning of a major independent poem. The final verse was deleted with pencil strokes, but these strokes were erased. Multiple pinholes in center and at\ntop. Corresponds to verse paragraphs 13-14 in the published version. Leaves 5-8 (all roughly 21 x 13 cm.): pink paper, in black ink, with revisions in pencil, in blacker ink, in fine pen (very black ink), and in\nlight ink. Multiple pinholes in center and at top. Leaves 5-7 bear the deleted pencil numbers 2-4 in the lower left corner; leaf 8 bears the undeleted number 5, as well as the pencil number 2 at the top. Leaf 7\nhas an undeleted pencil 1 in the same position, as well as Whitman's pencil note \"Fifth Month\" above the word \"May\" in the first line. These leaves correspond to verse paragraphs 14 through 16 (verses 1-3); 16\n(verse 4) through 18 (verse 1); 18 (2-5) through 19 (1-2); and 19 (3-6) through 20. Leaves 9-10: pink paper (the first 21 x 13 cm., the second cut down to 14.5 x 13 cm.), in black ink, with revisions in fine pen\n(very black ink), in pencil, and in light ink. The section excised from leaf 10 was pasted, as Bowers notes, to the foot of what is now leaf 12. Multiple pinholes in the (original) center and at the top of both\nleaves. These leaves bear the deleted pencil numbers 6 and 6 1/2 (lower left corner) and the undeleted numbers 3 and 4 (at top). They correspond to verse paragraphs 21 through 23 (verses 1-3) and 23 (verses 4-8).\nLeaves 11-12: white wove paper (both 20 x 15.5 cm., with a 7.5 x 13 cm. pink-paper section from leaf 10 pasted to leaf 12), in dark ink (thick pen), with revisions in the same ink, in pencil, and in light ink.\nMultiple pinholes in center and at top. These leaves bear the deleted pencil numbers 15 and 16 (lower left corner) and the undeleted numbers 5-6 (at top). The lines inscribed on the white pages correspond to\nverses 1-10 and 11-13 of verse paragraph 24; the three pink-paper verses correspond to paragraph 25. Leaves 13-14: pink paper (21 x 13 cm.), in black ink, with revisions in the same ink and fine pen. Multiple\npinholes in center and at top. These leaves bear the deleted pencil numbers 7-8 (lower left corner), and leaf 13 still carries the number 7 at the top. They correspond to verse paragraphs 26-27 (verse 1) and 27\n(verses 2-6). Leaves 15-20: pink paper (all roughly 21 x 13 cm.), in black ink, with revisions in the same ink, in pencil, in fine pen (very black ink), and in light ink. Multiple pinholes in center and at top.\nThese leaves bear the deleted pencil numbers 14 and 9-13 (lower-left corner), although the number 11 on leaf 18 is undeleted. They correspond to verse paragraphs 28-29, 30-31, 32-34 (with a pencil X to the right\nof the last lines on this leaf [leaf 17]), 35-36, 37-39, and 40-41.\n Poem of Joys,\n  which was never grouped in a\n Leaves\n  cluster, became\n Poems of Joy\n  in 1867, but reverted to the original title in its next two iterations (in the\n Passage to India\n  supplement of 1872 and 1876). In 1881 it was finally titled\n A Song of Joys\n  and left independent of any cluster.\n","On five leaves of pink paper (all between 21-22.5 x 13-13.5 cm.), in black ink, with heavy revisions in the same ink, in fine pen (blacker ink), in pencil, and in light ink. Multiple pinholes in center, and a\nfew in left margin, of each leaf. Originally numbered 86; Whitman also numbered the leaves 1-5 (in pencil, lower left corner), with the 1 replacing a 6 and the 2 written over what looks like a 7. The leaves\ncorrespond to the 1860 published version\n France,/ The 18th Year of These States\n  as follows: leaf 1 to numbered sections 1 through 2 (verses 1-3); leaf 2 (\"I was not so deadly/ sick...\") to sections 2 (verses 4-5) through 4 (verse 1); leaf 3 (\"I myself keep the blaze,\") to sections 4\n(verses 2-5) through 5 (verses 1-3); leaf 4 (\"And from to-day, sad and/ cogent,...\") to verses 4-8 of section 5; and leaf 5 (\"O I think now/ The east wind...\") to the remaining four verses of section 5. Although\nWhitman never changed the title, and did not revise the poem much, he did transfer it twice, grouping it in the cluster\n Songs of Insurrection\n  within the main body of\n Leaves\n  in 1872 and 1872, and in 1881 finally transferring it to the new cluster\n Birds of Passage\n  within\n Leaves\n .\n","On five leaves of pink paper (21 x 13 cm.), in black ink, with revisions in the same ink, in a blacker ink (fine and thicker pen), and in light ink. Originally numbered 81, with the note \"?/(Leaf of)\" above the\nnumber and title. Whitman numbered the leaves 1-5 in pencil in the lower left corners. Pinholes in center and left margin of each leaf. The leaves correspond to the numbered sections of the 1860 published version\n(same title) as follows: leaf 1 to section 1 (verses 1-6); leaf 2 (\"What of liberty and slavery/ among them,\") to the remaining three verses of section 1 and to section 2; leaf 3 (\"Afar they stand—yet near/\nto me they stand,\") to section 3; leaf 4 (\"Are they gone? those/ billions of men?\") to sections 4 through 5; and leaf 5 (\"I believe that was not the/ end of those nations\") to section 6. In the 1872\n Leaves\n  Whitman transferred the poem to a\n Leaves of Grass\n  group, and in 1881 it was finally moved, after several revisions through the different published versions, to the cluster\n Autumn Rivulets.\n","On two leaves of pink paper (21.5 x 12.5 cm.), in black ink, with revisions in the same ink, in pencil, in blacker ink, in fine pen (very black ink), and in light ink. Originally numbered 55. Pinholes in center\nand left margin. Leaf 1 corresponds to verses 1-6 of the 1860 version, and the lines on leaf 2 (\"Who out of the theory of the/ earth,...\") correspond to verses 7-10. Revised very little through the different\neditions,\n Kosmos\n  appeared in 1872 and 1876 in a\n Leaves of Grass\n  group in the supplement\n Passage to India.\n  In 1881 it was finally transferred to the cluster\n Autumn Rivulets\n  within the main body of\n Leaves\n .\n","On one leaf of pink paper (21 x 13 cm.), in black ink, with revisions in a fine pen (blacker ink) and light ink, including the title. Originally titled\n Looking-Glass\n  and numbered 82. A few pinholes in center and left margin. This poem was titled but ungrouped until 1881, when Whitman finally placed it in the cluster\n By the Roadside.\n","On one leaf of pink paper (21 x 13 cm.), in black ink, with revisions in a fine pen (blacker ink) and pencil. Only two or three pinholes in center. Originally numbered 52. Ungrouped in the 1860 and 1867\n Leaves\n , this poem, according to Bradley and Blodgett, was transferred to\n Passage to India\n  in 1871 and from there to\n Leaves of Grass\n  groups in the\n Passage to India\n  annexes of the 1872\n Leaves\n  and the 1876\n Two Rivulets.\n  From there it was moved, finally (in 1881), to the\n Inscriptions\n  cluster within the main body of\n Leaves\n .\n","On five leaves of pink paper (all between 21 and 21.5 x 12.5 and 13 cm.), in black ink, with extensive revisions in the same ink, in pencil, and in fine pen (very black ink). Multiple pinholes in center, and a\npair at top, of each leaf. These poems were revised to form numbered sections of the ungrouped poem\n Says\n  in the 1860 edition of\n Leaves\n . According to Bradley and Blodgett, Whitman cut four verse paragraphs in the 1867\n Leaves\n  version; from that point on the shortened poem appeared, ungrouped, under the title\n Suggestions\n  until its final appearance in 1876. Leaf 1: originally numbered 85. Verses 3 and 4 went unpublished, but 1-2 and 5 became sections 1, 2, and 3 (verse 1) of the 1860 version. Leaf 2, [I say the least\ndeveloped/ person on earth...]: these lines became sections 3 (verse 2) and 4, with the second line remaining unpublished. Leaf 3,\n 87—/ Say.\n  [I say the human shape/ or face is so great,...]: first numbered 86. This became section 5. On the verso appears the deleted line \"And though I lie dead.\" Leaf 4,\n 88—/ Say.—\n  [I say the word of a land/ fearing nothing—...]: first numbered 86, then 87. This leaf became section 6. Leaf 5,\n 89—/ Say\n  [I have said many times/ that materials...]: this leaf was originally numbered 88 and titled\n Thought,\n  with two verses that Whitman deleted along with the first title. Below a horizontal pencil line he inscribed, at some point, verses that became section 7 of\n Says\n  in 1860.\n","On the first and third sides of a folded leaf of white wove paper (16 x 20 cm.), in light ink, with minor revisions in the same ink. A few pinholes in the upper left corner when folded up. Whitman retitled the\npoem\n To My Soul\n  in the 1860 edition of\n Leaves\n . The first inscribed page corresponds to numbered sections 1 through 3, verses 1-3, of the 1860 version, and the second (\"The unspeakable love I inter-/changed with women,\") to section 3, verses 4-13. In\n1867 Whitman cut eight lines and revised others, retitling the poem\n As Nearing Departure\n  and moving it to an untitled group of poems in the supplement\n Songs Before Parting.\n  In 1872 it was finally retitled\n As the Time Draws Nigh\n  and transferred to the cluster\n Songs of Parting\n  within the main body of\n Leaves\n .\n","On seven leaves of blue lined laid paper, three of them composite leaves, with leaf 7 including a paste-on of white wove paper. Multiple pinholes in center of each leaf. Whitman numbered the leaves 75-81 in the\nupper right corner, with the exception of leaves 6 and 7, which are numbered at top center. In tiny script and various inks, with very heavy revisions, as follows. Leaf 1: plain leaf (15 x 9 cm.) in medium-black\nink, with revisions in the same ink, in pencil, in fine pen (very black ink), and in light ink. Corresponds exactly in terms of the number of lines used to the first page of the poem as published (under the title\n So long!\n ) in the 1860\n Leaves\n . This first page comprised numbered sections 1 through 3, verses 1-6. Leaf 2 (\"When fathers, firm, unconstrained, nonchal-/ant, open-eyed—...\"): plain leaf (15 x 9 cm.), in medium-black ink, with\nrevisions in the same ink, in pencil, and in the fine pen (very black ink). Corresponds to sections 3 (verses 7-8) through 7 (verse 1) in the 1860 version. Leaf 3 (\"Once more I proclaim the whole of/ America...\"):\nplain leaf (15 x 9 cm.), in medium-black ink, with revisions in the same ink and in pencil. Corresponds to sections 7 (verse 2) through 10, along with section 12, in the 1860 version. On the verso appear two\ndeleted sections, comprising nine verses (beginning \"Yet, old throat, one loud/ cadenza!\") revised from the bottom of original leaf 4, which Whitman compressed and reversed on the leaf 4 paste-on to eventually\nform sections 15 and 16 in the published version. Leaf 4 (\"I announce the continued union of/ The States,\"): composite leaf measuring 15 x 9 cm., with a faded blue paste-on of 5.5 x 9 cm. covering several water-\ndamaged and heavily revised verses on the original leaf. In medium-black ink, with revisions in the same ink, in a slightly browner ink (thicker pen), in pencil, in fine pen, and in light ink. Corresponds to\nsections 11 and 13-16 of the 1860 version. Leaf 5 (\"Screaming electric, the atmosphere using,\"): plain leaf (15 x 9 cm.), in medium-black ink, with revisions in the same ink, in pencil, and in light ink.\nCorresponds to section 17 in the 1860 version. Whitman cut up a deleted earlier pink-paper draft of the first three verses for use as a paste-on in the poem\n Thought\n  (section 9 of\n Chants Democratic\n  in the 1860\n Leaves\n ; see 2:1:3). On the verso appear heavily revised draft verses, in pencil and only partly deleted, for sections 22 and 23. Leaf 6 (\"What is there more that I lag and pause?\"): full leaf (15 x 9 cm.) with\nsix paste-ons in light ink and black ink, and with heavy revisions in the same inks and in pencil. The final paste-on corresponds to sections 18-20 of the 1860 version, but the other paste-ons and the original\nleaf contain drafts for the rest of the poem (sections 21-23). Leaf 7 (\"O how your fingers drowse me!\"): full leaf (15 x 9 cm.) with two paste-ons, the first a large section (13 x 9 cm.) of the same blue paper and\nthe second a small section (6.5 x 10.5 cm.) of white wove paper. The white paste-over is inscribed in light ink with no revisions; the blue paste-over is inscribed in medium-black ink, with extensive revisions in\npencil and in the same ink, as with the deleted verses on the original page. The white paste-on corresponds to section 21 in the 1860 version, and the blue paste-on contains the latest draft of what would become\nsections 22 and 23. In 1860 this was the final poem in\n Leaves\n ; in 1867 Whitman cut twenty-one lines (according to Bradley and Blodgett) and transferred it to the end of the last\n Leaves\n  supplement\n Songs of Parting.\n  In 1872, with the transformation of this supplement into the cluster\n Songs Before Parting,\n  it was permanently fixed as the final poem in the main body of\n Leaves\n .\n","First published not in the 1860\n Leaves\n  but in a\n Leaves of Grass\n  group in the separate publication\n Passage to India\n  in 1871. On two leaves (25.5 x 20 cm.) of thick, ruled, white laid paper joined with paste in the left margin. In black ink with revisions in the same ink and in pencil. Whitman penciled in the note \"Long\nPrimer/ middling wide measure\" in the upper left corner of the first leaf, and on the verso of the second wrote and deleted (also in pencil) the note \"The worship of God is, honoring his gifts/ in other men, each\naccording to his genius, \u0026/ loving the greatest men best. Those who/ envy or calumniate great men, hate God/ William Blake[.]\" After being bound with the rest of the\n Passage to India\n  poems as a supplement to\n Leaves of Grass\n , in 1881 this was permanently transferred to the cluster\n Autumn Rivulets\n  within the main body of\n Leaves\n .\n","On one leaf (23 x 20 cm.) of thick, ruled white laid paper, in medium-black ink, with minor revisions in pencil and in the same ink. This became numbered verse paragraph 4 of section 2 of the title poem in the\nseparate 1871 publication\n Passage to India.\n  In 1881 the poem\n Passage to India\n  was transferred, ungrouped, to the main body of\n Leaves.\n","Note in folder states that for the centennial of the United States WW had 100 Centennial Editions of\n Leaves\n  printed, which he then sold in a booth at the Centennial Celebration in Philadelphia. Written in ink. With typed transcription.\n","From \"Thou Mother With Thy Equal Brood,\" verse 6.\n","Whitman, in third person, describes the ethnic heritage of his mother and father which contributes to the writing of\n Leaves of Grass.\n  Written on verso of an autograph seeker's letter. See McGregor Autograph Collection, Box 8.\n","On one fragment (10 x 15.5 cm.) of white wove paper, in brown-black ink, with extensive revisions in the same ink and in pencil. The pencil notes \"? for children\" and \"extend this/?\" appear in the upper left\ncorner. The final verse, also in pencil, appears in the upper right corner. There are also two or more ink squiggles on the leaf. Originally titled\n Pictures,\n  this is a revision of the first four verses of a draft poem by that name, inscribed by Whitman in a twenty-nine page notebook before the first edition of\n Leaves\n  appeared in 1855. (The\n Pictures\n  notebook is currently housed at Yale University.) Bradley and Blodgett note that after further revision Whitman published these verses in the October 30, 1880 issue of\n The American\n  under the title\n My Picture-Gallery,\n  after which he placed it in the new cluster\n Autumn Rivulets\n  in the 1881 edition of\n Leaves\n .\n","On nine leaves of different types of white paper, all measuring roughly 25 x 19.5 cm., described individually as follows. Other drafts of the poem are housed in the Charles E. Feinberg Collection at the Library\nof Congress, the Trent Memorial Collection at Duke University, and the T.E. Hanley Collection at the University of Texas.\n The Mystic Trumpeter\n  was first published in the February 1872 issue of\n The Kansas Magazine\n , after which Whitman published it in the 1872 book\n As a Strong Bird on Pinions Free\n , in\n Two Rivulets\n  (1876), and in the 1881 edition of\n Leaves of Grass\n . There and in later editions of\n Leaves\n  the poem was included in the cluster\n From Noon to Starry Night.\n  Leaf 1: on the verso of a sheet of laid, gray-ruled Department of Justice letterhead, dated \"Washington...187[ ]\" (see leaves 2 and 8). Inscribed in black ink, with extensive revisions first in pencil and\nthen in black ink. This is a later draft than leaf 2 of verses that would eventually constitute the first numbered section of the poem. Whitman's number \"1\" appears in orange crayon in the upper right corner of\nthe leaf. Leaf 2 (\"Hark! some wild trumpeter—some/ strange musician!\"): also on the verso (upside-down) of a leaf of the same Department of Justice letterhead. Inscribed in black ink, with heavy revisions in\nthe same ink, then in pencil and in fine pen (original ink?). Whitman deleted most of the lines, drafting them again and shifting many of them around on leaf 1. Leaf 3 (\"Come nearer mystic/ trumpeter\"): on a\ncomposite leaf formed by pasting a small section (8 x 12 cm.) of unruled laid paper to a full sheet of laid paper, ruled in gray on recto. Inscribed in black ink, with extensive revisions in the same ink and in\npencil. After further revision these verses became section 2 of the published version. Leaf 4 (\"Blow, trumpeter, free and clear—I/ follow thee,\"): on a leaf of laid paper, gray-ruled on recto (see 6-7).\nInscribed in black ink, with revisions in the same, in pencil, and in orange crayon. Whitman's orange-crayon note \"Serenity—cool fresh/ placidity—\" runs lengthwise up the left margin to the top of the\npage. After further revision these verses became section 3 of the published version. Leaf 5 (\"Blow again trumpeter—and let/ the notes swell high,\"): on one leaf of white wove paper, ruled in blue on verso.\nThree sets of pinholes appear in the upper left corner. Inscribed in black ink, with revisions in the same. This is an early draft of lines Whitman would revise and expand in Leaf 6 to eventually form section 4 in\nthe published version. Leaf 6 (\"Blow again, trumpeter, and/ for my sensuous eyes\"): on the same paper as leaves 4 and 7. Inscribed partly in black ink and partly in pencil; the ink section is revised in the same\nink, in pencil, and in pink ink; the pencil section is revised in pencil, in brown-black ink (fine pen), and in pink ink. The pencil lines are written below the pencil note \"see last part of Consuelo vol 5th,\" by\nwhich Whitman apparently meant the novel\n Consuelo\n  by George Sand, a book from which he made frequent borrowings. This was a later draft of lines on leaf 7; the number \"4\" appears in orange crayon at the top of the leaf. Leaf 7 (\"Blow again, trumpeter\nand/ bring before me now,\"): on a leaf of the same paper as leaves 4 and 6. Inscribed in black ink, with revisions in the same, in brown ink, and in pink ink. At the foot of the leaf Whitman wrote the\nparenthetical note \"(see last vol. of Consuelo)\" with a cartoon hand pointing to it; at this point he revised the ink lines on leaf 6, consulted\n Consuelo\n , and drafted his new pencil verses on the other leaf. Leaf 8 (\"Blow again trumpeter and/ for thy theme...\"): on the verso of a leaf of Department of Justice letterhead (see leaves 1-2), inscribed in black\nink, with revisions in pink ink and then black ink. The pink ink was mostly applied with a broader nib here than in earlier leaves. Whitman's note \"the piece must move on/ not lag/ sentimental\" runs up the left\nmargin to the top of the page. These trial verses, many of them incomplete, were revised to form section 5 in the published version of the poem. Leaf 9 (\"Blow again trumpeter/ and give/ for me/ now/ Thy war notes'\nmagic spell\"): on a leaf of white wove paper, blue-ruled on verso. Multiple pinholes in the center-left portion of the leaf. Inscribed and revised in black ink. In the lower right corner of the leaf appears a\ncryptic blue-crayon note in Whitman's hand: \"Hah!\"\n","From \"Notes on the Meaning and Intention of 'Leaves of Grass,'\" sections 65. Includes \"Other writers/poets look on...\"\n","From \"Specimen Days.\"\n","Beginning \"Of all themes and of each\" contains draft lines written in pencil. The relationship between the draft lines and Whitman's published verse is unknown.\n","On one full Williamsburgh tax blank (21.5 x 12 cm.), with the corners cropped diagonally, and with two corrections in bright pink ink. Two sets of pinholes in center. These prose notes evidently preceded\n To a Literat.—\n  (see below) in the composition of the poem. The ideas were incorporated in section 2 of the 1860 version.\n","Written in ink on two leaves of paper pasted together to form one long leaf. The general title appears to be\n Old Age Echoes,\n  but beneath that title are the two poems under which titles the item is catalogued:\n Sounds of the Winter\n  and\n The Unexpress'd.\n  Pasted to the leaf below the second poem is a woodcut engraving of Walt Whitman along with his autograph. Under that is what has been classified as two lines from an unidentified poem. A note at top\nstates, \"intended to make one page.\"\n","Note at top states \"sent to Century accepted—paid.\" Written in ink.\n","With typed transcription.\n","With typed transcription.\n","A description in third person, with a number of deletions and corrections, of his manner of composing\n Leaves of Grass.\n","Written in pencil on lined paper. ALS on verso: [G. M.] Williamson to Walt Whitman, 1887 June 1.\n","Note at bottom states \"Sent to H March 17.\" Written in pencil.\n","Notes at top state \"pub'd\" and \"personal.\" Note at bottom states \"sent to Herald Feb 27 '88.\" Written in ink on blue paper.\n","On the verso of a light blue Williamsburgh (N.Y.) tax form, dated \"185[ ],\" cut down to 20 x 12 cm. The corners are cropped diagonally. Multiple pinholes in center. Inscribed in pencil and revised in pencil and\nbrown-black ink (fine pen). Two sets of deleted verses constitute adaptations of lines from Whitman's pre-1855 unpublished notebook\n Pictures\n : \"Now this is the fable of the/ mirror:/ The mirror lay clouded, (enveloped)/ enmisted,\" and \"And/ Now this is the fable of a/ beautiful statue:/ A beautiful statue was lost/ but not destroyed[.]\" Two\nother deleted titles of fables(?) appear above the verses: \"The trained runner\" and \"The five old men.\" At the foot of the leaf appears the note \"last piece/ (still another Death Song—/ Death Song/ with\nprophecies[.]\" All of the sections are demarcated with horizontal lines. Based on Whitman's use of the tax blank, this appears to be a set of notes he made between 1857 and 1859 while preparing the 1860 edition of\n Leaves of Grass\n , although the\n Poem of Fables\n  as such never materialized and Whitman's\n Pictures\n  were not published in their entirety until 1925. Whitman's executor Richard Maurice Bucke published these notes on p. 176 of his\n Notes and Fragments\n  (1899).\n","In a green bound volume measuring 34 cm. x 25.5 cm. Items are pasted to pages in the volume. Item in question is a facsimile of the MS. Also included in the volume are three sections from\n Calamus,\n  a newspaper review of Whitman and Tennyson's\n Maud\n  called\n An English and an American Poet,\n  and three editions of\n The Conservator\n  from March, May and June of 1900. Includes two signed photographs of Walt Whitman.\n","Note at top states \"sent to Herald March 2.\" Written in purple pencil.\n","Note on outside of folder states \"Put together from bits of paper with notes on Army Parade of May, 1865.\" 5 leaves are folded in half into a booklet which is bound with twine, the two inner most sheets smaller\nthan the outer three. These notes describe the Great Victory Parade of May 23-24, 1865. The relationship of these notes to Whitman's published work is unknown. Some pages unattached in notebook.\n","This manuscript is a partial draft of the poem\n Sail Out for Good, Eidólon Yacht!\n  which was published first in 1891.\n","Revision of poem cluster originally titled\n Sea-Shore Memories\n  contained in red bound volume measuring 26 cm. x 18 cm. Revisions are made in ink and pencil on printed edition of the poem. Walt Whitman apparently used two volumes to tear the leaves from, as every\nother page is slightly smaller than the rest; revisions are made only on the recto side of each leaf, verso is crossed out. Several leaves are cut apart and pasted in new order on other leaves or on lined paper.\nLeaf 8 is a handwritten MS.\n","Many of these fragmentary notes were eventually used in or informed the long initial poem of\n Leaves of Grass\n , that became (as Bradley and Blodgett note)\n Poem of Walt Whitman, an American\n  in the 1856 edition and\n Walt Whitman\n  in 1860, a title which it retained until 1881, when it was permanently renamed\n Song of Myself.\n  (Leaves apparently unrelated to the\n Song\n  are included in this description by virtue of being bound with\n Song\n  drafts.) Generally the dating is quite early. All but three of the leaves were at one point in the possession of Whitman's executor Dr. Richard Maurice Bucke, who transcribed them (often with significant\nerrors or verses later removed from these fragments) in\n Notes and Fragments: Left by Walt Whitman...\n  (1899) and his 1902 edition of the\n Complete Writings of Walt Whitman\n ; page numbers to his transcriptions in\n Notes\n  are provided with each relevant entry here. Although Whitman used a wide range of paper-types for these fragments, five kinds of paper can be identified. These are assigned letters as follows. Type A:\noff-white notebook paper with light brown vertical lines running up the left and right margins, three on one side and one on the other. See Leaves 1, 8, 12, 20, and 28. A full leaf of the notebook paper seems to\nhave measured 19 x 15.5 cm. Type B: white wove paper, ruled in light blue-gray on both sides. See Leaves 3, 5, 21-22, and 27. No full sheet of this paper is present in the volume. Type C: light blue laid\nWilliamsburgh (N.Y.) tax forms, dated \"185[ ],\" and used extensively by Whitman in preparing his 1860 edition of\n Leaves and Grass.\n  Described by Fredson Bowers in his work on the 1860\n Leaves\n -related Barrett manuscripts also listed and described above. A full tax form measures 21.5 x 12 cm. See Leaves 4 and 34. Type D: yellow and green wove proof sheets used, it seems, for trial printings of\nthe title page of the first edition of\n Leaves of Grass.\n  See Leaves 7, 24-25, and 30-31. Type E: white laid paper ruled in brown on both sides. See Leaves 9-11, 13, 15-16, and 23. The dimensions of a full leaf of the paper cannot be determined from these\nfragments.\n","On a section of type A paper (9.5 x 15 cm.), inscribed, revised, and deleted in pencil. Although, as Bradley and Blodgett note, the themes expressed in this early fragment would inform the lines that eventually\nbecame section 2 of\n Song of Myself,\n  Whitman never used it verbatim. On the verso(?) appears an undeleted but heavily revised early draft (beginning \"The spotted hawk salutes the approaching night;\") of famous lines, beginning \"The spotted\nhawk swoops by...,\" incorporated in what would constitute the final canto of the poem in the 1867 and later editions of\n Leaves\n . This verso fragment is revised in pencil and in brown-black ink (fine pen). Bucke published both sets of verses on p. 36 of\n Notes and Fragments\n .\n","On a section of blue wove paper (14 x 13.5 cm.), in black ink, with revisions in the same ink and in pencil. The pencil numbers 2 and 3, although partially erased, can still be seen in the right margin. Bucke\npublished it on p. 69, in the section (II) titled\n Notes on the Meaning and Intention of 'Leaves of Grass.'\n  Although Whitman apparently never used it verbatim, it bears a similarity to two paragraphs on p. 10 of Whitman's 1871 publication\n Democratic Vistas,\n  beginning with the sentence \"It may be claim'd, (and I admit the weight of the claim,) that common and general worldly prosperity, and a populace well-to-do, and with all life's material comforts, is the\nmain thing, and is enough...\"\n","On a section of type B paper measuring 17 x 19 cm. Inscribed and revised in pencil. Multiple pinholes at the top indicate that this was once the lower half of a full sheet, while pinholes elsewhere seem to have\nbeen made after the top section was removed. This is a poetic rendition of a long sentence on p. x of the preface to the 1855 edition of\n Leaves of Grass.\n  The prose sentence begins, \"Beyond the independence of a little sum laid aside for burial-money, and of a few clapboards around...\" Bucke published this manuscript and what seems to be a later version on\npage 29 of\n Notes and Fragments\n .\n","On the verso of a light blue Williamsburgh (N.Y.) tax form (type C), cropped and torn irregularly down to 15.5 x 12 cm. Inscribed and revised in pencil. Features four sets of pinholes, three of them clustering\naround the center. Published on p. 30 of\n Notes and Fragments\n . As Bradley and Blodgett indicate in their notes to the poem, these verses seem to have been part of a larger set of verses or poems. Because of the way the page is torn the final word could read \"any\"\n(as Bucke transcribes it), providing closure to these particular verses, or it could just as easily read \"an,\" indicating that a continuation of the lines has been lost. Although never published verbatim, these\nlines prefigure section 6, especially beginning with the line \"Here is the test of wisdom,\" of what would become\n Song of the Open Road,\n  first published in 1856 as\n Poem of the Road.\n","On a composite leaf formed by pasting a section of type B paper (4.5 x 19.5 cm.) to a section of ruled white laid paper (7 x 19.5 cm.). The upper verses are inscribed and revised in pencil, and those on the\nlower (laid) section are neatly inscribed in brown ink, with revisions in the same ink and in pencil. Some pinholes appear in each section. The first few lines were never used, but the last two verses (beginning\n\"I offer men no painted saucers...\") were revised and expanded(?) to form the final verse paragraph (beginning \"Stop this day and night with me and you shall possess the origin of all poems,\") of what would\neventually become section 2 of\n Song of Myself.\n  Published on p. 20 of\n Notes and Fragments\n .\n","On a section of ruled blue wove paper (8 x 18.5 cm.) with irregularly cropped corners. Inscribed and revised in pencil. Multiple pinholes in center and towards left edge. These verses are inscribed (upside-\ndown) on the verso of several deleted pencil lines beginning \"I think there will never be any more heaven or hell/ than there is now,\" preceded by two undeleted lines beginning \"Whatever I say of myself, you shall\napply to yourself...\" On p. 25 of\n Notes and Fragments\n  Bucke publishes the undeleted and deleted sections together, along with lines from other manuscripts, as a single poem. An intermediate draft can be seen on p. 44. The deleted lines were revised to form\nwhat would eventually become the second verse paragraph of section 3 of\n Song of Myself,\n  while the undeleted line above them eventually formed part of section 20. After heavy revision the undeleted recto lines were used in what would be section 41 of\n Song of Myself.\n  Another version became an unnumbered section (beginning \"I will take an egg out of the robin's nest in the orchard,\") of the poem\n Debris\n  in the 1860 edition of\n Leaves\n . It was the only appearance of these lines in any edition, and of the poem\n Debris\n  under that title and as a unified text, although some other sections became separate poems under individual titles in later editions. But the lines also bear a strong resemblance to the poem beginning\n\"Priests!/ Until you can explain a paving stone, do not try to explain God...,\" reprinted by Bucke on p. 89, and to the concluding lines of the 1855 poem that would eventually (in 1881) become\n A Song for Occupations.\n","On a section of yellow type D paper, measuring 14 x 15 cm. Torn through the middle but repaired by means of a strip of the same paper pasted to the verso. Pinholes towards center of backing strip and in lower\nhalf of the main leaf. These lines, deleted with a single pencil stroke, appear on the verso of undeleted pencil lines beginning (extrapolating from Bucke's transcription) \"[As we are content and dumb/ the amount]\nof us in men/ and women is content and/ dumb,\" although someone has removed the words presented here in brackets, perhaps to emphasize the more finished nature of the lines on the present recto. Those verses are\ninscribed in brown ink, extensively revised in the same ink and in pencil deletion. After heavy revision and expansion they eventually formed part of section 21 of the cluster\n Calamus\n  in the 1860 edition of\n Leaves\n ; in the 1867 edition this section received the title\n That Music Always Round Me.\n  (For a later draft, titled\n As of Eternity,\n  see entry 1:3:22 under\n Leaves of Grass\n  [1860] above.) Bucke presents incomplete transcriptions of both sets of verses on p. 11.\n","On what seems to be a full leaf of the type A notebook paper, measuring 19 x 15.5 cm. Multiple pinholes in center. The numbers 195 and 196 are inscribed in light brown ink and deleted in pencil on the current\nverso and recto, respectively; these numbers, along with remnants of paste and binding tape along the left margin of the recto, suggest that the type A pages came from a notebook. The lines on the recto are\ninscribed, revised, and deleted (with a single stroke) in pencil, and appear on the verso of undeleted notes inscribed and revised in brown-black ink with some revisions in pencil. The verso notes begin with a\nlist of animals and plants (\"cottonwood—mulberry—/chickadee—large brown water-dog\"), followed by a verse (\"The suicide/ went to a lonesome place...\") that Whitman revised for use (\"The suicide\nsprawls on the bloody floor of the bedroom,\") in what would eventually constitute section 8 of\n Song of Myself.\n  This verse is followed by another section of the natural \"catalogue\" (\"locust, birch/ cypress...\"), below which appears a pair of verses (beginning \"O dirt, you corpse—I reckon you are good\nmanure—\") used in what would be section 48 of the\n Song.\n  (\"And as to you corpse I think you are good manure...\"). The list of flora and fauna could anticipate any number of similar lists in Whitman, but bears the strongest resemblance to section 29 of\n Poem of Joys\n  (final title:\n A Song of Joys\n ), which first appeared in the 1860 edition of\n Leaves\n . The deleted recto lines were revised to form what is now section 28 of\n Song of Myself.\n  Bucke prints the poetic fragments on p. 38 and the list on p. 165.\n","These four leaves represent different stages in the evolution of a set of lines first published in the fourth main section in the 1855 edition of\n Leaves\n . In 1856 the section was titled\n Night Poem\n  and in 1860 it became\n Sleep-Chasings,\n  with these lines forming sections 44-46. In 1867 they appeared under the same title as section 9 (with the stanzas again divided into sections 44-46); then under the final title\n The Sleepers\n  in 1872 (section 14, stanzas 44-46) and 1876 (also section 14, 44-46), at which point the lines were permanently removed from this poem and\n Leaves\n  in general. Bucke reprints the drafts, with several errors, on pp. 15 and 19-20 of\n Notes and Fragments\n .\n","On a leaf of type E laid paper (18.5 x 17.5 cm.) with three corners cropped for mounting. Multiple pinholes in center. Inscribed and revised on both sides in pencil. A comparison of Whitman's revisions between\nleaves indicates that this was probably the second of the four\n Lucifer\n  drafts, written before he decided to merge his commentary on slavery with allusions to the fallen angel of Isaiah. The trial lines on the verso (beginning \"His very aches are exstasy\") seem to have been\nrevised for inclusion in what is now section 29 of\n Song of Myself.\n  Whitman's unusual spelling of \"ecstasy\" indicates not only that the lines came very early in the process of writing\n Leaves\n , but that these lines may have originally been part of the proto-\n Song of Myself\n  before being transferred to what would become\n The Sleepers.\n  The verso lines and the words \"I am a curse\" link this leaf, like leaves 10 and 11, to two sections of draft verses in the earliest Library of Congress notebook (#80) beginning \"Fierce wrestler!\" and \"I\nam a curse:\" (see p. 77 of Grier's\n Notebooks and Unpublished Prose Manuscripts\n , vol. 1, or the digitized version of the notebook on the Library of Congress Web site).\n","On a section (10.5 x 19.5 cm.) of the same type E paper as leaves 9 and 11, but more wrinkled, torn, and smudged than them. Fragments of tan wove paper are pasted to the verso for reinforcement of torn\nsections. Several pinholes are clustered at the bottom of the leaf, in the center, indicating that this was originally the upper section of a full leaf. Inscribed and extensively revised in pencil. The deleted\nfirst line reads \"I am a hell-name and a Curse...\" This seems to have been the last of the four\n Lucifer\n  leaves to be inscribed, although it was further revised for publication in the 1855 edition of\n Leaves\n . The word \"Sleepchaser's\" appears in the upper right corner, perhaps indicating that Whitman was considering a title similar to the 1860 and 1867 title\n Sleep-Chasings\n  even before the poem was first published in 1855, unless this is in fact a reworking of the section for the 1860 edition. The possibility of a post-1855 dating, however, appears to be slight given the\nsimilarities of paper choice and inscription techniques among leaves 9-11 and their shared similarities to drafts in the earliest Library of Congress notebook.\n","On a section (15.5 x 19 cm.) of the same type E paper as leaves 9 and 10, with three of the corners cropped for mounting. Inscribed and extensively revised, like 9-10, in pencil. Pinholes at the top of the leaf\n(in the center) indicate that this was originally the lower section of a full leaf, although the excision patterns along the top edge of this leaf and the lower edge of Leaf 10 do not seem to match up. This leaf,\na reworking of the lines beginning \"I am a Curse\" in Library of Congress notebook #80, with verses added from Leaf 9, appears to have come third in the revision process. The only line specifically linking the poem\nto the theme of slavery (\"I look off the river with my bloodshot eyes, after/ the steamboat that carries away my woman.—\"), adapted from Leaf 9, is deleted, and Whitman apparently rejected these lines and\nthe \"curse\" theme in general as he moved towards the draft on Leaf 10, which would eventuate in the 1855 published version. On the verso (upside-down) appear two sets of trial verses for what would eventually\nbecome the second verse paragraph of section 4 of the poem\n Faces,\n  which in 1855 was published as the sixth of twelve poems in the first edition of\n Leaves\n . These verso lines are inscribed and revised in pencil, and deleted with two vertical pencil strokes. The only complete line of the first draft reads \"Above the roar I hear/ the clear truth of victorious\nhorns.—\" and the second draft begins \"I stand at the top of the street[.]\" Bucke prints these verses on pp. 19-20.\n","On a section (8 x 15 cm.) of the type A notebook paper. Inscribed, revised, and deleted (with a single stroke) in pencil. Multiple pinholes cluster below and to the left of center. These verses seem to have\ncome first or second in the process of revising the\n Lucifer\n  verses. On the verso appear the undeleted lines \"Hear my fife! —I am a recruiter/ Come, who will join my troop?\" These are printed by Bucke on p. 15 of\n Notes and Fragments\n , and, as Bradley and Blodgett note, are a version of a line (\"And now a merry recruiter passes, with fife and drum, seeking who will/ join his troop...\") in the pre-1855 notebook poem\n Pictures.\n","On a small section (6 x 19 cm.) of the type E laid paper, cut irregularly on three sides, with two corners cropped for mounting. Inscribed and revised on both sides in pencil. Multiple pinholes cluster towards\nthe bottom-center of the page, indicating that this was the lower section of the top half of a full leaf. The right side of the page has suffered smoke damage. Curiously, the only line used from the recto (\"Where\nthe life car is drawn on the slip-noose\") is deleted here; it became part of what would eventually form section 33 of\n Song of Myself.\n  Bucke prints all of the verses on page 20. The deleted verso lines (beginning \"Who knows that I shall not myself/ [...] time be a God, as pure and prodigious/ as any?\") constitute a poetic revision of\nprose notes in Library of Congress notebook #85, and seem to have led up to what would eventually become section 48 of\n Song of Myself.\n","On a section of white wove paper (12.5 x 20 cm.), inscribed and revised in brown ink and pencil. Deleted with a single vertical pencil stroke. A very large number of pinholes cluster towards the bottom-center\nof the page, indicating that this was the top half of a full leaf, although one or more verses have been removed from the top. The left side is torn, as if the page had been removed from a notebook. This page was\napparently inscribed very close to the publication of the 1855\n Leaves\n ; with a few revisions it became part of what would eventually be section 40 of\n Song of Myself.\n  Not in\n Notes and Fragments\n . On the verso, in very light brown ink, appear undeleted notes defining and illustrating such verse forms as \"hexameters,\" \"dactyl,\" \"Spondee,\" \"Iambus,\" and \"Trochee.\" These notes represent an incomplete\nversion of notes on a manuscript currently housed at Rutgers University, and printed by Bucke on pp. 162-63 of\n Notes and Fragments\n , although the Leaf 14 notes, like the\n Song of Myself\n  verses on the recto, do not appear in Bucke. (For another version of the Rutgers notes, partially transcribed by Bucke, see Leaf 36 below.) Grier notes that the Rutgers manuscript probably dates to 1856\nor afterwards, when Whitman was pursuing a self-education in poetry, suggesting that the verso notes also date to that period.\n","On a section of the type E laid paper (4.5 x 19.5 cm.), inscribed and revised in pencil. A pencil question mark appears above a very faint line linking \"valved\" and \"cornet.\" These half-prose, half-poetic notes\nwere revised and incorporated in two separate verses of what would become\n Song of Myself\n : the eventual verse 597, in section 26 (\"I hear...the keyed cornet\") and verse 1067 in section 42 (\"Ever the vexer's hoot! hoot! till we find where the sly one hides and bring him/ forth...\"). Bucke\nprints these notes on p. 30 of\n Notes and Fragments\n .\n","On a section of the type E laid paper (8.5 x 20 cm.), inscribed, revised, and deleted (with a single vertical stroke) in pencil. The corners are cropped irregularly. The first line originally read \"Odor of the\nsalt marsh, and of the mud and sea-weed[.]\" An earlier version of these lines is also associated with proto-\n Song of Myself\n  verses in Library of Congress Notebook #80 (\"And the salt marsh and creek have/ delicious odors...\"). The \"unearthly laugh of the laughing-gull\" reappears in what would eventually become line 763 (section\n33) of\n Song of Myself.\n  Most of the lines on Leaf 16 were incorporated, however (after further revision), into the tenth poem of the 1855 edition of\n Leaves\n . As Bradley and Blodgett note, this poem was titled\n Poem of The Child That Went Forth, and Always Goes Forth, Forever and Forever\n  in the 1856 edition, after which it became number 9 in the 1860 group\n Leaves of Grass,\n  number 1 of a different\n Leaves of Grass\n  group in 1867, and, finally,\n There Was a Child Went Forth\n  in the 1872 edition. The lines appear on p. 48 of\n Notes and Fragments.\n","On a section of heavily wrinkled, torn, and smudged unruled white laid paper (7 x 21 cm.) reinforced with white wove paper. All four corners are cropped for mounting. Inscribed, without revisions, in pencil.\nThe laid paper was originally the last page of a letter; a few illegible words and part of a signature can be seen dimly through the back of the composite leaf. Whitman wrote his lines on the verso of the page\nafter turning it sideways. Although Whitman did not use the verses word for word, they may have been part of an early draft of the fourth poem in the 1855 edition of\n Leaves,\n  eventually titled\n The Sleepers.\n  The lines appear on p. 46 of\n Notes and Fragments\n .\n","On a section of white wove paper torn down to 15.5 x 8 cm., inscribed and revised on both sides in medium brown ink and also inscribed and deleted, on the recto, in pencil. Features one set of pinholes in the\ncenter. The verses on the recto, while not published word-for-word until 1897, seem to represent an early draft of the poem first published as number 13 of the cluster\n Leaves of Grass\n  in the 1860\n Leaves\n , and eventually titled\n You Felons on Trial in Courts.\n  (See 2:2:1 under\n Leaves of Grass\n  [1860] for a much later version of the poem.) Whitman's careful script and verse forms here also resemble the methods of inscription used for the\n Live Oak, with Moss\n  poems dated by Bowers to the post-1856, pre-1860 period. The undeleted notes on the back are titled\n Poems\n  and begin with the lines \"A cluster, (same style, as of sonnets li[ke]/ as 'Calamus Leaves')/ of poems, verses, thoughts \u0026c, embodying/ religious emotions/ \u0026 thoughts.\" A cartoon hand in the left\nmargin points to the phrase \"religious emotions.\" Whitman's use of the title\n Calamus Leaves\n  dates these notes to the same pre-1860 period as the deleted verses on the recto, since\n Calamus-Leaves\n  was what he renamed the cluster\n Live Oak, with Moss\n  before settling on\n Calamus\n  for the 1860 edition. A section of the notes below the rest (beginning \"spirituality—the unknown,...\") is inscribed in verse form. Bucke prints these, along with [Full of wickedness, I...], on p. 39\nof\n Notes and Fragments\n . The rest of the notes appear on p. 165; related notes appear on 169 and 176.\n","On the verso of a letter (11 x 18 cm.) inscribed in light black ink on (wrinkled) white laid paper, embossed with a red design. All four corners are cropped for mounting. Whitman's lines are inscribed and\nrevised in thick pencil. The letter is dated \"Aug 14th /89,\" and asks Whitman to send the unidentified writer a copy of the \"latest special edition\" of\n Leaves of Grass\n . These trial verses became part of\n A Twilight Song\n —subtitled, Bradley and Blodgett note, \"for unknown buried soldiers, North and South\"—which was first published in the May, 1890\n Century\n  and then included in the second annex\n Good-Bye My Fancy\n  in the 1892 \"deathbed\" edition of\n Leaves\n . This draft does not appear in\n Notes and Fragments\n .\n","On a composite leaf comprising two sections of the type A notebook paper (4 x 14.5 and 4.5 x 15 cm.) pasted together. Three pinholes appear near the foot of the page. Inscribed and revised on both sides in\npencil. The verso lines (beginning \"I think I could dash the girder of the earth/ away\" and \"Surely I am out of my head!\") are deleted with several pencil strokes. The deleted number 209 (in brown ink) appears in\nthe top right corner of the lower section. After much revision the recto lines, which are related to lines in Library of Congress Notebook #80, seem to have become part of what would be section 44 of\n Song of Myself.\n  The verso lines represent an early draft of lines eventually incorporated in section 27 of the poem. Bucke transcribes both sets of verses, with additional lines not preserved in these sections, on pp.\n34-5 of\n Notes and Fragments\n .\n","On a small section of the type B wove paper irregularly cropped, torn, and cut down to 4.5 x 18 cm. Several pinholes appear in the center; some smoke damage appears along the right edge. Inscribed and revised\nin pencil. Below the verses appear the deleted phrase \"Echos [sic] of voices\" and the undeleted note \"? Personality\" beneath a faint horizontal line. Bucke prints the lines on p. 13 of\n Notes and Fragments\n . Although Whitman did not publish these verses himself, their structure and the type of paper upon which they are inscribed suggest a close relationship with the lines on Leaf 22, which were revised to\nform part of section 14 of\n Chants Democratic\n  in the 1860 edition of\n Leaves\n , a set of verses eventually transformed into an independent poem under the title\n Poets to Come.\n","On a small section (4 x 15 cm.) of the same type B paper as Leaf 21, with smoke damage in the upper left corner. The corners are cropped slightly for mounting. Two sets of pinholes appear in the center.\nInscribed and revised on both sides in pencil. Bucke transcribes both sets of verses on p. 39 of\n Notes and Fragments\n . The recto verses were used as noted under Leaf 21, but the lines on the verso (deleted with several vertical and horizontal pencil strokes) seem to have been rejected.\n","On a section of the type E laid paper (6 x 19.5 cm.) with all four corners cropped for mounting. Multiple pinholes run up the center of the page. Inscribed and revised on both sides in pencil. The recto verses\nbear some similarity to what would eventually form section 28 of\n Song of Myself,\n  while the deleted lines on the verso (beginning \"This mouth is pulled by some sexton for his dismalest fee,\") represent a fragment of draft lines eventually incorporated in the sixth poem of the 1855\nedition of\n Leaves\n , a poem permanently retitled\n Faces\n  in the 1872 edition. Bucke transcribes both sets of verses on p. 37 of\n Notes and Fragments\n .\n","On a composite leaf consisting of two sections (10 x 13 and 5 x 13 cm.) of light green type D paper used for trial printings(?) of the title page of the 1855 edition of\n Leaves of Grass\n  (see Leaf 25). (The words \"Leaves o[f],\" printed in a typeface similar to the one used for the 1855 edition, appear in the bottom right corner of the lower section.) All four corners of the top section,\nand the lower corners of the bottom section, are cropped for mounting. Multiple pinholes appear in each section. Inscribed and revised in black ink. As Bradley and Blodgett note, the lower set of verses seems to\nbe a later draft of the upper set, even though Bucke prints them in reverse order and as separate fragments on p. 32 of\n Notes and Fragments\n . These lines foreshadow a number of poems new to the 1860 edition of\n Leaves\n , particularly\n Proto-Leaf\n  (ultimately titled\n Starting from Paumanok\n ) and\n So long!,\n  as well as several of the poems grouped in the cluster\n Chants Democratic and Native American.\n","On one section of light yellow type D paper torn down to 15.5 x 14.5 cm. (Part of the word \"Leaves\" appears in the lower right corner of the verso.) The lower left corner is cropped. Multiple pinholes in\ncenter. Inscribed in black ink, with revisions in the same ink and one addition in pencil. On the verso, in blue pencil, appears a quickly scrawled note, reading \"Drum Taps—City of Ships[,]\" which appears to\nbe in Whitman's hand. This may indeed have been a draft of the poem\n City of Ships,\n  which first appeared in 1865 as part of the independent publication\n Drum-Taps\n , but its similarities to the lines on Leaf 24 and lack of references to the Civil War indicate that it was inscribed prior to the publication of the 1860 edition of\n Leaves\n . These lines bear a strong resemblance to verses inscribed on Leaf 7 of\n Premonition\n  as described above (under\n Leaves of Grass\n  [1860] 1:1:7), verses that formed section 20 of\n Proto-Leaf\n  in 1860 and, ultimately, part of section 6 of the poem under the title\n Starting from Paumanok.\n  Printed on p. 30 of\n Notes and Fragments\n .\n","On one section of white wove paper torn and cut down to 10 x 15 cm., inscribed and revised in very thin brown-black ink. Two pinholes appear towards the right margin. The lower corners are cropped. Whitman's\nuse of the word \"Libertad\" and way of handling the theme of immigration suggest that this might be part of an early draft of the poem eventually known as\n A Broadway Pageant,\n  first published in the June 27, 1860 issue of the\n New York Times\n  as\n The Errand-Bearers.\n  Bucke prints the verses on p. 39 of\n Notes and Fragments\n .\n","On a section of type B wove paper cut down to 8 x 15.5 cm. All four corners are cropped for mounting. Multiple pinholes run up and down the center. Inscribed and corrected (in only one place) on the recto in\npencil, and on the verso in light brown ink and pencil. The verso lines (beginning \"[sl]ueing,/...[be]nding,/...halt in the shade,\") represent a fragment of a polished pre-1855-publication draft—almost a\nfair copy, but with interesting revisions nonetheless—of lines that would eventually belong in section 13 of\n Song of Myself.\n  These verses are inscribed along the ruled lines. Whitman cannibalized this leaf at some point after 1855 to jot down the recto verses perpendicular to the ruled lines. These seem to constitute a complete\nbut very early draft of the poem\n To One Shortly To Die,\n  first published in the 1860 edition of\n Leaves of Grass\n  in the cluster\n Messenger Leaves.\n  (For a later draft see Leaf 28, and for an even later version inscribed shortly before the 1860 publication see 2:3:1 in\n Leaves of Grass\n  [1860].) In the upper right corner of the recto appear the words \"note/ last page of 'Ghost-seers'\" in Whitman's hand, suggesting that he had considered forming a cluster under this title, never\npublished, in\n Leaves\n , perhaps in the 1860 edition. The phrase \"Ghost-seers\" recalls a statement regarding Emerson in\n Leaves-Droppings,\n  a section of correspondence and commentary Whitman appended to the 1856 edition of\n Leaves\n : \"[Emerson] sees the future of truths as our Spirit-seers discern the future of man...\" Bucke prints the recto verses on p. 13 of\n Notes and Fragments\n .\n","On a very small section (4 x 14.5 cm.) of the type A notebook paper. Inscribed and revised on the recto in (smudged) brown-black ink. Fragmentary lines on the verso are inscribed, revised, and deleted in\npencil. Four pinholes run up from the center of the leaf towards the upper right corner. The verso lines (beginning \"[I] and nobody else am the greatest traitor,\") represent a later draft than similar verses in\nLibrary of Congress Notebook #80 of what would eventually become part of section 28 of\n Song of Myself.\n  The recto lines were revised to form part of the 1860 poem\n To One Shortly To Die.\n  (See Leaf 27 for an earlier draft and entry 2:3:1 under\n Leaves of Grass.\n  [1860] for a later version.) Bucke prints the recto verses on p. 47 of\n Notes and Fragments\n .\n","On a small section of white laid paper (6 x 18.5 cm.) with all four corners cropped for mounting. Multiple pinholes in center. Inscribed and revised (in one place) in brown ink. A short horizontal line appears\nbeneath the verses, indicating (along with the finished appearance of the lines) that Whitman conceived of this when written as an independent poem. He may have used it, however, in the 1856\n Poem of Remembrances for A Girl or A Boy of These States,\n  which, as Bradley and Blodgett note, became the sixth poem in\n Chants Democratic and Native American\n  in 1860. It was subsequently shortened by several stanzas (1867) and retitled (1872)\n Think of the Soul\n  before being excluded from\n Leaves\n  with the publication of the 1881 edition. The verses on Leaf 29 combine the meanings expressed in both the excluded and preserved sections of\n Think of the Soul.\n  Bucke prints these verses and a related, longer set of verses on p. 27 of\n Notes and Fragments\n ; the other lines in Bucke were revised and expanded for use in sections 46-51 of the 1860 poem\n Proto-Leaf,\n  permanently retitled\n Starting from Paumanok\n  in 1867.\n","On a section of the type D proof sheet paper (light yellow) cut and torn irregularly down to 7.5 x 20 cm. (The words \"Leaves of\" appear on the verso.) Multiple pinholes appear towards the foot of the leaf,\nindicating—along with the damaging of the words \"The gripe\" in the last line by cutting and the appearance of the tops of other letters above the lower edge—that this was the upper section of a larger\nleaf before Whitman decided to make it an independent poem, adding his characteristic period and hyphen combination at the end of the lines to mark its separateness. Inscribed in brown-gray ink, with revisions in\nthe same ink, in pencil, and in a darker brown ink (in that order). Bucke prints the verses on p. 26 of\n Notes and Fragments\n  with the annotation \"Early or middle fifties, never used,\" but the lines bear a strong resemblance to a section of prose on p. vi of the preface to the 1855 edition of\n Leaves of Grass.\n  The verses on this leaf may represent a poetic adaptation of that section.\n","On a small section of what seems to be type D light yellow paper (5 x 16 cm.). All four corners are cropped for mounting. Inscribed and revised in pencil. Bucke transcribes these verses on p. 28 of\n Notes and Fragments\n , combining them with other fragments to form a longer poem. They display some similarities to the eleventh untitled poem of the 1855 edition of\n Leaves\n , named\n Lesson Poem\n  in 1856 and finally, beginning with 1871's\n Passage to India\n ,\n Who Learns My Lesson Complete?\n","On the verso of an irregularly cut and cropped proof sheet (9 x 18 cm.) from the 1856 edition of\n Leaves of Grass.\n  A few pinholes are scattered around the page. The words \"Have I\" at the beginning are inscribed on a small scrap of the same paper, which Whitman pasted over some deleted words in the upper right corner\nthat cannot be discerned through the paper. Inscribed and extensively revised in pencil, these verses were part of a larger set of lines before Whitman cut away and (apparently) discarded the rest. Although the\npage number and many words on the left side of the proof have been cut away, the remaining words identify it as p. 188 from the\n Poem of Many in One,\n  which eventually became\n By Blue Ontario's Shore.\n  These unused but also undeleted lines may have been intended for that poem or a number of other poems in\n Leaves\n . Bucke prints them on p. 30 of\n Notes and Fragments\n .\n","On a section of white laid letter(?) paper (10.5 x 19.5 cm.) folded in two places, perhaps for mailing. All four corners are cropped, and the right margin is cut irregularly. No pinholes. Inscribed in black ink\nthat has bled in several places from contact with water drops. A long horizontal line divides the first set of draft verses from a pair of trial verses beginning \"The railroads with their hundreds/ of lines...\"\nAlthough these poetic notes are difficult to date, they may represent an intermediate stage between the 1855 Preface to\n Leaves\n  and the 1856\n Poem of Many in One\n  (eventually\n By Blue Ontario's Shore\n ), which cast many sentences similar to these from the Preface in poetic form. Two editorial errors relating to the leaf should be mentioned: Bucke prints the fragment on p. 169 as a prose passage, and in\nrepublishing Bucke's transcription (still in prose form) Grier reports, on p. 1941 of the\n Notebooks and Unpublished Prose Manuscripts\n  (vol. 5) that this manuscript has not been found.\n","On the verso of a section (14 x 12 cm.) cut from a type C tax form. The corners are all cropped for mounting. Inscribed and revised in pencil. Multiple pinholes cluster towards the foot of the leaf, suggesting\nthat one or more verses were cut away and discarded; this is corroborated by the fact that the final word, \"gaunt,\" ends not with a period but with a comma. Whitman's use of the tax form and the strong similarity\nthis fragment bears (as Bradley and Blodgett note) both to the 1856\n Poem of the Road\n  (later\n Song of the Open Road\n ) and to the 1860\n Proto-Leaf\n  (eventually\n Starting from Paumanok\n ) indicate that this may have been a revision of the former poem or, as seems more likely, an early draft of\n Proto-Leaf\n  intended for the 1860 edition of\n Leaves\n . To compare this fragment with extant drafts of\n Proto-Leaf,\n  under its original title\n Premonition,\n  see leaves 1:1:1-1:1:33 as described under\n Leaves of Grass\n  (1860) above. Printed on p. 39 of\n Notes and Fragments\n .\n","On one section of white wove paper (8 x 19.5 cm.) ruled on both sides, with the upper corners cropped for mounting. Inscribed in green-black ink with no revisions. These verses seem to have been part of a\nlarger set before Whitman decided to make them an independent poem, adding a hyphen at the end of the last line and cutting off the verses below. (The word \"nothing\" in the last line was partly cut away as well.)\nAlthough written in free verse, the rather conventional nature of this poem suggests an early date of inscription. Bucke does not transcribe it.\n","On a full leaf of light tan wove paper (25 x 13 cm.) that seems to have been removed from a notebook; the note \"Last Page\" and the number 5(?) appear at the top of the leaf. The foot of the page—wrinkled,\nsmudged with erased words, and largely worn away—has been reinforced with a strip of light brown wove paper pasted to the verso. Inscribed in pencil, with one minor revision in brown ink. The leaf is divided\nwith horizontal lines into four sections: \"Pentameter,\" \"Anapest,\" \"Dithyrambus/ Dithyramb/ Dithyrambic,\" and \"Caesura.\" Like the contents of the verso of Leaf 14, these notes represent a version of the poetic\ndefinitions that appear in a manuscript currently housed at Rutgers University. Bucke prints the final two sections of these notes on p. 163 of\n Notes and Fragments\n , leaving the first two sections untranscribed, evidently because they so closely parallel the more complete Rutgers notes (which he prints in full). Grier lists this manuscript, on p. 357 of\n Notebooks and Unpublished Prose Manuscripts\n  (vol. 1), as \"not found.\"\n","Revision of poem cluster\n Song of the Broad-Axe\n . Revisions are made in ink and blue pencil on printed edition of the poem. Walt Whitman apparently used two volumes to tear the leaves from, as every other page is slightly smaller than the rest,\nrevisions are made only on the recto side of each leaf, and verso is crossed out.\n","These two manuscripts represent different stages, earlier and later, in the evolution of a poem written during October and November 1873 and first published as\n Song of the Redwood-Tree\n  in the February 1874 issue of\n Harper's Magazine\n . From a note prefacing the first manuscript, as Bowers writes, it appears that Whitman personally took charge of gathering and preserving the manuscripts. In 1876, Bradley and Blodgett observe, Whitman\npublished the poem in the independent group\n Centennial Songs\n  and in this group as annexed to\n Two Rivulets\n , and in 1881 it appeared, ungrouped, in\n Leaves of Grass\n . For convenience these descriptions follow the ordering of the leaves presented by Bowers in his article\n The Manuscripts of Whitman's 'Song of the Redwood-Tree'\n  in\n Papers of the Bibliographical Society of America\n , vol. 50 (1st quarter, 1956), pp. 53-85.\n","This rough draft begins with the following note, inscribed and initialed by Whitman in brown-black ink, on one piece (17.5 x 22.5 cm.) of thin, light brown wove paper with no pinholes: \"Camden,/ Oct. \u0026 Nov.\n'73./ Song of the Redwood Tree./ (rough draft—mems,/ printed sketch,/ letter from Harper's Mag.)/ \u0026c./ W. W.\" The other leaves are described individually as follows. Unless noted otherwise, each leaf\nfeatures multiple pinholes in its center. Leaf 2 (\"Song of the Redwood/ Tree/ \u0026 other pieces\"): white wove paper (20.5 x 12.5 cm.), apparently a flyleaf or blank page removed from a book. The undeleted title\nas well as the deleted titles\n Eidólons\n  (on both recto and verso, but upside-down relative to the undeleted title) and\n Waves in the Vessel's Wake\n  (also upside-down) are inscribed in blue crayon, while the line \"Waves, undulating/ waves—\" (on verso, upside-down) is in grey-black ink.\n Eidólons\n  was the title Whitman used for a poem first published in 1876; and\n Waves in the Vessel's Wake,\n  according to Bradley and Blodgett, was an alternate title for a poem eventually named\n After the Sea-Ship,\n  in which the line \"Waves, undulating/ waves—\" can be found. Leaf 3 (\n A California song./ Song of the Redwood/ Tree\n ): white wove paper (20 x 12.5 cm.), ruled on both sides. The page contains four sections of pencil notes in prose and verse, with the title\n A California song\n  (which became the first verse of the published poem) in medium black ink, and the second title, along with notes dating the second section to \"Oct. '73\" and the third section to \"Nov. '73/ Camden,\" in\nblue crayon. In pencil Whitman also drew a cartoon hand pointing to the sentence \"Use this point to express/ fully my California views\" in the second section. Leaf 4 (\"A mighty tree is/ falling.\"): white wove\npaper (20.5 x 13 cm.), ruled on recto. In pencil (on recto), with extensive pencil revisions. The verses on this leaf represent an early draft of numbered sections 1 and 2 of the published poem. On the verso\n(perpendicular to the recto verses) appear notes, deleted in pencil, for \"(a sonnet)\" written \"for Century Verses,\" which appears from a Library of Congress manuscript to have been a working title of the group\nthat became\n Centennial Verses\n  in 1876. After heavy revision (see verso of leaf 5) the poem became the title-page epigraph to the 1876 (\n Come, said my Soul\n ) and several later editions of\n Leaves . The incomplete verso lines are in brown black ink with extensive revisions in the same ink. Leaf 5: on the same type of paper as 4, torn down to 20.5 x 13 cm. Recto is inscribed and extensively revised\nin pencil; these verses represent an early draft of section 3 of the published poem. On the verso (\"Go said my Soul, the real Me,\") appears a deleted later draft of the poem whose notes appear on the verso of Leaf\n4. The verso lines are inscribed in brown-black ink with extensive revisions in the same ink, in blue crayon, and in pencil, apparently in that order. Leaf 6 (\"So for a type for you, your/ race, Pacific lands\"):\nwhite laid paper (20.5 x 12.5 cm.), ruled on verso. Inscribed in pencil and medium black pen, with heavy revisions in both of these, particularly the pencil, and in light ink. Whitman inscribed the pencil note\n\"last,\" enclosed in a semicircle, in the upper right corner. After further revision these verses became the last italicized verse paragraph of section 4 of the 1876 version of the poem. Leaf 7 (\"(The teamsters,\nchoppers, chain/ and jackscrew men/ heard not...)\"): White quadrille paper (21 x 13.5 cm.), at one point folded in thirds. Inscribed and extensively revised in pencil. These lines were further revised to form the\nsecond and third verse paragraphs of section 2 in the 1876 version of the poem. Leaf 8 (\"Lands of the Western shore!\"): inscribed in medium black ink on the verso of p. [1] of a letter (18 x 11 cm.) cut from a fold\nof what Bowers characterizes as fine tinted laid paper. The verses are inscribed perpendicular to the sentences of the letter. Revised in the main ink and in a lighter ink. These verses were further revised to\nform the closing section (6) of the 1876 version of the poem. The letter, deleted in blue crayon, is dated \"Boston./ 96 Washington St/ 30 Sept '73\" and was written by Boston lawyer Albert B. Otis. In it, Otis\nexpresses his happiness on learning that Whitman's health is improving, thanks him for sending a paper with news of the recovery, and mentions his wish to obtain copies of Whitman's new works as they appear.\nWhitman used the verso of the second part of the letter as Leaf 3 of the second manuscript of\n Song of the Redwood-Tree\n  (see below). Leaf 9 (\"The Cascade range/ On the Pacific—...\"): white wove paper (20.5 x 13 cm.), ruled on both sides, with (as Bowers notes) the embossed device of Mercury's winged hat and a\ncaduceus in the upper left corner. Whitman began writing a letter on this page before using it for verse: deleted lines at the top read \"431 Stevens st./ cor West\" and \"Camden,/ Saturday forenoon/ Oct. 25.\" These\ntrial verses are inscribed in the same medium brown ink as the letter heading, except for the final verse, which appears finished and is written in black ink. Revisions are in the main ink and in a lighter ink.\nAfter further revision these verses were incorporated in sections 4 and 5 of the 1876 version of the poem. Leaf 10 (\"As of the wood-spirits'/ voices ancient, rustly, speaking,\"): inscribed on the same paper as\nLeaf 9, with the same embossed device (reversed, in upper right corner), in medium black ink, with revisions in the same ink and in light ink and the first and last sections deleted. The top deleted section\nincludes several false starts, along with the draft line \"A new Man/ and a new empire\" in the upper right corner. The undeleted verses were revised to form part of section 4 in the 1876 version of the poem. Leaf\n11 (\"Farewell/ My time has ended, my term has/ come,—\"): on the same paper as Leaf 6, also in pencil, with extensive revisions and deletions in the same. Only the verse quoted here was allowed to stand; it\nwas used as the final line of section 1 in the 1876 version of the poem. Leaf 12 (\"or chorus of dryads, fading, departing\"): inscribed on the verso of a letter (22.5 x 17.5 cm.) from Whitman family friend Abby H.\nPrice to Whitman's sister-in-law Mrs. George (Louisa Orr) Whitman. The letter and verses are on blue-tinted wove paper. Whitman's lines run perpendicular to the letter's, and are in brown-black ink, with revisions\nin the same. Multiple pinholes at top and bottom of Whitman's verses rather than in center. The first verse became part of section 1 in the 1876 version, and the rest of the verses on the leaf were revised to form\nsection 5. The letter is written in brown-black ink (deleted with a blue crayon stroke), and is dated \"New York. Oct 17th.\" In it, Abby Price tells Louisa Whitman of her dismay in reading newspaper reports that\nWalt Whitman \"'is...dangerously ill'\" and asks her for more news. Leaf 13 (\"Thus on the northern coast/ in the lumber-men's camp\"): on white laid paper (20.5 x 15 cm.), ruled on both sides, inscribed in brown-\nblack ink and pencil, with extensive revisions and notes from Whitman to himself in the same. After further revision these lines became the final verse paragraph of section 4 in the 1876 version of the poem. Leaf\n14 (\"Nor these alone—not dedicate to these/ alone,...\"): inscribed on the verso of a letter dated 1873 October 15 (21 x 12.5 cm.) to Whitman from his friend Charley [Eldridge]. On white laid paper, ruled on both sides, and\nembossed with the letters \"P \u0026 P\" (inside a decorative border) in the upper left corner. In medium-black ink, with three false starts, a paragraph mark, and revisions in the same. Whitman's lines run\nperpendicular to the letter's. After further revision these lines were incorporated in the first few verses of section 6 of the 1876 version of the poem. In the letter, dated \"Washington Oct 15. 1873\" and deleted\nwith a single blue crayon stroke, Eldridge reports collecting various articles of Whitman's clothing, with Whitman's companion Peter Doyle, from a room the poet kept in Washington, D.C., and sending them via Adams\nExpress. Leaf 15 (\"(Surely I did not dream)\"): on white wove paper (20 x 12.5 cm.), ruled on both sides, and embossed in one corner with the die of the Juniata Mills, Pennsylvania. Inscribed in medium black ink,\nwith revisions in the same. These trial verses were revised and expanded to become the final italicized verse paragraph of section 3 of the 1876 version of the poem. Leaf 16 (\"The influences of nature,\"): on white\nwove paper (19.5 x 12.5 cm.), ruled on recto. In pencil, with extensive revisions in the same. These verses were further revised and incorporated in the final italicized paragraph of section 4 in the 1876 version\nof the poem. Leaf 17 (\"The tree prophecies\"): on a section of white laid paper (torn down to 15.5 x 12 cm.) embossed with what appears to be the same paper-maker's die as leaf 14, but only ruled on recto.\nInscribed and revised in pencil. The pinholes are positioned near the top of the leaf. These trial verses express the themes of much of the finished poem. Leaf 18 (\"The spinal idea of/ the poem\"): on white wove\npaper (19.5 x 12 cm.), ruled on both sides. Inscribed and revised in pencil. This combination of prose and poetic notes provides an overview of the entire poem. Leaf 19 (\"...or seemed to say\"): on white wove paper\n(19 x 12 cm.), ruled on both sides. Inscribed and revised in pencil. These verses were further revised and incorporated in sections 3 and 4 of the published poem in 1876. Leaf 20 (\"Lessons to the/ race to grow\"):\non a fragment of white wove paper torn down to 11 x 12.5 cm., ruled on verso. Inscribed in pencil. Pinholes at foot of fragment, i.e., in the center of the original page, and in the current center. These trial\nverses provide an outline of most of the italicized passages (representing the Redwood's voice) in the published poem.\n","Leaves described individually as follows. Unless otherwise noted, pinholes are clustered at the center of each leaf. Whitman also numbered each leaf in blue crayon in the upper right corner of the page. Leaf 1:\non a composite leaf made of two fragments (12.5 x 19 and 5.5 x 12.5 cm.) of different kinds of white laid paper (the bottom fragment ruled on recto, the top not ruled) pasted together. The top set of verses is\ninscribed in brown-black ink and revised in pencil and in the original ink; the bottom lines are inscribed in pencil, with revisions in the brown-black ink. Whitman numbered this section in blue crayon. Pinholes\nin center of each part of the composite leaf. With a small amount of further revision this leaf became section 1 of the published poem. Leaf 2 (\"Along the northern coast,\"): on a leaf of white laid paper torn down\nto 12.5 x 19.5 cm.; the watermark \"[HAND?]MADE\" is partly visible. On the back appear pencil notes in Whitman's hand for a letter regarding a painting or photograph of Whitman(?); this draft letter is deleted in\nblue crayon. The verses are inscribed in brown-black ink, with revisions in the same ink, in pencil, and in blue crayon. Whitman also numbered this section in blue crayon. After a small amount of further revision\nthese lines became the first verse paragraph of section 2 in the published version. Leaf 3 (\"The choppers haply heard not—the/ camp-shanties echoed not,\"): on the verso of p. [2] (17.5 x 11 cm.)\nof the Albert B. Otis letter, 1873 September 30, used for leaf 8 of the rough draft manuscript (see above); this part of the letter is also deleted with a blue crayon stroke. The verses are inscribed in medium black ink, with\nrevisions in the same ink and in pencil. After further revision they became the second and third verse paragraphs of section 2 in the published version. Leaf 4 (\"You untold life of me,\"): on three sections of\nunruled white laid paper from the same page (15 x 13, 5.5 x 13, and 6 x 13 cm.) joined by means of two irregular fragments of white ruled paper pasted to the back. The ruled fragments contain ink and pencil notes\nfor the poem, but at a very early stage of development. The recto verses are inscribed in medium black ink and revised in the same ink, in pencil, and in blue crayon. Whitman also numbered this section 3 in blue\ncrayon: it became the first verse paragraph of that section in the 1876 version. In pencil, he added the note \"ital\" in the upper left corner and underlined almost every verse to indicate that the Tree's voice\nshould be printed in italics. As Bowers notes, Whitman cut up and rearranged this page to reverse the order of the lines on the second and third sections of paper. Leaf 5 (\"N[or yie]ld we mournfully, majestic\nbrothers,\"): on a composite leaf formed of two sections of paper pasted together; the top section (10 x 15 cm.), damaged along the top edge, is of the same kind of paper used for leaf 13 of the rough draft and\nleaves 8 and 9 of this draft, and the bottom section (18.5 x 13 cm.) is of white wove paper, ruled on one side. The verses are inscribed in brown-black ink with heavy revisions in the same ink and in pencil. After\nfurther revision these sections became the second and third verse paragraphs, respectively, of section 3 of the poem. Leaf 6 (\"Then to a loftier strain/ Still prouder, more extatic rose/ the chant,\"): on two\nsections of different kinds of white paper, the lower section (20 x 12.5 cm.; wove, ruled on one side) being pasted to the top one (10 x 13 cm.; laid, unruled). The lower section is inscribed on the verso of part\nof a sheet of Department of Justice letterhead with the dateline \"Washington...187[ ],\" under which Whitman jotted down and deleted directions to the Hydropathic Institute in Wernersville (Pennsylvania) in blue\ncrayon. He also used blue crayon to designate the verses section 4, of which they became the first two paragraphs in the published version. The verses are inscribed in brown-black ink, with heavy revisions in the\nsame and in pencil. Whitman added the note \"ital\" after joining the two paper sections, and concomitantly underlined each verse of the lower section for the same reasons as in leaf 4. Leaf 7 (\"You occult, deep\nvolitions\"): on white wove paper (25.5 x 20 cm.), ruled on both sides. Inscribed in medium black ink, with revisions in the same, in pencil, and (possibly) in a lighter ink. The upper right corner is damaged,\nleaving the leaf number partially missing, but it seems clear that the number was a 7. As Bowers notes, the deleted title\n You occult, deathless, deep volitions\n  indicates that this was once an independent poem (as the existence of an early draft of the lines at Duke University would seem to confirm), but Whitman revised and italicized the lines—the note\n\"ital\" and underlinings in pencil also appear here—for inclusion as the third paragraph of section 4 in the published version of\n Song of the Redwood-Tree.\n  Leaf 8 (\"For you, for man of you your characteristic race,\"): on a section (21 x 16 cm.) of the same kind of paper used for leaves 5 (in part) and 9; inscribed in medium black ink, with extensive\nrevisions in the same, in pencil, and in what seems to be a lighter ink. The verses are all underlined in the lighter ink(?) using a fine pen. At the bottom of the leaf appear the words \"Idaho, Utah\" in blue\ncrayon. After further revision these lines became the fourth verse paragraph, and the final italicized one, of section 4 in the published version of the poem. Leaf 9 (\"Thus on the northern coast,\"): on a section\n(20.5 x 16 cm.) of the same kind of paper used for leaves 5 (in part) and 8; inscribed in medium black ink, with revisions in the same ink, in a lighter ink, and in pencil. The number 5 appears at the top of the\nleaf, obscured by the addition of new lines. In actuality these verses became the final paragraph of section 4 in the published version of the poem. Leaf 10 (\"The flashing \u0026 golden pageant of California,\"): on\na section of white laid paper (21 x 20 cm.), in brown-black ink, with extensive revisions in the same ink, in a lighter ink, and in pencil. The blue-crayon section number 6 appears next to a deleted pencil 2 at\nthe top of the leaf; at the bottom appears the ink note \"? Yosemite\" separated from the lines with a semicircle. These verses were further revised to form section 5 of the published version. Leaf 11 (\"But more in\nyou, than these, I see, lands of the western shore!\"): on three sections of white wove paper (top: 7 x 20 cm., unruled; middle: 8 x 19.5 cm., unruled; foot: 10 x 20.5 cm., ruled) pasted together and jointly pasted\nto a paper fragment (6.5 x 20 cm.) containing an earlier, deleted set of verses that are revised in the current top section. The top and concealed sections are both inscribed on the verso of fragments of a letter,\nwritten in purple ink and deleted by Whitman in blue crayon, from the engraver W. J. Linton. As Bradley and Blodgett note, Linton produced a portrait of Whitman that the poet included in\n Two Rivulets\n  and that also inspired the poem\n Out from Behind This Mask.\n  In what remains of the letter Linton inquires after Whitman's health. The verses on this composite leaf were revised to form the sixth and final section of the published version of the poem.\n","On one leaf (12 x 19.5 cm.) of white laid paper, ruled on recto. In light brown ink, with one deletion in the same ink. This appears to have been a trial cover leaf for the cluster\n Songs of Parting,\n  new to the 1881 edition of\n Leaves of Grass\n . Whitman struck out the words \"A few\" above the current title, but left undeleted four other possibilities at the top of the leaf:\n Songs of Departure/ Departing,/ Termination/ Completion.\n","The Soul's Procession\n  comprises very early notes for a projected poem that Whitman inscribed in a handmade notebook (20.5 x 13 cm.). This he made by folding in half seven leaves of white laid Philp \u0026 Solomon (Washington,\nD.C.) paper (measuring 25 x 19.5 cm. unfolded), ruled in blue on both sides (type A), in the direct middle of which he inserted a gathering of three folded leaves of a different kind of white laid paper (type B),\nruled horizontally in blue on both sides, but also featuring a single vertical rule in blue and red. This gathering is held together with a metal bracket, and is bound in with the main notebook pages by means of a\npink ribbon. Three sections of type B paper are also tipped in between bound type A pages. Inscribed and revised in black ink, in pencil, and in blue crayon. Although Whitman never finished or published\n The Soul's Procession\n  during his lifetime, Bradley and Blodgett note that the same ideas worked out here inform many of his poems, particularly the 1871 independent publication\n Passage to India.\n  For a transcription of the notebook with comprehensive annotations see Grier's\n Notebooks and Unpublished Prose Manuscripts\n , vol. 4, pp. 1390-94. The earliest dating of the notebook is supplied by an 1869 newspaper clipping pasted to Leaf 3, but Grier speculates, based on the shakiness of Whitman's handwriting in later leaves,\nthat some of the notes may have been added after the poet suffered a paralyzing stroke in 1873. On the back cover appear pencil notes detailing train numbers, times, and (apparently) amounts of money.\n","This half-leaf (19.5 x 12.5 cm.) constitutes the front cover. It bears the die of Philp \u0026 Solomon in the (current) upper right corner. The title is inscribed and underlined in brown ink, and Whitman's\ninitials appear in pencil in the center of the page, to the left of a pencil squiggle.\n","Inscribed on type A Philp \u0026 Solomon paper in black ink, with no revisions, on the page directly following the front cover.\n","On the type A page currently following Leaf 2, but originally following another type A page that Whitman bound with the other pages and later cut and tore (irregularly) out. The stub of the excised portion of\nthe original leaf can be seen here. A piece of very thin tan wove paper was inserted here, and a newspaper clipping dated in pencil (by Whitman?) 1869, about \"The Steamship Pereire Disaster,\" was pasted directly\nto the lower left section of Leaf 3. The trial verse \"My ship sails the sea/ in a storm\" appears at the end of Whitman's prose notes and beneath the clipping, which documents the near-sinking of a steamship in the\nAtlantic during a \"furious gale.\" Inscribed in black ink, with a short horizontal line separating the note \"In Soul's Procession\" from the rest of the notes.\n","On a section of type B paper (16 x 10 cm.) from the same irregular cutting as leaves 5 and 6, tipped in directly after Leaf 3. Some pinholes matching those on leaves 5 and 6—but in a way that indicates\nthat Whitman pinned the leaves together more than once—appear in the center and near the left margin. Inscribed, like leaves 5 and 6, in pencil, with cartoon hands to emphasize key points. The title is\nunderlined in pencil. Bradley and Blodgett publish leaves 4-6 on pp. 611-12 (2002 ed.), noting that the prose notes on Leaf 4 break into trial verses on leaves 5 and 6.\n","On a section of type B paper (16 x 10 cm.) tipped in after the type A page that follows leaf 4. See Leaf 4 description for notes on the pinholes. Inscribed in pencil, with no revisions. These lines are all\nformatted as trial verses rather than prose notes.\n","On a section of type B paper (16 x 10 cm.) tipped in after the type A page that follows leaf 5. See Leaf 4 description for notes on the pinholes. Inscribed in pencil with heavy revisions; the first two verses\n(beginning \"I knew the greater idea/ of Space\") are deleted with a single vertical pencil stroke. The last verse ends without a period.\n","On the first page (20.5 x 12.5 cm.) of the type B gathering, which starts after the type A page following leaf 6. The page is blank below the title, which is inscribed and underlined in pencil.\n","On the second page of the type B gathering (Whitman did not use the versos). Inscribed and revised in (smudged) pencil. The note \"Agassiz—/ Animal Life p. 53\" at the center of the page apparently refers\nto Louis Agassiz'\n The Structure of Animal Life\n , delivered as six lectures in 1862 and first published in 1865. A horizontal line separates the upper set of notes from lower ones, which are formatted as trial verses.\n","On the third page of the type B gathering. The first half of the page is devoted to pencil trial verses that represent a continuation of Leaf 8. Following these, and separated from them by a horizontal line in\nblack ink, occurs a set of prose notes beginning with the words \"Make a succession/ of splendid gorgeous/ stately pageants or/ moving panoramas.\"\n","On the fourth page of the type B gathering. Inscribed in (somewhat smudged) black ink. These notes represent an intermediate stage between prose notes and trial verses; they are formatted as verses, but contain\nWhitman's instructions to himself, offering an outline of future verses rather than a sketch.\n","On the sixth page of the type B gathering. Inscribed and revised in black ink. Whitman's note \"Query?\" appears above the first line. Several phrases, like \"History,\" \"The Wars,\" and \"The greatest philosophers,\"\nare inscribed in very large letters and underlined.\n","On the first type A page after the type B gathering. These highly fragmentary prose and verse notes are inscribed in pencil and blue crayon, with some revisions to the blue crayon section in the same medium.\nDifferent sections of the notes are separated with dashes.\n","On the second type A page after the type B gathering. Inscribed, quite shakily, in pencil. The working title is underlined. As indicated above, these lines represent an intermediate stage between prose notes\nand trial verses. The different sections are separated by short horizontal lines. Although Whitman wrote about Greenwood Cemetery (Brooklyn) elsewhere, he did not use these notes for the independent poem he was\napparently projecting on this leaf.\n","The general title appears to be\n Old Age Echoes,\n  but beneath that title are the two poems under which titles the item is catalogued:\n Sounds of the Winter\n  and\n The Unexpress'd.\n  Pasted to the leaf below the second poem is a woodcut engraving of Walt Whitman along with his autograph. Under that is what has been classified as two lines from an unidentified poem. A note at top\nstates, \"intended to make one page.\"\n","From \"Shorter Notes, Isolated Words\" section #54.\n","Pencil on white paper. Pasted on top half of archival leaf.\n","Ink on pink paper. Pasted on bottom half of archival leaf.\n","Pencil on verso of envelope. Pasted on top half of archival leaf.\n","Ink on blue paper. Pasted on bottom half of archival leaf. Verso has some notes for poem\n [America, so young and so magnificent].\n","Written in ink. Pasted on top third of archival leaf.\n","Written in ink. Pasted in middle of archival leaf.\n","Written in pencil. Pasted on bottom third of archival leaf.\n","Written in ink. Pasted to own archival leaf.\n","Ink on lined paper. Pasted on own archival leaf.\n","From \"Memoranda from Books\" section #64.\n","This manuscript is a draft of lines that were published in\n Chants Democratic,\n  number 13, in the 1860 edition of\n Leaves of Grass\n . That poem was later revised and published as\n Laws for Creations\n ; however, the lines on this manuscript are a draft of the section of the poem that was deleted after the 1860 publication.\n","A draft of\n A Thought of Columbus,\n  a poem first published on July 16, 1892, in\n Once a Week\n , accompanied by Horace Traubel's account of its composition, called \"Walt Whitman's Last Poem.\" This manuscript is a draft of only the first six lines and is dated 1891.\n","On one leaf of white wove paper (22.5 x 13.5 cm.), in very dark brown-black ink, with revisions in the same ink and in pencil. Multiple pinholes just below center. At the top, which is damaged, can be seen a\ntitle or notes for a different poem reading\n [One?] Song—Come Philander\n ; the preliminary and incomplete draft of\n Three verses\n  (with the note \"2d or 3d verse\" and a question mark at different points) appears beneath a horizontal line. Whitman apparently never revised the poem further, and it was never published. At some point the\nleaf was folded in half, apparently to form part of a small notebook. On the verso appear two independent texts. One is a list of names and addresses (beginning with his brother and sisters \"Jeff./ Mary/ Han[nah]\"\nand including his friends and supporters Mrs. [Anne Burrows] Gilchrist, W[illiam] M[ichael] Rossetti, and [Edward] Dowden) of people to whom Whitman had apparently mailed copies of an article or book; all but two\nof the names are checked off in ink or in orange crayon. On the facing half-leaf, in pencil (mostly erased or deleted) and struck through with the same orange crayon, appear what seem to be notes for a newspaper\nannouncement, beginning \"Walt Whitman, after an absence of almost three years, appeared again on Pennsylvania Avenue this forenoon.\" Based on this date it can be speculated that the notes were written late in 1875\n(a possibility corroborated by the list of names), but the poem(s) may have been inscribed in the late 1860s or earlier.\n","This manuscript is a quotation from\n Song of the Answerer\n  (from section two, two lines beginning \"Time always without break\") and Whitman's signature. The manuscript is dated\n March 14, 1887\n .\n","On two sections of white, gray-ruled laid Department of Justice letterhead, the first cut down to 20 x 18 cm. and the second reduced to 18.5 x 18.5 cm. The engraved heading is missing from the first leaf but\nappears on the verso of the second, above the date \"187[ ].\" Both pages are inscribed in black ink, with revisions in the same and in brown-black ink. The first two entries on Leaf 1 appear to contain general\nnotes for this poem; the second entry reads, \"Make a demand for/ the Ideal, (or/ rather idea of the/ Ideal of the real).\" This is followed by the note \"in the piece,\" which leads up to several trial verses\neventually incorporated in the second verse paragraph of numbered section 5 of\n Thou Mother With Thy Equal Brood.\n  Leaf 2 (\"? Or—a song—a chant/ which shall sing—celebrate/—America...\"): these general notes, ending with a cartoon hand singling out the lines \"All the states/ East \u0026 west,/\nnorth \u0026 south/ Brotherhood/ an equal union[,]\" prefigure the whole poem, but particularly such lines as \"South, North, West, East,/ (To thy immortal breasts, Mother of All, thy every daughter,/ son, endear'd\nalike, forever equal,)\" in the same section projected on Leaf 1.\n\n","This manuscript is a draft of a piece for a periodical advertising the presence of a new \"burlesque portrait\" of Whitman by Frank Bellew. It was apparently published in the\n Fifth Avenue Journal\n  in 1872.\n","On a tax form trimmed down to 21 x 12 cm., with the upper corners cropped diagonally. Two sets of pinholes. The first two verses, taken more or less directly from\n [Of Biography],\n  have no revisions, but the remaining three verses represent a significant expansion of the themes in the prose notes and are extensively revised. Two of the corrections are in brown ink. These verses,\nwhich precede\n [Walt Whitman's law]\n  in the composition process, correspond, like\n [Of Biography],\n  to section 2 of the 1860 version of the poem.\n","Two leaves of ink on pink paper. Verso of second leaf is ordered list of poems beginning with \"33 A Handful of Air\" and ending with \"72 Leaf.\" Note indicates poem as unpublished.\n","Note on top states \"sent April 21 to Herald.\"\n","On the top half of leaf is a printed, struck-through copy of the note about the Trent Affair which accompanied Whitman's poem\n For Queen Victoria's Birthday,\n  which was published first in 1890. On the bottom half of leaf is a note written in purple pencil reading, \"W.W.'s respects—/—if convenient print in paper of 24th/—no pay expected.\"\n","A partial draft of the Preface to\n Two Rivulets\n , a volume published in 1876.\n","The general title appears to be\n Old Age Echoes,\n  but beneath that title are the two poems under which titles the item is catalogued:\n Sounds of the Winter\n  and\n The Unexpress'd.\n  Pasted to the leaf below the second poem is a woodcut engraving of Walt Whitman along with his autograph. Under that is what has been classified as two lines from an unidentified poem. A note at top\nstates, \"intended to make one page.\"\n","Possibly\n Democratic Vistas.\n","Note at bottom states \"sent to Herald March 11.\" Written in ink and partially on verso of letter addressed to Walt Whitman from London.\n","Includes copy of drawing, \"Where Walt Whitman was Born\"; printed sheet, \"Walt Whitman, His Home and His Inspiring Oak\"; typed description of Whitman's birthplace.\n","Autobiographical sketch for publication in \"The Critic.\"\n","On a full tax form (22 cm. x 12 cm.) with the corners slightly cropped diagonally. Two sets of pinholes in center. This leaf, bearing the deleted title\n To an artist, literat, \u0026c\n  and first line \"Come, I have now to tell/ you[,]\" revises and expands on\n To a Literat.—\n  It was revised to form sections 1 and 2 of the 1860 version of the poem, after first being revised itself in the leaves described under\n Chants Democratic\n  below.\n","From \"Notes on the Meaning and Intention of 'Leaves of Grass,'\" section #59.\n","This manuscript contains notes about whales. The relationship of this manuscript to Whitman's published work is unknown. These notes may be a continuation of notes written on a separate leaf and held at Duke\nUniversity (The Trent Collection of Walt Whitman Manuscripts, Duke University Rare Book, Manuscript, and Special Collections Library), \"The Whale,\" MS 4 to 88.\n","Believed to be for or from some poem in\n Sands at Seventy\n . Final version of poem entitled, \"By That Long Scan of Waves.\" Written in purple pencil and ink. Includes a negative photostat of manuscript.\n","One leaf in ink on lined paper with pencil revisions.\n","Pocket notebook of Walt Whitman in which he made notes of his visits with patients in Civil War hospitals. Consists of notes written in pencil on 8 leaves of paper folded in half to form a booklet which is\nbound with a pink ribbon. The notebook lists names and details about various Civil War soldiers that Whitman met while volunteering in Washington, D. C., hospitals during the war.\n","With autograph lines by Walt Whitman showing his past and proposed trips.\n","Regarding Whitman correspondence to Robert Underwood Johnson, 1879 October 29.\n","Edward Clifford is an English artist.\n","Regarding a Walt Whitman letter to Peter Doyle, 1888 November 19, proven to be a forgery.\n","Originally enclosed in Walt Whitman letter to John Burroughs, [1879] November 23.\n","SEE verso Walt Whitman to [J. B. Gilder], [1887] March 18.\n","SEE verso of AMs, \"Walt Whitman is putting the later touches....\"\n","Regarding a pencil sketch by Joseph Jackson completed at Walt Whitman's birthday dinner in Philadelphia on May 31, 1890.\n","See verso of manuscript fragment, \"the best part of literature and religion.\"\n","Includes Whitman manuscript, \"the city as well as country. Other wars...\" and photograph of Walt Whitman, Harry, and Kitty Johnston.\n","Regarding Whitman correspondence to C. F. Currie, 1890 August 1.\n","Regarding Whitman correspondence to Oran S. Baldwin, 1883 December 15.\n","Regarding Whitman correspondence to Oran S. Baldwin, 1883 December 15.\n","Regarding Walt Whitman's financial state, with attached clipping from Boston Saturday Evening Gazette, November 17, 1867.\n","SEE Walt Whitman to [William Sloane Kennedy?], ALS, April 11, 1887.\n","Regarding Whitman correspondence to Oran S. Baldwin, 1883 December 15.\n","See verso of \"How often I have fancied...\"\n","Envelope written in the hand of Walt Whitman: \"Mother's last lines.\"\n","With dealer's note and typed transcription.\n","Dr. Feinberg indicates recipient is Moncure Conway.\n","Whitman transmits a copy of the 1871 J.S. Redfield edition of  Leaves of grass  for use as a dummy for a proposed English edition. Originally tipped in Barrett PS3201 1871b COPY 2.\n","Note: \"This letter was written to Ann Gilchrist. Mrs. Gilchrist was the English widow who came to American to find Whitman. Whitman here is trying to warn her off.\"\n","Letter purchased in honor of Michael Plunkett, Director of Special Collections, on his retirement 2005 December 1.\n","For original, see ALS, John Burroughs to [John Jay] Knox, 1873 September 14.\n","See \"Is Walt Whitman's Poetry Poetical?\"\n","With explanatory note regarding individuals mentioned and date of letter.\n","See TLS, Ellen C. Ahern to R. V. Thornton, 1949 July 21, regarding discovery of this Whitman letter with an enclosure: a brief biographical sketch of R. U. Johnson.\n","Also see Printed Map of the United States in Vault Barrett Oversize. For original Gilchrist letter, see Ann Gilchrist to Walt Whitman, 1879 October 6.\n","See \"Embers of Ending Days.\"\n","\"Mrs. Alma Calder Johnston, wife of J. A. Johnston, [N. Y.?] jeweler, in whose home Whitman used to stay when in [N. Y.?].\"\n","Whitman refers in this letter to the \"general Death-gloom\" of the nation,\" most likely referring to the assassination of President James A. Garfield.\n","Envelope addressed to \"Carl Knortz.\"\n","Two fragments of letter glued, with one of the fragments on the back of an envelope addressed to Walt Whitman. Dealer's note: \"The aging poet uses a page and the back of an envelope to draft a letter of thanks\nto the editor of \"Pall Mall Gazette\" for the gift of £81 sent by readers.\"\n","Regarding Tennyson-Whitman correspondence. Verso: J. B. Gilder to [Walt] Whitman, ALS, 1887 March 17.\n","Referring to T. W. Rolleston postcard to Walt Whitman, 1888 September 1.\n","Also see Jacob Klein to W. S. Kennedy, 1881 September 1, for reason of Whitman's letter to Jacob Klein.\n","Includes typed transcription and brief description.\n","Regarding Algeron, Charles Swinburne, and Walt Whitman.\n","See verso of \"Orange buds by mail.\"\n","See verso of \"The First Dandelion.\"\n","SEE verso of AMs fragment, \"The Bible as Poetry.\"\n","Inscribed on top: \"Walt Whitman's Card-receiver. Presented to Dr. Raley H. Bell by Mrs. Mary O. Davis, April 18th 1903.\" Inscribed on bottom: \"Plucked from the tomb of Whitman, April 18, 1903. R.H.B.\"\n","Gift in honor of Floyd Stovall\n","Stamped on verso: \"Life Photo by Thomas D. McAvoy\".\n","Gift in honor of Floyd Stovall. Printed below image: \"Photoype. F. Gutekunst. Philadelphia.\" \n","Gift in honor of Floyd Stovall. Printed below image: \"Phototype. F. Gutekunst. Philadelphia.\" Also one copy of Louisa Van Velsor Whitman and Walter Whitman included on same image.\n","Engravings by Samuel Hollyer.\n c.1: Signed by Samuel Hollyer. Inscribed at bottom, \"First [India] finished proof off plate-approved by W. Whitman.\"\n c.2: Signed, \"Walt Whitman 1855\"\n c.3: Signed, \"Walt Whitman from life, 1855\"\n c.4: Signed \"Walt Whitman\" by unknown hand.\n c.5: Mounted, inscribed at bottom, \"Portrait noted on P. 357. Walt Whitman\" in unknown hand.\n","Photographer unknown, probably Gabriel Harrison.\n","#3829-v, Gift in honor of Floyd Stovall. Original photograph by Charles C. Hine.\n c.1: Mounted reproduction by \"Rockwood. 1440 Broadway N.Y. (40th St.) Holland Building.\" Printed on verso: \"N.B.-This photograph is copied from another picture and must not be takes as a sample of our work direct from life. Geo. G. Rockwood.\" Inscribed on verso: \"Walt Whitman by Charles C. Hine\" [possibly Whitman's hand]\n c.2: Print, signed \"Walt Whitman\"\n c.3: Print, tipped to cardboard backing, no inscription.\n c.4: Print, mounted, no inscription.\n","Inscribed, \"Walt Whitman New York 1860.\"\n","Photographer unknown, but speculation is J. W. Black of Boston.\n","Photograph by Gilbert \u0026 Bacon, 1030 Chestnut St. Philadelphia. Inscribed twice: \"Walt Whitman taken from life 1863 wartime Washington D.C.\" and \"to Horace L. Traubel from his friend W. W. June 1888.\"\n","Photograph by Alexander Gardner, Washington D.C., with typed description on back: \"Hitherto unpublished photograph of Walt Whitman from the private collection of Robert Coster. This is the only photograph of\nthe kind of Whitman known to be in existence.\"\n","Photograph by Alexander Gardner, inscribed on image: \"Walt Whitman 1865 ... born May 31, 1819\" and on verso: \"Given to a Comrade as a Memento in Washington City, June 29, 1865.\"\n","Photograph by Mathew Brady, Washington, D. C. Recto: Signed, \"Walt Whitman.\" Verso: Signed, \"Walt Whitman 1867-\" Printed, \"Brady's National Photographic Portrait Galleries Broadway and 10th Street New York-627\nPennsylvania Avenue, Washington D. C.\"\n","Photographer unknown, possibly Mathew Brady. Inscribed on verso: \"For C. A. Wilson- because he knows the hearts of books as well as their end-papers. From Jack Birso 2:25:36\".\n","Photograph by Mathew Brady. Note on back: \"5-18-54 Purchased from W. H. [Louder?] 715 12th St. NW Washington DC for 7.00, in frame. P. A. Jones official of WHL the owner. Says he had it framed about 25 years\nago at Cooper's Art Shop 1324 G St N.W. long since out of business. That's all he recollects. Believes this print was made in 1890's. Couldn't recall from where he...was born in '92.\"\n","Photographer unknown, perhaps William Kurtz. Inscribed on verso: \"Presented to Mr. [C. O. Maillong ?] by Mrs. Mary O. Davis May 20th 1903.\"\n","Gift in honor of Floyd Stovall. Photographer unknown.\n","Photographer unknown, perhaps William Kurtz. Original signed, \"Walt Whitman 1869\".\n","Photograph by G. Frank Pearsall, Brooklyn. Original signed, \"Walt Whitman Jan 1-1878\".\n","Photograph by J. Gurney and Son, New York.\n c.1: Mounted image, \"Gurney \u0026 Son, Fifth Ave. N. Y.\"\n c.2: Copy, with typed description on verso: \"Hitherto unpublished photograph of Walt Whitman from the private collection of Robert Coster. This is the only photograph of Whitman known to be in existence.\"\n","Photograph by Henry Ulke and Brothers, Washington D. C. Inscribed on verso: \"Presented to Mr. [C. O. Maillong ?] by Mrs. Mary O. Davis May 20th 1903.\"\n","Recto: \"Rockwood 1440 Broadway, N.Y. (40th St.) Holland Building. Verso: Inscribed, \"Walt Whitman,\" in unknown hand.\n","Inscribed in pencil on verso: \"Turney \u0026 Son Photographers.\" After careful scrutiny of image, although extremely similar to Saunders #41, there is slight discrepancy which indicates a different image.\n","Print by William J. Linton from a photograph of George C. Potter, Washington, D.C., with three copies.\n","From \"Men of the Day,\" the Fifth Avenue Journal, (copy # 89 out of 100). Original in Vault oversize V-13.\n","#3829-v, Gift in honor of Floyd Stovall. Photograph by G. Frank Pearsall, Brooklyn.\n c.1. Photograph signed by Walt Whitman, \"Walt Whitman 1877\"\n c. 2. Photograph signed by Walt Whitman, \"Walt Whitman\"\n c. 3. Mounted photograph, without printed caption at bottom\n c. 4. Mounted photograph, with printed caption at bottom: \"Photo'd from life, Sept., '72, Brooklyn, N.Y. by G. F. E. Pearsall, Fulton St. (Printed by C. F. Spieler, Phila.)\n c. 5. Mounted double photograph, without caption [possibly a stereoview]\n","Photograph by G. Frank Pearsall, Brooklyn.\n","Wood engraving of a portrait by Linton, 1875, with a proof title page of the 1876 edition of  Leaves of Grass.","#3829-v, Gift in honor of Floyd Stovall. Photograph by Napoleon Sarony, New York, with two copies.\n c.1. Photograph signed by Walt Whitman, \"Walt Whitman Sept 13 1881\"\n c.2 Photograph, mounted, unsigned.\n","Etching by [Gribayedoff?], based on 1878 photograph by Napoleon Sarony.\n","Photograph by Napoleon Sarony, New York, [?] 87 Union Square, N. Y.\n","Photograph by Napoleon Sarony, New York.\n","Photograph by Napoleon Sarony, New York.\n","Inscribed \"Harry and Kitty-Walt Whitman, 1879.\" Enclosed in John H. Johnston letter to Mr. Watson, March 11, 1912.\n","Inscribed on verso, \"Harold, 'Kittie', and 'Uncle Walt,'\" by William Kurtz, New York, Madison Square.\n","Photograph by William Kurtz, New York.\n c.1: grass drawn into child's hand, no inscription. Inscribed on verso: Loaned by Bertha Johnston 389 Clinton St. Brooklyn.\n c.2: grass drawn into child's hand, with inscription from \"Leaves of Grass\" on bottom, \"'a child said to me \"What is the grass?\" fetching it to me with full hands. How could I answer the child!'\" Inscribed\non verso: \"Miss Bertha Johnston 514-8\" [...] Brooklyn. Walt Whitman, Harry Johnston (Harold Hugh)\"\n","Original photograph by Edy Brothers, London Ontario.\n","Original photograph by Edy Brothers, London, Ontario. Stamped \"Walt Whitman\" on verso.\n","Gift in honor of Floyd Stovall. Photograph by Edy Brothers, London, Ontario, with two copies.\n","#3829-v, Gift in honor of Floyd Stovall. \n c.1: Printed on bottom of phototype: \"Photoype. F. Gutekunst. Philadelphia.\"\n c.2: Image by Thomas C. Watkins, originally enclosed with AMS draft \"The Dalliance of Eagles.\"\n c.3: Mounted phototype, printed at bottom, \"Phototype. F. Gutekunst. Philadelphia.\"\n c.4: Inscribed on verso: \"Presented to Dr. Raley H. Bell by Mrs. Mary O. Davis. May 20th 1903.\"\n","Photographer unknown, perhaps Edy Brothers, London, Ontario. Printed on verso: \"Broadbent \u0026 Taylor 914 Chestnut St. Philadelphia. S. Broadbent. W. Curtis Taylor.\"\n","Inscribed on verso, \"made by Gutekunst 1881-early copy given to H.T. by W.W.,\"\n","By Charles H. Spieler, Philadelphia.\n","By Charles H. Spieler, Philadelphia.\n","Photograph by Phillips and Taylor, Philadelphia. Inscribed on back: \"Presented to Raley H. Bell by Mrs. Mary O. Davis May 20th 1908.\"\n","Based on 1880 Frederick Gutekunst photograph. Printed below image: \"Walt Whitman, 1887.\"\n","Photograph by George C. Cox, New York.\n c.1. signed print.\n c.2. unsigned print.\n","Photograph by Frank P. Harned, Camden.\n c.1: Signed photograph, \"Walt Whitman\"\n c.2: Unsigned photograph. Inscribed on verso: \"To J H Johnston Camden NJ Feb 24 1893 Taken in Camden by F. P. Harned about 188[9?]\"\n","Photographer unknown, probably Frank P. Harned, Camden (similar to Saunders #96).\n","Photographer unknown, probably George C. Cox. Image similar to Saunders #98.\n","Inscribed on verso: \"Given to me by Mary Davis Mar 27 1895 J H Johnston.\" Photographer unknown, probably Thomas Eakins, Philadelphia.\n","Photograph possibly by Frederick Gutekunst, Philadelphia.\n","Photograph by H. C. Willets. More than likely an early hoax photograph. Biographical note of Walt Whitman top left. Printed below: \"This is a photo enlarged from a Kodak 3x4 in a form never before in print and\nsome facts never before made.\"\n","Original signed, \"Walt Whitman in 1890.\" Photograph by Frederick Gutekunst, Philadelphia.\n","Pencil sketch by Joseph Jackson, inscribed on verso, \"sketched at Reisser's at the Walt Whitman dinner. Jo Jackson May 31, 1890,\" with explanatory letter, July 28, 1943, from Joseph Jackson to Mr. Borneman\nregarding sketch.\n","Inscribed: \"Walt Whitman, Camden, N. J. 1890-cut from life by his friend B. D.\"\n","Copper plate for engraving by T. E. Johnson, based on 1887 George C. Cox photograph. Original copper plate and framed print in Vault-Barrett-Oversize W-5. 71 strikes from copper engraving plate in Vault-Barrett-Oversize V-13.\n","Etching completed as a bust framed with classical motifs, with a reproduction of his signature framed below by Bernhardt Wall.\n","Invitations from the Grolier Club to the Walt Whitman exhibit, with enclosure.\n","Painting by Carl Holty. \"Walt\" by permission of Mr. Holty and Addison Gallery of American Art, Phillips Academy.\n","Images attached to leaves of notebook\n p.1: Walt Whitman, 1866. Saunders #23.1\n p.2: Walt Whitman, [1867?]. Saunders 24\n p.3: Walt Whitman, 1866. Saunders #23.1\n p.4: Walt Whitman, 1880. Saunders #76.\n p.5: Walt Whitman, ca. 1862. Saunders #16\n p.6: Walt Whitman, [1867?]. Saunders #24\n p.6a: Walt Whitman, 1866. Saunders #23.1\n p.7: Walt Whitman, [1869?]. Saunders #70\n p.7a: Walt Whitman, 1866. Saunders #23.1\n p.8: Walt Whitman, [1881?]. Saunders #101\n p.9: Walt Whitman, 1887. Saunders #98\n p.9: Walt Whitman, ca. 1862. Saunders #16\n p.10: Walt Whitman, [1869?]. Saunders #70\n p.11: Walt Whitman, 1887. Saunders #94.\n p.12: Mark Twain\n p.12a: Walt Whitman, 1887. Saunders #92.\n p.13: Walt Whitman, 1887. Saunders #95.\n p.14: Walt Whitman, 1878. Saunders #71\n","Sketch by Joseph Simpson.\n","Sketch by George W. Waters. Printed below: \"Pen-and-ink sketch of Walt Whitman by George W. Waters, of Elmira, New York, given by him to Mrs. Alma Calder Johnston, in whose New York home both poet and artist\nwere frequent guests.\"\n","Possibly based on 1878 Napoleon Sarony photograph of Walt Whitman.\n","Drawing by Eastman Johnson.\n","Original woodcut by Antonio Frasconi.\n","Artist unknown.\n","From the Painting by J. W. Alexander,\" by Kurtz. Published in H\n arpers Magazine,\n  volume 84, Number 503, April 1892.\n","Includes:\n Portrait of Walt Whitman  by Thomas Eakins\n Photograph of Walt Whitman, 1889, Saunders #111\n Portrait of Walt Whitman painted from life by Mr. John W. Alexander\n Photograph of Walt Whitman and Warren Fritzinger, 1890, Saunders #108, with caption: \"Whitman on the Wharf at Camden, N.J.\"\n","From cover of Suffolk Telephone Directory.\n","1. Interior of Walt Whitman's room. Verso: \"Life Photo by Herbert Gehr\"\n 2. Photograph of outside plaque. Verso: \"Life Photo by Herbert Gehr\"\n","Verso of both photographs: \"Credit: Andreas Feininger from Black Star, Graybar Building, New York.\"\n","Verso of each photograph: \"Life Photo by Herbert Gehr.\"\n","Original print by George Innes. See AMsS,  Death's Valley.  From\n Harper's Magazine,\n  volume 84, Number 503, April 1892.\n","Special double issue: Whitman Photographs.\n","See the \n             \n            University of Virginia Library’s use policy.","English\n"],"unitid_tesim":["3829, etc., 5604\n"],"normalized_title_ssm":["Papers of Walt Whitman\n1838-1987"],"collection_title_tesim":["Papers of Walt Whitman\n1838-1987"],"collection_ssim":["Papers of Walt Whitman\n1838-1987"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"acqinfo_ssim":["All deposits were made gifts on July 1, 1991.\n","3829: Deposit, November 20, 1951.\n 3829-a: Gift, December 1954.\n 3829-b: Gift, October 10, 1957.\n 3829-c: Void, books.\n 3829-d: Gift, February 11, 1958.\n 3829-e: Gift, November 30, 1959.\n 3829-f: Deposit, April 23, 1960.\n 3829-g: Deposit, April 30, 1960.\n 3829-h: Deposit, April 20, 1961.\n 3829-i: Deposit, April 24, 1961.\n 3829-j: Deposit, June 27, 1961.\n 3829-k: Purchase, November 29, 1962.\n 3829-l: Purchase, October 13, 1962.\n 3829-m: Purchase, October 2, 1962.\n 3829-n: Purchase, February 4, 1965.\n 3829-o: Archival transfer, July 23, 1965.\n 3829-p: Deposit, June 16, 1966.\n 3829-q: Deposit, March 9, 1967.\n 3829-r: Purchase, April 21, 1971.\n 3829-s: Deposit, September 29, 1971.\n 3829-t: Deposit, December 17, 1963.\n 3829-u: Deposit for copying, November 30, 1973.\n 3829-v: Gift, August 24, 1984.\n 3829-w: Purchase, November 5, 1985.\n 3829-x: Gift, November 7, 1986.\n 3829-y: Purchase, May 2, 1988.\n 3829-z: Transfer, July 12, 1989.\n 3829-aa: Purchase, July 15, 1996\n 3829-ab: Purchase, November 28, 2005\n 5604: Gift, May 1957.\n 7267: Gift, August 14, 1963\n 9778: Gift January 26, 1972\n 10204-az: Gift, December 28, 1998.\n 10602: Gift, June 18, 1984.\n"],"has_online_content_ssim":["false"],"accessrestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\n\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no restrictions.\n"],"arrangement_html_tesm":["\u003cp\u003eThe Papers of Walt Whitman are arranged in six series: Series I: Literary Manuscripts (arranged alphabetically by title); Series II: Miscellaneous Manuscripts (arranged chronologically); Series III:\nCorrespondence (arranged chronologically by author); Series IV: Miscellaneous Documents (arranged chronologically); Series V: Engravings, Prints, and Photographs (arranged chronologically); and Series VI: Odds and\nEnds.\n\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement\n"],"arrangement_tesim":["The Papers of Walt Whitman are arranged in six series: Series I: Literary Manuscripts (arranged alphabetically by title); Series II: Miscellaneous Manuscripts (arranged chronologically); Series III:\nCorrespondence (arranged chronologically by author); Series IV: Miscellaneous Documents (arranged chronologically); Series V: Engravings, Prints, and Photographs (arranged chronologically); and Series VI: Odds and\nEnds.\n"],"bioghist_html_tesm":["\u003cp\u003eFor detailed biographical information, see the biography and chronology pages at \u003cextref type=\"simple\" href=\"http://www.whitmanarchive.org/biography\"\u003ethe Whitman Archive.\u003c/extref\u003e\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical/Historical Information\n"],"bioghist_tesim":["For detailed biographical information, see the biography and chronology pages at  the Whitman Archive."],"prefercite_html_tesm":["\u003cp\u003ePapers of Walt Whitman, Accession #3829, etc., 5604, Clifton Waller Barrett Library of American Literature, Special Collections, University of Virginia Library, Charlottesville, Va.\n\u003c/p\u003e"],"prefercite_tesim":["Papers of Walt Whitman, Accession #3829, etc., 5604, Clifton Waller Barrett Library of American Literature, Special Collections, University of Virginia Library, Charlottesville, Va.\n"],"processinfo_html_tesm":["\u003cp\u003eSome entries for literary manuscripts include the \"Bowers\" number, originally assigned by Fredson Bowers.\n\u003c/p\u003e","\u003cp\u003eMany letters in the correspondence series were subsequently used by Whitman to draft poems. The originals of these items are filed in the manuscripts series and photocopies inserted in appropriate folders in\nthe correspondence series.\n\u003c/p\u003e","\u003cp\u003eThe description of the photographs includes the \"Saunders\" number, when known. An extensive description of the method used by Henry S. Saunders for cataloging photographs of Whitman is printed in \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Walt Whitman Quarterly Review,\u003c/title\u003e Fall/Winter 1986-1987, which can be found in Box 5, Folder 50 of this collection.\n\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information\n"],"processinfo_tesim":["Some entries for literary manuscripts include the \"Bowers\" number, originally assigned by Fredson Bowers.\n","Many letters in the correspondence series were subsequently used by Whitman to draft poems. The originals of these items are filed in the manuscripts series and photocopies inserted in appropriate folders in\nthe correspondence series.\n","The description of the photographs includes the \"Saunders\" number, when known. An extensive description of the method used by Henry S. Saunders for cataloging photographs of Whitman is printed in  The Walt Whitman Quarterly Review,  Fall/Winter 1986-1987, which can be found in Box 5, Folder 50 of this collection.\n"],"scopecontent_heading_ssm":["Scope and Content\n"],"scopecontent_tesim":["Literary Manuscripts (Series I) includes numerous drafts, editions, and revisions of many of Whitman's poems and articles. Included are manuscripts of  Leaves of Grass, Song of Myself,\nSea-Drift, As I Sit in Twilight, A Carol for Harvest for 1867,  and biographical writings on Emerson, Carlyle, and Elias Hicks.\n","Miscellaneous Manuscripts (Series II), consists of legal documents, multiple versions of Walt Whitman's last will and testament, autograph signatures and envelopes, his Civil War diary written while visiting\nhospitals of the wounded in 1863, and a flower and pin he attached to his coat.\n","Correspondence (Series III), consists chiefly of Walt Whitman's personal correspondence; correspondents include Ellen C. Ahern, H. M. Alden, Jack Biriss, Richard Maurice Bucke, John Burroughs, Edward Carpenter,\nEdward Clifford, Peter Doyle, Ralph Waldo Emerson, Charles E. Feinberg, Charley Eldridge, Horace Howard Furness, Ann Gilchrist, J. B. Gilder, J. L. Gilder, Joseph Jackson, J. Johnston, Thomas Hancock Nunn, Jacob\nKlein, Edwin Miller, Albert B. Otis, James Parton, Abby H. Price, Ernest Rhys, T. W. Rollerston, J. H. Rome, Charles Rowley Jr., Oscar Wilde, and D. W. Zimmerman.\n","Miscellaneous Documents (Series IV), includes an advertisement for his lecture on Abraham Lincoln, publications, a mounted leaf from his tomb, the \"Official Walt Whitman stamp and envelope\" released in 1940,\nand a broadside for one of his poems: \"Poem describing a Perfect School.\"\n","Photographs, Engravings, and Prints (Series V), consists of numerous photographs of Walt Whitman taken throughout his life, ranging from 1854 to 1892. There are also photographs of Mary Davis, Horace L.\nTraubel, Louisa Van Velsor Whitman (Whitman's mother), Walter Whitman (Whitman's father), Walt Whitman's dog, and various photographs of his house, the Walt Whitman statue, and the beaches he frequented.\n","Odds and Ends (Series VI), consists of the wrappers in which  Leaves of Grass  was housed when acquired by Clifton Waller Barrett and an unbound copy of  Whitman's Manuscripts: Leaves of\nGrass (1860): a parallel text  by Fredson Bowers.\n"," Notes for a lecture on Homer and Emerson possibly given at Amherst College.\n","A draft of\n After the Supper and Talk\n  on one composite leaf comprising at least seven irregularly cut fragments of different types of white paper pasted to each other and, collectively, to one leaf (25 x 20 cm.) of blue-ruled white laid paper\nwith a partly visible watermark. In brown-black and black ink with extensive revisions in the same inks, in pencil, and in lighter brown ink. This poem was rejected by\n Harper's\n  in 1885 but published in\n Lippincott's Magazine\n  in November 1887, after which it eventually became the final poem in the \"first annex\" titled\n Sands at Seventy.\n  To the verso are pasted sections 16 and 18-19 of\n Poem of Joys\n  (final title:\n A Song of Joys\n ) clipped either from the independent book\n Passage to India\n  (1871) or from the\n Passage to India\n  supplement to\n Leaves of Grass.\n  The section numbers of these lines are deleted in orange crayon, and the whole paste-on is deleted in pencil, with the pencil note, in a hand other than Whitman's, \"Original mss/ Walt Whitman/ Poet\"\nappearing to the right of it.\n","This is an earlier draft than manuscripts located in the Feinberg Collection at the Library of Congress. The order of inscription seems to have been as follows, as deduced from incision patterns, paper types,\nand the overlap of letters on transferred sections of paper. First Whitman inscribed and heavily revised a draft of the poem on a section of gray-ruled wove paper. Wanting to avoid rewriting the clearest lines, he\nexcised these (comprising the first two verses and the words \"Shunning the...\" from the original third verse) and pasted them to a section of blue-ruled wove paper with letterhead reading, in part, \"Attorney.../\nWashington...,\" apparently discarding the section of gray-ruled paper upon which the rest of the original verses appeared. These excised verses he drafted again on the blue-ruled paper. He then used a paste-on\nfragment of laid paper to revise the second half of the verse beginning \"Shunning...\"; at the end of the sentence, however, he deleted the period and added the words \"so hard to unclasp his hand[s?]!\" (That he\nadded this as an afterthought is indicated by the fact that the half-line is crowded in over a preexisting curve along the lower edge of the laid fragment). Unsatisfied with the addition, he deleted part of it,\ntested and deleted the phrase \"release those hands\", deleted \"so hard to,\" and then, out of space, squeezed a revision of this line in on the gray-ruled paper after the verse \"Good-bye...repeating.\" It next\noccurred to Whitman to add an explanatory line beginning \"(No more will they meet...)\" after \"hands,\" but since he had no space in which to do so he cut apart the composite leaf and pasted the two halves to a\nsmall section of wove paper—just large enough to hold the pieces together and afford room for the parenthesis. In revising the parenthesis, however, he ran out of space again. It was at this point that he\nobtained the large section of blue-ruled laid paper upon which the other sections are all overlaid, and, cutting away the second half of the parenthetical verse, pasted both of what were now composite half-leaves\nto the blue-ruled leaf. He then inscribed on this leaf the title, his revision of the rest of the parenthetical verse (in space he left between the composite halves), and the revised final verse. (It is difficult\nto determine at what point Whitman excised the title and last verse from the composite leaves, beyond noting that he did so before pasting the leaves to the blue-ruled section).\n","Pasted to leaves in the volume are five variations on the poem\n As I Sit in Twilight, Late.\n  A transcription of the final version begins the volume.\n","This manuscript contains notes about the intellects of Plato and Aristotle. According to Floyd Stovall in\n The Foreground to Leaves of Grass\n  (Charlottesville, U of Virginia P, 1974, p. 176), these notes are based on F.W. Schlegel's\n Lectures on the History of Literature\n  (NY, 1841, 99f. or London [Bohn ed.], 1859, 82ff).\n","Noted as the preface to\n November Boughs\n  of 1888.\n","A partial draft of prose considering the nature of God and religion written on the verso of letter from Johnston dated 1874. The relationship of this prose to Whitman's published work is unknown.\n","This manuscript is a draft of part of Whitman's essay\n The Bible as Poetry,\n  which was published first in\n The Critic\n  on\n February 3, 1883\n . On the verso is letter dated\n January 13, 1883\n  from D.M. Zimmerman of the Camden and Atlantic Railroad, which offers Whitman a complimentary rail pass.\n","This manuscript contains notes about certain aboriginal peoples. A short article entitled\n The Wild Men of Borneo\n  is pasted toward the bottom of the leaf. The relationship of this manuscript to Whitman's published work is unknown.\n","Note at top of page states \"Sent Herald March 3—sent again April 9 '88.\" Written in purple pencil.\n","Including \"The Return of the Heroes.\" On 29 pages, many of them composite leaves, comprising five different cuttings or packs of paper on which two or more leaves are inscribed, and other cuttings on which only\none leaf is inscribed. All but a handful of the leaves are inscribed on white laid paper ruled in light blue-green on both sides or on all of one side and some of the other. In his\n 1954\n  edition and study of the manuscript in\n Modern Philology\n  (vol. 52, no. 1), Fredson Bowers grouped the leaves by cutting-type as follows (letters having been added here for convenience). Type A: Leaves 1 and 21. Type B: Leaves 2-3. Type C: Leaves 4-5 and 15-16.\nType D: Leaves 6-9, 12-14, and 19. Type E: Leaves 17-18. As Bradley and Blodgett note, this poem was first published in the\n September, 1867\n  issue of\n The Galaxy\n  and reprinted in the London-based\n Tinsley's Magazine\n  in October of that year. After appearing with various revisions in the\n 1871\n Passage to India\n  and the\n 1876\n Passage to India\n  supplement to\n Two Rivulets\n , the poem was permanently retitled\n The Return of the Heroes.\n  This took place in the\n 1881\n  edition of\n Leaves\n , where the poem appeared without its original first two verse paragraphs. At one point this manuscript was in the possession of Whitman scholar Clara Barrus, who clipped to Whitman's title page a note\nincluding these lines: \"...Precious souvenirs, given me by Thos. B. Harned, one of Whitman's literary executors. You can almost feel Walt's heart beat in these lines.\" This and other short notes by Barrus have\nbeen unclipped from the leaves. Annotations by Barrus (or another collector with a similar hand) are mentioned when significant enough to warrant attention, but are otherwise left undescribed.\n","On a section of type A paper measuring 19.5 x 12.5 cm. Multiple pinholes in center. Inscribed in pencil on both sides, with no revisions on the recto (title page) but some on the verso, where the lines\n(beginning \"As a huge muse[eum?] mowing\") are deleted with a single vertical pencil stroke. The title is underscored three times. The lines on the verso were revised to constitute verse paragraph 29 in section 12\nof the\n 1871\n  published version of the poem; in\n 1881\n  the verse paragraphs were not numbered and this section was permanently renumbered 8.\n","On a composite leaf, type B, formed by joining the upper section of verses excised from what is now the lower section of Leaf 3 to the head of another set of verses by means of a section of the same paper\npasted to the verso. The upper section measures 10.5 x 12.5 cm., the lower section measures 6.5 x 12.5 cm., and the backing strip measures 8 x 12 cm. Multiple pinholes in center. Inscribed in black ink, with heavy\nrevisions in the same ink and in pencil. Whitman's boxed pencil note \"Harvest carol for 1867\" runs up the left margin, followed by the unboxed note \"1867—the great/ Harvest.\" (The second line at the top of\nthe leaf, deleted, reads \"The great Harvest of 1867\"). After further revision these sections became, respectively, verse paragraphs 1 and 2 (together comprising section 1) of the 1871 version of the poem. In 1881,\nthis entire section, as noted above, was deleted from the poem.\n","On a composite leaf, type B, formed by joining the section of verses beginning \"For the Lands...\" to the lower set of verses excised from what is now the upper section of Leaf 2. The sections measure as\nfollows: 11 x 12.5 cm. (upper); 9.5 x 12.5 cm. (lower); 8 x 12 cm. (backing). Inscribed in black ink, with revisions in the the same ink and in pencil. Barrus jotted down the 1881 title and page number at the top\nof the leaf, along with the note \"I—.\" With further revision—including the deletion of the last line, beginning \"O theatre of Time,...\"—these sections became verse paragraphs 3 and 4 (comprising\nsection 2) of the 1871 version of the poem. In 1881 these paragraphs went unnumbered and, with the deletion of the original first section, together formed section 1 of the poem (hence the \"I\" added by Barrus).\n","On a section of type C paper (19.5 x 12.5 cm.), inscribed in black ink, with several revisions in the same ink. Whitman penned in the note \"?unfailing\" in the upper right corner of the leaf. Someone else, it\nseems—most likely Barrus—added the pencil note \"—2—\" in the top center of the page. Multiple pinholes in center. With a few small revisions these verses together with those on Leaf 5 became\nverse paragraph 5 (section 3) of the 1871 published version of the poem. In 1881 section 3 became section 2.\n","On a section of type C paper (19.5 x 12.5 cm.), inscribed in black ink, with heavy revisions in the same ink and in pencil. Multiple pinholes in center. The first few deleted lines on the page constitute false\nstarts. After further revision the remaining lines joined revised lines from Leaf 4 in section 3 (verse paragraph 5) of the 1871 version of the poem, and stayed with the Leaf 4 lines in section 2 of the 1881\nversion.\n","On a section of type D paper (19.5 x 12.5 cm.). Multiple pinholes in center. Inscribed and revised in pencil, with a single revision in brown-black ink. Barrus or another annotator, it seems, added the number\n\"—3—\" in the top center of this leaf. With some small revisions these lines became verses 1-6 of verse paragraph 6 (section 4) of the 1871 version, and in 1881 they comprised verses 1-6 of section 3.\nLeaves 7-9 contain the verses that would eventually complete this section, and, as Bowers notes, leaves 6-9 come from the same pack of paper, are all inscribed and revised in the same media, and feature matching\npinhole patterns.\n","On a section of type D paper (19.5 x 12 cm.). Multiple pinholes in center. Inscribed and extensively revised in pencil. Two deleted false starts appear at the head of the leaf. With some slight further\nrevisions these lines became verses 7-9 of section 4 (verse paragraph 6) in the 1871 version of the poem; in 1881 they comprised verses 7-9 of section 3.\n","On a section of type D paper (19.5 x 12.5 cm.), with multiple pinholes in center. Inscribed and revised in pencil, with one correction in brown-black ink. With slight revisions these lines became verses 10-12\nof section 4 (verse paragraph 6) in the 1871 version of the poem; in 1881 they constituted the same part of section 3.\n","On a section of type D paper measuring 19.5 x 12.5 cm., with multiple pinholes in center. Inscribed and heavily revised in pencil. All of the verses below the half-point of the page are deleted with a diagonal\npencil stroke. The remaining line was incorporated in the 1871 version of the poem as the final verse (13) of section 4 (verse paragraph 6), a position it maintained in section 3 of the 1881 version.\n","On a composite leaf formed by pasting together three sections (10 x 12.5, 13.5 x 12.5, and 6 x 12.5 cm.) of the white laid blue-ruled paper. Multiple pinholes in the area that becomes the center of the leaf\nwhen the bottom section is folded up. All three sections are inscribed in black ink, with extensive revisions in the same ink and in pencil. Barrus or another annotator has added the number \"—4—\" in\npencil at the head of the leaf. With some small revisions these lines became section 5 (verse paragraphs 7-10) of the 1871 version of the poem, and in 1881 they constituted the first three verse paragraphs of\nsection 4.\n","On a leaf of white laid paper (20 x 13 cm.) formerly creased in the middle and bearing a papermaker's seal (which appears to read \"W.H.\"[?]) in the upper left corner. A very small fragment of newspaper or other\nprinted matter (reading \"All hea.../ Made\") is affixed to the verso. Multiple pinholes in center. Inscribed very tightly in black ink, with extensive revisions in the same ink and in pencil. Whitman's pencil\nnumber 2 appears to the left of the verse beginning \"Pass;—then rattle drums again...\" This section was originally the beginning of an independent poem with the title\n Pass and room O proud brigades/ By Walt Whitman\n  (deleted in pencil here), indicating, as Bowers and others have noted, that\n A Carol of Harvest, for 1867\n  began life as two poems, one celebrating the abundant harvest of that year and another dealing with the human costs of the Civil War. With some small revisions the contents of this page became section 6\n(verse paragraphs 11-12) of the 1871 version of the poem, and in 1881 they comprised the second two unnumbered verse paragraphs of section 4.\n","On a section of type D paper (19.5 x 12.5 cm.), with multiple pinholes in center. Inscribed in (badly smudged) pencil, with extensive revisions in pencil and in brown-black ink. These lines were revised to\nconstitute verse paragraphs 13 and 14 (section 7) of the 1871 version of the poem; in 1881 they comprised the first two unnumbered verse paragraphs of section 5.\n","On a section of type D paper (19.5 x 12.5 cm.), with multiple pinholes in center. Inscribed and heavily revised in pencil, with several revisions in brown-black ink. These lines were revised to constitute verse\nparagraph 15 (section 7) of the 1871 version of the poem, and in 1881 made up the final unnumbered verse paragraph of section 5.\n","On a section of type C paper (19.5 x 12.5 cm.), with multiple pinholes in center. Inscribed and revised on both sides in pencil. The recto lines were revised to constitute the second part of verse paragraph 17\nand all of verse paragraph 18 (section 8) in the 1871 version of the poem. In 1881 they made up most of the second and all of the third unnumbered verse paragraphs of section 6. The verso lines (beginning \"Now a\npassage/ of/ Exultation\"), deleted with a single vertical pencil stroke, seem more like a note from Whitman to himself than a draft of poetic verses, but the word \"Exult\" does appear on leaves 15 and 16, as in\nverse paragraph 20 (section 9) of the 1871 version.\n","On a section of type C paper (20 x 12.5 cm.), with multiple pinholes in center. Inscribed in black ink and in pencil, with extensive revisions in pencil. The ink verse \"Exult O lands! under/ the powerful sun!\"\n(which was revised on Leaf 17), along with other trial verses in pencil, are all deleted with several pencil strokes. The remaining verses at the foot of the leaf were revised to form verse paragraph 19 (section\n9) in the 1871 version of the poem, which became the fourth unnumbered verse paragraph in section 6 of the 1881 version.\n","On a section of type E paper (19.5 x 11 cm.), irregularly torn, like Leaf 18, along the left margin. Multiple pinholes in center. Inscribed and extensively revised in pencil. Whitman's deleted note \"remember\nthe word—'deploy,'\" flanked by two cartoon hands, appears at the head of the leaf. His number \"2\" appears to the left of the verses beginning \"Melt, melt away,/ ye armies!...,\" which became the first part of\nverse paragraph 21 (section 9) in the 1871 version of the poem. The lines beginning \"Exult\" were slightly revised to form verse paragraph 20. In the 1881 version these lines made up the entire fifth unnumbered\nverse paragraph, and part of the sixth, in section 6.\n","On a section of type E paper (19.5 x 11 cm.), torn irregularly, like Leaf 17, along the left margin. Multiple pinholes in center. Inscribed and revised in pencil, with the word \"henceforth\" added in brown-black\nink. With slight revisions these lines became the second part of verse paragraph 21 (section 9) in the 1871 version, and in 1881 they constituted the final lines of section 6 (in the sixth unnumbered verse\nparagraph in the section).\n","On a section of type D paper (19.5 x 12.5 cm.), with multiple pinholes in center. Inscribed in pencil. The verses on the leaf are divided in two with a horizontal pencil stroke; the upper verses are heavily\nrevised and deleted (individually in many cases but also collectively, with two pencil strokes), while those below represent an unrevised fair copy of the upper ones. With small revisions these lines became verse\nparagraph 22 (section 10) in the 1871 version of the poem, and in 1881 they constituted the first unnumbered verse paragraph in section 7.\n","On a section of white laid paper (20 x 12.5 cm.), ruled in blue on one side, and more widely ruled than the other types of paper. A few pinholes appear in the center. Inscribed and revised in pencil, with one\ncorrection (the substitution of the word \"All\" for \"The endless,\" at the beginning) in brown-black ink. With slight revision these lines became verse paragraphs 23 and 24 (section 10) in the 1871 version of the\npoem, and in 1881 they comprised the second and third unnumbered verse paragraphs of section 7.\n","On a section of type A paper (19.5 x 12.5 cm.), with a few pinholes in the center. Inscribed in pencil with several revisions in pencil and in brown-black ink. With slight further revision these lines made up\nverse paragraph 25 (section 11) of the 1871 version, which in 1881 became the fourth unnumbered verse paragraph of section 7. The deleted line \"Busy the far, the sunlit/ panorama\" was incorporated in Leaf 22 and\nin the verse paragraph following this one in the published versions.\n","On a section of white laid paper (19.5 x 12.5 cm.), ruled in blue on both sides, with a few pinholes in the center. Inscribed in pencil, with several revisions in pencil and in brown-black ink. Whitman's number\n2 appears to the left of a section of verses beginning \"Lo! prairie, orchard,/ \u0026 the yellow grain...,\" from which it is separated by a diagonal pencil stroke. The verses on this leaf were condensed to form the\nfirst part of verse paragraph 26 (section 11) in the 1871 version, and in\n The Return of the Heroes\n  they comprised the unnumbered fifth verse paragraph in section 7 of the poem. The unused second verse (beginning \"The horse-ploughs and/ steam-ploughs\") appears to represent an intermediate stage between\nthe deleted notes on the verso of Leaf 1 and the lines on Leaf 25.\n","On a section of white laid paper, ruled in blue on the recto and part of the verso (19.5 x 12.5 cm.), with a few pinholes in the center. Inscribed in pencil, with extensive revisions in pencil and in brown-\nblack ink. With slight further revision these lines made up the second part of verse paragraph 26 (section 11) in the 1871 version of the poem, and in 1881 they completed the fifth and last unnumbered verse\nparagraph of section 7.\n","On a section of white laid paper (19.5 x 12.5 cm.), ruled in blue on one side. Multiple pinholes in center. Inscribed and revised on both sides in pencil, with one correction of several words made to the recto\nin brown-black ink. Whitman placed pencil \"x\" marks by each of the two verse paragraphs on the recto. The two sections of notes on the verso (beginning \"hops/ Sugar of Louisiana/ honey\" and \"The measureless/\npasturage\") are collectively deleted with a single diagonal pencil stroke. They represent early stages of lines on leaves 23 and 22, respectively. The recto lines became verse paragraphs 27 and 28 (section 12) in\n A Carol of Harvest, for 1867,\n  and in 1881 they comprised the first two unnumbered verse paragraphs of section 8.\n","On a section of white laid paper (20 x 13 cm.), ruled in blue on one side, with two pinholes in the center. Inscribed in pencil, with many revisions in pencil and in brown-black ink. These verses were revised\nto form almost all of verse paragraph 29 (section 12) in the 1871 version, and in 1881 they made up all but one line of the third unnumbered verse pargraph in section 8. Compare with leaves 1 (verso) and 22.\n","On a section of white laid paper (19.5 x 12.5 cm.), ruled in blue on one side and a small part of the other, with several pinholes in the center. Inscribed and revised on both sides in pencil. The heavily\nrevised verso lines, deleted with a single wavy pencil stroke, begin with three drafts of the title\n Harvest Carol for 1867.\n  The lines were further revised on the current Leaf 20, and eventually became verse paragraphs 23 and 24 (section 10) of the\n A Carol of Harvest, for 1867,\n  and the second and third unnumbered verse paragraphs of section 7 in\n The Return of the Heroes.\n  The single line on the recto was revised to constitute the last verse of verse paragraph 29 (section 12) in 1871, a position it maintained in the third verse paragraph of section 8 in 1881.\n","On a section of thick white laid paper (20 x 12.5 cm.), ruled in blue on one side, with wider rules than the majority of the other leaves. Two pinholes in center. Inscribed and heavily revised in pencil, with\none correction in brown-black ink. With further revision these lines became verse paragraphs 30 and 31 (section 12) of the 1871 version, along with the first two verses of paragraph 32 (section 13). In 1881 the\nlines constituted the unnumbered fourth and fifth verse paragraphs of section 8, along with the first two verses of the sixth paragraph.\n","On a section of thick white laid paper (20 x 12.5 cm.), whose wide ruled lines correspond to those on Leaf 27. Two pinholes matching those in Leaf 27 appear in the center. Inscribed and revised on the recto in\npencil (badly smudged towards the bottom), with one correction in brown-black ink. On the verso appear the last few lines of a draft of a letter by \"JMB[?]/ ActgAdjGl[?],\" deleted with a diagonal brown ink stroke.\nThe recto lines became verses 3-6 of verse paragraph 32 (section 13) of the 1871 version of the poem, a position they maintained in the sixth and final verse paragraph (section 8) of the 1881 version.\n","On a section of thin white unruled laid paper (19.5 x 13 cm.), badly worn or damaged by insects, with multiple pinholes in the center. Part of a watermark, reading \"NSON/ 862,\" is visible. The recto is\ninscribed and extensively revised in pencil, with two corrections in brown-black ink; the verso is inscribed and deleted (with two parallel strokes) in pencil. The recto lines became the final verses of the poem\nin both 1871 (7-11, verse paragraph 32, section 13) and 1881 (7-11, sixth verse paragraph, section 8). The trial line on the verso, beginning \"Actively moving, the curious/ machines...\"—followed by Whitman's\nnote \"(list)\"—represents an early draft of lines on leaves 1 (verso), 22, and 25, which were revised to form verse paragraph 29 (section 12) in 1871 and the third verse paragraph of section 8 in 1881.\nFollowing this leaf is a blank section of white wove paper (20 x 14.5 cm.), ruled in blue on both sides with a red and blue vertical rule, and featuring a thin section of hand-annotated printed matter affixed to\nthe left margin. The strip, only printed on one side, has been folded in half and pasted together; the only legible word on it is the holograph note \"(England)\" in dark brown ink, which may not be in Whitman's\nhand.\n","Written in pencil with ink revisions. Includes ADS.\n","Originally enclosed in John H. Johnston letter to Mr. Watson, March 11, 1912.\n","On one leaf (19.5 x 15.5 cm.) of blue laid paper, in medium brown-black ink, with minor revisions in the same and a check mark(?) in pink ink. These notes for a cluster of poems, \"(in the/ same way as Calamus\nLeaves\")/ expressing the idea and/ sentiment of/ Happiness,/ Extatic life, (or moods,)...\" appear on the verso of a page of half-prose, half-poetic notes, inscribed, revised, and deleted in pencil, for a poem or\nessay to be titled\n Living Pictures\n  or\n America.\n  As Edward F. Grier observes in his notes to Whitman's\n Notebooks and Unpublished Prose Manuscripts\n  (the fourth volume in\n The Collected Writings of Walt Whitman\n ; New York: New York University Press, 1984), the similarity of\n Living Pictures\n  to\n A Song for Occupations\n —first published, untitled, in the original 1855 edition of\n Leaves\n —combined with Whitman's use of the old long \"s\" in the word \"less,\" indicates that the leaf was inscribed quite early in Whitman's poetic career. Whitman's use of the title\n Calamus Leaves\n  on the other side of the leaf, as in some very similar notes currently housed at Duke University that point towards the 1860 cluster\n Enfans d'Adam,\n  dates the notes for this \"cluster,\" as Grier observes (referring to Fredson Bowers's system of dating), to some point in the late spring of 1859. The line beginning \"Strong, well-fibred, bearded,/\nathletic[,] full of love...\" calls to mind the verse \"If any thing is sacred the human body is sacred,/ And the glory and sweet of a man is the token of manhood untainted,/ And in man or woman a clean, strong,\nfirm-fibred body, is more beautiful/ than the most beautiful face\" from the untitled 1855 poem that would become\n I Sing the Body Electric\n  in 1867.\n","Note at bottom states \"Sent to H March 17.\" Whitman also notes at bottom: \"from a talk I had lately with a German spiritualist.\" Written in ink on lined paper.\n","This manuscript is a draft of an apparently unpublished essay about a country auction, written in pencil. On the verso is an AL fragment, [Walt Whitman] to \"My dear friend,\" [1878?] December 12.\n","On one leaf (12 x 19 cm.) of light brown laid paper, inscribed and extensively revised in pencil, with multiple pinholes in the center of the leaf. The poem was first published in the November 1880 issue of\n Cope's Tobacco Plant\n , and became one of the new poems in the 1881 edition of\n Leaves of Grass\n , where it appeared in the cluster\n By the Roadside.\n  At some point this leaf was pasted to an enclosed cardboard print of a photograph of Whitman stamped \"Thomas C. Watkins\" on the verso, but almost identical to one attributed by Henry Scholey Saunders,\nauthor of\n 100 Walt Whitman Photographs\n , to the studio of Frederick Gutekunst in Philadelphia, and reproduced in the 1889 pocket edition of\n Leaves\n .\n","Includes Drawing of Walt Whitman and portrait of Thomas Carlyle.\n","In black ink, the top two-thirds of the leaf seems to be a preface to a short sketch written by Whitman, which is pasted to the bottom third of the leaf. The sketch, detailing Whitman's visit to Emerson, was\ninserted into\n Specimen Days\n , a volume of prose published in 1882, under the title \"A Visit, at the Last, to R. W. Emerson.\" Emerson died in 1882.\n","Note at top states \"sent Herald March 8.\" Written in purple pencil with ink revisions on verso of letter with Houghton Mifflin Publishers letterhead.\n","On a very large composite leaf (35.5 x 21.5 cm.) of white wove paper, with the watermark L.L. Brown, formed by pasting an extra section of paper (11 x 21.5 cm.) to the top of the main leaf (26 x 21.5 cm.), and\nthen adding two paste-ons (roughly 5.5 and 4 x 21.5 cm.) to this extra section. Inscribed and revised in dark brown-black ink, with Whitman's signature and the note \"You can put the name W[alt] W[hitman?] either\nat the top or/ bottom as you prefer\" at the foot of the leaf. On the verso appear the notes \"Death's Valley\" (twice) and \"Magazine/ April, 1892\" in Whitman executor Horace Traubel's[?] hand. Whitman's\ncorrespondence indicates that the poem was written and sold to\n Harper's New Monthly Magazine\n  in 1889, although it did not appear there until April 1892, after the poet's death. Bradley and Blodgett note that Whitman originally included the poem in his 1891 manuscript for the \"second annex\"\n Good-Bye My Fancy,\n  and Traubel grouped it in the cluster\n Old Age Echoes,\n  which he added to\n Leaves\n  in 1897. The \"picture\" of the subtitle is\n The Valley of the Shadow of Death\n  by American painter George Inness, an engraving of which appeared in\n Harper's\n  facing the poem. An engraving of a painting of Whitman by J.W. Alexander appeared in the same issue. Included in this folder along with Whitman's verses are a copy of the Inness engraving on a piece of\ncardboard, along with the Alexander reproduction and the table of contents page, both removed from the April 1892 issue of\n Harper's. \n","\nA prose note regarding the Civil War. The relationship of this manuscript to Whitman's published work is unknown. On verso a note from N. W. Hunt, Canton, N.Y., requesting an autograph.  \n","This manuscript is a draft of an apparently unpublished essay about a country auction, written in pencil on four leaves of lined notebook paper. The manuscript is dated\n February 20, 1878\n .\n"," A biographical note about Elias Hicks, a late eighteenth, early nineteenth century religious leader and abolitionist. Whitman published\n Notes (such as they are) founded on Elias Hicks\n  in\n November Boughs\n  in 1888. Written in pencil on irregularly cut paper.\n","Written in ink with revisions in purple pencil. The manuscript appears to be a draft of a title or titles. The lines on the manuscript—\"Embers of Ending Day,\" \"Embers of day-fires mouldering\"—are\nechoed in the partial line \"the embers left from earlier fires\" in the 1888 poem,\n Continuities.\n  On the verso is a note, dated December 28, 1880, confirming a request for a set of WALT WHITMAN's books: \"Dear Sir, I shall be glad to supply you with a set (Two Volumes) of my books—There is only\none kind of binding—Walt Whitman.\"\n","Note pasted to bottom states \"Page from Walt Whitman's Essay on Emerson.\" Written in ink on lined paper.\n"," An article pasted to grey paper with a few revisions written in black ink, this manuscript is a continuation of the manuscript entitled \"The Dead Emerson,\" described above. The sketch, detailing Whitman's\nvisit to Emerson, was inserted into\n Specimen Days\n , a volume of prose published in 1882, under the title \"A Visit, at the Last, to R. W. Emerson.\" Emerson died in 1882.\n","Note on bottom states \"sent to Herald March 11.\" Written in purple pencil on verso of letter from Witcraft.\n","A prose note regarding the nature of truth. The relationship of this manuscript to Whitman's published work is unknown.\n","Includes photograph of Walt Whitman, 1887, by George C. Cox and news clipping regarding the saving of Whitman's birthplace.\n"," This manuscript contains most of the account of President Lincoln's appointment of James Harlan as Secretary of the Interior, as published in\n November Boughs.\n  It was Harlan who so disapproved of\n Leaves of Grass\n  that he removed Whitman from his position as clerk in the Department of the Interior. With typed transcription.\n","Notes on Military Hospitals in Washington, D.C. appearing in the New York Times [1863 February 26] and eventually published in\n Specimen Days.\n","On one leaf (14 x 22 cm.) of blue laid paper, in pencil, with heavy revisions in pencil and two additions in brown ink. This leaf contains two drafts of the poem\n Hast Never Come to Thee an Hour,\n  the first draft having been deleted with two horizontal and two diagonal pencil lines. The partly erased word \"Interp[ellation?]\" appears in the lower left corner. After further revision the poem appeared\nfor the first time in the 1881\n Leaves\n , in the cluster\n By the Roadside.\n","Seller's note: \"Apparently the first two drafts of the poem, on one sheet. Published in the Complete Works, but differently worded.\"\n","Includes 1888 copy of Samuel Hollyer engraving of Walt Whitman, 1855 Samuel Hollyer engraving of Walt Whitman, and typed transcription.\n","This manuscript is a prose note describing Whitman's longing to lecture to an audience of Civil War veterans and to speak about the death of Abraham Lincoln, written on two leaves of lined paper which are\npasted to the verso of a AL fragment, [unidentified autograph seeker] to Walt Whitman, 1878 March 27.\n","On one leaf of white wove paper (19.5 x 12.5 cm.), irregularly cut along the left margin. Inscribed in dark brown ink, with extensive revisions in the same ink, in a fine pen, and in pencil, apparently in that\norder. The subtitle has a horizontal pencil line through it, but a zig-zag pencil line through it seems to have been erased, along with the phrase \"(at the entrance)\" below it. The title\n Inscription\n  and the words \"One's-self\" and \"For You\" are inscribed in an ornamental style. This appears to be a revision of other\n Inscriptions\n  Whitman gathered in a notebook, along with prose drafts for a never-finished introduction to\n Leaves of Grass\n , and attached to his copy of the 1855 paper-bound edition of\n Leaves\n . (The entire collection of draft \"inscription\" and introductory material is currently housed at the New York Public Library.) In the 1867\n Leaves\n  Whitman culled material from this poem and the other\n Inscription\n  poems to create an italicized\n Inscription\n  that he placed before\n Starting from Paumanok\n  at the beginning of the book; in that edition he also transferred part of verse 2 to\n As I Sat Alone by Blue Ontario's Shore\n  (later the line was dropped and the title was revised to\n By Blue Ontario's Shore\n ). From 1872 onward, this poem, revised and retitled\n One's-Self I Sing,\n  was printed as the first of several poems in the\n Inscriptions\n  cluster that opened the book. In the 1888\n November Boughs\n , however, Whitman reprinted the 1867 version as\n Small the Theme of my Chant.\n  Note: This draft may have been written before the Civil War, since it does not include the 1867 line \"My Days I sing, and the Lands—with interstice I knew/ of hapless War.\"\n","Walt Whitman's response to criticism from\n The Nation\n , mailed to John Burroughs whom Walt Whitman asks to edit the MS and submit it under his own name. Consists of 8 leaves written in ink, pasted to archival paper, and bound together with string.\nTranscription of letter from Walt Whitman to John Burroughs reads: Dear John Burroughs, I enclose you an article from the Nation of Jan. 29. How will the MS. article I have scratched off do in the main as an\nanswer to it? (to help keep the pot a-boiling.) Do you feel like making up an article out of said MS—adding or excising what you see fit—signing your name to it—and sending to the Nation man?\n","These notes, inscribed on scraps of paper of diverse types and sizes, went into the making of a number of poems used in\n Leaves of Grass\n , although some of them never seem to have been used, and some are prose notes. In several cases a collector has pasted two or more leaves to the same sheet of more contemporary paper, but for convenience\nand accuracy the leaves are described individually here.\n","On a small section of light yellow wove paper (7 x 15 cm.) with all four corners cropped for mounting. Four pinholes appear in the center. Inscribed and revised on the recto in pencil; the first line on the\nverso (beginning \"I have all lives, all effects, all/ causes,...\") is inscribed and revised in the same brown ink as Leaf 2, and the two lines that follow it (beginning \"This is the earth's word—the round/\nand compact earth's,\") are inscribed, revised, and deleted (with a single vertical stroke) in pencil. Bucke prints both sets of lines on p. 32 of\n Notes and Fragments\n . Whitman apparently never used the recto lines, but the deleted lines on the verso bear a strong resemblance to the opening of his 1856\n Poem of The Sayers of The Words of The Earth,\n  titled in successive editions (as Bradley and Blodgett note)\n To the Sayers of Words\n  (1860 and 1867),\n Carol of Words\n  (1871, 1876), and, finally (in the 1881 edition of\n Leaves\n ),\n A Song of the Rolling Earth.\n  The undeleted ink line on the verso is a later(?) draft of a line inscribed in Feinberg notebook #697 at the Library of Congress, transcribed by Blodgett in\n Walt Whitman: An 1855-56 Notebook Toward the Second Edition of \"Leaves of Grass\"\n  (1956) and reprinted in his and Bradley's Comprehensive Reader's Edition of\n Leaves\n .\n","On a small section of the same light yellow wove paper as Leaf 1, cut and cropped irregularly down to 7 x 15.5 cm. Multiple pinholes appear in the center. This section was evidently pasted to and then pulled\naway from another page; some fragments of that other page remain affixed to the top. Beneath them can be discerned the ink number 2. In the upper left corner appears an \"X\" within parentheses, which was formerly\ncovered by the other page. Inscribed in the same brown ink as the undeleted line on the verso of Leaf 1; revised in that ink and in pencil. Whitman apparently never used this poem or fragment, but Bucke prints it\n(combined with other verses) on p. 29 of\n Notes and Fragments\n .\n","On a very small section of tan wove paper (4 x 8 cm.). All four corners are cropped for mounting. What seems to be a pinhole appears in the upper right corner. Inscribed in brown ink with no revisions. These\nnotes, along with those on Leaves 4 and 5, could have represented an early stage of a number of poems. One possibility is poem 18 in the\n Calamus\n  cluster, new to the 1860 edition of\n Leaves of Grass.\n  This poem was permanently retitled\n City of Orgies\n  in 1867 (see Leaf 4). Bucke prints the notes on p. 171 with an ellipses not present in the manuscript, and they are republished with the note \"Manuscript not found\" on p. 1372 of\n Notebooks and Unpublished Prose Manuscripts\n  (vol. 4).\n","On a very small section of uncropped white wove paper (4.5 x 12 cm.). No pinholes. Inscribed (hurriedly) in black ink using a thin nib. A bright pinkish-red ink check mark(?) appears in the upper right corner\nof the note. A faint horizontal line beneath part of \"A City Walk,\" along with the words' capitalization and central position on the page, indicate that Whitman may have contemplated using the words as the title\nof an independent poem. The closest he came to this title was\n City of Walks and Joys,\n  the name he originally assigned to\n Calamus\n  18 in his\n Blue Book\n  revisions of the 1860 edition of\n Leaves\n . This title was changed in the\n Blue Book\n  to\n City of orgies, walks and joys\n  and finally became\n City of Orgies\n  in the 1867 edition. These notes, written in the form of a single poetic verse, could represent an intermediate stage between the notes on Leaf 3 and those on Leaf 5. Bucke prints the lines in prose form\non p. 120 of\n Notes and Fragments\n . Bucke's transcription is republished, accompanied by the note \"Manuscript not found,\" on p. 1292 of the\n Notebooks and Unpublished Prose Manuscripts\n  (vol. 4).\n","On a composite leaf comprising two sections of white wove paper (7 x 16 and 4 x 15.5 cm.) pasted together. The majority of the eight corners are cropped for mounting; the upper section was apparently cropped\nbefore being pasted to the lower section. Inscribed in dark brown-black ink with no revisions. The trial verses on the lower section (beginning \"Poem—As of walking along a street\") are fragmentary and\nhurriedly inscribed, but the upper section is written in ornamental script, and both parts of the title are underlined. A wavy line appears at the foot of that section. The word \"Original\" at the head of the upper\nsection suggests that Whitman was sketching out a new poem for a revised edition of\n Leaves of Grass\n . If it was the 1860 edition, as his style of inscription here appears to indicate, it is possible that this leaf, like Leaves 3 and 4, could represent an early stage of the poem that would eventually\nbecome\n City of Orgies.\n  Bucke prints the lower set of notes on p. 45 of\n Notes and Fragments\n .\n","On a section of off-white wove paper (16 x 14 cm.) with all four corners cropped for mounting. Many pinholes cluster to the left of the center of the page. Inscribed and revised on both sides in pencil. The\nlines on the verso are deleted with a single vertical pencil stroke. They originally occupied the lower half of a full leaf of verse; after deleting these (current) verso lines and discarding the upper half of the\nleaf Whitman turned the page ninety degrees and flipped it over to use for the current recto notes. The recto notes represent an early stage of lines partially incorporated in\n Poem of Salutation,\n  the new third poem in the 1856 edition of\n Leaves of Grass\n , which was permanently retitled\n Salut au Monde!\n  in the 1860 edition. If the note or title \"Europe\" suggests that Whitman might have first intended to divide his salutations into discrete sections based on the different continents, this is a plan he did\nnot follow in the published version(s). The more polished (but deleted) lines on the verso represent a recasting in poetic form of several lines from the 1855 Preface to\n Leaves\n . These were further revised for the 1856\n Poem of Many in One,\n  after which the first verse drafted on this page (cut off here, and beginning \"over the Texan, Mexican, Florid[ian,]/ Cuban seas...\") was dropped. The two verses below this, however, were preserved\nrelatively unchanged through the poem's many transformations until the text was essentially fixed under the title\n By Blue Ontario's Shore\n  in 1881. Bucke prints the top section of notes (incorrectly) on p. 157, and the lower section of verses (beginning \"And the tough Scotch sailor crosses the Minch...\") on p. 10 of\n Notes and Fragments\n . On p. 1980 of the\n Notes and Unpublished Manuscripts\n  (vol. 5) Grier reports that this manuscript has not been found.\n","On one section of thick white wove paper (13 x 14.5 cm.) apparently taken from a sheet used for trial printings of a book engraving; a plate mark can be clearly seen on the verso. The lower corners are cropped\nfor mounting. Multiple pinholes in center. Inscribed and revised in pencil. Like the contents of Leaf 6, these two verses represent a draft (possibly a slightly later one than Leaf 6) of lines that would be\nfurther revised and incorporated in the new 1856 poem\n Poem of Salutation,\n  permanently retitled\n Salut au Monde!\n  in the 1860 edition of\n Leaves of Grass.\n  The second line (beginning \"And as the mountains of my land/ are to me...\"), greatly expanded, would become lines 49-54 (section 4) of\n Salut au Monde!\n  in Bradley and Blodgett's edition of the poem, and the first line seems to have been expanded even more in that section's description of the oceans of the world. Bucke transcribes the leaf on p. 11.\n","On a small section of white wove paper irregularly cut down to 6.5 x 15.5 cm. Inscribed and revised in dark brown ink. A phrase beginning \"Picture of one of/ the Greek games\" appears in the upper right corner,\ndelimited from the rest of the notes with two curved lines. The words \"Spanish bull fight\" appear in their own semicircle (damaged by Whitman's cutting) in the lower right corner. Bucke transcribes the notes on p.\n177, and Grier (p. 1294, vol. 4) republishes them, describing the manuscript as \"not found.\" To build on Grier's notes, the lines seem to occupy a middle space between the very early notebook poem\n Pictures\n  and the 1856\n Poem of Salutation\n  (ultimately\n Salut au Monde!\n ).\n","On a small composite leaf of white wove paper, ruled in blue on one side, formed by pasting a section (4 x 16 cm.) containing one line of notes (beginning \"runs through all the poems...\") below the set of notes\ntranscribed above, which were written on a section measuring 10.5 x 16 cm. Multiple pinholes in both sections. Both sections are inscribed in pencil, with one revision in black ink. Bucke transcribes these notes\non p. 167 of\n Notes and Fragments\n , and Grier republishes them (with the note \"Manuscript not found\") on p. 383 of the\n Notebooks and Unpublished Prose Manuscripts\n  (vol. 1).\n","On a section of off-white wove paper (10.5 x 14 cm.). Multiple pinholes cluster towards the top of the page. Inscribed and revised on both sides in pencil. The lines on the verso are deleted with a single\nvertical pencil stroke. Those on the recto are separated by a horizontal line. The verso lines (beginning with the individually deleted line \"O Walt Whitman, show us some/ pictures!\" and continuing \"America,\nalways Pictorial!\") represent a later draft of the beginning of the poem\n Pictures\n  than the most complete extant version, which is contained in the pre-1855\n Pictures\n  notebook currently housed at Yale University. Bucke dates the lines to around 1880, when Whitman was working on a short version of\n Pictures\n  both for magazine publication and for the 1881 edition of\n Leaves\n , where it was published as\n My Picture-Gallery.\n  (See the entry for\n My picture gallery\n  below.) But Whitman's early style of inscription in this draft, along with the line \"It is round—it has room for America, north and south\" and his use of his own name in the deleted first line, all\nsuggest that Whitman may have inscribed this draft around the same time that he was working on the new 1856\n Poem of Salutations\n  (eventually\n Salut au Monde!\n ). This draft also suggests that at one point he may have considered linking what would become\n Poem of Salutations\n  and the formally and thematically similar\n Pictures\n  more directly. Bucke prints the verso and recto lines, with several deleted words restored, on p. 27 of\n Notes and Fragments.\n","On a very small section of white laid paper cut and cropped irregularly down to 4.5 x 14.5 cm. Multiple pinholes run up the center of the section. The recto lines are inscribed and heavily revised in brown ink,\nand deleted (en masse) with a single vertical pencil stroke. Along the lower edge can be seen the tops of words discarded after cutting. These trial verses bear a strong resemblance to the (eventual) second verse\nparagraph in section 6 of\n Starting from Paumanok,\n  first published in 1860 as\n Proto-Leaf.\n  Bradley and Blodgett note other relationships to the fragment\n The Body—,\n  published on p. 37-8 of\n Notes and Fragments\n  and housed at Duke University, and to the poems that would eventually become\n Song of Myself\n  and\n I Sing the Body Electric.\n  The fragmentary lines on the verso (beginning \"Downward, buoyant, swif[t]\"), which are inscribed and revised in pencil, represent a different version of a line incorporated in the pre-1855 notebook poem\n Pictures\n  and of one inscribed in the 1854 notebook [I know a rich capitalist...], currently housed at the New York Public Library. Bucke prints incomplete transcriptions of the contents of both sides of Leaf 11 on\np. 38 of\n Notes and Fragments\n , and presents a different version of the recto lines (transcribed from the same manuscript?) on p. 48. Bradley and Blodgett's new transcription, under the title\n [Divine Is the Person],\n  appears on p. 602 of the expanded and revised edition of the Comprehensive Reader's Edition of\n Leaves\n .\n","On a section of light yellow wove paper (16 x 13 cm.) with all four corners cropped for mounting. Four pinholes appear in the center. Inscribed and revised in pencil. Below these trial verses, separated from\nthem by a diagonal pencil stroke, appears a cartoon hand pointing to the annotation \"I must have/ Poem[.]\" Bucke prints the verses (without the prose note) on p. 49 of\n Notes and Fragments\n .\n","These descriptions follow the present arbitrary but longstanding physical arrangement of the manuscripts, first collected in a series of folders, and now in two boxed binders. This arrangement groups\nmanuscripts according to their position in and out of the \"clusters\" comprising the 1860 edition of\n Leaves of Grass\n , although the 1860 order of the clusters themselves has not been followed by the collector who arranged the poems.\n Sparkles from the Wheel\n  and\n Fables\n  (both 1871; see [Vol. 2, p. 163] and [Vol. 2, p. 164]) are included in the list by virtue of being housed with earlier poems in the second binder.\n","All of these poems except for\n Sparkles from the Wheel\n  and\n Fables\n  were published in the 1860 edition of\n Leaves of Grass.\n  The manuscripts are generally followed by print versions of the poems disbound by a collector from the 1860 edition. Since Whitman apparently had no contact with the printed pages they have not been\ndescribed here. Neither have the annotations made by collectors on many of Whitman's leaves. The measurements given below are taken at the points of greatest height and width, in that order, for each page.\nFollowing Fredson Bowers's practice in describing the manuscripts, the location of major pinhole clusters in each page, where present, has also been noted. (The pinholes, as Bowers argues, can yield helpful clues\nas to Whitman's practices of revision. Intact pages have multiple pinholes in the middle; thus, pinholes at the top of a small page indicate that the fragment was removed from the lower section of a full leaf, and\nvice versa). The types of paper and writing implements used by Whitman in each case have been documented for the same reasons. Since, in many cases, after 1860 Whitman changed the poems' titles and revised and\ntransferred them elsewhere, a brief narrative of each poem's post-1860 evolution accompanies its description.\n\n","The entry after the page numbers is the first autograph line at the top of the page. Beginning at page 34 of volume 1, the corresponding published poems are removed from 1860 edition and interleaved with the\nmanuscripts.\n","On thirty-three leaves comprising four types of paper (in a variety of shapes and sizes): pink, blue wove, white wove, and light blue Williamsburgh (Brooklyn) tax forms—inscribed, Bowers argues, in that\norder. Each leaf is numbered consecutively by Whitman, in pencil, in the lower left corner. Each leaf is also stabbed in the left margin and punctured with numerous pinholes. Bowers has identified at least four\nstages of revision based on the writing implements and ink used by Whitman to make his corrections: first pencil, then dark ink with a fine pen, once again pencil, and finally thin light-brown ink.\n Premonition\n  was published as the introductory poem to the 1860 edition of\n Leaves of Grass\n  under the title\n Proto-Leaf.\n  In the 1867 and later editions it appeared directly after the opening\n Inscriptions\n  cluster as\n Starting from Paumanok.\n","On verso of light blue Williamsburgh tax form (21.5 x 12 cm.), in black ink, with corrections in the same ink and in pencil. Multiple pinholes in center. This is a revision of the fragment that appears at the\ntop of Leaf 2, and corresponds to section 1 of\n Proto-Leaf\n  in the 1860 edition.\n","On a small pink sheet (12 x 13 cm.), in original black ink, with extensive deletions and revisions in fine pen (black ink) and pencil. Pinholes near top. This seems to have been the original first leaf of\n Premonition.\n  In drafting the revised version of this first section on a Williamsburgh tax form (see Vol. 1, p. 1) Whitman excised and apparently destroyed the verses at the top of this leaf, striking through the\nverses (beginning \"[Boy of the] Mannahatta—boy of/ the prairies,...\") below the cut. He then left a revised section of verses on the lower part of the leaf (beginning \"Victory, union, faith, democracy,/\nprudence,...\") undeleted. These lines correspond to section 2 of\n Proto-Leaf.\n","On pink leaf (21 x 13 cm.), in black ink, with extensive revisions in fine pen, pencil, and light ink. Pinholes in the center. The three verse sections—beginning \"This then is life,\" \"How curious! How\nreal!,\" and \"Take my Leaves America! Make/ places...\"—correspond to sections 3, 4, and 13 of\n Proto-Leaf.\n","On verso of light blue Williamsburgh tax form cut down to 10.5 x 12 cm., in black ink, with revisions in pencil and light ink. Pinholes in the center. A revision of lines deleted from the top of Leaf 5;\ncorresponds to section 14 of\n Proto-Leaf.\n","On pink leaf (22 x 13 cm.), in black ink, with deletions and revisions in pencil and fine pen. Pinholes in center. Whitman struck through the section beginning \"I do not discredit old times,\" the revised\nversion of which appears on Leaf 4, and which corresponds to section 15 of\n Proto-Leaf.\n  Below a horizontal line he left revised but undeleted the section beginning \"Antiques of men,\" which corresponds to section 16 of\n Proto-Leaf.\n","On a pink leaf (21.5 x 13 cm.), in black ink, with extensive revisions in medium fine pen, pencil, and fine pen to the first section, corresponding to section 17 of\n Proto-Leaf.\n  Pinholes in center. In the next two sections—[The Soul!] and [I will make the poems of materials,...]—corresponding to sections 18 and 19 of\n Proto-Leaf,\n  only minor revisions have been made, these in fine pen.\n","On pink leaf cut down to 17 x 13 cm., in black ink, with revisions in pencil, medium fine pen, and light ink. Pinholes below center. Corresponds to section 20 of\n Proto-Leaf.\n  The excised portion contained several verses and was moved to Leaf 8 (see Vol. 1, p. 8).\n","On a torn sheet of blue wove paper (17 x 13 cm.), with the excised portion from pink Leaf 7 (beginning \"I will be the preparer of what is/ to come...\") pasted to the foot of the leaf. Pinholes mostly in center\nof composite leaf. The pasted-on section became the first three verses of section 21 in\n Proto-Leaf.\n  Whitman struck through six unaltered lines (beginning \"I am the child of Democracy,\") in light-brown ink on the upper portion of the original blue leaf; these, Bowers observes, represent an intermediate\nstage between verses on a leaf used for\n Enfans d'Adam\n  and verses on Leaf 12 of\n Premonition\n  (see Vol. 1, p. 47 and Vol. 1, p. 12). After appearing on Leaf 12, the verses—much altered from their earliest iteration on the\n Enfans d'Adam\n  leaf—next became section 23 of the published\n Proto-Leaf.\n","On pink leaf, cut down to 11 x 13 cm., written in black ink with no revisions. Pinhole clusters are located both at the foot of leaf, dating from before Whitman's cutting of it, and in the current center. The\nexcised portion was renumbered Leaf 17 (see Vol. 1, p. 17). Leaf 9's remaining verses correspond to the second two verses of section 21 of\n Proto-Leaf.\n","On blue wove page torn down to 16 x 13 cm. In light-brown ink, with extensive revisions in the same ink. Pinholes in center. Corresponds to the first six lines of section 22 of\n Proto-Leaf.\n","On blue wove page cut down to 9 x 13 cm., in light-brown ink with no revisions. Pinholes in the current center and at the foot of the page (the original center). Incision patterns indicate that the blank\nportion cut from the foot of the leaf was pasted to the back of Leaf 17 for reinforcement (see Vol. 1, p. 17). Corresponds to verses 7-9 of section 22 of\n Proto-Leaf.\n","On two sections (6.5 x 16.5 cm.; 14 x 16 cm.) of the same leaf of white wove paper cut apart and pasted back together in reverse order. In brown-black ink, with revisions in same ink and in pencil. Pinholes in\ncenter of the composite leaf and in the original center. The current first section represents the latest extant draft of the verses that would form section 23 of\n Proto-Leaf.\n  The second section of the leaf (\"Here myself I give,\") corresponds to section 24. The verso contains two deleted drafts, heavily revised in the same brown-black ink and pencil, of the first few verses of\nwhat would grow to become sections 25-36 of the published poem. An annotation, \"very crude,\" appears in the left verso margin.\n","On white wove paper (20 x 16 cm.), in dark-brown ink, with revisions in the same ink and in pencil. Pinholes in center. This is a later version of the drafts on the verso of Leaf 12 with additional materials,\nall of which would grow to become sections 25-36 of\n Proto-Leaf.\n  The verses at the foot of this leaf (corresponding to the first part of section 35) are continued in the same ink on Leaf 14, which is also written on white wove paper.\n","On white wove paper (20 x 16 cm.), in dark-brown ink, with revisions in the same ink and in pencil. Pinholes in center. A continuation of the lines on Leaf 13, corresponding to the last three lines of section\n35 and all of section 36 of\n Proto-Leaf.\n","On white wove paper cut down to 16.5 x 16.5 cm., in brown-black ink, with revisions in the same ink. Pinholes from center downwards. Written on the verso of a deleted draft of what would become section 11 of\n Calamus\n  in the 1860\n Leaves\n  (see Vol. 1, pp. 78 - 79; this draft begins, \"When I heard at the close of/ the day how I had been/ praised in the Capitol,...\"). The section excised from the foot of the page has been pasted to the top\nof Leaf 16. The first verse section on Leaf 15 was abandoned or transformed beyond recognition in\n Proto-Leaf,\n  but the next three long verses (\"As I have walked my walk through the rows of the/ orchard-trees,\" \"I have seen the he-bird also—I heard him,\" \"And I have perceived that what he really sang\") became\nsections 38-40 of the published poem.\n","On two small joined sections of white wove paper (measuring 4 x 16.5 and 10 x 16, for a total of 13 x 16.5 cm.), the top one taken from Leaf 15, with a fragment of the same\n Calamus\n  draft on its verso as on Leaf 15's (see Vol. 1, p. 15 and Vol. 1, pp. 78 - 79). Pinholes in center of composite leaf. Both sections are written in the same brown-black ink as Leaf 15, with revisions in\nthis ink and in pencil. The upper verses correspond to section 41 of\n Proto-Leaf,\n  and the lower ones (\"Ma femme!/ Our offspring shall be provided for,\") to section 42.\n","On a small leaf of pink paper (11 x 13 cm.) removed, as Bowers notes, from the foot of Leaf 9, and pasted for reinforcement to a blank piece of blue wove paper (7 x 13 cm.) aken, incision patterns indicate,\nfrom the foot of Leaf 11 (see Vol. 1, p. 9 and Vol. 1, p. 11). In black ink, with revisions and a paragraph mark at the beginning of the verses in light ink. Pinholes at top (original center) and near current\ncenter. These two long verses (the second one beginning \"And I will make the true/ poem of riches,...\") correspond to sections 43-44 of\n Proto-Leaf.\n","On a full leaf of pink paper (21.5 x 13 cm.), in black ink, with revisions in the same ink and, apparently, in a finer pen. Pinholes in center. A continuation of Leaf 17, these verses correspond to section 45\nof\n Proto-Leaf.\n","On a full leaf of pink paper (21.5 x 13 cm.), in black ink, with revisions in the same ink and in a finer pen. Pinholes in center. The first section continues the verses on Leaf 18, but the second (\"Was\nsomebody asking to see the soul?\") constitutes an independent unit on the page. The two parts correspond to sections 46 and 47 of\n Proto-Leaf,\n  respectively.\n","On a full leaf of pink paper (21.5 x 13 cm.), in black ink, with revisions in light ink. Pinholes in center. These verse paragraphs (the second and third ones beginning with the lines \"Of that which is really\nyou, and/ of any part of you,\" and \"Not the types set up by the/ printer...\") correspond to sections 48-50 of\n Proto-Leaf.\n","On a full leaf of pink paper (21.5 x 13 cm.), in black ink, with revisions in a finer pen. Pinholes in center. These verse paragraphs (with those after the first one beginning \"Whoever you are! to you endless/\nannouncements!,\" \"Daughter of the lands, did you wait/ for your poet?,\" and \"Toward the female of The States, and/ toward the male...\") correspond to sections 51-54 of\n Proto-Leaf.\n","On a full leaf of pink paper (21.5 x 13 cm.), in black ink, with revisions in pencil, in finer pen, and in light ink. Pinholes in center. These lines correspond to the first seven verses of section 55 of\n Proto-Leaf.\n","On a full leaf of pink paper (21 x 12.5 cm.), in black ink, with revisions in a finer pen. Pinholes in center. These lines correspond to verses 8-15 of section 55 of\n Proto-Leaf.\n","On a full leaf of pink paper (21 x 13 cm.), in black ink, with revisions in a finer pen and in light ink. Pinholes in center. These lines correspond to verses 16-24 of section 55 of\n Proto-Leaf.\n","On a full leaf of pink paper (21 x 13.5 cm.), in black ink, with revisions in a finer pen and in light ink. Pinholes in center. These lines correspond to verses 25-31 of section 55 of\n Proto-Leaf.\n","On a full leaf of pink paper (21 x 13.5 cm.), in black ink, with revisions in pencil, in a finer pen, and in light ink. Pinholes in center. The first section of verses corresponds to verses 32-36 of section 55\nof\n Proto-Leaf,\n  and the second and third verse paragraphs (\"With me, with firm holding, yet/ haste, haste on!\" and \"For your life, adhere to me,\") correspond to sections 56 and 57.\n","Consists of a section of pink paper (8 x 13.5 cm.) torn from the top of Leaf 30 (see Vol. 1, p. 30), numbered 26 1/2 by Whitman and pasted to the inscribed verso of a section of a blank, cut-down Williamsburgh\ntax form (12 x 11.5 cm.), numbered 27. In black ink, with heavy revisions (to the top section) in a finer pen and in light ink. Pinholes mostly in the center of the pink section and in the center of the composite\nleaf. The pink section's verses correspond to section 58 of\n Proto-Leaf,\n  and the tax form verses (\"On my way a moment I/ pause,\") to section 59.\n","On a full leaf of pink paper (21.5 x 13.5 cm.), in black ink, with revisions in finer pen and in light ink. Pinholes in center. Originally titled\n Aborigines,\n  this section corresponds to section 60 of\n Proto-Leaf.\n","On a full light-blue Williamsburgh tax form (21.5 x 12 cm.), in black and light ink, with revisions in light ink. Pinholes in center. The top verse section corresponds to section 61 of\n Proto-Leaf,\n  and the lower verses (\"These! These, my voice an-/nouncing—...\") became section 62.\n","On a torn section of pink paper (14 x 13.5 cm.), in black ink, with heavy revisions in pencil, in a finer pen, and in light ink. The section torn from the top (\"No dainty dolce affetuoso I,\") was renumbered \"26\n1/2\" and pasted to leaf 27 (see Vol. 1, p. 27). Pinholes in original and current center. These verses became the first five verses of section 63 of\n Proto-Leaf.\n","On a full leaf of pink paper (21 x 13 cm.), in black ink, with revisions and deletions in pencil, in a finer pen, and in light ink. Pinholes in center. Whitman corrected the leaf number from 30 to 31. The first\nverse on the page, deleted, begins \"See, by the sea-side bathing, free/ from costumes,...\" and the third verse, also deleted, begins \"See, the President, ashamed, scouted/ at by the people,...\" The undeleted lines\ncorrespond to verses 6-8 of section 63 of\n Proto-Leaf.\n","On a torn pink leaf (17.5 x 13 cm.), in black ink, with revisions in pencil, in a finer pen, and in light ink. Pinholes in the current and original centers. The verse or verses removed from the foot of the\npage, of which only the word \"at\" is legible, have apparently been lost. The remaining lines correspond to verses 9-12 of section 63 of\n Proto-Leaf.\n","On verso of a full light-blue Williamsburgh tax blank (21.5 x 12 cm.), in light ink, with no revisions. Pinholes in center and at top. Although these verses were written as one section, Whitman changed a\nsemicolon at the end of the fourth verse (before \"O a word to clear one's path/ ahead endlessly!\") to a period, creating sections 64 and 65 of\n Proto-Leaf.\n  An earlier draft of the last four verses appears, upside-down, on the verso of the top section of composite leaf 2:1:4 in\n Chants Democratic.\n","The following pages are in the order in which the poems appeared, after revision, in the 1860\n Leaves.\n  These pages contain drafts of poems that would become five of the main numbered sections of the new cluster\n Enfans d'Adam\n  in the 1860 edition of\n Leaves of Grass.\n  In the 1867 and later editions these poems appeared, with individual titles, under the group title\n Children of Adam.\n","On a white wove leaf (16 x 10 cm.), in light ink, with no revisions. Pinholes mostly in center. An earlier draft of this poem appears on the verso of Vol. 1, p. 99 (\"City of my walks and joys!\") the leaf that\nwould become section 18 of\n Calamus\n  in the 1860\n Leaves\n . After being incorporated as the first main section of\n Enfans d'Adam\n  in 1860, this poem received its own title,\n To the Garden, the World\n  in the 1867\n Leaves\n .\n","On three pink leaves (all roughly 21 x 13 cm.), in black ink, with revisions in pencil, fine pen, and light ink. Multiple pinholes in the center of each leaf, with two at the top where the leaves were pinned\ntogether. Originally numbered 84. This poem appeared in the 1860\n Leaves\n  as main section 7 of\n Enfans d'Adam,\n  and was retitled\n We Two—How Long We Were Fool'd\n  in 1867.\n","One and one-half white wove leaves, the first 18.5 x 16 cm. (with a narrow section of the upper-right corner torn off) and the second roughly cut down to 11 x 16 cm. In brown-black ink, with revisions in the\nfine pen. Pinholes in the center of both leaves, but also near the original center of the second leaf and in the left margins of both. This poem, numbered 82 in pencil (presumably by Whitman) became main section 8\nof\n Enfans d'Adam\n  in 1860, and was permanently retitled\n Native Moments\n  in 1867.\n","On a leaf of white wove paper (20 x 16 cm.), in brown-black ink, with extensive revisions in the same ink and in pencil. On the present verso appear, in pencil, two fragments: an undeleted verse that would be used in Satan's section of  Chanting the Square Deific\n  in  Sequel to Drum-Taps  (1865-66); and the earliest draft in the Barrett collection of what would become section 23 of  Proto-Leaf  (deleted; see Vol. 1, p. 8 for an intermediate version of the section and Vol. 1, p. 12 for the last version before publication). The undeleted verse is upside-down relative to the deleted section. The recto verses became main section 9 of  Enfans d'Adam  in 1860, and were retitled  Once I Pass'd Through a Populous City  in 1867.\n","On pink leaf (21 x 12.5 cm.), in black ink, with extensive revisions in fine pen and light ink. Very few pinholes in center. The number 80 appears above the deleted 79 (both in ink) above the title, along with a pencil question mark in parentheses. This poem was revised to form main section 10 of  Enfans d'Adam  in 1860, and in 1867 was given two new opening lines and retitled  Facing West from California's Shores.\n","Pages generally follow the order in which the poems appeared, after revision, in the 1860\n Leaves.\n","These pages contain drafts of poems that would become main sections 1-2, 4, 7-18, 20-23, 25-27, 30-32, 34, and 36-45 of the\n Calamus\n  cluster, which first appeared in the 1860 edition of\n Leaves of Grass.\n  In 1867 the poems received individual titles, and in that and subsequent editions a small number of poems were removed from and added to the cluster; but, with the exceptions noted below, the great\nmajority of the original poems remained in\n Calamus\n  through all the versions of\n Leaves\n . Twelve of the manuscript poems are taken from a small notebook and marked with ornamental Roman numerals, which Bowers used to reconstruct the original sequence upon which\n Calamus\n  was apparently built. This nucleus of poems is known as\n Live Oak, with Moss.\n","On white wove half-sheet (20 x 16 cm.), in dark brown ink, with heavy alterations in the same ink, in light ink, and in pencil. Appears on the verso of the second fragment of a pencil draft of an editorial,\n Important Questions in Brooklyn.—,\n  which Whitman apparently never published but which seems to have inspired at least two published editorials on the Brooklyn Water Works and the political quarrels surrounding control of the project. The\neditorials appeared in the Brooklyn\n Times\n  of March 15 and 16, 1859, supplying important clues to the dating of the Barrett manuscripts (see Bowers xxviii-xxix). Pinholes mostly in center. These verses became lines 6-10 of section 2 of\n Calamus\n  in the 1860 edition.\n","On white wove half-sheet (20.5 x 16 cm.), in dark brown ink, with heavy revisions in the same ink, in lighter ink, and in pencil. On verso of the first, titled half-page of\n Important Questions in Brooklyn—.\n  Pinholes mostly in center. These lines became verses 11-14 of section 2 in the 1860 version of\n Calamus.\n","On white wove half-sheet (20 x 16 cm.), in dark brown ink, with extensive revisions in the same ink, in a lighter ink, and in pencil. On verso of the third half-page of\n Important Questions in Brooklyn—.\n  Pinholes mostly in center. These lines became verses 15-20 of section 2 in the 1860 version of\n Calamus.\n","On white wove half-sheet (20 x 16 cm.), in dark brown ink, with extensive revisions in the same ink, in a lighter ink, and in pencil. On verso of the fourth and (apparently) final half-page of\n Important Questions in Brooklyn—.\n  Pinholes mostly in center. These lines became verses 21-29 of section 2 in the 1860 version of\n Calamus.\n","On white wove half-sheet (20 x 16 cm.), in dark brown ink, with extensive revisions in the same ink, in a lighter ink, and in pencil. Pinholes mostly in center. These lines became the final verses (30-40) of\nsection 2 in the 1860 version of\n Calamus.\n","On white wove leaf (16 x 10 cm.), in light brown ink, with no revisions. Pinholes at top and in center. This became section 1 of\n Calamus\n  in 1860, and was retitled\n In Paths Untrodden\n  in the 1867\n Leaves\n .\n","This leaf comprises two sections of a poem inscribed (with very few alterations) on the first and third sides of a folded half-sheet (21.5 x 16 cm.) of the same white wove paper used for \"Long I was held by the\nlife.\" Whitman also used the same light-brown ink for these passages as for [Long I was held by the life/ that exhibits itself,], and, as Bowers notes, the pinholes in the two leaves match up. On the first side of\nthe folded leaf a blue pencil was used to correct a pencil number 7 to a 1, and on the third side the blue pencil corrected a pencil 8 to a 2. The five verses beginning \"Was it I who walked the/ earth...\" were not\nused in\n Calamus,\n  but the five lines beginning \"Scented herbage of my breast\" became the opening verses of section 2 of the cluster in the 1860\n Leaves\n . In the 1867 and later editions the first line was used as the title of the poem. See the following five entries for drafts of the remaining verses in the section, written on larger leaves (roughly 20 x\n16 cm.) of the same paper, in darker ink, and all heavily revised.\n","These leaves comprise four sections of a poem inscribed on the first and third sides of two folded half-sheets (20 x 16 cm.) of the same white wove paper used for 1:3:1 and 1:3:2, in the same light brown ink\nand, like them, with only minor revisions. The pages were folded and pinned together to form a small pamphlet. Pinholes mostly at center-top and in what was the left margin of the pamphlet. The lines on page 1\nbecame verses 1-8 of section 4 of\n Calamus.\n  in 1860; page 2 (\"Solitary, smelling the earthy/ smell,...\") became verses 9-14; page 3 (\"Here lilac with a branch of/ pine,\") became verses 15-22; and page 4 (\"And stems of currants, and/ plum-blows,\")\nbecame verses 23-28. From 1867 on the poem was titled\n These I, Singing in Spring.\n","On two light blue Williamsburgh tax blanks (21.5 x 12 cm.), in light brown ink, with minor revisions. A few pinholes at the head and in the center. A blue pencil question mark appears to the left of the first\nline on the second form. The lines on the first leaf became verses 1-9 of section 7 of\n Calamus\n  in 1860, and the second leaf's lines (\"To me all these, and the/ like of these,...\"] became verses 10-16. Retitled\n Of the Terrible Doubt of Appearances\n  in 1867.\n","On three pieces of white wove paper (the first two 15 x 9.5 cm., the third 6.5 x 9.5 cm.), in black ink, with revisions in the same ink and in pencil. Whitman also penciled in the numbers 7, 8, and 8 1/2 in the\nlower-left corner of each page. Pinholes at the head and in the center of each page. This was the fifth poem of the original sequence\n Live Oak, with Moss\n ; the poem number is inscribed ornamentally, as with the Roman numerals Whitman used for other\n Live Oak\n  poems, and a wavy line appears after the last verse. The lines on the first leaf became verses 1-5 of section 8 of\n Calamus\n  in 1860; the second leaf's lines (\"Take notice, you Kanuck woods\") became verses 6-10; and the lines on the half-page (\"I am indifferent to my own/ songs—\") became verses 11-12. There were no\nfurther appearances of this poem during the poet's lifetime, Whitman having canceled it in his\n Blue Book Copy\n  of the 1860\n Leaves.\n","On two pieces of white wove paper, the first cut down to 9.5 x 9 cm. and the second comprising two sections (14.5 x 9 and 5 x 9.5 cm.) joined by means of a strip of pink paper. In brown-black ink, with\nrevisions in the same ink and in pencil. Pinholes mostly at top and in center of leaves. Whitman penciled in the numbers 11 and 12 (apparently over other numbers) in the lower-left corner of each page; his partly\nerased pencil note \"(finished in/ the other city)\" appears on the first page. The ornamental number \"VIII\" replaces a deleted ornamental \"IX\" on the first page, and the top of another \"IX\" appears at the foot of\nthe second page, beneath a wavy line indicating the end of the poem. Whitman removed the lower section of page 2 from the top of current leaf Vol. 1, p. 132 (\"I dreamed in a dream of a/ city...\"). This poem, the\neighth in the sequence\n Live Oak, with Moss,\n  became section 9 of\n Calamus\n  in 1860. This was its only appearance in\n Leaves\n . The first page contains what would become verses 1-3 in 1860, and the second (\"Hours discouraged, distracted,\") contains lines 4-12.\n","On two sections of white wove paper, the first cut down to 8 x 9 cm. and the second a composite of two pieces pasted together, the top measuring 14.5 x 9.5 and the bottom 5.5 x 9.5 cm. In black ink, with a few\nrevisions in the same ink. Pinholes at top and in center of both pages. Whitman numbered the first 9 1/2 and the second 10, in pencil, in the lower-left corner of each leaf. The Roman numeral is inscribed in an\nornamental style, and the poem terminates with a wavy line. The seventh poem in the sequence\n Live Oak, with Moss,\n  became section 10 of\n Calamus\n  in 1860 and was permanently retitled\n Recorders Ages Hence\n  in 1867. The lines on the first page correspond to verses 1-3 of the 1860 version, and those on the second page (\"Publish my name and hang up/ my picture...\") to lines 4-11.\n","On two leaves of white wove paper, both measuring 15 x 9.5 cm.; the lower half of the second page is pasted over with a section of white paper (8 x 9 cm.) containing four revised verses. In black ink, with\nrevisions in the same ink and in pencil. Pinholes mostly at top of both pages. Whitman numbered the pages 4 and 5, in pencil, in their lower-left corners. The third section of\n Live Oak, with Moss\n  (with ornamental Roman numeral), this poem became section 11 of\n Calamus\n  in 1860 and was permanently retitled\n When I Heard at the Close of the Day\n  in 1867. For an earlier draft of the poem numbered V please see the verso of leaves 15-16 of\n Premonition\n  (Vol 1, pp. 15-16). Bowers (p. 88) supplies the three earlier lines concealed by the paste-on revision to the second leaf. The lines on the first page correspond to verses 1-5 of the 1860 version, and\nthose on the second page (\"And when I thought how/ my friend,...\") to lines 6-13.\n","On two pieces of white wove paper, 13 x 11.5 and 20 x 16 cm., in brown-black ink, with substantial revisions in the same ink. Pinholes mostly at center and in left margins of both pages. This poem, featuring a\nnew first line, became section 12 of\n Calamus\n  in 1860; in 1867 Whitman dropped the last 2 1/2 lines and permanently retitled it\n Are you the New Person Drawn Toward Me?\n  The first page contains verses corresponding to lines 2-3 of the 1860 version, and the lines on the second page (\"Do you suppose you can easily/ be my lover,...\") became verses 4-11.\n","On pink leaf (21.5 x 13 cm.), in black ink, with minor revisions in the same ink.A few pinholes at top and near center. A pencil question mark appears in parentheses in the upper-right corner. The number 52\nappears to have been revised from 51. After adding several verses, Whitman designated this poem section 13 of\n Calamus\n  in the 1860\n Leaves\n , and, after dropping the first two and last three lines of the 1860 version, permanently retitled it\n Roots and Leaves Themselves Alone\n  in 1867.\n","On white wove leaf, 15 x 9 cm., in black ink, with the title\n Live Oak, with Moss\n  stricken out and\n Calamus-Leaves\n  added in light brown ink, and with one small revision in blue pencil. Whitman numbered this page 1 in pencil. The first section of the original sequence\n Live Oak, with Moss,\n  this became section 14 of\n Calamus\n  in 1860 and was permanently retitled\n Not Heat Flames up and Consumes\n  in the 1867\n Leaves\n .\n","On verso of light blue Williamsburgh tax blank (21.5 x 12 cm.), in light ink, with no revisions. Pinholes at top and in center. This poem became section 15 of\n Calamus\n  in 1860, and, with the addition of a new first line, was retitled\n Trickle, Drops\n  in 1867.\n","On two pink leaves (both 21.5 x 13 cm.), in black ink, with extensive revisions in the same ink, in pencil, and in fine pen. Pinholes mostly in center of both leaves, but also at top and in left margins. The\noriginal title was\n Leaflet.\n  On the second page Whitman added, in a combination of normal and blue pencil, the number 43 (1/2). With the addition of a new first line (\"1. Who is now reading this?\") the poem became section 16 of\n Calamus\n  in 1860; the lines on the first draft page correspond to verses 2-8 and those on the second page (\"Or as if interior in me\") to verses 9-10. This was the first and last appearance of the poem during\nWhitman's lifetime: he rejected it from his\n Blue Book Copy\n  of\n Leaves\n  in 1860.\n","On two pink leaves (21 x 13 cm.), in black ink, with revisions in the same ink and in light ink. Pinholes in center, at top, and in top-left corner. This poem was originally titled\n Leaf\n  and apparently numbered 78; Whitman inscribed its new title,\n Poemet,\n  in light ink. It became section 17 of\n Calamus\n  in 1860, with the lines on the first leaf corresponding to verses 1-7 and those on the second (\"And what I dreamed I will/ henceforth tell...\") to verses 8-13 of the first published version. Retitled\n Of Him I Love Day and Night\n  in 1867, it was transferred to the\n Whispers of Heavenly Death\n  cluster in\n Passage to India\n  in 1871. In 1881 Whitman incorporated it, with the rest of the cluster, in the main body of\n Leaves\n .\n","On a composite leaf consisting of two pieces of white wove paper, 8.5 x 10 and 20 x 16 cm.; the smaller section (in light brown ink, with few revisions) is pasted over some lines in the top-left corner of the\nlarger piece (in dark brown ink), from the top of which other lines were cut off. Whitman made extensive revisions to the larger piece in the same dark brown ink and in pencil before adding the smaller section. On\nthe verso of the larger piece appears an extensively revised pencil draft of the first poem in\n Enfans d'Adam\n  (see Vol. 1, p. 35; the lines on the composite page's verso represent an earlier draft of the poem). The verses on the current recto of the composite leaf became section 18 of\n Calamus\n  in 1860; the poem was permanently retitled\n City of Orgies\n  in 1867.\n","On two leaves of white wove paper, both 15 x 9.5 cm., in black ink, with extensive revisions in the same ink, in light brown ink, and in pencil. Pinholes mostly at top and in center of both pages. Whitman\nnumbered the pages 2 and 3 in pencil. This was originally the second section of the sequence\n Live Oak, with Moss\n  (one of the deleted lines reads \"I write/ these pieces, and name/ them after it [the Louisiana live-oak];\"), with ornamental Roman numeral. It became section 20 of\n Calamus\n  in 1860; the lines on the first manuscript page correspond to verses 1-7, and those on the second (\"It is not needed to remind/ me...\") to verses 8-13. The poem was retitled\n I saw in Louisiana a Live-Oak Growing\n  in 1867.\n","On two leaves of pink paper, both 21 x 13 cm., in black ink, with minor revisions in the same ink. Pinholes mostly in center and at top of both pages. This poem became section 21 of\n Calamus\n  in 1860; the lines on the first manuscript page became verses 1-6, and those on the second (\"I hear not the volumes of/ sound merely—...\") became 7-9. Retitled\n That Music Always Round Me\n  in 1867, it was transferred in 1871 to the\n Whispers of Heavenly Death\n  cluster in\n Passage to India.\n  In 1881 Whitman incorporated it, with the rest of the cluster, in the main body of\n Leaves\n .\n","On two leaves of pink paper, both 21 x 13 cm., in black ink, with revisions in the same ink and in light ink. Pinholes mostly in center and in left margin of each page. This poem was first numbered 94, and the\nfirst word was \"Stranger\"; Whitman penciled in a question mark, in parentheses, next to the title. It was numbered section 22 of\n Calamus\n  in 1860: the lines on the first page correspond to verses 1-6 of the 1860 version, and those on the second (\"You give me the pleasure\") to verses 7-10. Whitman reintroduced the title\n To a Stranger\n  in the 1867\n Leaves\n .\n","On one leaf of white wove paper, in dark brown ink, with revisions in pencil. Pinholes in center and at top. Whitman penciled in the number 6 in the lower-left corner. The fourth poem in the original sequence\n Live Oak, with Moss\n  (with ornamental Roman numeral), it became section 23 of\n Calamus\n  in 1860 and was permanently retitled\n This Moment, Yearning and Thoughtful\n  in 1867.\n","On one leaf of pink paper (21 x 13 cm.), in black ink, with revisions in an even blacker ink and in pencil. Pinholes in center. The poem was originally numbered 53. In 1860 Whitman designated it section 25 of\n Calamus,\n  transforming the title into a new first line and expanding the original first line into verses 2-4. In 1867 he further revised it, permanently retitling it\n The Prairie-Grass Dividing.\n","On one leaf of pink paper (21 x 12.5 cm.), in black ink, with minor revisions in the same ink. Pinholes in center. This poem was originally numbered 83. With the addition of the new first lines \"We two boys\ntogether clinging,/ One the other never leaving...\" and attendant revisions it became section 26 of\n Calamus\n  in 1860, and was permanently retitled\n We Two Boys Together Clinging\n  in 1867.\n","On one light blue Williamsburgh tax blank (21.5 x 12 cm.), in dark brown ink, with revisions in fine pen and pencil. Whitman penciled in a question mark, in parentheses, next to the title. With the addition of\nthe new first line \"O love!\" this became section 27 of\n Calamus\n  in 1860. In the 1867\n Leaves\n  it was retitled\n O Living Always—Always Dying!\n  Whitman next transferred it to the\n Passage to India\n  supplement bound in with\n Leaves\n , where it reappeared in 1876; in the 1881\n Leaves\n  Whitman permanently added it to the cluster\n Whispers of Heavenly Death.\n","On one leaf of pink paper (22 x 13 cm.), in black ink, with revisions in the same ink. Pinholes mostly in center. The original title was\n Leaflet,\n  and the original number seems to have been 70. After substantial revision (including the addition of the new first line \"A promise and gift to California,\") this poem became section 30 of\n Calamus\n  in 1860. Whitman further revised the poem before including it, permanently retitled\n A Promise to California,\n  in the 1867\n Leaves\n .\n","On one leaf of pink paper (21.5 x 13 cm.), in black ink, with a fair copy of the poem at the bottom of the leaf and a deleted draft featuring heavy revisions in the same ink and in pencil at the top. This poem\nwas originally numbered 68, and its title was\n Leaflet—.\n  In 1860 it became the second numbered verse paragraph of section 31 of\n Calamus.\n  In 1867 Whitman split up the two paragraphs and made them separate poems; these verses were moved to a position between the\n Calamus\n  and a\n Leaves of Grass\n  cluster and permanently retitled\n What Place Is Besieged?\n  In 1881 the poem was transferred to the cluster\n Inscriptions.\n","On one leaf of white wove paper (15 x 9.5 cm.), in medium-brown ink, with one revision in the same ink. Pinholes mostly at top and in center. The two sets of verses are divided by a short horizontal line. In\n1860 the first set, with the addition of a new first line (\"Here my last words, and the most baffling,\") became section 44 of\n Calamus\n ; the poem was permanently retitled\n Here the Frailest Leaves of Me\n , and the new first line dropped, in 1867. The second set was revised to form section 38 of\n Calamus\n  in 1860; in 1867 it was further revised and retitled\n Fast Anchor'd, Eternal, O Love.\n","On one leaf of white wove paper (14.5 x 9 cm.), in black ink, with revisions in pencil. Pinholes in center and at top. A blue-pencil number 3 appears in the upper right corner over an erased 9. With substantial\nadditions and revisions this evolved into section 37 of\n Calamus\n  in 1860; after further revision it became\n A Leaf for Hand in Hand\n  in 1867.\n","On one leaf of white wove paper (14.5 x 9.5 cm.), in brown-black ink, with revisions in lighter ink (including the deletion, undone in 1860, of the phrase \"My likeness!\" after \"Earth!\"). Pinholes mostly at top\nand in center. Whitman penciled in the number 15 in the lower-left corner. Originally poem XI in the sequence\n Live Oak, with Moss\n  (with the Roman numeral ornamentally drawn), this was revised to become section 36 of\n Calamus\n  in 1860. In 1867 Whitman retitled the poem\n Earth! My Likeness!\n","On one leaf of white wove paper cut down to 9.5 x 9 cm., in brown-black ink, with revisions in pencil. Pinholes at top and in center. Whitman numbered the leaf 13, in pencil, in the lower-left corner. The\nexcised top portion of the leaf became the bottom section of page 2 (Vol. 1, p. 72), the poem (eighth in the sequence\n Live Oak, with Moss\n ) beginning \"Hours continuing long, sore/ and heavy-hearted...\" In 1860 this poem was substantially revised to form section 34 of\n Calamus\n ; in 1867 it was retitled\n I Dreamed in a Dream.\n","On a composite leaf of white wove paper consisting of two sections (8.5 x 9 and 6.5 x 9 cm.) pasted together. Both sections are in black ink but, as Bowers notes, the lower verses were inscribed using a darker,\nthicker pen; the upper section is unrevised, but the lower section bears several alterations in the original ink. Pinholes at top of both sections and in the current center. Whitman numbered the page 9, in pencil,\nin the lower-left corner. Originally the sixth section of the sequence\n Live Oak, with Moss,\n  this poem was revised to form section 32 of\n Calamus\n  in 1860, and in 1867 was retitled\n What Think You I Take My Pen in Hand?\n","On one leaf of white wove paper (15 x 9.5 cm.), in light brown ink, with one revision in the same ink. Pinholes at top and in center. A blue pencil mark, possibly the number 4, has been inscribed in the upper\nright corner. Bowers notes that the page bears the imprint of a papermaker's lozenge die, perhaps that of Platner and Smith of Lee, Massachusetts. This poem became section 39 of\n Calamus\n  in 1860; in 1867 Whitman replaced the third line with a new one and permanently retitled the poem\n Sometimes with One I Love.\n","On one leaf of white wove paper (15 x 9 cm.), in black ink, with revisions in the same ink and in pencil. Whitman also penciled in the page number 16 in the lower-left corner. Pinholes in center and at top.\nThis page bears the same papermaker's mark as Vol. 1, p. 136. Twelfth in the original sequence\n Live Oak, with Moss\n  (with ornamental Roman numeral), it became section 42 of\n Calamus\n  in 1860. In 1867 Whitman changed the poem to an apostrophe, adding the first line \"O Boy of the West!\" (later removed) and permanently retitling it\n To a Western Boy.\n","On one leaf of pink paper (21.5 x 13 cm.), in black ink, with revisions in the same ink, in pencil, and in fine ink (in that order). Pinholes mostly in center. Originally titled\n To Those Who Will Understand\n  and numbered 100 (then 101, then the current ?100 in the fine pen). This was revised to form section 41 of\n Calamus\n  in 1860 and was permanently retitled\n Among the Multitude\n  in the 1867\n Leaves\n .\n","On one leaf of white wove paper (14.5 x 9 cm.), in brown-black ink, with revisions in the same ink. Pinholes mostly at the top, with a few lower down. The tenth section of the original sequence\n Live Oak, with Moss\n  (with ornamental Roman numeral), this was reformatted and renumbered but otherwise left unrevised as section 43 of\n Calamus\n  in 1860. In 1867 Whitman permanently retitled it\n O You Whom I Often and Silently Come.\n","One one leaf of lined light blue wove paper (17 x 9.5 cm.), in pencil, with one pencil revision. Only two sets of pinholes, both in center. This was revised to become section 40 of\n Calamus\n  in 1860; in 1867 it was retitled\n That Shadow, My Likeness.\n","On one composite leaf of pink paper formed of two sections (10 x 13 and 11.5 x 13 cm.) of the same page cut apart and pasted together in a new order. The poem number was originally 101 and then changed to 102;\nthis number was deleted and the current ?101 added in fine pen. Bowers explains that the poem, in two discrete verse sections and inscribed in black ink (with title), originally occupied one full side of this\nleaf. When Whitman wanted to expand the first section without having to retranscribe the second one, he simply cut the two sections apart, flipped the first section over (turning it upside-down in the process),\npasted the second section to the lower edge of the verso of the first section, and wrote his new first section (beginning \"Throwing far, throwing over the head/ of death\" and incorporating the original title as\nverse 3) in the blank space now created above the second section. The new first section is written and revised in light ink. As Bradley and Blodgett observe, the words \"thirty-eight years old the/ eighty-first\nyear of The States\" indicate that Whitman composed the poem in 1857; these were revised to read \"I, forty years old the Eighty-third Year of The States\" in the 1860\n Leaves\n , in which this poem constituted section 45 of\n Calamus.\n  In 1867 Whitman retitled the poem\n Full of Life, Now.\n","These fourteen poems were revised to form sections 4, 7-14, and 16-20 of the new cluster\n Chants Democratic and Native American\n  in the 1860 edition of\n Leaves of Grass.\n  In 1867 Whitman disbanded the cluster, and each poem then or later on received an individual title. This grouping carries over into Volume 2.\n","On sixteen leaves of pink paper, all basically the same size (21.5 x 13 cm.) and all in black ink, with a fair number of revisions in the same ink, in a darker ink, and in pencil. Multiple pinholes in the\ncenter, and also some at the top, of each leaf. This poem was originally numbered 89. Whitman also numbered each leaf in the lower-left corner in pencil: the leaves follow the order 1-9, 9 1/2 (a full page despite\nits number), and 10-15. The expression \"the Eightieth year of/ These States\" at the top of leaf 2 indicates, as Bradley and Blodgett note, that Whitman was working on this poem as early as 1856. It became section\n4 of\n Chants Democratic\n  in 1860. In 1867 Whitman ungrouped it and retitled the poem\n American Feuillage,\n  a name it kept until being permanently retitled\n Our Old Feuillage\n  in 1881. The lines on the manuscript leaves correspond to these verses in the 1860 edition: leaf 1 to verses 1-6; leaf 2 (\"The area the Eightieth year of/ These States,...\") to 7-12; leaf 3 (\"Always The\nWest, with strong native/ persons,...\") to 13-18; leaf 4 (\"In their northerly wilds, beasts of/ prey...\") to 19-24; leaf 5 (\"On solid land what is done/ in cities...\") to 25-29; leaf 6 (\"Rude boats descending the\nBig/ Pedee—...\") to 30-34; leaf 7 (\"Southern fishermen fishing—...\") to 35-38; leaf 8 (\"In Virginia, the planter's son/ returning...\" to 39-42; leaf 9 (\"Northward, young men of/ Mannahatta—...\")\nto 43-45; leaf 9 1/2 (\"The Texas cotton-field and/ the negro-cabins—...\") to 46-50; leaf 10 (\"The drama of the scalp-dance\") to 51-58; leaf 11 (\"The country-boy at the close/ of the day...\") to 59-61 and 63;\nleaf 12 (\"The athletic American matron\") to 64-70; leaf 13 (\"Otherways there, atwixt the banks/ of the Arkansaw,...\") to 71-73; leaf 14 (\"The migrating flock of wild-/geese...\") to 74-75; and leaf 15 (\"In the\nMannahatta, streets, piers,\") to verses 76-77 and 79-83.\n","On six leaves of pink paper, all 21 x 13 cm. in size, and all in the same black ink, with revisions in that ink, in a fine pen, in pencil, and in light ink. Each leaf has a pinhole cluster in the center and a\nfew pinholes in the left margin. The deleted title is\n Poemet—.\n  As Bowers notes,\n Evolutions.—\n  is written in the light ink, and the number \"41—\" in a darker ink than the text. Whitman numbered each leaf in pencil in the upper right corner. As Bradley and Blodgett note, this poem was first\npublished in the January 14, 1860 issue of the\n New York Saturday Press\n  under the title\n You and Me and To-day,\n  after which it became section 7 of\n Chants Democratic\n  in the 1860\n Leaves\n . In 1867 Whitman ungrouped it and permanently retitled it\n With Antecedents\n ; in 1881 it was permanently transferred to the new cluster\n Birds of Passage.\n  The manuscript leaves correspond to the published verses in the 1860\n Leaves\n  as follows: leaf 1 to verses 1-7; leaf 2 (\"With the sale of slaves—\") to verses 8-13; leaf 3 (\"With this year, sending itself/ ahead...\") to verses 15-22; leaf 4 (\"I have the idea of all, and/ am\nall,...\") to verses 24-30; leaf 5 (\"I promulge that all past/ days...\") to verses 31-38; and leaf 6 (\"And that there is no untruth/ in time...\") to verses 40-41.\n","On six leaves of pink paper, the first a composite leaf measuring 25.5 x 12.5 cm. and the rest standard-sized leaves of 21.5 x 12.5 cm. In black ink, with extensive revisions in the same ink, in pencil, and,\nfinally, in light ink. Whitman also numbered each leaf, in pencil, in the upper right corner. Each leaf has a pinhole cluster in the center and a few holes in the left margin. The first leaf consists of an\nexpanded opening section (title and three verses) in light ink inscribed on a small section of pink paper (9.5 x 12.5 cm.) pasted to what Whitman left (18 x 12 cm.) of the original leaf after apparently excising\nthe original opening verse(s). The lower left corner of this first leaf, with part of two or three words, has been worn away. In the 1860 edition of\n Leaves\n  Whitman published this poem as section 8 of\n Chants Democratic.\n  In 1867, Bradley and Blodgett note, he gave it the permanent title\n Song at Sunset\n  and moved it to the supplement\n Songs Before Parting\n ; in 1871 it was finally transferred to the cluster\n Songs of Parting\n  within the main body of\n Leaves\n . The leaves correspond to the verses in the 1860\n Chants Democratic\n  version as follows: leaf 1 to verses 1-12; leaf 2 (\"Illustrious the yet shining light!\") to verses 13-25; leaf 3 (\"To speak! To walk! To/ seize something by the/ hand!\") to verses 26-34; leaf 4 (\"How the\nwater sports and/ sings!...) to verses 35-42; leaf 5 (\"I too throb to the brain...\") to verses 43-49; and leaf 6 (\"As I roamed the streets of/ inland Chicago—...\") to verses 50-59.\n","On two leaves of pink paper, in black ink, with heavy revisions in the same ink, in pencil, in fine pen (very black ink), and in light ink. With the fine pen Whitman inscribed and circled the note \"2d/ piece/\nin Book\" in the upper-right corner of the first leaf. The first leaf is a standard page measuring 21.5 x 13 cm., while the second is a composite of two sections pasted together, the top section measuring 6 x 13\nand the bottom one 18.5 x 12.5 cm. The small top section is inscribed in light ink on the verso of some deleted draft verses excised from\n So Long!\n  (see Vol. 2, pp. 153-159); Bowers observes that Whitman seems to have cut away the original first verse(s) in order to attach this expanded verse (in light ink) to the main body of original verses.\n Thought\n  became section 9 of\n Chants Democratic\n  in 1860. In the 1867\n Leaves\n  Whitman combined it with the second\n Thought\n  (Vol. 2, pp. 21 - 22) to form the poem\n Thoughts\n  in the supplement\n Songs Before Parting.\n  (This particular\n Thought\n  was numbered section 1 of the composite poem.) In 1871\n Thoughts\n  appeared in the cluster\n Songs of Parting\n  within the main body of\n Leaves\n , and in 1881, Bradley and Blodgett note, it achieved its final position within that cluster. The leaves correspond to the verses in the 1860\n Chants Democratic\n  version as follows: leaf 1 to verses 1-6, and leaf 2 (\"How the great cities appear—\") to verses 7-14.\n","On two leaves of pink paper, the first a composite leaf consisting of a small section pasted to a larger one (9 x 12.5 and 17.5 x 13.5 cm.), and the second a normal leaf measuring 21 x 13.5 cm. In black ink,\nwith extensive revisions in the same ink, in fine pen, and in light ink. The paste-on revision is in light ink, and contains an expanded version of the original lines Whitman cut away and apparently discarded. The\nverso of the paste-on section contains, as Bowers notes, five undeleted draft lines that would become the final verses of\n Proto-Leaf\n  in the 1860\n Leaves\n ; Whitman's small note in the lower-right corner, in a semi-circle, reads \"end of Poem\" (see Vol. 1, p. 33 for a later version of these lines). This\n Thought\n  became section 11 of\n Chants Democratic\n  in 1860; in 1867 Whitman made it section 2 of the composite poem\n Thoughts\n , and the two\n Thought\n  poems were indivisible from that point on (see 2:1:3 for details). Leaf 1 corresponds to verses 9-15 in the\n Chants Democratic\n  version and leaf 2 (\"Of the new and good names—\") to verses 16-22.\n","On one large composite leaf of white lined laid paper, consisting of two pieces (measuring 20 x 16 and 11 x 16 cm.) pasted together. In dark brown ink, with heavy revisions in the same ink, in a darker ink, and\nin pencil. On the verso of both pieces appear fragments of extensive pencil notes for a speech or essay Whitman wrote (most likely) in 1856, and revised in 1858, under the working title\n Slavery—the Slaveholders—/ —The Constitution—the/ true America and Ameri-/cans, the laboring persons—.\n  The lines seem to represent fragments of an earlier, discarded draft of a manuscript currently housed at Duke University. See p. 2185 in vol. 6,\n Notes and Index\n , of Edward F. Grier's edition of Whitman's\n Notebooks and Unpublished Prose Manuscripts\n  in\n The Collected Writings of Walt Whitman\n  (New York: New York University Press, 1984). See the verso of\n To a Cantatrice.—\n  (Vol. 2, p. 92), inscribed on the same paper, for an additional fragment of the draft. After undergoing extensive revisions, in 1860\n To a Historian\n  became section 10 of\n Chants Democratic.\n  In 1867 Whitman deleted five verses, transferred the poem to the supplement\n Songs Before Parting,\n  and permanently retitled it\n To a Historian.\n  It appeared as the fifth poem in the opening cluster\n Inscriptions\n  in the 1872 and all later editions of\n Leaves\n .\n","On five leaves of pink paper (all roughly 22 x 13.5 cm.), in black ink, with extensive alterations in the same ink, in pencil, and in light ink. Pinhole cluster in center of each leaf. As Bowers notes, the poem\nwas originally numbered 67, and the partly erased pencil note \"Needs to be/ re-written/ or excluded\" appears in the upper-right corner of the first leaf. Whitman also numbered the leaves in pencil in their lower-\nleft corners. The leaves correspond to verses in section 12 of\n Chants Democratic\n  in the 1860\n Leaves\n  as follows: leaf 1 to verses 1-7; leaf 2 (\"Come duly to the divine/ power to use words?\") to verses 8-13; leaf 3 (\"Then toward that man or/ that woman...\") to verses 14-16; leaf 4 (\"O Now I see arise\norators/ fit for America,\") to verses 17-19; leaf 5 (\"Of a great vocalism, when/ you hear it,...\") to verses 20-26. After excising and altering numerous verses of the poem and numbering different verse paragraphs\nfor the\n Chants Democratic\n  version, Whitman next made the poem the second numbered section of the last\n Leaves of Grass\n  cluster in the 1867 edition of\n Leaves\n . From 1872 to 1876 it bore the title\n To Oratists.\n  Then, in 1881, Whitman deleted several lines, joining this poem with a previously unconnected poem known as\n Voices\n  to form\n Vocalism\n  in the cluster\n Autumn Rivulets,\n  a position and identity the now-composite poem retained from that point on.\n","On three leaves of pink paper (the first cut down to 19.5 x 12.5 cm., the second two measuring 21.5 x 12.5 cm.), in black ink, with revisions in the same ink, in fine pen, in pencil, and in light ink (including\nthe title). A partial horizontal line at the top of the first leaf indicates that Whitman cut away the original title and number; Bowers notes that in a list of his poems Whitman refers to this poem as\n 38. Walt Whitman's Laws.\n  Pinholes clustered mostly in center of each leaf, with some in the left margins and at least one pair in the upper right corner. Whitman numbered each leaf in pencil in the lower left corner. These pages\nwere transformed into section 13 of\n Chants Democratic\n  in the 1860\n Leaves\n  as follows: Leaf 1 to verses 1-6; Leaf 2 (\"Statements, models, censuses,\") to verses 7-12; Leaf 3 (\"What do you suppose Creation/ is?\") to verses 13-18. A pencil paragraph mark appears in the upper left\ncorner of the third leaf; the verses on it formed the third numbered sub-section of the poem in 1860. In 1867 it was greatly shortened and transferred to the final\n Leaves of Grass\n  cluster in\n Leaves\n . In 1872 the poem was permanently retitled\n Laws for Creations\n  Its final position was in the cluster\n Autumn Rivulets\n  Three earlier pencil drafts of most of the lines on Leaf 1 and some on Leaf 2 are housed under accession number 3829-i (see\n [Laws for Creations]\n ).\n","On two sides of a single page of white wove paper (20 x 16 cm.) folded to form a pamphlet. In light brown ink with only one minor revision. Pinholes in the left margin when folded. Whitman numbered the\ninscribed sides of the leaf 1 and 2, in pencil, in the upper right corners. Side 1 corresponds to verses 1-9 of section 14 of\n Chants Democratic\n  in the 1860\n Leaves\n ; side 2 (\"I expect that Kanadians,\") became verses 10-16 of that version. In 1867 it was shortened to make up section 4 of the final\n Leaves of Grass\n  cluster in\n Leaves\n . In 1872 it was permanently retitled\n Poets to Come\n  and transferred to the cluster\n The Answerer,\n  where it stayed until being moved to the\n Inscriptions\n  cluster in 1881.\n","On two leaves of pink paper (21.5 x 12.5 cm.), in black ink, with extensive revisions in the same ink, in a fine pen, and in light ink. Pinholes in center and at top of both leaves. This became section 16 of\n Chants Democratic\n  in 1860, with Leaf 1 corresponding to verses 1-6 and Leaf 2 (\"They shall train themselves/ to go in public,...\") to verses 7-11. In 1867 Whitman restored the title\n Mediums\n ; in 1871, Bradley and Blodgett note, it was transferred to\n Passage to India\n , and in 1881 took its final position in the cluster\n From Noon to Starry Night.\n","On two leaves of pink paper (both 21.5 x 13 cm.), in black ink, with revisions in the same ink, in a fine pen, and in light ink. Pinholes in center and in left margin. The poem was originally numbered 50.\nWhitman penciled in a question mark, in parentheses, in the upper-right corner. This became section 17 of\n Chants Democratic\n  in the 1860\n Leaves\n , with leaf 1 corresponding to verses 1-6 and leaf 2 (\"We confer on equal terms with/ each of The States,\") to verses 7-13. Although he dropped it from\n Leaves\n  in 1867, Whitman nonetheless used the poem, permanently retitled\n On Journeys through the States,\n  in\n Passage to India\n  in 1871. In 1872 and 1876 it appeared in the\n Passage to India\n  annexes to\n Leaves\n  and\n Two Rivulets\n , respectively, and in the 1881\n Leaves\n  it took its final position in the cluster\n Inscriptions.\n","On one leaf of pink paper (21 x 13 cm.), in black ink, with revisions in the same ink and in a blacker ink. A few pinholes in the center and left margin. Originally numbered 73. This became section 18 of\n Chants Democratic\n  in 1860; in 1867 it was permanently retitled\n Me Imperturbe,\n  and after various repositionings was finally transferred to the cluster\n Inscriptions\n  in 1881.\n","On one leaf of pink paper (21 x 13 cm.), in black ink and pencil, with revisions in the same ink, in fine pen (blacker ink), and possibly one more type of ink. Originally numbered 75; the pencil title\n Leaflet\n  appears, deleted, in the upper-right corner. Pinholes in center and in left margin (towards center and top). This became section 19 of\n Chants Democratic\n  in 1860; in 1867 it was permanently retitled\n I Was Looking a Long While,\n  and in 1881 was assigned to the cluster\n Autumn Rivulets.\n","On two leaves of pink paper (21.5 x 13 cm.), in black ink, with revisions in the same ink, in a lighter ink, and in the final light ink. Originally numbered 54 and titled\n Leaf.—\n ; Bowers notes that the title was next\n Songs—always wanted\n  and then\n Mouth-Songs.\n  Pinholes in center and upper-left corner of each leaf. This became section 20 of\n Chants Democratic\n  in 1860, with leaf 1 corresponding to verses 1-6 and leaf 2 (\"The delicious singing of the/ mother...\") to verses 8-10. In 1867 Whitman revised the first line and permanently retitled the poem\n I Hear America Singing\n ; in 1881 it achieved its final position in the cluster\n Inscriptions.\n","These eight poems were revised to constitute sections 13, 15-19, and 21-22 of the cluster\n Leaves of Grass\n  in the 1860 edition of\n Leaves\n ; in later editions they were revised and transferred to different clusters.\n","On the verso of three light blue Williamsburgh tax blanks (21.5 x 12 cm.), in medium-black ink, with revisions in the same ink and a lighter one. Pinholes in center and top of each leaf. After undergoing\nsubstantial deletions and revisions this poem became section 13 of the cluster\n Leaves of Grass\n  in 1860, with the manuscript leaves corresponding to the published version as follows: leaf 1 to numbered verse paragraphs 1 (now beginning \"O bitter sprig! Confession sprig!\") through 3 and 5; leaf 2\n(\"You felons on trial in courts,\") to 4 and most of 6; and leaf 3 (\"And I say I am of them—\") to the rest of 6. In 1867 Whitman permanently retitled the poem\n You Felons on Trial in Courts\n  and further shortened it by removing the first three verse paragraphs. The poem's final position, in 1881, was in the cluster\n Autumn Rivulets.\n","On three leaves of pink paper (all roughly 20 x 13 cm.), in medium-black ink, with revisions in the same ink, in black ink, and in light ink (including the title). As Bowers notes, Whitman cut off and flipped\nover the top section of the first leaf, gluing it to the rest of the leaf, in order to transform the original first line into the title. (The current verso of the top section still bears, undeleted, the first line\n\"Night on the prairies[,]\" along with the title\n Leaf.—\n  and the number 73, originally 72). Pinholes in center and in upper-left margin of each leaf. Whitman deleted the pencil numbers 16, 17, and 18 in the lower-left corner of the leaves, substituting the\nnumbers 1 through 3. This poem became section 15 of the cluster\n Leaves of Grass\n  in 1860, with the leaves corresponding to the published lines as follows: leaf 1 to numbered verse paragraphs 1-3 and half of 4; leaf 2 (\"I was thinking this globe/ enough for me...\") to the second half\nof 4, and 5; leaf 3 (\"O I see now that life/ cannot exhibit all...\") to verse paragraph 6. In 1867 Whitman restored the title\n Night on the Prairies\n  and revised the poem, transferring it and the two poems that follow it here to a different\n Leaves of Grass\n  group. After other repositionings it achieved its current place in the cluster\n Whispers of Heavenly Death\n  in 1881.\n","On two leaves of pink paper (both roughly 22 x 13 cm.), in black ink, with no revisions in the verses. (The poem itself was originally numbered 71). Pinholes in center and upper half of left margin of both\nleaves. Leaf 1 corresponds to verses 1-5 in section 16 of the 1860\n Leaves\n  cluster\n Leaves of Grass,\n  in which the poem was first published; leaf 2 (\"Vast sluggish existences/ grazing there,...\") corresponds to verses 6-11. In 1867 Whitman transferred this to a different\n Leaves of Grass\n  group with the poems that would become\n Night on the Prairies\n  and\n I Sit and Look Out.\n  After receiving the title\n The World Below the Brine\n  in the 1871\n Sea-Shore Memories\n  group of\n Passage to India\n , Bradley and Blodgett note, the final change was its transfer to the cluster\n Sea Drift\n  within the main body of\n Leaves\n  in 1881.\n","On two leaves of pink paper (21.5 x 13 cm.), in black ink, with revisions in pencil and fine pen. Pinholes in center and at top of both leaves. Originally numbered 77. This became section 17 of the cluster\n Leaves of Grass\n  in the 1860\n Leaves\n , with leaf 1 corresponding to verses 1-6 and leaf 2 (\"I observe a famine at sea—\") to verses 7-10. In 1867 it was transferred to the same new\n Leaves of Grass\n  group as Vol. 2, pp. 57 - 59 and Vol. 2, pp. 61 - 62, in the original order. In 1872 Whitman placed it in a different\n Leaves of Grass\n  group under the title\n I Sit and Look Out,\n  and in 1881 it took its final place in the cluster\n By the Roadside.\n","On four leaves of pink paper measuring roughly 21.5 x 13 (leaves 1 and 3-4) and 19.5 x 13 cm. (leaf 2). In medium-black ink, with extensive deletions and revisions in the same ink, a blacker ink, light ink, and\npencil. The second leaf is a composite formed when Whitman deleted and cut away the original first two verses on the leaf, flipped the new small section (7 x 13 cm.) over and upside-down, pasted it to the foot of\nthe remaining original verses (14.5 x 13 cm.), and inscribed a verse in light ink on the newly created blank space. Pinholes at top, in left margin, and in original and (in the case of the second leaf) current\ncenter of each leaf. This poem became section 18 of the cluster\n Leaves of Grass\n  in the 1860\n Leaves\n , with leaf 1 corresponding to part of numbered verse paragraph 1, leaf 2 (\"Discovering to-day there is/ no lie,...\") to the rest of paragraph 1 and to 2, leaf 3 (\"Where has failed a perfect/ return\nindifferent of lies or the truth?\") to paragraph 3 and part of 4, and leaf 4 (\"And that the truth includes/ all,...\") to the rest of paragraph 4. In 1872 the poem received the title\n All is Truth,\n  and in 1881, after various repositionings, it was finally transferred to the cluster\n From Noon to Starry Night.\n","On one composite leaf formed by the pasting together of three sections of pink paper (6.5 x 13, 8 x 13, and 12.5 x 13 cm.). The top section (consisting of the title and first verse) is inscribed in the light\nrevising ink, and the lower two sections are in the same black ink. The bottom section contains revisions in fine pen (very black ink). As Bowers notes, pinholes towards the foot of the bottom section indicate\nthat it was originally the top of a full leaf; the only other pinholes appear near the top of the middle section. This poem became section 19 of the cluster\n Leaves of Grass\n  in the 1860\n Leaves\n ; in 1867 Whitman moved it to a different\n Leaves of Grass\n  group in the\n Songs Before Parting\n  annex. In 1872 it was retitled\n Germs\n  and was ultimately transferred, in 1881, to the cluster\n By the Roadside.\n","On two leaves of pink paper (21 x 13 cm.), in black ink, with revisions in a fine pen (blacker ink) and the light ink. Pinholes in center and towards middle-left margin of both leaves. This became section 21 of\nthe cluster\n Leaves of Grass\n  in the 1860 edition of\n Leaves\n , with leaf 1 corresponding to the first three numbered verse paragraphs and leaf 2 (\"Now I believe that all/ waits for the right voices;\") to numbers 4-5. In 1867 Whitman placed it after what would\neventually become\n All is Truth\n  and\n Germs\n  (see Vol. 2, pp. 70 - 73 and Vol. 2, p. 75) as section 3 of a\n Leaves of Grass\n  group in the annex\n Songs Before Parting.\n  In 1872 Whitman restored the title\n Voices.\n  In 1881 he dropped the first two verses and added\n Voices\n  (as verse paragraph 2) to the previously unrelated poem\n To Oratists\n  to form\n Vocalism\n  in the cluster\n Autumn Rivulets\n  (see Vol. 2, pp. 27 - 31).\n","On one leaf of pink paper (21 x 13 cm.), with the title and first verse in black ink and the remaining section in light black ink or fine pen. Heavy revisions in the same inks, pencil, and a fine pen (very\nblack ink). Pinholes mostly in center and upper-left margin. This became section 22 of the cluster\n Leaves of Grass\n  in the 1860 edition of\n Leaves\n . In 1867 Whitman dropped the second 1860 verse and made it section 4 of a\n Leaves of Grass\n  group in the annex\n Songs Before Parting\n  (see Vol. 2, pp. 70-78). Whitman gave it the title\n What Am I After All\n  in\n Passage to India\n  (1871), and in 1881 it was finally transferred to the cluster\n Autumn Rivulets.\n","These poems were revised for publication, with independent titles, in the cluster\n Messenger Leaves\n  in the 1860 edition of\n Leaves\n . Between 1860 and the next edition, in 1867, Whitman disbanded the cluster and transferred the poems elsewhere in the book.\n","On two leaves of pink paper (both 21 x 13 cm.), in black ink, with revisions in the same ink, in pencil, and in fine pen. Pinholes in center and at top of both leaves. Originally numbered 95. This was published\nunder the same title, with only minor revisions, in the 1860\n Messenger Leaves\n  cluster. In 1871, Bradley and Blodgett note, Whitman made small but significant additions to the poem and transferred it to the supplement\n Passage to India.\n  In 1881 it was finally moved to the cluster\n Whispers of Heavenly Death.\n","On one leaf of pink paper (21 x 13 cm.), in black ink on recto and verso (in a finer pen), with revisions in the same inks and, on the recto, pencil and the light revising ink. A very few pinholes toward\ncenter. The interesting deleted verses on the back of the leaf represent an earlier version of the manuscript poem\n To the Future,\n  unpublished until 1959 and currently housed in the Huntington Library.\n To Rich Givers—\n  was originally numbered 98. In 1860 it formed part of the\n Messenger Leaves\n  cluster under the same title. After being ungrouped (1867) and transferred to the cluster\n Songs of Parting\n  (1872 and 1876), it finally appeared, in 1881, in the cluster\n By the Roadside.\n","On one light blue Williamsburgh tax blank (21 x 12 cm.) in black ink (fine pen) with revisions in the same ink and the title in light ink. The original title, it seems, was cut away. No pinholes. This was\nrevised somewhat and published under the same title in the\n Messenger Leaves\n  cluster of the 1860\n Leaves\n . It was ungrouped in 1867, transferred to a\n Leaves of Grass\n  group within the\n Passage to India\n  supplement in 1872 (also 1876), and finally moved to the cluster\n Autumn Rivulets\n  within\n Leaves\n  in 1881.\n","On two leaves of pink paper (21 x 13 cm.), in black ink and pencil, with revisions in pencil, in the original ink, and in fine pen. Whitman wrote and deleted the date 1858 in blue pencil in the upper right\ncorner of the first leaf, and inscribed the same date in normal pencil in the lower left corner of the second leaf. Multiple pinholes in center and left margin of both leaves. This became\n To The States,/ To Identify the 16th, 17th, or 18th Presidentiad\n  in the cluster\n Messenger Leaves\n  in the 1860\n Leaves\n . Ungrouped in 1867, it was transferred in 1872 to a\n Leaves of Grass\n  group within the main body of\n Leaves\n . In 1881 it was finally transferred to the cluster\n By the Roadside\n  Bradley and Blodgett observe that in his 1860\n Blue Book Copy\n  edition of\n Leaves\n  Whitman gave the dates of composition for the poem as \"1857-8-9\"; these editors also recommend comparing the poem with Whitman's pamphlet\n The Eighteenth Presidency!,\n  edited by Edward F. Grier.\n","On one section (9 x 16 cm.) of the same leaf of white ruled laid paper used for\n To a Historian,\n  in the same dark-brown ink, and with another fragment of the same pencil draft of the speech or essay\n Slavery—the Slaveholders—/ —The Constitution—the/ true America and Ameri-/ cans, the laboring persons.—\n  on verso (see Vol. 2, p. 25). Revisions in the same ink and in pencil. This was first titled\n To an artist,\n  then\n To an architect\n ; the smudged-out words \"Lecture[s]/ To\" appear in light ink in the upper-left corner. This was revised and published under the same title in the\n Messenger Leaves\n  cluster of 1860. After being ungrouped and permanently retitled\n To A Certain Cantatrice\n  in 1867, it was revised for inclusion in the cluster\n Songs of Insurrection\n  in the 1872 and 1876\n Leaves\n . In 1881 it was finally transferred to the cluster\n Inscriptions.\n","On one composite leaf consisting of two sections of pink paper (9 x 12.5 and 20 x 13 cm.) pasted together. Both sections in black ink (the upper section with a finer pen), with revisions in the same ink, in\nfine pen, and in light ink (the section numbers). Beneath the pasted-over section can be discerned a second title, also\n To You,\n  with the number 91 (mended from 90). In the 1860\n Leaves\n  Whitman divided the poems again, publishing them in reverse order under the same titles at the end of the cluster\n Messenger Leaves.\n  Section 1 was eventually published (1881) as one of the poems in the cluster\n Inscriptions,\n  but Whitman dropped section 2 from his published poems after an 1876 appearance in the supplement\n Passage to India.\n","These poems were published without a group title, roughly in the following order, after the\n Messenger Leaves\n  cluster in the 1860 edition of\n Leaves\n . In later editions they were transferred to different positions in the book.\n","On five leaves of pink paper (all 21 x 13 cm.) mounted on white paper stubs and joined into a booklet with linen tape. In black ink, with revisions in the same ink, in fine pen (blacker ink), and in light\nrevising ink. Originally numbered 56; Whitman numbered each leaf in pencil in the lower-left corner from 1 to 5. Pinhole clusters mostly in center of each leaf. The leaves correspond to the 1860 published version\nas follows: leaf 1 to verses 1-4; leaf 2 (\"Rich, hemmed thick all around with sailships\") to verses 5-9; leaf 3 (\"The down-town streets,\") to verses 10-14; leaf 4 (\"The mechanics of the city,\") to verses 15-19;\nleaf 5 (\"The beautiful city! The city of hurried and sparkling waters...\") to verses 20-23. In the 1872\n Leaves\n  it was transferred to a\n Leaves of Grass\n  group, and in 1881 took its final position in the cluster\n From Noon to Starry Night.\n","On eighteen leaves of pink paper and two of white wove paper, numbered in pencil by a collector (in the upper-right corners), and described individually as follows. (See Bowers 196-215 for more details.) Leaf 1\n(21.5 x 13 cm.): pink paper, in black ink, with revisions in the same ink, a blacker ink (the number 36), and the light revising ink. Multiple pinholes in center and left margin. Corresponds to verse paragraphs 1-\n4 in the 1860 published version. Leaves 2-3 (21.5 x 13 cm.): pink paper, in black ink, with revisions in pencil, in blacker ink, and in the light ink. Multiple pinholes in center and left margin. Whitman penciled\nin the numbers 56a and 56b at the top of the leaves, and also (possibly) a number 5 in the upper-left corner of leaf 2. These leaves correspond to verse paragraphs 5-8 and 9-12. Leaf 4 (21 x 13 cm.): pink paper\n(21.5 x 13 cm.), in black ink, with revisions in the same ink and light ink. Originally titled\n Contact\n  and inscribed, as Bowers notes, as if it were the beginning of a major independent poem. The final verse was deleted with pencil strokes, but these strokes were erased. Multiple pinholes in center and at\ntop. Corresponds to verse paragraphs 13-14 in the published version. Leaves 5-8 (all roughly 21 x 13 cm.): pink paper, in black ink, with revisions in pencil, in blacker ink, in fine pen (very black ink), and in\nlight ink. Multiple pinholes in center and at top. Leaves 5-7 bear the deleted pencil numbers 2-4 in the lower left corner; leaf 8 bears the undeleted number 5, as well as the pencil number 2 at the top. Leaf 7\nhas an undeleted pencil 1 in the same position, as well as Whitman's pencil note \"Fifth Month\" above the word \"May\" in the first line. These leaves correspond to verse paragraphs 14 through 16 (verses 1-3); 16\n(verse 4) through 18 (verse 1); 18 (2-5) through 19 (1-2); and 19 (3-6) through 20. Leaves 9-10: pink paper (the first 21 x 13 cm., the second cut down to 14.5 x 13 cm.), in black ink, with revisions in fine pen\n(very black ink), in pencil, and in light ink. The section excised from leaf 10 was pasted, as Bowers notes, to the foot of what is now leaf 12. Multiple pinholes in the (original) center and at the top of both\nleaves. These leaves bear the deleted pencil numbers 6 and 6 1/2 (lower left corner) and the undeleted numbers 3 and 4 (at top). They correspond to verse paragraphs 21 through 23 (verses 1-3) and 23 (verses 4-8).\nLeaves 11-12: white wove paper (both 20 x 15.5 cm., with a 7.5 x 13 cm. pink-paper section from leaf 10 pasted to leaf 12), in dark ink (thick pen), with revisions in the same ink, in pencil, and in light ink.\nMultiple pinholes in center and at top. These leaves bear the deleted pencil numbers 15 and 16 (lower left corner) and the undeleted numbers 5-6 (at top). The lines inscribed on the white pages correspond to\nverses 1-10 and 11-13 of verse paragraph 24; the three pink-paper verses correspond to paragraph 25. Leaves 13-14: pink paper (21 x 13 cm.), in black ink, with revisions in the same ink and fine pen. Multiple\npinholes in center and at top. These leaves bear the deleted pencil numbers 7-8 (lower left corner), and leaf 13 still carries the number 7 at the top. They correspond to verse paragraphs 26-27 (verse 1) and 27\n(verses 2-6). Leaves 15-20: pink paper (all roughly 21 x 13 cm.), in black ink, with revisions in the same ink, in pencil, in fine pen (very black ink), and in light ink. Multiple pinholes in center and at top.\nThese leaves bear the deleted pencil numbers 14 and 9-13 (lower-left corner), although the number 11 on leaf 18 is undeleted. They correspond to verse paragraphs 28-29, 30-31, 32-34 (with a pencil X to the right\nof the last lines on this leaf [leaf 17]), 35-36, 37-39, and 40-41.\n Poem of Joys,\n  which was never grouped in a\n Leaves\n  cluster, became\n Poems of Joy\n  in 1867, but reverted to the original title in its next two iterations (in the\n Passage to India\n  supplement of 1872 and 1876). In 1881 it was finally titled\n A Song of Joys\n  and left independent of any cluster.\n","On five leaves of pink paper (all between 21-22.5 x 13-13.5 cm.), in black ink, with heavy revisions in the same ink, in fine pen (blacker ink), in pencil, and in light ink. Multiple pinholes in center, and a\nfew in left margin, of each leaf. Originally numbered 86; Whitman also numbered the leaves 1-5 (in pencil, lower left corner), with the 1 replacing a 6 and the 2 written over what looks like a 7. The leaves\ncorrespond to the 1860 published version\n France,/ The 18th Year of These States\n  as follows: leaf 1 to numbered sections 1 through 2 (verses 1-3); leaf 2 (\"I was not so deadly/ sick...\") to sections 2 (verses 4-5) through 4 (verse 1); leaf 3 (\"I myself keep the blaze,\") to sections 4\n(verses 2-5) through 5 (verses 1-3); leaf 4 (\"And from to-day, sad and/ cogent,...\") to verses 4-8 of section 5; and leaf 5 (\"O I think now/ The east wind...\") to the remaining four verses of section 5. Although\nWhitman never changed the title, and did not revise the poem much, he did transfer it twice, grouping it in the cluster\n Songs of Insurrection\n  within the main body of\n Leaves\n  in 1872 and 1872, and in 1881 finally transferring it to the new cluster\n Birds of Passage\n  within\n Leaves\n .\n","On five leaves of pink paper (21 x 13 cm.), in black ink, with revisions in the same ink, in a blacker ink (fine and thicker pen), and in light ink. Originally numbered 81, with the note \"?/(Leaf of)\" above the\nnumber and title. Whitman numbered the leaves 1-5 in pencil in the lower left corners. Pinholes in center and left margin of each leaf. The leaves correspond to the numbered sections of the 1860 published version\n(same title) as follows: leaf 1 to section 1 (verses 1-6); leaf 2 (\"What of liberty and slavery/ among them,\") to the remaining three verses of section 1 and to section 2; leaf 3 (\"Afar they stand—yet near/\nto me they stand,\") to section 3; leaf 4 (\"Are they gone? those/ billions of men?\") to sections 4 through 5; and leaf 5 (\"I believe that was not the/ end of those nations\") to section 6. In the 1872\n Leaves\n  Whitman transferred the poem to a\n Leaves of Grass\n  group, and in 1881 it was finally moved, after several revisions through the different published versions, to the cluster\n Autumn Rivulets.\n","On two leaves of pink paper (21.5 x 12.5 cm.), in black ink, with revisions in the same ink, in pencil, in blacker ink, in fine pen (very black ink), and in light ink. Originally numbered 55. Pinholes in center\nand left margin. Leaf 1 corresponds to verses 1-6 of the 1860 version, and the lines on leaf 2 (\"Who out of the theory of the/ earth,...\") correspond to verses 7-10. Revised very little through the different\neditions,\n Kosmos\n  appeared in 1872 and 1876 in a\n Leaves of Grass\n  group in the supplement\n Passage to India.\n  In 1881 it was finally transferred to the cluster\n Autumn Rivulets\n  within the main body of\n Leaves\n .\n","On one leaf of pink paper (21 x 13 cm.), in black ink, with revisions in a fine pen (blacker ink) and light ink, including the title. Originally titled\n Looking-Glass\n  and numbered 82. A few pinholes in center and left margin. This poem was titled but ungrouped until 1881, when Whitman finally placed it in the cluster\n By the Roadside.\n","On one leaf of pink paper (21 x 13 cm.), in black ink, with revisions in a fine pen (blacker ink) and pencil. Only two or three pinholes in center. Originally numbered 52. Ungrouped in the 1860 and 1867\n Leaves\n , this poem, according to Bradley and Blodgett, was transferred to\n Passage to India\n  in 1871 and from there to\n Leaves of Grass\n  groups in the\n Passage to India\n  annexes of the 1872\n Leaves\n  and the 1876\n Two Rivulets.\n  From there it was moved, finally (in 1881), to the\n Inscriptions\n  cluster within the main body of\n Leaves\n .\n","On five leaves of pink paper (all between 21 and 21.5 x 12.5 and 13 cm.), in black ink, with extensive revisions in the same ink, in pencil, and in fine pen (very black ink). Multiple pinholes in center, and a\npair at top, of each leaf. These poems were revised to form numbered sections of the ungrouped poem\n Says\n  in the 1860 edition of\n Leaves\n . According to Bradley and Blodgett, Whitman cut four verse paragraphs in the 1867\n Leaves\n  version; from that point on the shortened poem appeared, ungrouped, under the title\n Suggestions\n  until its final appearance in 1876. Leaf 1: originally numbered 85. Verses 3 and 4 went unpublished, but 1-2 and 5 became sections 1, 2, and 3 (verse 1) of the 1860 version. Leaf 2, [I say the least\ndeveloped/ person on earth...]: these lines became sections 3 (verse 2) and 4, with the second line remaining unpublished. Leaf 3,\n 87—/ Say.\n  [I say the human shape/ or face is so great,...]: first numbered 86. This became section 5. On the verso appears the deleted line \"And though I lie dead.\" Leaf 4,\n 88—/ Say.—\n  [I say the word of a land/ fearing nothing—...]: first numbered 86, then 87. This leaf became section 6. Leaf 5,\n 89—/ Say\n  [I have said many times/ that materials...]: this leaf was originally numbered 88 and titled\n Thought,\n  with two verses that Whitman deleted along with the first title. Below a horizontal pencil line he inscribed, at some point, verses that became section 7 of\n Says\n  in 1860.\n","On the first and third sides of a folded leaf of white wove paper (16 x 20 cm.), in light ink, with minor revisions in the same ink. A few pinholes in the upper left corner when folded up. Whitman retitled the\npoem\n To My Soul\n  in the 1860 edition of\n Leaves\n . The first inscribed page corresponds to numbered sections 1 through 3, verses 1-3, of the 1860 version, and the second (\"The unspeakable love I inter-/changed with women,\") to section 3, verses 4-13. In\n1867 Whitman cut eight lines and revised others, retitling the poem\n As Nearing Departure\n  and moving it to an untitled group of poems in the supplement\n Songs Before Parting.\n  In 1872 it was finally retitled\n As the Time Draws Nigh\n  and transferred to the cluster\n Songs of Parting\n  within the main body of\n Leaves\n .\n","On seven leaves of blue lined laid paper, three of them composite leaves, with leaf 7 including a paste-on of white wove paper. Multiple pinholes in center of each leaf. Whitman numbered the leaves 75-81 in the\nupper right corner, with the exception of leaves 6 and 7, which are numbered at top center. In tiny script and various inks, with very heavy revisions, as follows. Leaf 1: plain leaf (15 x 9 cm.) in medium-black\nink, with revisions in the same ink, in pencil, in fine pen (very black ink), and in light ink. Corresponds exactly in terms of the number of lines used to the first page of the poem as published (under the title\n So long!\n ) in the 1860\n Leaves\n . This first page comprised numbered sections 1 through 3, verses 1-6. Leaf 2 (\"When fathers, firm, unconstrained, nonchal-/ant, open-eyed—...\"): plain leaf (15 x 9 cm.), in medium-black ink, with\nrevisions in the same ink, in pencil, and in the fine pen (very black ink). Corresponds to sections 3 (verses 7-8) through 7 (verse 1) in the 1860 version. Leaf 3 (\"Once more I proclaim the whole of/ America...\"):\nplain leaf (15 x 9 cm.), in medium-black ink, with revisions in the same ink and in pencil. Corresponds to sections 7 (verse 2) through 10, along with section 12, in the 1860 version. On the verso appear two\ndeleted sections, comprising nine verses (beginning \"Yet, old throat, one loud/ cadenza!\") revised from the bottom of original leaf 4, which Whitman compressed and reversed on the leaf 4 paste-on to eventually\nform sections 15 and 16 in the published version. Leaf 4 (\"I announce the continued union of/ The States,\"): composite leaf measuring 15 x 9 cm., with a faded blue paste-on of 5.5 x 9 cm. covering several water-\ndamaged and heavily revised verses on the original leaf. In medium-black ink, with revisions in the same ink, in a slightly browner ink (thicker pen), in pencil, in fine pen, and in light ink. Corresponds to\nsections 11 and 13-16 of the 1860 version. Leaf 5 (\"Screaming electric, the atmosphere using,\"): plain leaf (15 x 9 cm.), in medium-black ink, with revisions in the same ink, in pencil, and in light ink.\nCorresponds to section 17 in the 1860 version. Whitman cut up a deleted earlier pink-paper draft of the first three verses for use as a paste-on in the poem\n Thought\n  (section 9 of\n Chants Democratic\n  in the 1860\n Leaves\n ; see 2:1:3). On the verso appear heavily revised draft verses, in pencil and only partly deleted, for sections 22 and 23. Leaf 6 (\"What is there more that I lag and pause?\"): full leaf (15 x 9 cm.) with\nsix paste-ons in light ink and black ink, and with heavy revisions in the same inks and in pencil. The final paste-on corresponds to sections 18-20 of the 1860 version, but the other paste-ons and the original\nleaf contain drafts for the rest of the poem (sections 21-23). Leaf 7 (\"O how your fingers drowse me!\"): full leaf (15 x 9 cm.) with two paste-ons, the first a large section (13 x 9 cm.) of the same blue paper and\nthe second a small section (6.5 x 10.5 cm.) of white wove paper. The white paste-over is inscribed in light ink with no revisions; the blue paste-over is inscribed in medium-black ink, with extensive revisions in\npencil and in the same ink, as with the deleted verses on the original page. The white paste-on corresponds to section 21 in the 1860 version, and the blue paste-on contains the latest draft of what would become\nsections 22 and 23. In 1860 this was the final poem in\n Leaves\n ; in 1867 Whitman cut twenty-one lines (according to Bradley and Blodgett) and transferred it to the end of the last\n Leaves\n  supplement\n Songs of Parting.\n  In 1872, with the transformation of this supplement into the cluster\n Songs Before Parting,\n  it was permanently fixed as the final poem in the main body of\n Leaves\n .\n","First published not in the 1860\n Leaves\n  but in a\n Leaves of Grass\n  group in the separate publication\n Passage to India\n  in 1871. On two leaves (25.5 x 20 cm.) of thick, ruled, white laid paper joined with paste in the left margin. In black ink with revisions in the same ink and in pencil. Whitman penciled in the note \"Long\nPrimer/ middling wide measure\" in the upper left corner of the first leaf, and on the verso of the second wrote and deleted (also in pencil) the note \"The worship of God is, honoring his gifts/ in other men, each\naccording to his genius, \u0026/ loving the greatest men best. Those who/ envy or calumniate great men, hate God/ William Blake[.]\" After being bound with the rest of the\n Passage to India\n  poems as a supplement to\n Leaves of Grass\n , in 1881 this was permanently transferred to the cluster\n Autumn Rivulets\n  within the main body of\n Leaves\n .\n","On one leaf (23 x 20 cm.) of thick, ruled white laid paper, in medium-black ink, with minor revisions in pencil and in the same ink. This became numbered verse paragraph 4 of section 2 of the title poem in the\nseparate 1871 publication\n Passage to India.\n  In 1881 the poem\n Passage to India\n  was transferred, ungrouped, to the main body of\n Leaves.\n","Note in folder states that for the centennial of the United States WW had 100 Centennial Editions of\n Leaves\n  printed, which he then sold in a booth at the Centennial Celebration in Philadelphia. Written in ink. With typed transcription.\n","From \"Thou Mother With Thy Equal Brood,\" verse 6.\n","Whitman, in third person, describes the ethnic heritage of his mother and father which contributes to the writing of\n Leaves of Grass.\n  Written on verso of an autograph seeker's letter. See McGregor Autograph Collection, Box 8.\n","On one fragment (10 x 15.5 cm.) of white wove paper, in brown-black ink, with extensive revisions in the same ink and in pencil. The pencil notes \"? for children\" and \"extend this/?\" appear in the upper left\ncorner. The final verse, also in pencil, appears in the upper right corner. There are also two or more ink squiggles on the leaf. Originally titled\n Pictures,\n  this is a revision of the first four verses of a draft poem by that name, inscribed by Whitman in a twenty-nine page notebook before the first edition of\n Leaves\n  appeared in 1855. (The\n Pictures\n  notebook is currently housed at Yale University.) Bradley and Blodgett note that after further revision Whitman published these verses in the October 30, 1880 issue of\n The American\n  under the title\n My Picture-Gallery,\n  after which he placed it in the new cluster\n Autumn Rivulets\n  in the 1881 edition of\n Leaves\n .\n","On nine leaves of different types of white paper, all measuring roughly 25 x 19.5 cm., described individually as follows. Other drafts of the poem are housed in the Charles E. Feinberg Collection at the Library\nof Congress, the Trent Memorial Collection at Duke University, and the T.E. Hanley Collection at the University of Texas.\n The Mystic Trumpeter\n  was first published in the February 1872 issue of\n The Kansas Magazine\n , after which Whitman published it in the 1872 book\n As a Strong Bird on Pinions Free\n , in\n Two Rivulets\n  (1876), and in the 1881 edition of\n Leaves of Grass\n . There and in later editions of\n Leaves\n  the poem was included in the cluster\n From Noon to Starry Night.\n  Leaf 1: on the verso of a sheet of laid, gray-ruled Department of Justice letterhead, dated \"Washington...187[ ]\" (see leaves 2 and 8). Inscribed in black ink, with extensive revisions first in pencil and\nthen in black ink. This is a later draft than leaf 2 of verses that would eventually constitute the first numbered section of the poem. Whitman's number \"1\" appears in orange crayon in the upper right corner of\nthe leaf. Leaf 2 (\"Hark! some wild trumpeter—some/ strange musician!\"): also on the verso (upside-down) of a leaf of the same Department of Justice letterhead. Inscribed in black ink, with heavy revisions in\nthe same ink, then in pencil and in fine pen (original ink?). Whitman deleted most of the lines, drafting them again and shifting many of them around on leaf 1. Leaf 3 (\"Come nearer mystic/ trumpeter\"): on a\ncomposite leaf formed by pasting a small section (8 x 12 cm.) of unruled laid paper to a full sheet of laid paper, ruled in gray on recto. Inscribed in black ink, with extensive revisions in the same ink and in\npencil. After further revision these verses became section 2 of the published version. Leaf 4 (\"Blow, trumpeter, free and clear—I/ follow thee,\"): on a leaf of laid paper, gray-ruled on recto (see 6-7).\nInscribed in black ink, with revisions in the same, in pencil, and in orange crayon. Whitman's orange-crayon note \"Serenity—cool fresh/ placidity—\" runs lengthwise up the left margin to the top of the\npage. After further revision these verses became section 3 of the published version. Leaf 5 (\"Blow again trumpeter—and let/ the notes swell high,\"): on one leaf of white wove paper, ruled in blue on verso.\nThree sets of pinholes appear in the upper left corner. Inscribed in black ink, with revisions in the same. This is an early draft of lines Whitman would revise and expand in Leaf 6 to eventually form section 4 in\nthe published version. Leaf 6 (\"Blow again, trumpeter, and/ for my sensuous eyes\"): on the same paper as leaves 4 and 7. Inscribed partly in black ink and partly in pencil; the ink section is revised in the same\nink, in pencil, and in pink ink; the pencil section is revised in pencil, in brown-black ink (fine pen), and in pink ink. The pencil lines are written below the pencil note \"see last part of Consuelo vol 5th,\" by\nwhich Whitman apparently meant the novel\n Consuelo\n  by George Sand, a book from which he made frequent borrowings. This was a later draft of lines on leaf 7; the number \"4\" appears in orange crayon at the top of the leaf. Leaf 7 (\"Blow again, trumpeter\nand/ bring before me now,\"): on a leaf of the same paper as leaves 4 and 6. Inscribed in black ink, with revisions in the same, in brown ink, and in pink ink. At the foot of the leaf Whitman wrote the\nparenthetical note \"(see last vol. of Consuelo)\" with a cartoon hand pointing to it; at this point he revised the ink lines on leaf 6, consulted\n Consuelo\n , and drafted his new pencil verses on the other leaf. Leaf 8 (\"Blow again trumpeter and/ for thy theme...\"): on the verso of a leaf of Department of Justice letterhead (see leaves 1-2), inscribed in black\nink, with revisions in pink ink and then black ink. The pink ink was mostly applied with a broader nib here than in earlier leaves. Whitman's note \"the piece must move on/ not lag/ sentimental\" runs up the left\nmargin to the top of the page. These trial verses, many of them incomplete, were revised to form section 5 in the published version of the poem. Leaf 9 (\"Blow again trumpeter/ and give/ for me/ now/ Thy war notes'\nmagic spell\"): on a leaf of white wove paper, blue-ruled on verso. Multiple pinholes in the center-left portion of the leaf. Inscribed and revised in black ink. In the lower right corner of the leaf appears a\ncryptic blue-crayon note in Whitman's hand: \"Hah!\"\n","From \"Notes on the Meaning and Intention of 'Leaves of Grass,'\" sections 65. Includes \"Other writers/poets look on...\"\n","From \"Specimen Days.\"\n","Beginning \"Of all themes and of each\" contains draft lines written in pencil. The relationship between the draft lines and Whitman's published verse is unknown.\n","On one full Williamsburgh tax blank (21.5 x 12 cm.), with the corners cropped diagonally, and with two corrections in bright pink ink. Two sets of pinholes in center. These prose notes evidently preceded\n To a Literat.—\n  (see below) in the composition of the poem. The ideas were incorporated in section 2 of the 1860 version.\n","Written in ink on two leaves of paper pasted together to form one long leaf. The general title appears to be\n Old Age Echoes,\n  but beneath that title are the two poems under which titles the item is catalogued:\n Sounds of the Winter\n  and\n The Unexpress'd.\n  Pasted to the leaf below the second poem is a woodcut engraving of Walt Whitman along with his autograph. Under that is what has been classified as two lines from an unidentified poem. A note at top\nstates, \"intended to make one page.\"\n","Note at top states \"sent to Century accepted—paid.\" Written in ink.\n","With typed transcription.\n","With typed transcription.\n","A description in third person, with a number of deletions and corrections, of his manner of composing\n Leaves of Grass.\n","Written in pencil on lined paper. ALS on verso: [G. M.] Williamson to Walt Whitman, 1887 June 1.\n","Note at bottom states \"Sent to H March 17.\" Written in pencil.\n","Notes at top state \"pub'd\" and \"personal.\" Note at bottom states \"sent to Herald Feb 27 '88.\" Written in ink on blue paper.\n","On the verso of a light blue Williamsburgh (N.Y.) tax form, dated \"185[ ],\" cut down to 20 x 12 cm. The corners are cropped diagonally. Multiple pinholes in center. Inscribed in pencil and revised in pencil and\nbrown-black ink (fine pen). Two sets of deleted verses constitute adaptations of lines from Whitman's pre-1855 unpublished notebook\n Pictures\n : \"Now this is the fable of the/ mirror:/ The mirror lay clouded, (enveloped)/ enmisted,\" and \"And/ Now this is the fable of a/ beautiful statue:/ A beautiful statue was lost/ but not destroyed[.]\" Two\nother deleted titles of fables(?) appear above the verses: \"The trained runner\" and \"The five old men.\" At the foot of the leaf appears the note \"last piece/ (still another Death Song—/ Death Song/ with\nprophecies[.]\" All of the sections are demarcated with horizontal lines. Based on Whitman's use of the tax blank, this appears to be a set of notes he made between 1857 and 1859 while preparing the 1860 edition of\n Leaves of Grass\n , although the\n Poem of Fables\n  as such never materialized and Whitman's\n Pictures\n  were not published in their entirety until 1925. Whitman's executor Richard Maurice Bucke published these notes on p. 176 of his\n Notes and Fragments\n  (1899).\n","In a green bound volume measuring 34 cm. x 25.5 cm. Items are pasted to pages in the volume. Item in question is a facsimile of the MS. Also included in the volume are three sections from\n Calamus,\n  a newspaper review of Whitman and Tennyson's\n Maud\n  called\n An English and an American Poet,\n  and three editions of\n The Conservator\n  from March, May and June of 1900. Includes two signed photographs of Walt Whitman.\n","Note at top states \"sent to Herald March 2.\" Written in purple pencil.\n","Note on outside of folder states \"Put together from bits of paper with notes on Army Parade of May, 1865.\" 5 leaves are folded in half into a booklet which is bound with twine, the two inner most sheets smaller\nthan the outer three. These notes describe the Great Victory Parade of May 23-24, 1865. The relationship of these notes to Whitman's published work is unknown. Some pages unattached in notebook.\n","This manuscript is a partial draft of the poem\n Sail Out for Good, Eidólon Yacht!\n  which was published first in 1891.\n","Revision of poem cluster originally titled\n Sea-Shore Memories\n  contained in red bound volume measuring 26 cm. x 18 cm. Revisions are made in ink and pencil on printed edition of the poem. Walt Whitman apparently used two volumes to tear the leaves from, as every\nother page is slightly smaller than the rest; revisions are made only on the recto side of each leaf, verso is crossed out. Several leaves are cut apart and pasted in new order on other leaves or on lined paper.\nLeaf 8 is a handwritten MS.\n","Many of these fragmentary notes were eventually used in or informed the long initial poem of\n Leaves of Grass\n , that became (as Bradley and Blodgett note)\n Poem of Walt Whitman, an American\n  in the 1856 edition and\n Walt Whitman\n  in 1860, a title which it retained until 1881, when it was permanently renamed\n Song of Myself.\n  (Leaves apparently unrelated to the\n Song\n  are included in this description by virtue of being bound with\n Song\n  drafts.) Generally the dating is quite early. All but three of the leaves were at one point in the possession of Whitman's executor Dr. Richard Maurice Bucke, who transcribed them (often with significant\nerrors or verses later removed from these fragments) in\n Notes and Fragments: Left by Walt Whitman...\n  (1899) and his 1902 edition of the\n Complete Writings of Walt Whitman\n ; page numbers to his transcriptions in\n Notes\n  are provided with each relevant entry here. Although Whitman used a wide range of paper-types for these fragments, five kinds of paper can be identified. These are assigned letters as follows. Type A:\noff-white notebook paper with light brown vertical lines running up the left and right margins, three on one side and one on the other. See Leaves 1, 8, 12, 20, and 28. A full leaf of the notebook paper seems to\nhave measured 19 x 15.5 cm. Type B: white wove paper, ruled in light blue-gray on both sides. See Leaves 3, 5, 21-22, and 27. No full sheet of this paper is present in the volume. Type C: light blue laid\nWilliamsburgh (N.Y.) tax forms, dated \"185[ ],\" and used extensively by Whitman in preparing his 1860 edition of\n Leaves and Grass.\n  Described by Fredson Bowers in his work on the 1860\n Leaves\n -related Barrett manuscripts also listed and described above. A full tax form measures 21.5 x 12 cm. See Leaves 4 and 34. Type D: yellow and green wove proof sheets used, it seems, for trial printings of\nthe title page of the first edition of\n Leaves of Grass.\n  See Leaves 7, 24-25, and 30-31. Type E: white laid paper ruled in brown on both sides. See Leaves 9-11, 13, 15-16, and 23. The dimensions of a full leaf of the paper cannot be determined from these\nfragments.\n","On a section of type A paper (9.5 x 15 cm.), inscribed, revised, and deleted in pencil. Although, as Bradley and Blodgett note, the themes expressed in this early fragment would inform the lines that eventually\nbecame section 2 of\n Song of Myself,\n  Whitman never used it verbatim. On the verso(?) appears an undeleted but heavily revised early draft (beginning \"The spotted hawk salutes the approaching night;\") of famous lines, beginning \"The spotted\nhawk swoops by...,\" incorporated in what would constitute the final canto of the poem in the 1867 and later editions of\n Leaves\n . This verso fragment is revised in pencil and in brown-black ink (fine pen). Bucke published both sets of verses on p. 36 of\n Notes and Fragments\n .\n","On a section of blue wove paper (14 x 13.5 cm.), in black ink, with revisions in the same ink and in pencil. The pencil numbers 2 and 3, although partially erased, can still be seen in the right margin. Bucke\npublished it on p. 69, in the section (II) titled\n Notes on the Meaning and Intention of 'Leaves of Grass.'\n  Although Whitman apparently never used it verbatim, it bears a similarity to two paragraphs on p. 10 of Whitman's 1871 publication\n Democratic Vistas,\n  beginning with the sentence \"It may be claim'd, (and I admit the weight of the claim,) that common and general worldly prosperity, and a populace well-to-do, and with all life's material comforts, is the\nmain thing, and is enough...\"\n","On a section of type B paper measuring 17 x 19 cm. Inscribed and revised in pencil. Multiple pinholes at the top indicate that this was once the lower half of a full sheet, while pinholes elsewhere seem to have\nbeen made after the top section was removed. This is a poetic rendition of a long sentence on p. x of the preface to the 1855 edition of\n Leaves of Grass.\n  The prose sentence begins, \"Beyond the independence of a little sum laid aside for burial-money, and of a few clapboards around...\" Bucke published this manuscript and what seems to be a later version on\npage 29 of\n Notes and Fragments\n .\n","On the verso of a light blue Williamsburgh (N.Y.) tax form (type C), cropped and torn irregularly down to 15.5 x 12 cm. Inscribed and revised in pencil. Features four sets of pinholes, three of them clustering\naround the center. Published on p. 30 of\n Notes and Fragments\n . As Bradley and Blodgett indicate in their notes to the poem, these verses seem to have been part of a larger set of verses or poems. Because of the way the page is torn the final word could read \"any\"\n(as Bucke transcribes it), providing closure to these particular verses, or it could just as easily read \"an,\" indicating that a continuation of the lines has been lost. Although never published verbatim, these\nlines prefigure section 6, especially beginning with the line \"Here is the test of wisdom,\" of what would become\n Song of the Open Road,\n  first published in 1856 as\n Poem of the Road.\n","On a composite leaf formed by pasting a section of type B paper (4.5 x 19.5 cm.) to a section of ruled white laid paper (7 x 19.5 cm.). The upper verses are inscribed and revised in pencil, and those on the\nlower (laid) section are neatly inscribed in brown ink, with revisions in the same ink and in pencil. Some pinholes appear in each section. The first few lines were never used, but the last two verses (beginning\n\"I offer men no painted saucers...\") were revised and expanded(?) to form the final verse paragraph (beginning \"Stop this day and night with me and you shall possess the origin of all poems,\") of what would\neventually become section 2 of\n Song of Myself.\n  Published on p. 20 of\n Notes and Fragments\n .\n","On a section of ruled blue wove paper (8 x 18.5 cm.) with irregularly cropped corners. Inscribed and revised in pencil. Multiple pinholes in center and towards left edge. These verses are inscribed (upside-\ndown) on the verso of several deleted pencil lines beginning \"I think there will never be any more heaven or hell/ than there is now,\" preceded by two undeleted lines beginning \"Whatever I say of myself, you shall\napply to yourself...\" On p. 25 of\n Notes and Fragments\n  Bucke publishes the undeleted and deleted sections together, along with lines from other manuscripts, as a single poem. An intermediate draft can be seen on p. 44. The deleted lines were revised to form\nwhat would eventually become the second verse paragraph of section 3 of\n Song of Myself,\n  while the undeleted line above them eventually formed part of section 20. After heavy revision the undeleted recto lines were used in what would be section 41 of\n Song of Myself.\n  Another version became an unnumbered section (beginning \"I will take an egg out of the robin's nest in the orchard,\") of the poem\n Debris\n  in the 1860 edition of\n Leaves\n . It was the only appearance of these lines in any edition, and of the poem\n Debris\n  under that title and as a unified text, although some other sections became separate poems under individual titles in later editions. But the lines also bear a strong resemblance to the poem beginning\n\"Priests!/ Until you can explain a paving stone, do not try to explain God...,\" reprinted by Bucke on p. 89, and to the concluding lines of the 1855 poem that would eventually (in 1881) become\n A Song for Occupations.\n","On a section of yellow type D paper, measuring 14 x 15 cm. Torn through the middle but repaired by means of a strip of the same paper pasted to the verso. Pinholes towards center of backing strip and in lower\nhalf of the main leaf. These lines, deleted with a single pencil stroke, appear on the verso of undeleted pencil lines beginning (extrapolating from Bucke's transcription) \"[As we are content and dumb/ the amount]\nof us in men/ and women is content and/ dumb,\" although someone has removed the words presented here in brackets, perhaps to emphasize the more finished nature of the lines on the present recto. Those verses are\ninscribed in brown ink, extensively revised in the same ink and in pencil deletion. After heavy revision and expansion they eventually formed part of section 21 of the cluster\n Calamus\n  in the 1860 edition of\n Leaves\n ; in the 1867 edition this section received the title\n That Music Always Round Me.\n  (For a later draft, titled\n As of Eternity,\n  see entry 1:3:22 under\n Leaves of Grass\n  [1860] above.) Bucke presents incomplete transcriptions of both sets of verses on p. 11.\n","On what seems to be a full leaf of the type A notebook paper, measuring 19 x 15.5 cm. Multiple pinholes in center. The numbers 195 and 196 are inscribed in light brown ink and deleted in pencil on the current\nverso and recto, respectively; these numbers, along with remnants of paste and binding tape along the left margin of the recto, suggest that the type A pages came from a notebook. The lines on the recto are\ninscribed, revised, and deleted (with a single stroke) in pencil, and appear on the verso of undeleted notes inscribed and revised in brown-black ink with some revisions in pencil. The verso notes begin with a\nlist of animals and plants (\"cottonwood—mulberry—/chickadee—large brown water-dog\"), followed by a verse (\"The suicide/ went to a lonesome place...\") that Whitman revised for use (\"The suicide\nsprawls on the bloody floor of the bedroom,\") in what would eventually constitute section 8 of\n Song of Myself.\n  This verse is followed by another section of the natural \"catalogue\" (\"locust, birch/ cypress...\"), below which appears a pair of verses (beginning \"O dirt, you corpse—I reckon you are good\nmanure—\") used in what would be section 48 of the\n Song.\n  (\"And as to you corpse I think you are good manure...\"). The list of flora and fauna could anticipate any number of similar lists in Whitman, but bears the strongest resemblance to section 29 of\n Poem of Joys\n  (final title:\n A Song of Joys\n ), which first appeared in the 1860 edition of\n Leaves\n . The deleted recto lines were revised to form what is now section 28 of\n Song of Myself.\n  Bucke prints the poetic fragments on p. 38 and the list on p. 165.\n","These four leaves represent different stages in the evolution of a set of lines first published in the fourth main section in the 1855 edition of\n Leaves\n . In 1856 the section was titled\n Night Poem\n  and in 1860 it became\n Sleep-Chasings,\n  with these lines forming sections 44-46. In 1867 they appeared under the same title as section 9 (with the stanzas again divided into sections 44-46); then under the final title\n The Sleepers\n  in 1872 (section 14, stanzas 44-46) and 1876 (also section 14, 44-46), at which point the lines were permanently removed from this poem and\n Leaves\n  in general. Bucke reprints the drafts, with several errors, on pp. 15 and 19-20 of\n Notes and Fragments\n .\n","On a leaf of type E laid paper (18.5 x 17.5 cm.) with three corners cropped for mounting. Multiple pinholes in center. Inscribed and revised on both sides in pencil. A comparison of Whitman's revisions between\nleaves indicates that this was probably the second of the four\n Lucifer\n  drafts, written before he decided to merge his commentary on slavery with allusions to the fallen angel of Isaiah. The trial lines on the verso (beginning \"His very aches are exstasy\") seem to have been\nrevised for inclusion in what is now section 29 of\n Song of Myself.\n  Whitman's unusual spelling of \"ecstasy\" indicates not only that the lines came very early in the process of writing\n Leaves\n , but that these lines may have originally been part of the proto-\n Song of Myself\n  before being transferred to what would become\n The Sleepers.\n  The verso lines and the words \"I am a curse\" link this leaf, like leaves 10 and 11, to two sections of draft verses in the earliest Library of Congress notebook (#80) beginning \"Fierce wrestler!\" and \"I\nam a curse:\" (see p. 77 of Grier's\n Notebooks and Unpublished Prose Manuscripts\n , vol. 1, or the digitized version of the notebook on the Library of Congress Web site).\n","On a section (10.5 x 19.5 cm.) of the same type E paper as leaves 9 and 11, but more wrinkled, torn, and smudged than them. Fragments of tan wove paper are pasted to the verso for reinforcement of torn\nsections. Several pinholes are clustered at the bottom of the leaf, in the center, indicating that this was originally the upper section of a full leaf. Inscribed and extensively revised in pencil. The deleted\nfirst line reads \"I am a hell-name and a Curse...\" This seems to have been the last of the four\n Lucifer\n  leaves to be inscribed, although it was further revised for publication in the 1855 edition of\n Leaves\n . The word \"Sleepchaser's\" appears in the upper right corner, perhaps indicating that Whitman was considering a title similar to the 1860 and 1867 title\n Sleep-Chasings\n  even before the poem was first published in 1855, unless this is in fact a reworking of the section for the 1860 edition. The possibility of a post-1855 dating, however, appears to be slight given the\nsimilarities of paper choice and inscription techniques among leaves 9-11 and their shared similarities to drafts in the earliest Library of Congress notebook.\n","On a section (15.5 x 19 cm.) of the same type E paper as leaves 9 and 10, with three of the corners cropped for mounting. Inscribed and extensively revised, like 9-10, in pencil. Pinholes at the top of the leaf\n(in the center) indicate that this was originally the lower section of a full leaf, although the excision patterns along the top edge of this leaf and the lower edge of Leaf 10 do not seem to match up. This leaf,\na reworking of the lines beginning \"I am a Curse\" in Library of Congress notebook #80, with verses added from Leaf 9, appears to have come third in the revision process. The only line specifically linking the poem\nto the theme of slavery (\"I look off the river with my bloodshot eyes, after/ the steamboat that carries away my woman.—\"), adapted from Leaf 9, is deleted, and Whitman apparently rejected these lines and\nthe \"curse\" theme in general as he moved towards the draft on Leaf 10, which would eventuate in the 1855 published version. On the verso (upside-down) appear two sets of trial verses for what would eventually\nbecome the second verse paragraph of section 4 of the poem\n Faces,\n  which in 1855 was published as the sixth of twelve poems in the first edition of\n Leaves\n . These verso lines are inscribed and revised in pencil, and deleted with two vertical pencil strokes. The only complete line of the first draft reads \"Above the roar I hear/ the clear truth of victorious\nhorns.—\" and the second draft begins \"I stand at the top of the street[.]\" Bucke prints these verses on pp. 19-20.\n","On a section (8 x 15 cm.) of the type A notebook paper. Inscribed, revised, and deleted (with a single stroke) in pencil. Multiple pinholes cluster below and to the left of center. These verses seem to have\ncome first or second in the process of revising the\n Lucifer\n  verses. On the verso appear the undeleted lines \"Hear my fife! —I am a recruiter/ Come, who will join my troop?\" These are printed by Bucke on p. 15 of\n Notes and Fragments\n , and, as Bradley and Blodgett note, are a version of a line (\"And now a merry recruiter passes, with fife and drum, seeking who will/ join his troop...\") in the pre-1855 notebook poem\n Pictures.\n","On a small section (6 x 19 cm.) of the type E laid paper, cut irregularly on three sides, with two corners cropped for mounting. Inscribed and revised on both sides in pencil. Multiple pinholes cluster towards\nthe bottom-center of the page, indicating that this was the lower section of the top half of a full leaf. The right side of the page has suffered smoke damage. Curiously, the only line used from the recto (\"Where\nthe life car is drawn on the slip-noose\") is deleted here; it became part of what would eventually form section 33 of\n Song of Myself.\n  Bucke prints all of the verses on page 20. The deleted verso lines (beginning \"Who knows that I shall not myself/ [...] time be a God, as pure and prodigious/ as any?\") constitute a poetic revision of\nprose notes in Library of Congress notebook #85, and seem to have led up to what would eventually become section 48 of\n Song of Myself.\n","On a section of white wove paper (12.5 x 20 cm.), inscribed and revised in brown ink and pencil. Deleted with a single vertical pencil stroke. A very large number of pinholes cluster towards the bottom-center\nof the page, indicating that this was the top half of a full leaf, although one or more verses have been removed from the top. The left side is torn, as if the page had been removed from a notebook. This page was\napparently inscribed very close to the publication of the 1855\n Leaves\n ; with a few revisions it became part of what would eventually be section 40 of\n Song of Myself.\n  Not in\n Notes and Fragments\n . On the verso, in very light brown ink, appear undeleted notes defining and illustrating such verse forms as \"hexameters,\" \"dactyl,\" \"Spondee,\" \"Iambus,\" and \"Trochee.\" These notes represent an incomplete\nversion of notes on a manuscript currently housed at Rutgers University, and printed by Bucke on pp. 162-63 of\n Notes and Fragments\n , although the Leaf 14 notes, like the\n Song of Myself\n  verses on the recto, do not appear in Bucke. (For another version of the Rutgers notes, partially transcribed by Bucke, see Leaf 36 below.) Grier notes that the Rutgers manuscript probably dates to 1856\nor afterwards, when Whitman was pursuing a self-education in poetry, suggesting that the verso notes also date to that period.\n","On a section of the type E laid paper (4.5 x 19.5 cm.), inscribed and revised in pencil. A pencil question mark appears above a very faint line linking \"valved\" and \"cornet.\" These half-prose, half-poetic notes\nwere revised and incorporated in two separate verses of what would become\n Song of Myself\n : the eventual verse 597, in section 26 (\"I hear...the keyed cornet\") and verse 1067 in section 42 (\"Ever the vexer's hoot! hoot! till we find where the sly one hides and bring him/ forth...\"). Bucke\nprints these notes on p. 30 of\n Notes and Fragments\n .\n","On a section of the type E laid paper (8.5 x 20 cm.), inscribed, revised, and deleted (with a single vertical stroke) in pencil. The corners are cropped irregularly. The first line originally read \"Odor of the\nsalt marsh, and of the mud and sea-weed[.]\" An earlier version of these lines is also associated with proto-\n Song of Myself\n  verses in Library of Congress Notebook #80 (\"And the salt marsh and creek have/ delicious odors...\"). The \"unearthly laugh of the laughing-gull\" reappears in what would eventually become line 763 (section\n33) of\n Song of Myself.\n  Most of the lines on Leaf 16 were incorporated, however (after further revision), into the tenth poem of the 1855 edition of\n Leaves\n . As Bradley and Blodgett note, this poem was titled\n Poem of The Child That Went Forth, and Always Goes Forth, Forever and Forever\n  in the 1856 edition, after which it became number 9 in the 1860 group\n Leaves of Grass,\n  number 1 of a different\n Leaves of Grass\n  group in 1867, and, finally,\n There Was a Child Went Forth\n  in the 1872 edition. The lines appear on p. 48 of\n Notes and Fragments.\n","On a section of heavily wrinkled, torn, and smudged unruled white laid paper (7 x 21 cm.) reinforced with white wove paper. All four corners are cropped for mounting. Inscribed, without revisions, in pencil.\nThe laid paper was originally the last page of a letter; a few illegible words and part of a signature can be seen dimly through the back of the composite leaf. Whitman wrote his lines on the verso of the page\nafter turning it sideways. Although Whitman did not use the verses word for word, they may have been part of an early draft of the fourth poem in the 1855 edition of\n Leaves,\n  eventually titled\n The Sleepers.\n  The lines appear on p. 46 of\n Notes and Fragments\n .\n","On a section of white wove paper torn down to 15.5 x 8 cm., inscribed and revised on both sides in medium brown ink and also inscribed and deleted, on the recto, in pencil. Features one set of pinholes in the\ncenter. The verses on the recto, while not published word-for-word until 1897, seem to represent an early draft of the poem first published as number 13 of the cluster\n Leaves of Grass\n  in the 1860\n Leaves\n , and eventually titled\n You Felons on Trial in Courts.\n  (See 2:2:1 under\n Leaves of Grass\n  [1860] for a much later version of the poem.) Whitman's careful script and verse forms here also resemble the methods of inscription used for the\n Live Oak, with Moss\n  poems dated by Bowers to the post-1856, pre-1860 period. The undeleted notes on the back are titled\n Poems\n  and begin with the lines \"A cluster, (same style, as of sonnets li[ke]/ as 'Calamus Leaves')/ of poems, verses, thoughts \u0026c, embodying/ religious emotions/ \u0026 thoughts.\" A cartoon hand in the left\nmargin points to the phrase \"religious emotions.\" Whitman's use of the title\n Calamus Leaves\n  dates these notes to the same pre-1860 period as the deleted verses on the recto, since\n Calamus-Leaves\n  was what he renamed the cluster\n Live Oak, with Moss\n  before settling on\n Calamus\n  for the 1860 edition. A section of the notes below the rest (beginning \"spirituality—the unknown,...\") is inscribed in verse form. Bucke prints these, along with [Full of wickedness, I...], on p. 39\nof\n Notes and Fragments\n . The rest of the notes appear on p. 165; related notes appear on 169 and 176.\n","On the verso of a letter (11 x 18 cm.) inscribed in light black ink on (wrinkled) white laid paper, embossed with a red design. All four corners are cropped for mounting. Whitman's lines are inscribed and\nrevised in thick pencil. The letter is dated \"Aug 14th /89,\" and asks Whitman to send the unidentified writer a copy of the \"latest special edition\" of\n Leaves of Grass\n . These trial verses became part of\n A Twilight Song\n —subtitled, Bradley and Blodgett note, \"for unknown buried soldiers, North and South\"—which was first published in the May, 1890\n Century\n  and then included in the second annex\n Good-Bye My Fancy\n  in the 1892 \"deathbed\" edition of\n Leaves\n . This draft does not appear in\n Notes and Fragments\n .\n","On a composite leaf comprising two sections of the type A notebook paper (4 x 14.5 and 4.5 x 15 cm.) pasted together. Three pinholes appear near the foot of the page. Inscribed and revised on both sides in\npencil. The verso lines (beginning \"I think I could dash the girder of the earth/ away\" and \"Surely I am out of my head!\") are deleted with several pencil strokes. The deleted number 209 (in brown ink) appears in\nthe top right corner of the lower section. After much revision the recto lines, which are related to lines in Library of Congress Notebook #80, seem to have become part of what would be section 44 of\n Song of Myself.\n  The verso lines represent an early draft of lines eventually incorporated in section 27 of the poem. Bucke transcribes both sets of verses, with additional lines not preserved in these sections, on pp.\n34-5 of\n Notes and Fragments\n .\n","On a small section of the type B wove paper irregularly cropped, torn, and cut down to 4.5 x 18 cm. Several pinholes appear in the center; some smoke damage appears along the right edge. Inscribed and revised\nin pencil. Below the verses appear the deleted phrase \"Echos [sic] of voices\" and the undeleted note \"? Personality\" beneath a faint horizontal line. Bucke prints the lines on p. 13 of\n Notes and Fragments\n . Although Whitman did not publish these verses himself, their structure and the type of paper upon which they are inscribed suggest a close relationship with the lines on Leaf 22, which were revised to\nform part of section 14 of\n Chants Democratic\n  in the 1860 edition of\n Leaves\n , a set of verses eventually transformed into an independent poem under the title\n Poets to Come.\n","On a small section (4 x 15 cm.) of the same type B paper as Leaf 21, with smoke damage in the upper left corner. The corners are cropped slightly for mounting. Two sets of pinholes appear in the center.\nInscribed and revised on both sides in pencil. Bucke transcribes both sets of verses on p. 39 of\n Notes and Fragments\n . The recto verses were used as noted under Leaf 21, but the lines on the verso (deleted with several vertical and horizontal pencil strokes) seem to have been rejected.\n","On a section of the type E laid paper (6 x 19.5 cm.) with all four corners cropped for mounting. Multiple pinholes run up the center of the page. Inscribed and revised on both sides in pencil. The recto verses\nbear some similarity to what would eventually form section 28 of\n Song of Myself,\n  while the deleted lines on the verso (beginning \"This mouth is pulled by some sexton for his dismalest fee,\") represent a fragment of draft lines eventually incorporated in the sixth poem of the 1855\nedition of\n Leaves\n , a poem permanently retitled\n Faces\n  in the 1872 edition. Bucke transcribes both sets of verses on p. 37 of\n Notes and Fragments\n .\n","On a composite leaf consisting of two sections (10 x 13 and 5 x 13 cm.) of light green type D paper used for trial printings(?) of the title page of the 1855 edition of\n Leaves of Grass\n  (see Leaf 25). (The words \"Leaves o[f],\" printed in a typeface similar to the one used for the 1855 edition, appear in the bottom right corner of the lower section.) All four corners of the top section,\nand the lower corners of the bottom section, are cropped for mounting. Multiple pinholes appear in each section. Inscribed and revised in black ink. As Bradley and Blodgett note, the lower set of verses seems to\nbe a later draft of the upper set, even though Bucke prints them in reverse order and as separate fragments on p. 32 of\n Notes and Fragments\n . These lines foreshadow a number of poems new to the 1860 edition of\n Leaves\n , particularly\n Proto-Leaf\n  (ultimately titled\n Starting from Paumanok\n ) and\n So long!,\n  as well as several of the poems grouped in the cluster\n Chants Democratic and Native American.\n","On one section of light yellow type D paper torn down to 15.5 x 14.5 cm. (Part of the word \"Leaves\" appears in the lower right corner of the verso.) The lower left corner is cropped. Multiple pinholes in\ncenter. Inscribed in black ink, with revisions in the same ink and one addition in pencil. On the verso, in blue pencil, appears a quickly scrawled note, reading \"Drum Taps—City of Ships[,]\" which appears to\nbe in Whitman's hand. This may indeed have been a draft of the poem\n City of Ships,\n  which first appeared in 1865 as part of the independent publication\n Drum-Taps\n , but its similarities to the lines on Leaf 24 and lack of references to the Civil War indicate that it was inscribed prior to the publication of the 1860 edition of\n Leaves\n . These lines bear a strong resemblance to verses inscribed on Leaf 7 of\n Premonition\n  as described above (under\n Leaves of Grass\n  [1860] 1:1:7), verses that formed section 20 of\n Proto-Leaf\n  in 1860 and, ultimately, part of section 6 of the poem under the title\n Starting from Paumanok.\n  Printed on p. 30 of\n Notes and Fragments\n .\n","On one section of white wove paper torn and cut down to 10 x 15 cm., inscribed and revised in very thin brown-black ink. Two pinholes appear towards the right margin. The lower corners are cropped. Whitman's\nuse of the word \"Libertad\" and way of handling the theme of immigration suggest that this might be part of an early draft of the poem eventually known as\n A Broadway Pageant,\n  first published in the June 27, 1860 issue of the\n New York Times\n  as\n The Errand-Bearers.\n  Bucke prints the verses on p. 39 of\n Notes and Fragments\n .\n","On a section of type B wove paper cut down to 8 x 15.5 cm. All four corners are cropped for mounting. Multiple pinholes run up and down the center. Inscribed and corrected (in only one place) on the recto in\npencil, and on the verso in light brown ink and pencil. The verso lines (beginning \"[sl]ueing,/...[be]nding,/...halt in the shade,\") represent a fragment of a polished pre-1855-publication draft—almost a\nfair copy, but with interesting revisions nonetheless—of lines that would eventually belong in section 13 of\n Song of Myself.\n  These verses are inscribed along the ruled lines. Whitman cannibalized this leaf at some point after 1855 to jot down the recto verses perpendicular to the ruled lines. These seem to constitute a complete\nbut very early draft of the poem\n To One Shortly To Die,\n  first published in the 1860 edition of\n Leaves of Grass\n  in the cluster\n Messenger Leaves.\n  (For a later draft see Leaf 28, and for an even later version inscribed shortly before the 1860 publication see 2:3:1 in\n Leaves of Grass\n  [1860].) In the upper right corner of the recto appear the words \"note/ last page of 'Ghost-seers'\" in Whitman's hand, suggesting that he had considered forming a cluster under this title, never\npublished, in\n Leaves\n , perhaps in the 1860 edition. The phrase \"Ghost-seers\" recalls a statement regarding Emerson in\n Leaves-Droppings,\n  a section of correspondence and commentary Whitman appended to the 1856 edition of\n Leaves\n : \"[Emerson] sees the future of truths as our Spirit-seers discern the future of man...\" Bucke prints the recto verses on p. 13 of\n Notes and Fragments\n .\n","On a very small section (4 x 14.5 cm.) of the type A notebook paper. Inscribed and revised on the recto in (smudged) brown-black ink. Fragmentary lines on the verso are inscribed, revised, and deleted in\npencil. Four pinholes run up from the center of the leaf towards the upper right corner. The verso lines (beginning \"[I] and nobody else am the greatest traitor,\") represent a later draft than similar verses in\nLibrary of Congress Notebook #80 of what would eventually become part of section 28 of\n Song of Myself.\n  The recto lines were revised to form part of the 1860 poem\n To One Shortly To Die.\n  (See Leaf 27 for an earlier draft and entry 2:3:1 under\n Leaves of Grass.\n  [1860] for a later version.) Bucke prints the recto verses on p. 47 of\n Notes and Fragments\n .\n","On a small section of white laid paper (6 x 18.5 cm.) with all four corners cropped for mounting. Multiple pinholes in center. Inscribed and revised (in one place) in brown ink. A short horizontal line appears\nbeneath the verses, indicating (along with the finished appearance of the lines) that Whitman conceived of this when written as an independent poem. He may have used it, however, in the 1856\n Poem of Remembrances for A Girl or A Boy of These States,\n  which, as Bradley and Blodgett note, became the sixth poem in\n Chants Democratic and Native American\n  in 1860. It was subsequently shortened by several stanzas (1867) and retitled (1872)\n Think of the Soul\n  before being excluded from\n Leaves\n  with the publication of the 1881 edition. The verses on Leaf 29 combine the meanings expressed in both the excluded and preserved sections of\n Think of the Soul.\n  Bucke prints these verses and a related, longer set of verses on p. 27 of\n Notes and Fragments\n ; the other lines in Bucke were revised and expanded for use in sections 46-51 of the 1860 poem\n Proto-Leaf,\n  permanently retitled\n Starting from Paumanok\n  in 1867.\n","On a section of the type D proof sheet paper (light yellow) cut and torn irregularly down to 7.5 x 20 cm. (The words \"Leaves of\" appear on the verso.) Multiple pinholes appear towards the foot of the leaf,\nindicating—along with the damaging of the words \"The gripe\" in the last line by cutting and the appearance of the tops of other letters above the lower edge—that this was the upper section of a larger\nleaf before Whitman decided to make it an independent poem, adding his characteristic period and hyphen combination at the end of the lines to mark its separateness. Inscribed in brown-gray ink, with revisions in\nthe same ink, in pencil, and in a darker brown ink (in that order). Bucke prints the verses on p. 26 of\n Notes and Fragments\n  with the annotation \"Early or middle fifties, never used,\" but the lines bear a strong resemblance to a section of prose on p. vi of the preface to the 1855 edition of\n Leaves of Grass.\n  The verses on this leaf may represent a poetic adaptation of that section.\n","On a small section of what seems to be type D light yellow paper (5 x 16 cm.). All four corners are cropped for mounting. Inscribed and revised in pencil. Bucke transcribes these verses on p. 28 of\n Notes and Fragments\n , combining them with other fragments to form a longer poem. They display some similarities to the eleventh untitled poem of the 1855 edition of\n Leaves\n , named\n Lesson Poem\n  in 1856 and finally, beginning with 1871's\n Passage to India\n ,\n Who Learns My Lesson Complete?\n","On the verso of an irregularly cut and cropped proof sheet (9 x 18 cm.) from the 1856 edition of\n Leaves of Grass.\n  A few pinholes are scattered around the page. The words \"Have I\" at the beginning are inscribed on a small scrap of the same paper, which Whitman pasted over some deleted words in the upper right corner\nthat cannot be discerned through the paper. Inscribed and extensively revised in pencil, these verses were part of a larger set of lines before Whitman cut away and (apparently) discarded the rest. Although the\npage number and many words on the left side of the proof have been cut away, the remaining words identify it as p. 188 from the\n Poem of Many in One,\n  which eventually became\n By Blue Ontario's Shore.\n  These unused but also undeleted lines may have been intended for that poem or a number of other poems in\n Leaves\n . Bucke prints them on p. 30 of\n Notes and Fragments\n .\n","On a section of white laid letter(?) paper (10.5 x 19.5 cm.) folded in two places, perhaps for mailing. All four corners are cropped, and the right margin is cut irregularly. No pinholes. Inscribed in black ink\nthat has bled in several places from contact with water drops. A long horizontal line divides the first set of draft verses from a pair of trial verses beginning \"The railroads with their hundreds/ of lines...\"\nAlthough these poetic notes are difficult to date, they may represent an intermediate stage between the 1855 Preface to\n Leaves\n  and the 1856\n Poem of Many in One\n  (eventually\n By Blue Ontario's Shore\n ), which cast many sentences similar to these from the Preface in poetic form. Two editorial errors relating to the leaf should be mentioned: Bucke prints the fragment on p. 169 as a prose passage, and in\nrepublishing Bucke's transcription (still in prose form) Grier reports, on p. 1941 of the\n Notebooks and Unpublished Prose Manuscripts\n  (vol. 5) that this manuscript has not been found.\n","On the verso of a section (14 x 12 cm.) cut from a type C tax form. The corners are all cropped for mounting. Inscribed and revised in pencil. Multiple pinholes cluster towards the foot of the leaf, suggesting\nthat one or more verses were cut away and discarded; this is corroborated by the fact that the final word, \"gaunt,\" ends not with a period but with a comma. Whitman's use of the tax form and the strong similarity\nthis fragment bears (as Bradley and Blodgett note) both to the 1856\n Poem of the Road\n  (later\n Song of the Open Road\n ) and to the 1860\n Proto-Leaf\n  (eventually\n Starting from Paumanok\n ) indicate that this may have been a revision of the former poem or, as seems more likely, an early draft of\n Proto-Leaf\n  intended for the 1860 edition of\n Leaves\n . To compare this fragment with extant drafts of\n Proto-Leaf,\n  under its original title\n Premonition,\n  see leaves 1:1:1-1:1:33 as described under\n Leaves of Grass\n  (1860) above. Printed on p. 39 of\n Notes and Fragments\n .\n","On one section of white wove paper (8 x 19.5 cm.) ruled on both sides, with the upper corners cropped for mounting. Inscribed in green-black ink with no revisions. These verses seem to have been part of a\nlarger set before Whitman decided to make them an independent poem, adding a hyphen at the end of the last line and cutting off the verses below. (The word \"nothing\" in the last line was partly cut away as well.)\nAlthough written in free verse, the rather conventional nature of this poem suggests an early date of inscription. Bucke does not transcribe it.\n","On a full leaf of light tan wove paper (25 x 13 cm.) that seems to have been removed from a notebook; the note \"Last Page\" and the number 5(?) appear at the top of the leaf. The foot of the page—wrinkled,\nsmudged with erased words, and largely worn away—has been reinforced with a strip of light brown wove paper pasted to the verso. Inscribed in pencil, with one minor revision in brown ink. The leaf is divided\nwith horizontal lines into four sections: \"Pentameter,\" \"Anapest,\" \"Dithyrambus/ Dithyramb/ Dithyrambic,\" and \"Caesura.\" Like the contents of the verso of Leaf 14, these notes represent a version of the poetic\ndefinitions that appear in a manuscript currently housed at Rutgers University. Bucke prints the final two sections of these notes on p. 163 of\n Notes and Fragments\n , leaving the first two sections untranscribed, evidently because they so closely parallel the more complete Rutgers notes (which he prints in full). Grier lists this manuscript, on p. 357 of\n Notebooks and Unpublished Prose Manuscripts\n  (vol. 1), as \"not found.\"\n","Revision of poem cluster\n Song of the Broad-Axe\n . Revisions are made in ink and blue pencil on printed edition of the poem. Walt Whitman apparently used two volumes to tear the leaves from, as every other page is slightly smaller than the rest,\nrevisions are made only on the recto side of each leaf, and verso is crossed out.\n","These two manuscripts represent different stages, earlier and later, in the evolution of a poem written during October and November 1873 and first published as\n Song of the Redwood-Tree\n  in the February 1874 issue of\n Harper's Magazine\n . From a note prefacing the first manuscript, as Bowers writes, it appears that Whitman personally took charge of gathering and preserving the manuscripts. In 1876, Bradley and Blodgett observe, Whitman\npublished the poem in the independent group\n Centennial Songs\n  and in this group as annexed to\n Two Rivulets\n , and in 1881 it appeared, ungrouped, in\n Leaves of Grass\n . For convenience these descriptions follow the ordering of the leaves presented by Bowers in his article\n The Manuscripts of Whitman's 'Song of the Redwood-Tree'\n  in\n Papers of the Bibliographical Society of America\n , vol. 50 (1st quarter, 1956), pp. 53-85.\n","This rough draft begins with the following note, inscribed and initialed by Whitman in brown-black ink, on one piece (17.5 x 22.5 cm.) of thin, light brown wove paper with no pinholes: \"Camden,/ Oct. \u0026 Nov.\n'73./ Song of the Redwood Tree./ (rough draft—mems,/ printed sketch,/ letter from Harper's Mag.)/ \u0026c./ W. W.\" The other leaves are described individually as follows. Unless noted otherwise, each leaf\nfeatures multiple pinholes in its center. Leaf 2 (\"Song of the Redwood/ Tree/ \u0026 other pieces\"): white wove paper (20.5 x 12.5 cm.), apparently a flyleaf or blank page removed from a book. The undeleted title\nas well as the deleted titles\n Eidólons\n  (on both recto and verso, but upside-down relative to the undeleted title) and\n Waves in the Vessel's Wake\n  (also upside-down) are inscribed in blue crayon, while the line \"Waves, undulating/ waves—\" (on verso, upside-down) is in grey-black ink.\n Eidólons\n  was the title Whitman used for a poem first published in 1876; and\n Waves in the Vessel's Wake,\n  according to Bradley and Blodgett, was an alternate title for a poem eventually named\n After the Sea-Ship,\n  in which the line \"Waves, undulating/ waves—\" can be found. Leaf 3 (\n A California song./ Song of the Redwood/ Tree\n ): white wove paper (20 x 12.5 cm.), ruled on both sides. The page contains four sections of pencil notes in prose and verse, with the title\n A California song\n  (which became the first verse of the published poem) in medium black ink, and the second title, along with notes dating the second section to \"Oct. '73\" and the third section to \"Nov. '73/ Camden,\" in\nblue crayon. In pencil Whitman also drew a cartoon hand pointing to the sentence \"Use this point to express/ fully my California views\" in the second section. Leaf 4 (\"A mighty tree is/ falling.\"): white wove\npaper (20.5 x 13 cm.), ruled on recto. In pencil (on recto), with extensive pencil revisions. The verses on this leaf represent an early draft of numbered sections 1 and 2 of the published poem. On the verso\n(perpendicular to the recto verses) appear notes, deleted in pencil, for \"(a sonnet)\" written \"for Century Verses,\" which appears from a Library of Congress manuscript to have been a working title of the group\nthat became\n Centennial Verses\n  in 1876. After heavy revision (see verso of leaf 5) the poem became the title-page epigraph to the 1876 (\n Come, said my Soul\n ) and several later editions of\n Leaves . The incomplete verso lines are in brown black ink with extensive revisions in the same ink. Leaf 5: on the same type of paper as 4, torn down to 20.5 x 13 cm. Recto is inscribed and extensively revised\nin pencil; these verses represent an early draft of section 3 of the published poem. On the verso (\"Go said my Soul, the real Me,\") appears a deleted later draft of the poem whose notes appear on the verso of Leaf\n4. The verso lines are inscribed in brown-black ink with extensive revisions in the same ink, in blue crayon, and in pencil, apparently in that order. Leaf 6 (\"So for a type for you, your/ race, Pacific lands\"):\nwhite laid paper (20.5 x 12.5 cm.), ruled on verso. Inscribed in pencil and medium black pen, with heavy revisions in both of these, particularly the pencil, and in light ink. Whitman inscribed the pencil note\n\"last,\" enclosed in a semicircle, in the upper right corner. After further revision these verses became the last italicized verse paragraph of section 4 of the 1876 version of the poem. Leaf 7 (\"(The teamsters,\nchoppers, chain/ and jackscrew men/ heard not...)\"): White quadrille paper (21 x 13.5 cm.), at one point folded in thirds. Inscribed and extensively revised in pencil. These lines were further revised to form the\nsecond and third verse paragraphs of section 2 in the 1876 version of the poem. Leaf 8 (\"Lands of the Western shore!\"): inscribed in medium black ink on the verso of p. [1] of a letter (18 x 11 cm.) cut from a fold\nof what Bowers characterizes as fine tinted laid paper. The verses are inscribed perpendicular to the sentences of the letter. Revised in the main ink and in a lighter ink. These verses were further revised to\nform the closing section (6) of the 1876 version of the poem. The letter, deleted in blue crayon, is dated \"Boston./ 96 Washington St/ 30 Sept '73\" and was written by Boston lawyer Albert B. Otis. In it, Otis\nexpresses his happiness on learning that Whitman's health is improving, thanks him for sending a paper with news of the recovery, and mentions his wish to obtain copies of Whitman's new works as they appear.\nWhitman used the verso of the second part of the letter as Leaf 3 of the second manuscript of\n Song of the Redwood-Tree\n  (see below). Leaf 9 (\"The Cascade range/ On the Pacific—...\"): white wove paper (20.5 x 13 cm.), ruled on both sides, with (as Bowers notes) the embossed device of Mercury's winged hat and a\ncaduceus in the upper left corner. Whitman began writing a letter on this page before using it for verse: deleted lines at the top read \"431 Stevens st./ cor West\" and \"Camden,/ Saturday forenoon/ Oct. 25.\" These\ntrial verses are inscribed in the same medium brown ink as the letter heading, except for the final verse, which appears finished and is written in black ink. Revisions are in the main ink and in a lighter ink.\nAfter further revision these verses were incorporated in sections 4 and 5 of the 1876 version of the poem. Leaf 10 (\"As of the wood-spirits'/ voices ancient, rustly, speaking,\"): inscribed on the same paper as\nLeaf 9, with the same embossed device (reversed, in upper right corner), in medium black ink, with revisions in the same ink and in light ink and the first and last sections deleted. The top deleted section\nincludes several false starts, along with the draft line \"A new Man/ and a new empire\" in the upper right corner. The undeleted verses were revised to form part of section 4 in the 1876 version of the poem. Leaf\n11 (\"Farewell/ My time has ended, my term has/ come,—\"): on the same paper as Leaf 6, also in pencil, with extensive revisions and deletions in the same. Only the verse quoted here was allowed to stand; it\nwas used as the final line of section 1 in the 1876 version of the poem. Leaf 12 (\"or chorus of dryads, fading, departing\"): inscribed on the verso of a letter (22.5 x 17.5 cm.) from Whitman family friend Abby H.\nPrice to Whitman's sister-in-law Mrs. George (Louisa Orr) Whitman. The letter and verses are on blue-tinted wove paper. Whitman's lines run perpendicular to the letter's, and are in brown-black ink, with revisions\nin the same. Multiple pinholes at top and bottom of Whitman's verses rather than in center. The first verse became part of section 1 in the 1876 version, and the rest of the verses on the leaf were revised to form\nsection 5. The letter is written in brown-black ink (deleted with a blue crayon stroke), and is dated \"New York. Oct 17th.\" In it, Abby Price tells Louisa Whitman of her dismay in reading newspaper reports that\nWalt Whitman \"'is...dangerously ill'\" and asks her for more news. Leaf 13 (\"Thus on the northern coast/ in the lumber-men's camp\"): on white laid paper (20.5 x 15 cm.), ruled on both sides, inscribed in brown-\nblack ink and pencil, with extensive revisions and notes from Whitman to himself in the same. After further revision these lines became the final verse paragraph of section 4 in the 1876 version of the poem. Leaf\n14 (\"Nor these alone—not dedicate to these/ alone,...\"): inscribed on the verso of a letter dated 1873 October 15 (21 x 12.5 cm.) to Whitman from his friend Charley [Eldridge]. On white laid paper, ruled on both sides, and\nembossed with the letters \"P \u0026 P\" (inside a decorative border) in the upper left corner. In medium-black ink, with three false starts, a paragraph mark, and revisions in the same. Whitman's lines run\nperpendicular to the letter's. After further revision these lines were incorporated in the first few verses of section 6 of the 1876 version of the poem. In the letter, dated \"Washington Oct 15. 1873\" and deleted\nwith a single blue crayon stroke, Eldridge reports collecting various articles of Whitman's clothing, with Whitman's companion Peter Doyle, from a room the poet kept in Washington, D.C., and sending them via Adams\nExpress. Leaf 15 (\"(Surely I did not dream)\"): on white wove paper (20 x 12.5 cm.), ruled on both sides, and embossed in one corner with the die of the Juniata Mills, Pennsylvania. Inscribed in medium black ink,\nwith revisions in the same. These trial verses were revised and expanded to become the final italicized verse paragraph of section 3 of the 1876 version of the poem. Leaf 16 (\"The influences of nature,\"): on white\nwove paper (19.5 x 12.5 cm.), ruled on recto. In pencil, with extensive revisions in the same. These verses were further revised and incorporated in the final italicized paragraph of section 4 in the 1876 version\nof the poem. Leaf 17 (\"The tree prophecies\"): on a section of white laid paper (torn down to 15.5 x 12 cm.) embossed with what appears to be the same paper-maker's die as leaf 14, but only ruled on recto.\nInscribed and revised in pencil. The pinholes are positioned near the top of the leaf. These trial verses express the themes of much of the finished poem. Leaf 18 (\"The spinal idea of/ the poem\"): on white wove\npaper (19.5 x 12 cm.), ruled on both sides. Inscribed and revised in pencil. This combination of prose and poetic notes provides an overview of the entire poem. Leaf 19 (\"...or seemed to say\"): on white wove paper\n(19 x 12 cm.), ruled on both sides. Inscribed and revised in pencil. These verses were further revised and incorporated in sections 3 and 4 of the published poem in 1876. Leaf 20 (\"Lessons to the/ race to grow\"):\non a fragment of white wove paper torn down to 11 x 12.5 cm., ruled on verso. Inscribed in pencil. Pinholes at foot of fragment, i.e., in the center of the original page, and in the current center. These trial\nverses provide an outline of most of the italicized passages (representing the Redwood's voice) in the published poem.\n","Leaves described individually as follows. Unless otherwise noted, pinholes are clustered at the center of each leaf. Whitman also numbered each leaf in blue crayon in the upper right corner of the page. Leaf 1:\non a composite leaf made of two fragments (12.5 x 19 and 5.5 x 12.5 cm.) of different kinds of white laid paper (the bottom fragment ruled on recto, the top not ruled) pasted together. The top set of verses is\ninscribed in brown-black ink and revised in pencil and in the original ink; the bottom lines are inscribed in pencil, with revisions in the brown-black ink. Whitman numbered this section in blue crayon. Pinholes\nin center of each part of the composite leaf. With a small amount of further revision this leaf became section 1 of the published poem. Leaf 2 (\"Along the northern coast,\"): on a leaf of white laid paper torn down\nto 12.5 x 19.5 cm.; the watermark \"[HAND?]MADE\" is partly visible. On the back appear pencil notes in Whitman's hand for a letter regarding a painting or photograph of Whitman(?); this draft letter is deleted in\nblue crayon. The verses are inscribed in brown-black ink, with revisions in the same ink, in pencil, and in blue crayon. Whitman also numbered this section in blue crayon. After a small amount of further revision\nthese lines became the first verse paragraph of section 2 in the published version. Leaf 3 (\"The choppers haply heard not—the/ camp-shanties echoed not,\"): on the verso of p. [2] (17.5 x 11 cm.)\nof the Albert B. Otis letter, 1873 September 30, used for leaf 8 of the rough draft manuscript (see above); this part of the letter is also deleted with a blue crayon stroke. The verses are inscribed in medium black ink, with\nrevisions in the same ink and in pencil. After further revision they became the second and third verse paragraphs of section 2 in the published version. Leaf 4 (\"You untold life of me,\"): on three sections of\nunruled white laid paper from the same page (15 x 13, 5.5 x 13, and 6 x 13 cm.) joined by means of two irregular fragments of white ruled paper pasted to the back. The ruled fragments contain ink and pencil notes\nfor the poem, but at a very early stage of development. The recto verses are inscribed in medium black ink and revised in the same ink, in pencil, and in blue crayon. Whitman also numbered this section 3 in blue\ncrayon: it became the first verse paragraph of that section in the 1876 version. In pencil, he added the note \"ital\" in the upper left corner and underlined almost every verse to indicate that the Tree's voice\nshould be printed in italics. As Bowers notes, Whitman cut up and rearranged this page to reverse the order of the lines on the second and third sections of paper. Leaf 5 (\"N[or yie]ld we mournfully, majestic\nbrothers,\"): on a composite leaf formed of two sections of paper pasted together; the top section (10 x 15 cm.), damaged along the top edge, is of the same kind of paper used for leaf 13 of the rough draft and\nleaves 8 and 9 of this draft, and the bottom section (18.5 x 13 cm.) is of white wove paper, ruled on one side. The verses are inscribed in brown-black ink with heavy revisions in the same ink and in pencil. After\nfurther revision these sections became the second and third verse paragraphs, respectively, of section 3 of the poem. Leaf 6 (\"Then to a loftier strain/ Still prouder, more extatic rose/ the chant,\"): on two\nsections of different kinds of white paper, the lower section (20 x 12.5 cm.; wove, ruled on one side) being pasted to the top one (10 x 13 cm.; laid, unruled). The lower section is inscribed on the verso of part\nof a sheet of Department of Justice letterhead with the dateline \"Washington...187[ ],\" under which Whitman jotted down and deleted directions to the Hydropathic Institute in Wernersville (Pennsylvania) in blue\ncrayon. He also used blue crayon to designate the verses section 4, of which they became the first two paragraphs in the published version. The verses are inscribed in brown-black ink, with heavy revisions in the\nsame and in pencil. Whitman added the note \"ital\" after joining the two paper sections, and concomitantly underlined each verse of the lower section for the same reasons as in leaf 4. Leaf 7 (\"You occult, deep\nvolitions\"): on white wove paper (25.5 x 20 cm.), ruled on both sides. Inscribed in medium black ink, with revisions in the same, in pencil, and (possibly) in a lighter ink. The upper right corner is damaged,\nleaving the leaf number partially missing, but it seems clear that the number was a 7. As Bowers notes, the deleted title\n You occult, deathless, deep volitions\n  indicates that this was once an independent poem (as the existence of an early draft of the lines at Duke University would seem to confirm), but Whitman revised and italicized the lines—the note\n\"ital\" and underlinings in pencil also appear here—for inclusion as the third paragraph of section 4 in the published version of\n Song of the Redwood-Tree.\n  Leaf 8 (\"For you, for man of you your characteristic race,\"): on a section (21 x 16 cm.) of the same kind of paper used for leaves 5 (in part) and 9; inscribed in medium black ink, with extensive\nrevisions in the same, in pencil, and in what seems to be a lighter ink. The verses are all underlined in the lighter ink(?) using a fine pen. At the bottom of the leaf appear the words \"Idaho, Utah\" in blue\ncrayon. After further revision these lines became the fourth verse paragraph, and the final italicized one, of section 4 in the published version of the poem. Leaf 9 (\"Thus on the northern coast,\"): on a section\n(20.5 x 16 cm.) of the same kind of paper used for leaves 5 (in part) and 8; inscribed in medium black ink, with revisions in the same ink, in a lighter ink, and in pencil. The number 5 appears at the top of the\nleaf, obscured by the addition of new lines. In actuality these verses became the final paragraph of section 4 in the published version of the poem. Leaf 10 (\"The flashing \u0026 golden pageant of California,\"): on\na section of white laid paper (21 x 20 cm.), in brown-black ink, with extensive revisions in the same ink, in a lighter ink, and in pencil. The blue-crayon section number 6 appears next to a deleted pencil 2 at\nthe top of the leaf; at the bottom appears the ink note \"? Yosemite\" separated from the lines with a semicircle. These verses were further revised to form section 5 of the published version. Leaf 11 (\"But more in\nyou, than these, I see, lands of the western shore!\"): on three sections of white wove paper (top: 7 x 20 cm., unruled; middle: 8 x 19.5 cm., unruled; foot: 10 x 20.5 cm., ruled) pasted together and jointly pasted\nto a paper fragment (6.5 x 20 cm.) containing an earlier, deleted set of verses that are revised in the current top section. The top and concealed sections are both inscribed on the verso of fragments of a letter,\nwritten in purple ink and deleted by Whitman in blue crayon, from the engraver W. J. Linton. As Bradley and Blodgett note, Linton produced a portrait of Whitman that the poet included in\n Two Rivulets\n  and that also inspired the poem\n Out from Behind This Mask.\n  In what remains of the letter Linton inquires after Whitman's health. The verses on this composite leaf were revised to form the sixth and final section of the published version of the poem.\n","On one leaf (12 x 19.5 cm.) of white laid paper, ruled on recto. In light brown ink, with one deletion in the same ink. This appears to have been a trial cover leaf for the cluster\n Songs of Parting,\n  new to the 1881 edition of\n Leaves of Grass\n . Whitman struck out the words \"A few\" above the current title, but left undeleted four other possibilities at the top of the leaf:\n Songs of Departure/ Departing,/ Termination/ Completion.\n","The Soul's Procession\n  comprises very early notes for a projected poem that Whitman inscribed in a handmade notebook (20.5 x 13 cm.). This he made by folding in half seven leaves of white laid Philp \u0026 Solomon (Washington,\nD.C.) paper (measuring 25 x 19.5 cm. unfolded), ruled in blue on both sides (type A), in the direct middle of which he inserted a gathering of three folded leaves of a different kind of white laid paper (type B),\nruled horizontally in blue on both sides, but also featuring a single vertical rule in blue and red. This gathering is held together with a metal bracket, and is bound in with the main notebook pages by means of a\npink ribbon. Three sections of type B paper are also tipped in between bound type A pages. Inscribed and revised in black ink, in pencil, and in blue crayon. Although Whitman never finished or published\n The Soul's Procession\n  during his lifetime, Bradley and Blodgett note that the same ideas worked out here inform many of his poems, particularly the 1871 independent publication\n Passage to India.\n  For a transcription of the notebook with comprehensive annotations see Grier's\n Notebooks and Unpublished Prose Manuscripts\n , vol. 4, pp. 1390-94. The earliest dating of the notebook is supplied by an 1869 newspaper clipping pasted to Leaf 3, but Grier speculates, based on the shakiness of Whitman's handwriting in later leaves,\nthat some of the notes may have been added after the poet suffered a paralyzing stroke in 1873. On the back cover appear pencil notes detailing train numbers, times, and (apparently) amounts of money.\n","This half-leaf (19.5 x 12.5 cm.) constitutes the front cover. It bears the die of Philp \u0026 Solomon in the (current) upper right corner. The title is inscribed and underlined in brown ink, and Whitman's\ninitials appear in pencil in the center of the page, to the left of a pencil squiggle.\n","Inscribed on type A Philp \u0026 Solomon paper in black ink, with no revisions, on the page directly following the front cover.\n","On the type A page currently following Leaf 2, but originally following another type A page that Whitman bound with the other pages and later cut and tore (irregularly) out. The stub of the excised portion of\nthe original leaf can be seen here. A piece of very thin tan wove paper was inserted here, and a newspaper clipping dated in pencil (by Whitman?) 1869, about \"The Steamship Pereire Disaster,\" was pasted directly\nto the lower left section of Leaf 3. The trial verse \"My ship sails the sea/ in a storm\" appears at the end of Whitman's prose notes and beneath the clipping, which documents the near-sinking of a steamship in the\nAtlantic during a \"furious gale.\" Inscribed in black ink, with a short horizontal line separating the note \"In Soul's Procession\" from the rest of the notes.\n","On a section of type B paper (16 x 10 cm.) from the same irregular cutting as leaves 5 and 6, tipped in directly after Leaf 3. Some pinholes matching those on leaves 5 and 6—but in a way that indicates\nthat Whitman pinned the leaves together more than once—appear in the center and near the left margin. Inscribed, like leaves 5 and 6, in pencil, with cartoon hands to emphasize key points. The title is\nunderlined in pencil. Bradley and Blodgett publish leaves 4-6 on pp. 611-12 (2002 ed.), noting that the prose notes on Leaf 4 break into trial verses on leaves 5 and 6.\n","On a section of type B paper (16 x 10 cm.) tipped in after the type A page that follows leaf 4. See Leaf 4 description for notes on the pinholes. Inscribed in pencil, with no revisions. These lines are all\nformatted as trial verses rather than prose notes.\n","On a section of type B paper (16 x 10 cm.) tipped in after the type A page that follows leaf 5. See Leaf 4 description for notes on the pinholes. Inscribed in pencil with heavy revisions; the first two verses\n(beginning \"I knew the greater idea/ of Space\") are deleted with a single vertical pencil stroke. The last verse ends without a period.\n","On the first page (20.5 x 12.5 cm.) of the type B gathering, which starts after the type A page following leaf 6. The page is blank below the title, which is inscribed and underlined in pencil.\n","On the second page of the type B gathering (Whitman did not use the versos). Inscribed and revised in (smudged) pencil. The note \"Agassiz—/ Animal Life p. 53\" at the center of the page apparently refers\nto Louis Agassiz'\n The Structure of Animal Life\n , delivered as six lectures in 1862 and first published in 1865. A horizontal line separates the upper set of notes from lower ones, which are formatted as trial verses.\n","On the third page of the type B gathering. The first half of the page is devoted to pencil trial verses that represent a continuation of Leaf 8. Following these, and separated from them by a horizontal line in\nblack ink, occurs a set of prose notes beginning with the words \"Make a succession/ of splendid gorgeous/ stately pageants or/ moving panoramas.\"\n","On the fourth page of the type B gathering. Inscribed in (somewhat smudged) black ink. These notes represent an intermediate stage between prose notes and trial verses; they are formatted as verses, but contain\nWhitman's instructions to himself, offering an outline of future verses rather than a sketch.\n","On the sixth page of the type B gathering. Inscribed and revised in black ink. Whitman's note \"Query?\" appears above the first line. Several phrases, like \"History,\" \"The Wars,\" and \"The greatest philosophers,\"\nare inscribed in very large letters and underlined.\n","On the first type A page after the type B gathering. These highly fragmentary prose and verse notes are inscribed in pencil and blue crayon, with some revisions to the blue crayon section in the same medium.\nDifferent sections of the notes are separated with dashes.\n","On the second type A page after the type B gathering. Inscribed, quite shakily, in pencil. The working title is underlined. As indicated above, these lines represent an intermediate stage between prose notes\nand trial verses. The different sections are separated by short horizontal lines. Although Whitman wrote about Greenwood Cemetery (Brooklyn) elsewhere, he did not use these notes for the independent poem he was\napparently projecting on this leaf.\n","The general title appears to be\n Old Age Echoes,\n  but beneath that title are the two poems under which titles the item is catalogued:\n Sounds of the Winter\n  and\n The Unexpress'd.\n  Pasted to the leaf below the second poem is a woodcut engraving of Walt Whitman along with his autograph. Under that is what has been classified as two lines from an unidentified poem. A note at top\nstates, \"intended to make one page.\"\n","From \"Shorter Notes, Isolated Words\" section #54.\n","Pencil on white paper. Pasted on top half of archival leaf.\n","Ink on pink paper. Pasted on bottom half of archival leaf.\n","Pencil on verso of envelope. Pasted on top half of archival leaf.\n","Ink on blue paper. Pasted on bottom half of archival leaf. Verso has some notes for poem\n [America, so young and so magnificent].\n","Written in ink. Pasted on top third of archival leaf.\n","Written in ink. Pasted in middle of archival leaf.\n","Written in pencil. Pasted on bottom third of archival leaf.\n","Written in ink. Pasted to own archival leaf.\n","Ink on lined paper. Pasted on own archival leaf.\n","From \"Memoranda from Books\" section #64.\n","This manuscript is a draft of lines that were published in\n Chants Democratic,\n  number 13, in the 1860 edition of\n Leaves of Grass\n . That poem was later revised and published as\n Laws for Creations\n ; however, the lines on this manuscript are a draft of the section of the poem that was deleted after the 1860 publication.\n","A draft of\n A Thought of Columbus,\n  a poem first published on July 16, 1892, in\n Once a Week\n , accompanied by Horace Traubel's account of its composition, called \"Walt Whitman's Last Poem.\" This manuscript is a draft of only the first six lines and is dated 1891.\n","On one leaf of white wove paper (22.5 x 13.5 cm.), in very dark brown-black ink, with revisions in the same ink and in pencil. Multiple pinholes just below center. At the top, which is damaged, can be seen a\ntitle or notes for a different poem reading\n [One?] Song—Come Philander\n ; the preliminary and incomplete draft of\n Three verses\n  (with the note \"2d or 3d verse\" and a question mark at different points) appears beneath a horizontal line. Whitman apparently never revised the poem further, and it was never published. At some point the\nleaf was folded in half, apparently to form part of a small notebook. On the verso appear two independent texts. One is a list of names and addresses (beginning with his brother and sisters \"Jeff./ Mary/ Han[nah]\"\nand including his friends and supporters Mrs. [Anne Burrows] Gilchrist, W[illiam] M[ichael] Rossetti, and [Edward] Dowden) of people to whom Whitman had apparently mailed copies of an article or book; all but two\nof the names are checked off in ink or in orange crayon. On the facing half-leaf, in pencil (mostly erased or deleted) and struck through with the same orange crayon, appear what seem to be notes for a newspaper\nannouncement, beginning \"Walt Whitman, after an absence of almost three years, appeared again on Pennsylvania Avenue this forenoon.\" Based on this date it can be speculated that the notes were written late in 1875\n(a possibility corroborated by the list of names), but the poem(s) may have been inscribed in the late 1860s or earlier.\n","This manuscript is a quotation from\n Song of the Answerer\n  (from section two, two lines beginning \"Time always without break\") and Whitman's signature. The manuscript is dated\n March 14, 1887\n .\n","On two sections of white, gray-ruled laid Department of Justice letterhead, the first cut down to 20 x 18 cm. and the second reduced to 18.5 x 18.5 cm. The engraved heading is missing from the first leaf but\nappears on the verso of the second, above the date \"187[ ].\" Both pages are inscribed in black ink, with revisions in the same and in brown-black ink. The first two entries on Leaf 1 appear to contain general\nnotes for this poem; the second entry reads, \"Make a demand for/ the Ideal, (or/ rather idea of the/ Ideal of the real).\" This is followed by the note \"in the piece,\" which leads up to several trial verses\neventually incorporated in the second verse paragraph of numbered section 5 of\n Thou Mother With Thy Equal Brood.\n  Leaf 2 (\"? Or—a song—a chant/ which shall sing—celebrate/—America...\"): these general notes, ending with a cartoon hand singling out the lines \"All the states/ East \u0026 west,/\nnorth \u0026 south/ Brotherhood/ an equal union[,]\" prefigure the whole poem, but particularly such lines as \"South, North, West, East,/ (To thy immortal breasts, Mother of All, thy every daughter,/ son, endear'd\nalike, forever equal,)\" in the same section projected on Leaf 1.\n\n","This manuscript is a draft of a piece for a periodical advertising the presence of a new \"burlesque portrait\" of Whitman by Frank Bellew. It was apparently published in the\n Fifth Avenue Journal\n  in 1872.\n","On a tax form trimmed down to 21 x 12 cm., with the upper corners cropped diagonally. Two sets of pinholes. The first two verses, taken more or less directly from\n [Of Biography],\n  have no revisions, but the remaining three verses represent a significant expansion of the themes in the prose notes and are extensively revised. Two of the corrections are in brown ink. These verses,\nwhich precede\n [Walt Whitman's law]\n  in the composition process, correspond, like\n [Of Biography],\n  to section 2 of the 1860 version of the poem.\n","Two leaves of ink on pink paper. Verso of second leaf is ordered list of poems beginning with \"33 A Handful of Air\" and ending with \"72 Leaf.\" Note indicates poem as unpublished.\n","Note on top states \"sent April 21 to Herald.\"\n","On the top half of leaf is a printed, struck-through copy of the note about the Trent Affair which accompanied Whitman's poem\n For Queen Victoria's Birthday,\n  which was published first in 1890. On the bottom half of leaf is a note written in purple pencil reading, \"W.W.'s respects—/—if convenient print in paper of 24th/—no pay expected.\"\n","A partial draft of the Preface to\n Two Rivulets\n , a volume published in 1876.\n","The general title appears to be\n Old Age Echoes,\n  but beneath that title are the two poems under which titles the item is catalogued:\n Sounds of the Winter\n  and\n The Unexpress'd.\n  Pasted to the leaf below the second poem is a woodcut engraving of Walt Whitman along with his autograph. Under that is what has been classified as two lines from an unidentified poem. A note at top\nstates, \"intended to make one page.\"\n","Possibly\n Democratic Vistas.\n","Note at bottom states \"sent to Herald March 11.\" Written in ink and partially on verso of letter addressed to Walt Whitman from London.\n","Includes copy of drawing, \"Where Walt Whitman was Born\"; printed sheet, \"Walt Whitman, His Home and His Inspiring Oak\"; typed description of Whitman's birthplace.\n","Autobiographical sketch for publication in \"The Critic.\"\n","On a full tax form (22 cm. x 12 cm.) with the corners slightly cropped diagonally. Two sets of pinholes in center. This leaf, bearing the deleted title\n To an artist, literat, \u0026c\n  and first line \"Come, I have now to tell/ you[,]\" revises and expands on\n To a Literat.—\n  It was revised to form sections 1 and 2 of the 1860 version of the poem, after first being revised itself in the leaves described under\n Chants Democratic\n  below.\n","From \"Notes on the Meaning and Intention of 'Leaves of Grass,'\" section #59.\n","This manuscript contains notes about whales. The relationship of this manuscript to Whitman's published work is unknown. These notes may be a continuation of notes written on a separate leaf and held at Duke\nUniversity (The Trent Collection of Walt Whitman Manuscripts, Duke University Rare Book, Manuscript, and Special Collections Library), \"The Whale,\" MS 4 to 88.\n","Believed to be for or from some poem in\n Sands at Seventy\n . Final version of poem entitled, \"By That Long Scan of Waves.\" Written in purple pencil and ink. Includes a negative photostat of manuscript.\n","One leaf in ink on lined paper with pencil revisions.\n","Pocket notebook of Walt Whitman in which he made notes of his visits with patients in Civil War hospitals. Consists of notes written in pencil on 8 leaves of paper folded in half to form a booklet which is\nbound with a pink ribbon. The notebook lists names and details about various Civil War soldiers that Whitman met while volunteering in Washington, D. C., hospitals during the war.\n","With autograph lines by Walt Whitman showing his past and proposed trips.\n","Regarding Whitman correspondence to Robert Underwood Johnson, 1879 October 29.\n","Edward Clifford is an English artist.\n","Regarding a Walt Whitman letter to Peter Doyle, 1888 November 19, proven to be a forgery.\n","Originally enclosed in Walt Whitman letter to John Burroughs, [1879] November 23.\n","SEE verso Walt Whitman to [J. B. Gilder], [1887] March 18.\n","SEE verso of AMs, \"Walt Whitman is putting the later touches....\"\n","Regarding a pencil sketch by Joseph Jackson completed at Walt Whitman's birthday dinner in Philadelphia on May 31, 1890.\n","See verso of manuscript fragment, \"the best part of literature and religion.\"\n","Includes Whitman manuscript, \"the city as well as country. Other wars...\" and photograph of Walt Whitman, Harry, and Kitty Johnston.\n","Regarding Whitman correspondence to C. F. Currie, 1890 August 1.\n","Regarding Whitman correspondence to Oran S. Baldwin, 1883 December 15.\n","Regarding Whitman correspondence to Oran S. Baldwin, 1883 December 15.\n","Regarding Walt Whitman's financial state, with attached clipping from Boston Saturday Evening Gazette, November 17, 1867.\n","SEE Walt Whitman to [William Sloane Kennedy?], ALS, April 11, 1887.\n","Regarding Whitman correspondence to Oran S. Baldwin, 1883 December 15.\n","See verso of \"How often I have fancied...\"\n","Envelope written in the hand of Walt Whitman: \"Mother's last lines.\"\n","With dealer's note and typed transcription.\n","Dr. Feinberg indicates recipient is Moncure Conway.\n","Whitman transmits a copy of the 1871 J.S. Redfield edition of  Leaves of grass  for use as a dummy for a proposed English edition. Originally tipped in Barrett PS3201 1871b COPY 2.\n","Note: \"This letter was written to Ann Gilchrist. Mrs. Gilchrist was the English widow who came to American to find Whitman. Whitman here is trying to warn her off.\"\n","Letter purchased in honor of Michael Plunkett, Director of Special Collections, on his retirement 2005 December 1.\n","For original, see ALS, John Burroughs to [John Jay] Knox, 1873 September 14.\n","See \"Is Walt Whitman's Poetry Poetical?\"\n","With explanatory note regarding individuals mentioned and date of letter.\n","See TLS, Ellen C. Ahern to R. V. Thornton, 1949 July 21, regarding discovery of this Whitman letter with an enclosure: a brief biographical sketch of R. U. Johnson.\n","Also see Printed Map of the United States in Vault Barrett Oversize. For original Gilchrist letter, see Ann Gilchrist to Walt Whitman, 1879 October 6.\n","See \"Embers of Ending Days.\"\n","\"Mrs. Alma Calder Johnston, wife of J. A. Johnston, [N. Y.?] jeweler, in whose home Whitman used to stay when in [N. Y.?].\"\n","Whitman refers in this letter to the \"general Death-gloom\" of the nation,\" most likely referring to the assassination of President James A. Garfield.\n","Envelope addressed to \"Carl Knortz.\"\n","Two fragments of letter glued, with one of the fragments on the back of an envelope addressed to Walt Whitman. Dealer's note: \"The aging poet uses a page and the back of an envelope to draft a letter of thanks\nto the editor of \"Pall Mall Gazette\" for the gift of £81 sent by readers.\"\n","Regarding Tennyson-Whitman correspondence. Verso: J. B. Gilder to [Walt] Whitman, ALS, 1887 March 17.\n","Referring to T. W. Rolleston postcard to Walt Whitman, 1888 September 1.\n","Also see Jacob Klein to W. S. Kennedy, 1881 September 1, for reason of Whitman's letter to Jacob Klein.\n","Includes typed transcription and brief description.\n","Regarding Algeron, Charles Swinburne, and Walt Whitman.\n","See verso of \"Orange buds by mail.\"\n","See verso of \"The First Dandelion.\"\n","SEE verso of AMs fragment, \"The Bible as Poetry.\"\n","Inscribed on top: \"Walt Whitman's Card-receiver. Presented to Dr. Raley H. Bell by Mrs. Mary O. Davis, April 18th 1903.\" Inscribed on bottom: \"Plucked from the tomb of Whitman, April 18, 1903. R.H.B.\"\n","Gift in honor of Floyd Stovall\n","Stamped on verso: \"Life Photo by Thomas D. McAvoy\".\n","Gift in honor of Floyd Stovall. Printed below image: \"Photoype. F. Gutekunst. Philadelphia.\" \n","Gift in honor of Floyd Stovall. Printed below image: \"Phototype. F. Gutekunst. Philadelphia.\" Also one copy of Louisa Van Velsor Whitman and Walter Whitman included on same image.\n","Engravings by Samuel Hollyer.\n c.1: Signed by Samuel Hollyer. Inscribed at bottom, \"First [India] finished proof off plate-approved by W. Whitman.\"\n c.2: Signed, \"Walt Whitman 1855\"\n c.3: Signed, \"Walt Whitman from life, 1855\"\n c.4: Signed \"Walt Whitman\" by unknown hand.\n c.5: Mounted, inscribed at bottom, \"Portrait noted on P. 357. Walt Whitman\" in unknown hand.\n","Photographer unknown, probably Gabriel Harrison.\n","#3829-v, Gift in honor of Floyd Stovall. Original photograph by Charles C. Hine.\n c.1: Mounted reproduction by \"Rockwood. 1440 Broadway N.Y. (40th St.) Holland Building.\" Printed on verso: \"N.B.-This photograph is copied from another picture and must not be takes as a sample of our work direct from life. Geo. G. Rockwood.\" Inscribed on verso: \"Walt Whitman by Charles C. Hine\" [possibly Whitman's hand]\n c.2: Print, signed \"Walt Whitman\"\n c.3: Print, tipped to cardboard backing, no inscription.\n c.4: Print, mounted, no inscription.\n","Inscribed, \"Walt Whitman New York 1860.\"\n","Photographer unknown, but speculation is J. W. Black of Boston.\n","Photograph by Gilbert \u0026 Bacon, 1030 Chestnut St. Philadelphia. Inscribed twice: \"Walt Whitman taken from life 1863 wartime Washington D.C.\" and \"to Horace L. Traubel from his friend W. W. June 1888.\"\n","Photograph by Alexander Gardner, Washington D.C., with typed description on back: \"Hitherto unpublished photograph of Walt Whitman from the private collection of Robert Coster. This is the only photograph of\nthe kind of Whitman known to be in existence.\"\n","Photograph by Alexander Gardner, inscribed on image: \"Walt Whitman 1865 ... born May 31, 1819\" and on verso: \"Given to a Comrade as a Memento in Washington City, June 29, 1865.\"\n","Photograph by Mathew Brady, Washington, D. C. Recto: Signed, \"Walt Whitman.\" Verso: Signed, \"Walt Whitman 1867-\" Printed, \"Brady's National Photographic Portrait Galleries Broadway and 10th Street New York-627\nPennsylvania Avenue, Washington D. C.\"\n","Photographer unknown, possibly Mathew Brady. Inscribed on verso: \"For C. A. Wilson- because he knows the hearts of books as well as their end-papers. From Jack Birso 2:25:36\".\n","Photograph by Mathew Brady. Note on back: \"5-18-54 Purchased from W. H. [Louder?] 715 12th St. NW Washington DC for 7.00, in frame. P. A. Jones official of WHL the owner. Says he had it framed about 25 years\nago at Cooper's Art Shop 1324 G St N.W. long since out of business. That's all he recollects. Believes this print was made in 1890's. Couldn't recall from where he...was born in '92.\"\n","Photographer unknown, perhaps William Kurtz. Inscribed on verso: \"Presented to Mr. [C. O. Maillong ?] by Mrs. Mary O. Davis May 20th 1903.\"\n","Gift in honor of Floyd Stovall. Photographer unknown.\n","Photographer unknown, perhaps William Kurtz. Original signed, \"Walt Whitman 1869\".\n","Photograph by G. Frank Pearsall, Brooklyn. Original signed, \"Walt Whitman Jan 1-1878\".\n","Photograph by J. Gurney and Son, New York.\n c.1: Mounted image, \"Gurney \u0026 Son, Fifth Ave. N. Y.\"\n c.2: Copy, with typed description on verso: \"Hitherto unpublished photograph of Walt Whitman from the private collection of Robert Coster. This is the only photograph of Whitman known to be in existence.\"\n","Photograph by Henry Ulke and Brothers, Washington D. C. Inscribed on verso: \"Presented to Mr. [C. O. Maillong ?] by Mrs. Mary O. Davis May 20th 1903.\"\n","Recto: \"Rockwood 1440 Broadway, N.Y. (40th St.) Holland Building. Verso: Inscribed, \"Walt Whitman,\" in unknown hand.\n","Inscribed in pencil on verso: \"Turney \u0026 Son Photographers.\" After careful scrutiny of image, although extremely similar to Saunders #41, there is slight discrepancy which indicates a different image.\n","Print by William J. Linton from a photograph of George C. Potter, Washington, D.C., with three copies.\n","From \"Men of the Day,\" the Fifth Avenue Journal, (copy # 89 out of 100). Original in Vault oversize V-13.\n","#3829-v, Gift in honor of Floyd Stovall. Photograph by G. Frank Pearsall, Brooklyn.\n c.1. Photograph signed by Walt Whitman, \"Walt Whitman 1877\"\n c. 2. Photograph signed by Walt Whitman, \"Walt Whitman\"\n c. 3. Mounted photograph, without printed caption at bottom\n c. 4. Mounted photograph, with printed caption at bottom: \"Photo'd from life, Sept., '72, Brooklyn, N.Y. by G. F. E. Pearsall, Fulton St. (Printed by C. F. Spieler, Phila.)\n c. 5. Mounted double photograph, without caption [possibly a stereoview]\n","Photograph by G. Frank Pearsall, Brooklyn.\n","Wood engraving of a portrait by Linton, 1875, with a proof title page of the 1876 edition of  Leaves of Grass.","#3829-v, Gift in honor of Floyd Stovall. Photograph by Napoleon Sarony, New York, with two copies.\n c.1. Photograph signed by Walt Whitman, \"Walt Whitman Sept 13 1881\"\n c.2 Photograph, mounted, unsigned.\n","Etching by [Gribayedoff?], based on 1878 photograph by Napoleon Sarony.\n","Photograph by Napoleon Sarony, New York, [?] 87 Union Square, N. Y.\n","Photograph by Napoleon Sarony, New York.\n","Photograph by Napoleon Sarony, New York.\n","Inscribed \"Harry and Kitty-Walt Whitman, 1879.\" Enclosed in John H. Johnston letter to Mr. Watson, March 11, 1912.\n","Inscribed on verso, \"Harold, 'Kittie', and 'Uncle Walt,'\" by William Kurtz, New York, Madison Square.\n","Photograph by William Kurtz, New York.\n c.1: grass drawn into child's hand, no inscription. Inscribed on verso: Loaned by Bertha Johnston 389 Clinton St. Brooklyn.\n c.2: grass drawn into child's hand, with inscription from \"Leaves of Grass\" on bottom, \"'a child said to me \"What is the grass?\" fetching it to me with full hands. How could I answer the child!'\" Inscribed\non verso: \"Miss Bertha Johnston 514-8\" [...] Brooklyn. Walt Whitman, Harry Johnston (Harold Hugh)\"\n","Original photograph by Edy Brothers, London Ontario.\n","Original photograph by Edy Brothers, London, Ontario. Stamped \"Walt Whitman\" on verso.\n","Gift in honor of Floyd Stovall. Photograph by Edy Brothers, London, Ontario, with two copies.\n","#3829-v, Gift in honor of Floyd Stovall. \n c.1: Printed on bottom of phototype: \"Photoype. F. Gutekunst. Philadelphia.\"\n c.2: Image by Thomas C. Watkins, originally enclosed with AMS draft \"The Dalliance of Eagles.\"\n c.3: Mounted phototype, printed at bottom, \"Phototype. F. Gutekunst. Philadelphia.\"\n c.4: Inscribed on verso: \"Presented to Dr. Raley H. Bell by Mrs. Mary O. Davis. May 20th 1903.\"\n","Photographer unknown, perhaps Edy Brothers, London, Ontario. Printed on verso: \"Broadbent \u0026 Taylor 914 Chestnut St. Philadelphia. S. Broadbent. W. Curtis Taylor.\"\n","Inscribed on verso, \"made by Gutekunst 1881-early copy given to H.T. by W.W.,\"\n","By Charles H. Spieler, Philadelphia.\n","By Charles H. Spieler, Philadelphia.\n","Photograph by Phillips and Taylor, Philadelphia. Inscribed on back: \"Presented to Raley H. Bell by Mrs. Mary O. Davis May 20th 1908.\"\n","Based on 1880 Frederick Gutekunst photograph. Printed below image: \"Walt Whitman, 1887.\"\n","Photograph by George C. Cox, New York.\n c.1. signed print.\n c.2. unsigned print.\n","Photograph by Frank P. Harned, Camden.\n c.1: Signed photograph, \"Walt Whitman\"\n c.2: Unsigned photograph. Inscribed on verso: \"To J H Johnston Camden NJ Feb 24 1893 Taken in Camden by F. P. Harned about 188[9?]\"\n","Photographer unknown, probably Frank P. Harned, Camden (similar to Saunders #96).\n","Photographer unknown, probably George C. Cox. Image similar to Saunders #98.\n","Inscribed on verso: \"Given to me by Mary Davis Mar 27 1895 J H Johnston.\" Photographer unknown, probably Thomas Eakins, Philadelphia.\n","Photograph possibly by Frederick Gutekunst, Philadelphia.\n","Photograph by H. C. Willets. More than likely an early hoax photograph. Biographical note of Walt Whitman top left. Printed below: \"This is a photo enlarged from a Kodak 3x4 in a form never before in print and\nsome facts never before made.\"\n","Original signed, \"Walt Whitman in 1890.\" Photograph by Frederick Gutekunst, Philadelphia.\n","Pencil sketch by Joseph Jackson, inscribed on verso, \"sketched at Reisser's at the Walt Whitman dinner. Jo Jackson May 31, 1890,\" with explanatory letter, July 28, 1943, from Joseph Jackson to Mr. Borneman\nregarding sketch.\n","Inscribed: \"Walt Whitman, Camden, N. J. 1890-cut from life by his friend B. D.\"\n","Copper plate for engraving by T. E. Johnson, based on 1887 George C. Cox photograph. Original copper plate and framed print in Vault-Barrett-Oversize W-5. 71 strikes from copper engraving plate in Vault-Barrett-Oversize V-13.\n","Etching completed as a bust framed with classical motifs, with a reproduction of his signature framed below by Bernhardt Wall.\n","Invitations from the Grolier Club to the Walt Whitman exhibit, with enclosure.\n","Painting by Carl Holty. \"Walt\" by permission of Mr. Holty and Addison Gallery of American Art, Phillips Academy.\n","Images attached to leaves of notebook\n p.1: Walt Whitman, 1866. Saunders #23.1\n p.2: Walt Whitman, [1867?]. Saunders 24\n p.3: Walt Whitman, 1866. Saunders #23.1\n p.4: Walt Whitman, 1880. Saunders #76.\n p.5: Walt Whitman, ca. 1862. Saunders #16\n p.6: Walt Whitman, [1867?]. Saunders #24\n p.6a: Walt Whitman, 1866. Saunders #23.1\n p.7: Walt Whitman, [1869?]. Saunders #70\n p.7a: Walt Whitman, 1866. Saunders #23.1\n p.8: Walt Whitman, [1881?]. Saunders #101\n p.9: Walt Whitman, 1887. Saunders #98\n p.9: Walt Whitman, ca. 1862. Saunders #16\n p.10: Walt Whitman, [1869?]. Saunders #70\n p.11: Walt Whitman, 1887. Saunders #94.\n p.12: Mark Twain\n p.12a: Walt Whitman, 1887. Saunders #92.\n p.13: Walt Whitman, 1887. Saunders #95.\n p.14: Walt Whitman, 1878. Saunders #71\n","Sketch by Joseph Simpson.\n","Sketch by George W. Waters. Printed below: \"Pen-and-ink sketch of Walt Whitman by George W. Waters, of Elmira, New York, given by him to Mrs. Alma Calder Johnston, in whose New York home both poet and artist\nwere frequent guests.\"\n","Possibly based on 1878 Napoleon Sarony photograph of Walt Whitman.\n","Drawing by Eastman Johnson.\n","Original woodcut by Antonio Frasconi.\n","Artist unknown.\n","From the Painting by J. W. Alexander,\" by Kurtz. Published in H\n arpers Magazine,\n  volume 84, Number 503, April 1892.\n","Includes:\n Portrait of Walt Whitman  by Thomas Eakins\n Photograph of Walt Whitman, 1889, Saunders #111\n Portrait of Walt Whitman painted from life by Mr. John W. Alexander\n Photograph of Walt Whitman and Warren Fritzinger, 1890, Saunders #108, with caption: \"Whitman on the Wharf at Camden, N.J.\"\n","From cover of Suffolk Telephone Directory.\n","1. Interior of Walt Whitman's room. Verso: \"Life Photo by Herbert Gehr\"\n 2. Photograph of outside plaque. Verso: \"Life Photo by Herbert Gehr\"\n","Verso of both photographs: \"Credit: Andreas Feininger from Black Star, Graybar Building, New York.\"\n","Verso of each photograph: \"Life Photo by Herbert Gehr.\"\n","Original print by George Innes. See AMsS,  Death's Valley.  From\n Harper's Magazine,\n  volume 84, Number 503, April 1892.\n","Special double issue: Whitman Photographs.\n"],"userestrict_html_tesm":["\u003cp\u003eSee the \n            \u003cextref type=\"simple\" href=\"https://www.library.virginia.edu/policies/use-of-materials\"\u003e\n            University of Virginia Library’s use policy.\u003c/extref\u003e\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions\n"],"userestrict_tesim":["See the \n             \n            University of Virginia Library’s use policy."],"language_ssim":["English\n"],"total_component_count_is":901,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T12:34:19.739Z","scopecontent_html_tesm":["\u003cp\u003eLiterary Manuscripts (Series I) includes numerous drafts, editions, and revisions of many of Whitman's poems and articles. Included are manuscripts of \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass, Song of Myself,\nSea-Drift, As I Sit in Twilight, A Carol for Harvest for 1867,\u003c/title\u003e and biographical writings on Emerson, Carlyle, and Elias Hicks.\n\u003c/p\u003e","\u003cp\u003eMiscellaneous Manuscripts (Series II), consists of legal documents, multiple versions of Walt Whitman's last will and testament, autograph signatures and envelopes, his Civil War diary written while visiting\nhospitals of the wounded in 1863, and a flower and pin he attached to his coat.\n\u003c/p\u003e","\u003cp\u003eCorrespondence (Series III), consists chiefly of Walt Whitman's personal correspondence; correspondents include Ellen C. Ahern, H. M. Alden, Jack Biriss, Richard Maurice Bucke, John Burroughs, Edward Carpenter,\nEdward Clifford, Peter Doyle, Ralph Waldo Emerson, Charles E. Feinberg, Charley Eldridge, Horace Howard Furness, Ann Gilchrist, J. B. Gilder, J. L. Gilder, Joseph Jackson, J. Johnston, Thomas Hancock Nunn, Jacob\nKlein, Edwin Miller, Albert B. Otis, James Parton, Abby H. Price, Ernest Rhys, T. W. Rollerston, J. H. Rome, Charles Rowley Jr., Oscar Wilde, and D. W. Zimmerman.\n\u003c/p\u003e","\u003cp\u003eMiscellaneous Documents (Series IV), includes an advertisement for his lecture on Abraham Lincoln, publications, a mounted leaf from his tomb, the \"Official Walt Whitman stamp and envelope\" released in 1940,\nand a broadside for one of his poems: \"Poem describing a Perfect School.\"\n\u003c/p\u003e","\u003cp\u003ePhotographs, Engravings, and Prints (Series V), consists of numerous photographs of Walt Whitman taken throughout his life, ranging from 1854 to 1892. There are also photographs of Mary Davis, Horace L.\nTraubel, Louisa Van Velsor Whitman (Whitman's mother), Walter Whitman (Whitman's father), Walt Whitman's dog, and various photographs of his house, the Walt Whitman statue, and the beaches he frequented.\n\u003c/p\u003e","\u003cp\u003eOdds and Ends (Series VI), consists of the wrappers in which \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass\u003c/title\u003e was housed when acquired by Clifton Waller Barrett and an unbound copy of \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eWhitman's Manuscripts: Leaves of\nGrass (1860): a parallel text\u003c/title\u003e by Fredson Bowers.\n\u003c/p\u003e","\u003cp\u003e Notes for a lecture on Homer and Emerson possibly given at Amherst College.\n\u003c/p\u003e","\u003cp\u003eA draft of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eAfter the Supper and Talk\n\u003c/title\u003e on one composite leaf comprising at least seven irregularly cut fragments of different types of white paper pasted to each other and, collectively, to one leaf (25 x 20 cm.) of blue-ruled white laid paper\nwith a partly visible watermark. In brown-black and black ink with extensive revisions in the same inks, in pencil, and in lighter brown ink. This poem was rejected by\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eHarper's\n\u003c/title\u003e in 1885 but published in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLippincott's Magazine\n\u003c/title\u003e in November 1887, after which it eventually became the final poem in the \"first annex\" titled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSands at Seventy.\n\u003c/title\u003e To the verso are pasted sections 16 and 18-19 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePoem of Joys\n\u003c/title\u003e (final title:\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eA Song of Joys\n\u003c/title\u003e) clipped either from the independent book\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003ePassage to India\n\u003c/title\u003e (1871) or from the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePassage to India\n\u003c/title\u003e supplement to\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass.\n\u003c/title\u003e The section numbers of these lines are deleted in orange crayon, and the whole paste-on is deleted in pencil, with the pencil note, in a hand other than Whitman's, \"Original mss/ Walt Whitman/ Poet\"\nappearing to the right of it.\n\u003c/p\u003e","\u003cp\u003eThis is an earlier draft than manuscripts located in the Feinberg Collection at the Library of Congress. The order of inscription seems to have been as follows, as deduced from incision patterns, paper types,\nand the overlap of letters on transferred sections of paper. First Whitman inscribed and heavily revised a draft of the poem on a section of gray-ruled wove paper. Wanting to avoid rewriting the clearest lines, he\nexcised these (comprising the first two verses and the words \"Shunning the...\" from the original third verse) and pasted them to a section of blue-ruled wove paper with letterhead reading, in part, \"Attorney.../\nWashington...,\" apparently discarding the section of gray-ruled paper upon which the rest of the original verses appeared. These excised verses he drafted again on the blue-ruled paper. He then used a paste-on\nfragment of laid paper to revise the second half of the verse beginning \"Shunning...\"; at the end of the sentence, however, he deleted the period and added the words \"so hard to unclasp his hand[s?]!\" (That he\nadded this as an afterthought is indicated by the fact that the half-line is crowded in over a preexisting curve along the lower edge of the laid fragment). Unsatisfied with the addition, he deleted part of it,\ntested and deleted the phrase \"release those hands\", deleted \"so hard to,\" and then, out of space, squeezed a revision of this line in on the gray-ruled paper after the verse \"Good-bye...repeating.\" It next\noccurred to Whitman to add an explanatory line beginning \"(No more will they meet...)\" after \"hands,\" but since he had no space in which to do so he cut apart the composite leaf and pasted the two halves to a\nsmall section of wove paper—just large enough to hold the pieces together and afford room for the parenthesis. In revising the parenthesis, however, he ran out of space again. It was at this point that he\nobtained the large section of blue-ruled laid paper upon which the other sections are all overlaid, and, cutting away the second half of the parenthetical verse, pasted both of what were now composite half-leaves\nto the blue-ruled leaf. He then inscribed on this leaf the title, his revision of the rest of the parenthetical verse (in space he left between the composite halves), and the revised final verse. (It is difficult\nto determine at what point Whitman excised the title and last verse from the composite leaves, beyond noting that he did so before pasting the leaves to the blue-ruled section).\n\u003c/p\u003e","\u003cp\u003ePasted to leaves in the volume are five variations on the poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eAs I Sit in Twilight, Late.\n\u003c/title\u003e A transcription of the final version begins the volume.\n\u003c/p\u003e","\u003cp\u003eThis manuscript contains notes about the intellects of Plato and Aristotle. According to Floyd Stovall in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Foreground to Leaves of Grass\n\u003c/title\u003e (Charlottesville, U of Virginia P, 1974, p. 176), these notes are based on F.W. Schlegel's\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLectures on the History of Literature\n\u003c/title\u003e (NY, 1841, 99f. or London [Bohn ed.], 1859, 82ff).\n\u003c/p\u003e","\u003cp\u003eNoted as the preface to\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNovember Boughs\n\u003c/title\u003e of 1888.\n\u003c/p\u003e","\u003cp\u003eA partial draft of prose considering the nature of God and religion written on the verso of letter from Johnston dated 1874. The relationship of this prose to Whitman's published work is unknown.\n\u003c/p\u003e","\u003cp\u003eThis manuscript is a draft of part of Whitman's essay\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThe Bible as Poetry,\n\u003c/title\u003e which was published first in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Critic\n\u003c/title\u003e on\n\u003cdate normal=\"1883-02-03\" era=\"ce\" calendar=\"gregorian\"\u003eFebruary 3, 1883\n\u003c/date\u003e. On the verso is letter dated\n\u003cdate normal=\"1883-01-13\" era=\"ce\" calendar=\"gregorian\"\u003eJanuary 13, 1883\n\u003c/date\u003e from D.M. Zimmerman of the Camden and Atlantic Railroad, which offers Whitman a complimentary rail pass.\n\u003c/p\u003e","\u003cp\u003eThis manuscript contains notes about certain aboriginal peoples. A short article entitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThe Wild Men of Borneo\n\u003c/title\u003e is pasted toward the bottom of the leaf. The relationship of this manuscript to Whitman's published work is unknown.\n\u003c/p\u003e","\u003cp\u003eNote at top of page states \"Sent Herald March 3—sent again April 9 '88.\" Written in purple pencil.\n\u003c/p\u003e","\u003cp\u003eIncluding \"The Return of the Heroes.\" On 29 pages, many of them composite leaves, comprising five different cuttings or packs of paper on which two or more leaves are inscribed, and other cuttings on which only\none leaf is inscribed. All but a handful of the leaves are inscribed on white laid paper ruled in light blue-green on both sides or on all of one side and some of the other. In his\n\u003cdate normal=\"1954\" era=\"ce\" calendar=\"gregorian\"\u003e1954\n\u003c/date\u003e edition and study of the manuscript in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eModern Philology\n\u003c/title\u003e (vol. 52, no. 1), Fredson Bowers grouped the leaves by cutting-type as follows (letters having been added here for convenience). Type A: Leaves 1 and 21. Type B: Leaves 2-3. Type C: Leaves 4-5 and 15-16.\nType D: Leaves 6-9, 12-14, and 19. Type E: Leaves 17-18. As Bradley and Blodgett note, this poem was first published in the\n\u003cdate normal=\"1867-09\" era=\"ce\" calendar=\"gregorian\"\u003eSeptember, 1867\n\u003c/date\u003e issue of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Galaxy\n\u003c/title\u003e and reprinted in the London-based\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eTinsley's Magazine\n\u003c/title\u003e in October of that year. After appearing with various revisions in the\n\u003cdate normal=\"1871\" era=\"ce\" calendar=\"gregorian\"\u003e1871\n\u003c/date\u003e\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003ePassage to India\n\u003c/title\u003e and the\n\u003cdate normal=\"1876\" era=\"ce\" calendar=\"gregorian\"\u003e1876\n\u003c/date\u003e\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePassage to India\n\u003c/title\u003e supplement to\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eTwo Rivulets\n\u003c/title\u003e, the poem was permanently retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThe Return of the Heroes.\n\u003c/title\u003e This took place in the\n\u003cdate normal=\"1881\" era=\"ce\" calendar=\"gregorian\"\u003e1881\n\u003c/date\u003e edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e, where the poem appeared without its original first two verse paragraphs. At one point this manuscript was in the possession of Whitman scholar Clara Barrus, who clipped to Whitman's title page a note\nincluding these lines: \"...Precious souvenirs, given me by Thos. B. Harned, one of Whitman's literary executors. You can almost feel Walt's heart beat in these lines.\" This and other short notes by Barrus have\nbeen unclipped from the leaves. Annotations by Barrus (or another collector with a similar hand) are mentioned when significant enough to warrant attention, but are otherwise left undescribed.\n\u003c/p\u003e","\u003cp\u003eOn a section of type A paper measuring 19.5 x 12.5 cm. Multiple pinholes in center. Inscribed in pencil on both sides, with no revisions on the recto (title page) but some on the verso, where the lines\n(beginning \"As a huge muse[eum?] mowing\") are deleted with a single vertical pencil stroke. The title is underscored three times. The lines on the verso were revised to constitute verse paragraph 29 in section 12\nof the\n\u003cdate normal=\"1871\" era=\"ce\" calendar=\"gregorian\"\u003e1871\n\u003c/date\u003e published version of the poem; in\n\u003cdate normal=\"1881\" era=\"ce\" calendar=\"gregorian\"\u003e1881\n\u003c/date\u003e the verse paragraphs were not numbered and this section was permanently renumbered 8.\n\u003c/p\u003e","\u003cp\u003eOn a composite leaf, type B, formed by joining the upper section of verses excised from what is now the lower section of Leaf 3 to the head of another set of verses by means of a section of the same paper\npasted to the verso. The upper section measures 10.5 x 12.5 cm., the lower section measures 6.5 x 12.5 cm., and the backing strip measures 8 x 12 cm. Multiple pinholes in center. Inscribed in black ink, with heavy\nrevisions in the same ink and in pencil. Whitman's boxed pencil note \"Harvest carol for 1867\" runs up the left margin, followed by the unboxed note \"1867—the great/ Harvest.\" (The second line at the top of\nthe leaf, deleted, reads \"The great Harvest of 1867\"). After further revision these sections became, respectively, verse paragraphs 1 and 2 (together comprising section 1) of the 1871 version of the poem. In 1881,\nthis entire section, as noted above, was deleted from the poem.\n\u003c/p\u003e","\u003cp\u003eOn a composite leaf, type B, formed by joining the section of verses beginning \"For the Lands...\" to the lower set of verses excised from what is now the upper section of Leaf 2. The sections measure as\nfollows: 11 x 12.5 cm. (upper); 9.5 x 12.5 cm. (lower); 8 x 12 cm. (backing). Inscribed in black ink, with revisions in the the same ink and in pencil. Barrus jotted down the 1881 title and page number at the top\nof the leaf, along with the note \"I—.\" With further revision—including the deletion of the last line, beginning \"O theatre of Time,...\"—these sections became verse paragraphs 3 and 4 (comprising\nsection 2) of the 1871 version of the poem. In 1881 these paragraphs went unnumbered and, with the deletion of the original first section, together formed section 1 of the poem (hence the \"I\" added by Barrus).\n\u003c/p\u003e","\u003cp\u003eOn a section of type C paper (19.5 x 12.5 cm.), inscribed in black ink, with several revisions in the same ink. Whitman penned in the note \"?unfailing\" in the upper right corner of the leaf. Someone else, it\nseems—most likely Barrus—added the pencil note \"—2—\" in the top center of the page. Multiple pinholes in center. With a few small revisions these verses together with those on Leaf 5 became\nverse paragraph 5 (section 3) of the 1871 published version of the poem. In 1881 section 3 became section 2.\n\u003c/p\u003e","\u003cp\u003eOn a section of type C paper (19.5 x 12.5 cm.), inscribed in black ink, with heavy revisions in the same ink and in pencil. Multiple pinholes in center. The first few deleted lines on the page constitute false\nstarts. After further revision the remaining lines joined revised lines from Leaf 4 in section 3 (verse paragraph 5) of the 1871 version of the poem, and stayed with the Leaf 4 lines in section 2 of the 1881\nversion.\n\u003c/p\u003e","\u003cp\u003eOn a section of type D paper (19.5 x 12.5 cm.). Multiple pinholes in center. Inscribed and revised in pencil, with a single revision in brown-black ink. Barrus or another annotator, it seems, added the number\n\"—3—\" in the top center of this leaf. With some small revisions these lines became verses 1-6 of verse paragraph 6 (section 4) of the 1871 version, and in 1881 they comprised verses 1-6 of section 3.\nLeaves 7-9 contain the verses that would eventually complete this section, and, as Bowers notes, leaves 6-9 come from the same pack of paper, are all inscribed and revised in the same media, and feature matching\npinhole patterns.\n\u003c/p\u003e","\u003cp\u003eOn a section of type D paper (19.5 x 12 cm.). Multiple pinholes in center. Inscribed and extensively revised in pencil. Two deleted false starts appear at the head of the leaf. With some slight further\nrevisions these lines became verses 7-9 of section 4 (verse paragraph 6) in the 1871 version of the poem; in 1881 they comprised verses 7-9 of section 3.\n\u003c/p\u003e","\u003cp\u003eOn a section of type D paper (19.5 x 12.5 cm.), with multiple pinholes in center. Inscribed and revised in pencil, with one correction in brown-black ink. With slight revisions these lines became verses 10-12\nof section 4 (verse paragraph 6) in the 1871 version of the poem; in 1881 they constituted the same part of section 3.\n\u003c/p\u003e","\u003cp\u003eOn a section of type D paper measuring 19.5 x 12.5 cm., with multiple pinholes in center. Inscribed and heavily revised in pencil. All of the verses below the half-point of the page are deleted with a diagonal\npencil stroke. The remaining line was incorporated in the 1871 version of the poem as the final verse (13) of section 4 (verse paragraph 6), a position it maintained in section 3 of the 1881 version.\n\u003c/p\u003e","\u003cp\u003eOn a composite leaf formed by pasting together three sections (10 x 12.5, 13.5 x 12.5, and 6 x 12.5 cm.) of the white laid blue-ruled paper. Multiple pinholes in the area that becomes the center of the leaf\nwhen the bottom section is folded up. All three sections are inscribed in black ink, with extensive revisions in the same ink and in pencil. Barrus or another annotator has added the number \"—4—\" in\npencil at the head of the leaf. With some small revisions these lines became section 5 (verse paragraphs 7-10) of the 1871 version of the poem, and in 1881 they constituted the first three verse paragraphs of\nsection 4.\n\u003c/p\u003e","\u003cp\u003eOn a leaf of white laid paper (20 x 13 cm.) formerly creased in the middle and bearing a papermaker's seal (which appears to read \"W.H.\"[?]) in the upper left corner. A very small fragment of newspaper or other\nprinted matter (reading \"All hea.../ Made\") is affixed to the verso. Multiple pinholes in center. Inscribed very tightly in black ink, with extensive revisions in the same ink and in pencil. Whitman's pencil\nnumber 2 appears to the left of the verse beginning \"Pass;—then rattle drums again...\" This section was originally the beginning of an independent poem with the title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePass and room O proud brigades/ By Walt Whitman\n\u003c/title\u003e (deleted in pencil here), indicating, as Bowers and others have noted, that\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eA Carol of Harvest, for 1867\n\u003c/title\u003e began life as two poems, one celebrating the abundant harvest of that year and another dealing with the human costs of the Civil War. With some small revisions the contents of this page became section 6\n(verse paragraphs 11-12) of the 1871 version of the poem, and in 1881 they comprised the second two unnumbered verse paragraphs of section 4.\n\u003c/p\u003e","\u003cp\u003eOn a section of type D paper (19.5 x 12.5 cm.), with multiple pinholes in center. Inscribed in (badly smudged) pencil, with extensive revisions in pencil and in brown-black ink. These lines were revised to\nconstitute verse paragraphs 13 and 14 (section 7) of the 1871 version of the poem; in 1881 they comprised the first two unnumbered verse paragraphs of section 5.\n\u003c/p\u003e","\u003cp\u003eOn a section of type D paper (19.5 x 12.5 cm.), with multiple pinholes in center. Inscribed and heavily revised in pencil, with several revisions in brown-black ink. These lines were revised to constitute verse\nparagraph 15 (section 7) of the 1871 version of the poem, and in 1881 made up the final unnumbered verse paragraph of section 5.\n\u003c/p\u003e","\u003cp\u003eOn a section of type C paper (19.5 x 12.5 cm.), with multiple pinholes in center. Inscribed and revised on both sides in pencil. The recto lines were revised to constitute the second part of verse paragraph 17\nand all of verse paragraph 18 (section 8) in the 1871 version of the poem. In 1881 they made up most of the second and all of the third unnumbered verse paragraphs of section 6. The verso lines (beginning \"Now a\npassage/ of/ Exultation\"), deleted with a single vertical pencil stroke, seem more like a note from Whitman to himself than a draft of poetic verses, but the word \"Exult\" does appear on leaves 15 and 16, as in\nverse paragraph 20 (section 9) of the 1871 version.\n\u003c/p\u003e","\u003cp\u003eOn a section of type C paper (20 x 12.5 cm.), with multiple pinholes in center. Inscribed in black ink and in pencil, with extensive revisions in pencil. The ink verse \"Exult O lands! under/ the powerful sun!\"\n(which was revised on Leaf 17), along with other trial verses in pencil, are all deleted with several pencil strokes. The remaining verses at the foot of the leaf were revised to form verse paragraph 19 (section\n9) in the 1871 version of the poem, which became the fourth unnumbered verse paragraph in section 6 of the 1881 version.\n\u003c/p\u003e","\u003cp\u003eOn a section of type E paper (19.5 x 11 cm.), irregularly torn, like Leaf 18, along the left margin. Multiple pinholes in center. Inscribed and extensively revised in pencil. Whitman's deleted note \"remember\nthe word—'deploy,'\" flanked by two cartoon hands, appears at the head of the leaf. His number \"2\" appears to the left of the verses beginning \"Melt, melt away,/ ye armies!...,\" which became the first part of\nverse paragraph 21 (section 9) in the 1871 version of the poem. The lines beginning \"Exult\" were slightly revised to form verse paragraph 20. In the 1881 version these lines made up the entire fifth unnumbered\nverse paragraph, and part of the sixth, in section 6.\n\u003c/p\u003e","\u003cp\u003eOn a section of type E paper (19.5 x 11 cm.), torn irregularly, like Leaf 17, along the left margin. Multiple pinholes in center. Inscribed and revised in pencil, with the word \"henceforth\" added in brown-black\nink. With slight revisions these lines became the second part of verse paragraph 21 (section 9) in the 1871 version, and in 1881 they constituted the final lines of section 6 (in the sixth unnumbered verse\nparagraph in the section).\n\u003c/p\u003e","\u003cp\u003eOn a section of type D paper (19.5 x 12.5 cm.), with multiple pinholes in center. Inscribed in pencil. The verses on the leaf are divided in two with a horizontal pencil stroke; the upper verses are heavily\nrevised and deleted (individually in many cases but also collectively, with two pencil strokes), while those below represent an unrevised fair copy of the upper ones. With small revisions these lines became verse\nparagraph 22 (section 10) in the 1871 version of the poem, and in 1881 they constituted the first unnumbered verse paragraph in section 7.\n\u003c/p\u003e","\u003cp\u003eOn a section of white laid paper (20 x 12.5 cm.), ruled in blue on one side, and more widely ruled than the other types of paper. A few pinholes appear in the center. Inscribed and revised in pencil, with one\ncorrection (the substitution of the word \"All\" for \"The endless,\" at the beginning) in brown-black ink. With slight revision these lines became verse paragraphs 23 and 24 (section 10) in the 1871 version of the\npoem, and in 1881 they comprised the second and third unnumbered verse paragraphs of section 7.\n\u003c/p\u003e","\u003cp\u003eOn a section of type A paper (19.5 x 12.5 cm.), with a few pinholes in the center. Inscribed in pencil with several revisions in pencil and in brown-black ink. With slight further revision these lines made up\nverse paragraph 25 (section 11) of the 1871 version, which in 1881 became the fourth unnumbered verse paragraph of section 7. The deleted line \"Busy the far, the sunlit/ panorama\" was incorporated in Leaf 22 and\nin the verse paragraph following this one in the published versions.\n\u003c/p\u003e","\u003cp\u003eOn a section of white laid paper (19.5 x 12.5 cm.), ruled in blue on both sides, with a few pinholes in the center. Inscribed in pencil, with several revisions in pencil and in brown-black ink. Whitman's number\n2 appears to the left of a section of verses beginning \"Lo! prairie, orchard,/ \u0026amp; the yellow grain...,\" from which it is separated by a diagonal pencil stroke. The verses on this leaf were condensed to form the\nfirst part of verse paragraph 26 (section 11) in the 1871 version, and in\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThe Return of the Heroes\n\u003c/title\u003e they comprised the unnumbered fifth verse paragraph in section 7 of the poem. The unused second verse (beginning \"The horse-ploughs and/ steam-ploughs\") appears to represent an intermediate stage between\nthe deleted notes on the verso of Leaf 1 and the lines on Leaf 25.\n\u003c/p\u003e","\u003cp\u003eOn a section of white laid paper, ruled in blue on the recto and part of the verso (19.5 x 12.5 cm.), with a few pinholes in the center. Inscribed in pencil, with extensive revisions in pencil and in brown-\nblack ink. With slight further revision these lines made up the second part of verse paragraph 26 (section 11) in the 1871 version of the poem, and in 1881 they completed the fifth and last unnumbered verse\nparagraph of section 7.\n\u003c/p\u003e","\u003cp\u003eOn a section of white laid paper (19.5 x 12.5 cm.), ruled in blue on one side. Multiple pinholes in center. Inscribed and revised on both sides in pencil, with one correction of several words made to the recto\nin brown-black ink. Whitman placed pencil \"x\" marks by each of the two verse paragraphs on the recto. The two sections of notes on the verso (beginning \"hops/ Sugar of Louisiana/ honey\" and \"The measureless/\npasturage\") are collectively deleted with a single diagonal pencil stroke. They represent early stages of lines on leaves 23 and 22, respectively. The recto lines became verse paragraphs 27 and 28 (section 12) in\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eA Carol of Harvest, for 1867,\n\u003c/title\u003e and in 1881 they comprised the first two unnumbered verse paragraphs of section 8.\n\u003c/p\u003e","\u003cp\u003eOn a section of white laid paper (20 x 13 cm.), ruled in blue on one side, with two pinholes in the center. Inscribed in pencil, with many revisions in pencil and in brown-black ink. These verses were revised\nto form almost all of verse paragraph 29 (section 12) in the 1871 version, and in 1881 they made up all but one line of the third unnumbered verse pargraph in section 8. Compare with leaves 1 (verso) and 22.\n\u003c/p\u003e","\u003cp\u003eOn a section of white laid paper (19.5 x 12.5 cm.), ruled in blue on one side and a small part of the other, with several pinholes in the center. Inscribed and revised on both sides in pencil. The heavily\nrevised verso lines, deleted with a single wavy pencil stroke, begin with three drafts of the title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eHarvest Carol for 1867.\n\u003c/title\u003e The lines were further revised on the current Leaf 20, and eventually became verse paragraphs 23 and 24 (section 10) of the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eA Carol of Harvest, for 1867,\n\u003c/title\u003e and the second and third unnumbered verse paragraphs of section 7 in\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThe Return of the Heroes.\n\u003c/title\u003e The single line on the recto was revised to constitute the last verse of verse paragraph 29 (section 12) in 1871, a position it maintained in the third verse paragraph of section 8 in 1881.\n\u003c/p\u003e","\u003cp\u003eOn a section of thick white laid paper (20 x 12.5 cm.), ruled in blue on one side, with wider rules than the majority of the other leaves. Two pinholes in center. Inscribed and heavily revised in pencil, with\none correction in brown-black ink. With further revision these lines became verse paragraphs 30 and 31 (section 12) of the 1871 version, along with the first two verses of paragraph 32 (section 13). In 1881 the\nlines constituted the unnumbered fourth and fifth verse paragraphs of section 8, along with the first two verses of the sixth paragraph.\n\u003c/p\u003e","\u003cp\u003eOn a section of thick white laid paper (20 x 12.5 cm.), whose wide ruled lines correspond to those on Leaf 27. Two pinholes matching those in Leaf 27 appear in the center. Inscribed and revised on the recto in\npencil (badly smudged towards the bottom), with one correction in brown-black ink. On the verso appear the last few lines of a draft of a letter by \"JMB[?]/ ActgAdjGl[?],\" deleted with a diagonal brown ink stroke.\nThe recto lines became verses 3-6 of verse paragraph 32 (section 13) of the 1871 version of the poem, a position they maintained in the sixth and final verse paragraph (section 8) of the 1881 version.\n\u003c/p\u003e","\u003cp\u003eOn a section of thin white unruled laid paper (19.5 x 13 cm.), badly worn or damaged by insects, with multiple pinholes in the center. Part of a watermark, reading \"NSON/ 862,\" is visible. The recto is\ninscribed and extensively revised in pencil, with two corrections in brown-black ink; the verso is inscribed and deleted (with two parallel strokes) in pencil. The recto lines became the final verses of the poem\nin both 1871 (7-11, verse paragraph 32, section 13) and 1881 (7-11, sixth verse paragraph, section 8). The trial line on the verso, beginning \"Actively moving, the curious/ machines...\"—followed by Whitman's\nnote \"(list)\"—represents an early draft of lines on leaves 1 (verso), 22, and 25, which were revised to form verse paragraph 29 (section 12) in 1871 and the third verse paragraph of section 8 in 1881.\nFollowing this leaf is a blank section of white wove paper (20 x 14.5 cm.), ruled in blue on both sides with a red and blue vertical rule, and featuring a thin section of hand-annotated printed matter affixed to\nthe left margin. The strip, only printed on one side, has been folded in half and pasted together; the only legible word on it is the holograph note \"(England)\" in dark brown ink, which may not be in Whitman's\nhand.\n\u003c/p\u003e","\u003cp\u003eWritten in pencil with ink revisions. Includes ADS.\n\u003c/p\u003e","\u003cp\u003eOriginally enclosed in John H. Johnston letter to Mr. Watson, March 11, 1912.\n\u003c/p\u003e","\u003cp\u003eOn one leaf (19.5 x 15.5 cm.) of blue laid paper, in medium brown-black ink, with minor revisions in the same and a check mark(?) in pink ink. These notes for a cluster of poems, \"(in the/ same way as Calamus\nLeaves\")/ expressing the idea and/ sentiment of/ Happiness,/ Extatic life, (or moods,)...\" appear on the verso of a page of half-prose, half-poetic notes, inscribed, revised, and deleted in pencil, for a poem or\nessay to be titled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLiving Pictures\n\u003c/title\u003e or\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eAmerica.\n\u003c/title\u003e As Edward F. Grier observes in his notes to Whitman's\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotebooks and Unpublished Prose Manuscripts\n\u003c/title\u003e (the fourth volume in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Collected Writings of Walt Whitman\n\u003c/title\u003e; New York: New York University Press, 1984), the similarity of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLiving Pictures\n\u003c/title\u003e to\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eA Song for Occupations\n\u003c/title\u003e—first published, untitled, in the original 1855 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e—combined with Whitman's use of the old long \"s\" in the word \"less,\" indicates that the leaf was inscribed quite early in Whitman's poetic career. Whitman's use of the title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus Leaves\n\u003c/title\u003e on the other side of the leaf, as in some very similar notes currently housed at Duke University that point towards the 1860 cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eEnfans d'Adam,\n\u003c/title\u003e dates the notes for this \"cluster,\" as Grier observes (referring to Fredson Bowers's system of dating), to some point in the late spring of 1859. The line beginning \"Strong, well-fibred, bearded,/\nathletic[,] full of love...\" calls to mind the verse \"If any thing is sacred the human body is sacred,/ And the glory and sweet of a man is the token of manhood untainted,/ And in man or woman a clean, strong,\nfirm-fibred body, is more beautiful/ than the most beautiful face\" from the untitled 1855 poem that would become\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eI Sing the Body Electric\n\u003c/title\u003e in 1867.\n\u003c/p\u003e","\u003cp\u003eNote at bottom states \"Sent to H March 17.\" Whitman also notes at bottom: \"from a talk I had lately with a German spiritualist.\" Written in ink on lined paper.\n\u003c/p\u003e","\u003cp\u003eThis manuscript is a draft of an apparently unpublished essay about a country auction, written in pencil. On the verso is an AL fragment, [Walt Whitman] to \"My dear friend,\" [1878?] December 12.\n\u003c/p\u003e","\u003cp\u003eOn one leaf (12 x 19 cm.) of light brown laid paper, inscribed and extensively revised in pencil, with multiple pinholes in the center of the leaf. The poem was first published in the November 1880 issue of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eCope's Tobacco Plant\n\u003c/title\u003e, and became one of the new poems in the 1881 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e, where it appeared in the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eBy the Roadside.\n\u003c/title\u003e At some point this leaf was pasted to an enclosed cardboard print of a photograph of Whitman stamped \"Thomas C. Watkins\" on the verso, but almost identical to one attributed by Henry Scholey Saunders,\nauthor of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003e100 Walt Whitman Photographs\n\u003c/title\u003e, to the studio of Frederick Gutekunst in Philadelphia, and reproduced in the 1889 pocket edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eIncludes Drawing of Walt Whitman and portrait of Thomas Carlyle.\n\u003c/p\u003e","\u003cp\u003eIn black ink, the top two-thirds of the leaf seems to be a preface to a short sketch written by Whitman, which is pasted to the bottom third of the leaf. The sketch, detailing Whitman's visit to Emerson, was\ninserted into\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eSpecimen Days\n\u003c/title\u003e, a volume of prose published in 1882, under the title \"A Visit, at the Last, to R. W. Emerson.\" Emerson died in 1882.\n\u003c/p\u003e","\u003cp\u003eNote at top states \"sent Herald March 8.\" Written in purple pencil with ink revisions on verso of letter with Houghton Mifflin Publishers letterhead.\n\u003c/p\u003e","\u003cp\u003eOn a very large composite leaf (35.5 x 21.5 cm.) of white wove paper, with the watermark L.L. Brown, formed by pasting an extra section of paper (11 x 21.5 cm.) to the top of the main leaf (26 x 21.5 cm.), and\nthen adding two paste-ons (roughly 5.5 and 4 x 21.5 cm.) to this extra section. Inscribed and revised in dark brown-black ink, with Whitman's signature and the note \"You can put the name W[alt] W[hitman?] either\nat the top or/ bottom as you prefer\" at the foot of the leaf. On the verso appear the notes \"Death's Valley\" (twice) and \"Magazine/ April, 1892\" in Whitman executor Horace Traubel's[?] hand. Whitman's\ncorrespondence indicates that the poem was written and sold to\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eHarper's New Monthly Magazine\n\u003c/title\u003e in 1889, although it did not appear there until April 1892, after the poet's death. Bradley and Blodgett note that Whitman originally included the poem in his 1891 manuscript for the \"second annex\"\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eGood-Bye My Fancy,\n\u003c/title\u003e and Traubel grouped it in the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eOld Age Echoes,\n\u003c/title\u003e which he added to\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e in 1897. The \"picture\" of the subtitle is\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThe Valley of the Shadow of Death\n\u003c/title\u003e by American painter George Inness, an engraving of which appeared in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eHarper's\n\u003c/title\u003e facing the poem. An engraving of a painting of Whitman by J.W. Alexander appeared in the same issue. Included in this folder along with Whitman's verses are a copy of the Inness engraving on a piece of\ncardboard, along with the Alexander reproduction and the table of contents page, both removed from the April 1892 issue of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eHarper's. \n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003e\nA prose note regarding the Civil War. The relationship of this manuscript to Whitman's published work is unknown. On verso a note from N. W. Hunt, Canton, N.Y., requesting an autograph.  \n\u003c/p\u003e","\u003cp\u003eThis manuscript is a draft of an apparently unpublished essay about a country auction, written in pencil on four leaves of lined notebook paper. The manuscript is dated\n\u003cdate normal=\"1878-02-20\" era=\"ce\" calendar=\"gregorian\"\u003eFebruary 20, 1878\n\u003c/date\u003e.\n\u003c/p\u003e","\u003cp\u003e A biographical note about Elias Hicks, a late eighteenth, early nineteenth century religious leader and abolitionist. Whitman published\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eNotes (such as they are) founded on Elias Hicks\n\u003c/title\u003e in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNovember Boughs\n\u003c/title\u003e in 1888. Written in pencil on irregularly cut paper.\n\u003c/p\u003e","\u003cp\u003eWritten in ink with revisions in purple pencil. The manuscript appears to be a draft of a title or titles. The lines on the manuscript—\"Embers of Ending Day,\" \"Embers of day-fires mouldering\"—are\nechoed in the partial line \"the embers left from earlier fires\" in the 1888 poem,\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eContinuities.\n\u003c/title\u003e On the verso is a note, dated December 28, 1880, confirming a request for a set of WALT WHITMAN's books: \"Dear Sir, I shall be glad to supply you with a set (Two Volumes) of my books—There is only\none kind of binding—Walt Whitman.\"\n\u003c/p\u003e","\u003cp\u003eNote pasted to bottom states \"Page from Walt Whitman's Essay on Emerson.\" Written in ink on lined paper.\n\u003c/p\u003e","\u003cp\u003e An article pasted to grey paper with a few revisions written in black ink, this manuscript is a continuation of the manuscript entitled \"The Dead Emerson,\" described above. The sketch, detailing Whitman's\nvisit to Emerson, was inserted into\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eSpecimen Days\n\u003c/title\u003e, a volume of prose published in 1882, under the title \"A Visit, at the Last, to R. W. Emerson.\" Emerson died in 1882.\n\u003c/p\u003e","\u003cp\u003eNote on bottom states \"sent to Herald March 11.\" Written in purple pencil on verso of letter from Witcraft.\n\u003c/p\u003e","\u003cp\u003eA prose note regarding the nature of truth. The relationship of this manuscript to Whitman's published work is unknown.\n\u003c/p\u003e","\u003cp\u003eIncludes photograph of Walt Whitman, 1887, by George C. Cox and news clipping regarding the saving of Whitman's birthplace.\n\u003c/p\u003e","\u003cp\u003e This manuscript contains most of the account of President Lincoln's appointment of James Harlan as Secretary of the Interior, as published in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNovember Boughs.\n\u003c/title\u003e It was Harlan who so disapproved of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e that he removed Whitman from his position as clerk in the Department of the Interior. With typed transcription.\n\u003c/p\u003e","\u003cp\u003eNotes on Military Hospitals in Washington, D.C. appearing in the New York Times [1863 February 26] and eventually published in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eSpecimen Days.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn one leaf (14 x 22 cm.) of blue laid paper, in pencil, with heavy revisions in pencil and two additions in brown ink. This leaf contains two drafts of the poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eHast Never Come to Thee an Hour,\n\u003c/title\u003e the first draft having been deleted with two horizontal and two diagonal pencil lines. The partly erased word \"Interp[ellation?]\" appears in the lower left corner. After further revision the poem appeared\nfor the first time in the 1881\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e, in the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eBy the Roadside.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eSeller's note: \"Apparently the first two drafts of the poem, on one sheet. Published in the Complete Works, but differently worded.\"\n\u003c/p\u003e","\u003cp\u003eIncludes 1888 copy of Samuel Hollyer engraving of Walt Whitman, 1855 Samuel Hollyer engraving of Walt Whitman, and typed transcription.\n\u003c/p\u003e","\u003cp\u003eThis manuscript is a prose note describing Whitman's longing to lecture to an audience of Civil War veterans and to speak about the death of Abraham Lincoln, written on two leaves of lined paper which are\npasted to the verso of a AL fragment, [unidentified autograph seeker] to Walt Whitman, 1878 March 27.\n\u003c/p\u003e","\u003cp\u003eOn one leaf of white wove paper (19.5 x 12.5 cm.), irregularly cut along the left margin. Inscribed in dark brown ink, with extensive revisions in the same ink, in a fine pen, and in pencil, apparently in that\norder. The subtitle has a horizontal pencil line through it, but a zig-zag pencil line through it seems to have been erased, along with the phrase \"(at the entrance)\" below it. The title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eInscription\n\u003c/title\u003e and the words \"One's-self\" and \"For You\" are inscribed in an ornamental style. This appears to be a revision of other\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eInscriptions\n\u003c/title\u003e Whitman gathered in a notebook, along with prose drafts for a never-finished introduction to\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e, and attached to his copy of the 1855 paper-bound edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. (The entire collection of draft \"inscription\" and introductory material is currently housed at the New York Public Library.) In the 1867\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e Whitman culled material from this poem and the other\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eInscription\n\u003c/title\u003e poems to create an italicized\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eInscription\n\u003c/title\u003e that he placed before\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eStarting from Paumanok\n\u003c/title\u003e at the beginning of the book; in that edition he also transferred part of verse 2 to\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eAs I Sat Alone by Blue Ontario's Shore\n\u003c/title\u003e (later the line was dropped and the title was revised to\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eBy Blue Ontario's Shore\n\u003c/title\u003e). From 1872 onward, this poem, revised and retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eOne's-Self I Sing,\n\u003c/title\u003e was printed as the first of several poems in the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eInscriptions\n\u003c/title\u003e cluster that opened the book. In the 1888\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNovember Boughs\n\u003c/title\u003e, however, Whitman reprinted the 1867 version as\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSmall the Theme of my Chant.\n\u003c/title\u003e Note: This draft may have been written before the Civil War, since it does not include the 1867 line \"My Days I sing, and the Lands—with interstice I knew/ of hapless War.\"\n\u003c/p\u003e","\u003cp\u003eWalt Whitman's response to criticism from\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Nation\n\u003c/title\u003e, mailed to John Burroughs whom Walt Whitman asks to edit the MS and submit it under his own name. Consists of 8 leaves written in ink, pasted to archival paper, and bound together with string.\nTranscription of letter from Walt Whitman to John Burroughs reads: Dear John Burroughs, I enclose you an article from the Nation of Jan. 29. How will the MS. article I have scratched off do in the main as an\nanswer to it? (to help keep the pot a-boiling.) Do you feel like making up an article out of said MS—adding or excising what you see fit—signing your name to it—and sending to the Nation man?\n\u003c/p\u003e","\u003cp\u003eThese notes, inscribed on scraps of paper of diverse types and sizes, went into the making of a number of poems used in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e, although some of them never seem to have been used, and some are prose notes. In several cases a collector has pasted two or more leaves to the same sheet of more contemporary paper, but for convenience\nand accuracy the leaves are described individually here.\n\u003c/p\u003e","\u003cp\u003eOn a small section of light yellow wove paper (7 x 15 cm.) with all four corners cropped for mounting. Four pinholes appear in the center. Inscribed and revised on the recto in pencil; the first line on the\nverso (beginning \"I have all lives, all effects, all/ causes,...\") is inscribed and revised in the same brown ink as Leaf 2, and the two lines that follow it (beginning \"This is the earth's word—the round/\nand compact earth's,\") are inscribed, revised, and deleted (with a single vertical stroke) in pencil. Bucke prints both sets of lines on p. 32 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e. Whitman apparently never used the recto lines, but the deleted lines on the verso bear a strong resemblance to the opening of his 1856\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePoem of The Sayers of The Words of The Earth,\n\u003c/title\u003e titled in successive editions (as Bradley and Blodgett note)\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eTo the Sayers of Words\n\u003c/title\u003e (1860 and 1867),\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCarol of Words\n\u003c/title\u003e (1871, 1876), and, finally (in the 1881 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e),\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eA Song of the Rolling Earth.\n\u003c/title\u003e The undeleted ink line on the verso is a later(?) draft of a line inscribed in Feinberg notebook #697 at the Library of Congress, transcribed by Blodgett in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eWalt Whitman: An 1855-56 Notebook Toward the Second Edition of \"Leaves of Grass\"\n\u003c/title\u003e (1956) and reprinted in his and Bradley's Comprehensive Reader's Edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn a small section of the same light yellow wove paper as Leaf 1, cut and cropped irregularly down to 7 x 15.5 cm. Multiple pinholes appear in the center. This section was evidently pasted to and then pulled\naway from another page; some fragments of that other page remain affixed to the top. Beneath them can be discerned the ink number 2. In the upper left corner appears an \"X\" within parentheses, which was formerly\ncovered by the other page. Inscribed in the same brown ink as the undeleted line on the verso of Leaf 1; revised in that ink and in pencil. Whitman apparently never used this poem or fragment, but Bucke prints it\n(combined with other verses) on p. 29 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn a very small section of tan wove paper (4 x 8 cm.). All four corners are cropped for mounting. What seems to be a pinhole appears in the upper right corner. Inscribed in brown ink with no revisions. These\nnotes, along with those on Leaves 4 and 5, could have represented an early stage of a number of poems. One possibility is poem 18 in the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e cluster, new to the 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass.\n\u003c/title\u003e This poem was permanently retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCity of Orgies\n\u003c/title\u003e in 1867 (see Leaf 4). Bucke prints the notes on p. 171 with an ellipses not present in the manuscript, and they are republished with the note \"Manuscript not found\" on p. 1372 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotebooks and Unpublished Prose Manuscripts\n\u003c/title\u003e (vol. 4).\n\u003c/p\u003e","\u003cp\u003eOn a very small section of uncropped white wove paper (4.5 x 12 cm.). No pinholes. Inscribed (hurriedly) in black ink using a thin nib. A bright pinkish-red ink check mark(?) appears in the upper right corner\nof the note. A faint horizontal line beneath part of \"A City Walk,\" along with the words' capitalization and central position on the page, indicate that Whitman may have contemplated using the words as the title\nof an independent poem. The closest he came to this title was\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCity of Walks and Joys,\n\u003c/title\u003e the name he originally assigned to\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e 18 in his\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eBlue Book\n\u003c/title\u003e revisions of the 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. This title was changed in the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eBlue Book\n\u003c/title\u003e to\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCity of orgies, walks and joys\n\u003c/title\u003e and finally became\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCity of Orgies\n\u003c/title\u003e in the 1867 edition. These notes, written in the form of a single poetic verse, could represent an intermediate stage between the notes on Leaf 3 and those on Leaf 5. Bucke prints the lines in prose form\non p. 120 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e. Bucke's transcription is republished, accompanied by the note \"Manuscript not found,\" on p. 1292 of the\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotebooks and Unpublished Prose Manuscripts\n\u003c/title\u003e (vol. 4).\n\u003c/p\u003e","\u003cp\u003eOn a composite leaf comprising two sections of white wove paper (7 x 16 and 4 x 15.5 cm.) pasted together. The majority of the eight corners are cropped for mounting; the upper section was apparently cropped\nbefore being pasted to the lower section. Inscribed in dark brown-black ink with no revisions. The trial verses on the lower section (beginning \"Poem—As of walking along a street\") are fragmentary and\nhurriedly inscribed, but the upper section is written in ornamental script, and both parts of the title are underlined. A wavy line appears at the foot of that section. The word \"Original\" at the head of the upper\nsection suggests that Whitman was sketching out a new poem for a revised edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e. If it was the 1860 edition, as his style of inscription here appears to indicate, it is possible that this leaf, like Leaves 3 and 4, could represent an early stage of the poem that would eventually\nbecome\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCity of Orgies.\n\u003c/title\u003e Bucke prints the lower set of notes on p. 45 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn a section of off-white wove paper (16 x 14 cm.) with all four corners cropped for mounting. Many pinholes cluster to the left of the center of the page. Inscribed and revised on both sides in pencil. The\nlines on the verso are deleted with a single vertical pencil stroke. They originally occupied the lower half of a full leaf of verse; after deleting these (current) verso lines and discarding the upper half of the\nleaf Whitman turned the page ninety degrees and flipped it over to use for the current recto notes. The recto notes represent an early stage of lines partially incorporated in\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePoem of Salutation,\n\u003c/title\u003e the new third poem in the 1856 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e, which was permanently retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSalut au Monde!\n\u003c/title\u003e in the 1860 edition. If the note or title \"Europe\" suggests that Whitman might have first intended to divide his salutations into discrete sections based on the different continents, this is a plan he did\nnot follow in the published version(s). The more polished (but deleted) lines on the verso represent a recasting in poetic form of several lines from the 1855 Preface to\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. These were further revised for the 1856\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePoem of Many in One,\n\u003c/title\u003e after which the first verse drafted on this page (cut off here, and beginning \"over the Texan, Mexican, Florid[ian,]/ Cuban seas...\") was dropped. The two verses below this, however, were preserved\nrelatively unchanged through the poem's many transformations until the text was essentially fixed under the title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eBy Blue Ontario's Shore\n\u003c/title\u003e in 1881. Bucke prints the top section of notes (incorrectly) on p. 157, and the lower section of verses (beginning \"And the tough Scotch sailor crosses the Minch...\") on p. 10 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e. On p. 1980 of the\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Unpublished Manuscripts\n\u003c/title\u003e (vol. 5) Grier reports that this manuscript has not been found.\n\u003c/p\u003e","\u003cp\u003eOn one section of thick white wove paper (13 x 14.5 cm.) apparently taken from a sheet used for trial printings of a book engraving; a plate mark can be clearly seen on the verso. The lower corners are cropped\nfor mounting. Multiple pinholes in center. Inscribed and revised in pencil. Like the contents of Leaf 6, these two verses represent a draft (possibly a slightly later one than Leaf 6) of lines that would be\nfurther revised and incorporated in the new 1856 poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePoem of Salutation,\n\u003c/title\u003e permanently retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSalut au Monde!\n\u003c/title\u003e in the 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass.\n\u003c/title\u003e The second line (beginning \"And as the mountains of my land/ are to me...\"), greatly expanded, would become lines 49-54 (section 4) of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSalut au Monde!\n\u003c/title\u003e in Bradley and Blodgett's edition of the poem, and the first line seems to have been expanded even more in that section's description of the oceans of the world. Bucke transcribes the leaf on p. 11.\n\u003c/p\u003e","\u003cp\u003eOn a small section of white wove paper irregularly cut down to 6.5 x 15.5 cm. Inscribed and revised in dark brown ink. A phrase beginning \"Picture of one of/ the Greek games\" appears in the upper right corner,\ndelimited from the rest of the notes with two curved lines. The words \"Spanish bull fight\" appear in their own semicircle (damaged by Whitman's cutting) in the lower right corner. Bucke transcribes the notes on p.\n177, and Grier (p. 1294, vol. 4) republishes them, describing the manuscript as \"not found.\" To build on Grier's notes, the lines seem to occupy a middle space between the very early notebook poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePictures\n\u003c/title\u003e and the 1856\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePoem of Salutation\n\u003c/title\u003e (ultimately\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSalut au Monde!\n\u003c/title\u003e).\n\u003c/p\u003e","\u003cp\u003eOn a small composite leaf of white wove paper, ruled in blue on one side, formed by pasting a section (4 x 16 cm.) containing one line of notes (beginning \"runs through all the poems...\") below the set of notes\ntranscribed above, which were written on a section measuring 10.5 x 16 cm. Multiple pinholes in both sections. Both sections are inscribed in pencil, with one revision in black ink. Bucke transcribes these notes\non p. 167 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e, and Grier republishes them (with the note \"Manuscript not found\") on p. 383 of the\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotebooks and Unpublished Prose Manuscripts\n\u003c/title\u003e (vol. 1).\n\u003c/p\u003e","\u003cp\u003eOn a section of off-white wove paper (10.5 x 14 cm.). Multiple pinholes cluster towards the top of the page. Inscribed and revised on both sides in pencil. The lines on the verso are deleted with a single\nvertical pencil stroke. Those on the recto are separated by a horizontal line. The verso lines (beginning with the individually deleted line \"O Walt Whitman, show us some/ pictures!\" and continuing \"America,\nalways Pictorial!\") represent a later draft of the beginning of the poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePictures\n\u003c/title\u003e than the most complete extant version, which is contained in the pre-1855\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePictures\n\u003c/title\u003e notebook currently housed at Yale University. Bucke dates the lines to around 1880, when Whitman was working on a short version of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePictures\n\u003c/title\u003e both for magazine publication and for the 1881 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e, where it was published as\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eMy Picture-Gallery.\n\u003c/title\u003e (See the entry for\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eMy picture gallery\n\u003c/title\u003e below.) But Whitman's early style of inscription in this draft, along with the line \"It is round—it has room for America, north and south\" and his use of his own name in the deleted first line, all\nsuggest that Whitman may have inscribed this draft around the same time that he was working on the new 1856\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePoem of Salutations\n\u003c/title\u003e (eventually\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSalut au Monde!\n\u003c/title\u003e). This draft also suggests that at one point he may have considered linking what would become\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePoem of Salutations\n\u003c/title\u003e and the formally and thematically similar\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePictures\n\u003c/title\u003e more directly. Bucke prints the verso and recto lines, with several deleted words restored, on p. 27 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eNotes and Fragments.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn a very small section of white laid paper cut and cropped irregularly down to 4.5 x 14.5 cm. Multiple pinholes run up the center of the section. The recto lines are inscribed and heavily revised in brown ink,\nand deleted (en masse) with a single vertical pencil stroke. Along the lower edge can be seen the tops of words discarded after cutting. These trial verses bear a strong resemblance to the (eventual) second verse\nparagraph in section 6 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eStarting from Paumanok,\n\u003c/title\u003e first published in 1860 as\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e Bradley and Blodgett note other relationships to the fragment\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThe Body—,\n\u003c/title\u003e published on p. 37-8 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e and housed at Duke University, and to the poems that would eventually become\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of Myself\n\u003c/title\u003e and\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eI Sing the Body Electric.\n\u003c/title\u003e The fragmentary lines on the verso (beginning \"Downward, buoyant, swif[t]\"), which are inscribed and revised in pencil, represent a different version of a line incorporated in the pre-1855 notebook poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePictures\n\u003c/title\u003e and of one inscribed in the 1854 notebook [I know a rich capitalist...], currently housed at the New York Public Library. Bucke prints incomplete transcriptions of the contents of both sides of Leaf 11 on\np. 38 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e, and presents a different version of the recto lines (transcribed from the same manuscript?) on p. 48. Bradley and Blodgett's new transcription, under the title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003e[Divine Is the Person],\n\u003c/title\u003e appears on p. 602 of the expanded and revised edition of the Comprehensive Reader's Edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn a section of light yellow wove paper (16 x 13 cm.) with all four corners cropped for mounting. Four pinholes appear in the center. Inscribed and revised in pencil. Below these trial verses, separated from\nthem by a diagonal pencil stroke, appears a cartoon hand pointing to the annotation \"I must have/ Poem[.]\" Bucke prints the verses (without the prose note) on p. 49 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eThese descriptions follow the present arbitrary but longstanding physical arrangement of the manuscripts, first collected in a series of folders, and now in two boxed binders. This arrangement groups\nmanuscripts according to their position in and out of the \"clusters\" comprising the 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e, although the 1860 order of the clusters themselves has not been followed by the collector who arranged the poems.\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSparkles from the Wheel\n\u003c/title\u003e and\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eFables\n\u003c/title\u003e (both 1871; see [Vol. 2, p. 163] and [Vol. 2, p. 164]) are included in the list by virtue of being housed with earlier poems in the second binder.\n\u003c/p\u003e","\u003cp\u003eAll of these poems except for\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSparkles from the Wheel\n\u003c/title\u003e and\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eFables\n\u003c/title\u003e were published in the 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass.\n\u003c/title\u003e The manuscripts are generally followed by print versions of the poems disbound by a collector from the 1860 edition. Since Whitman apparently had no contact with the printed pages they have not been\ndescribed here. Neither have the annotations made by collectors on many of Whitman's leaves. The measurements given below are taken at the points of greatest height and width, in that order, for each page.\nFollowing Fredson Bowers's practice in describing the manuscripts, the location of major pinhole clusters in each page, where present, has also been noted. (The pinholes, as Bowers argues, can yield helpful clues\nas to Whitman's practices of revision. Intact pages have multiple pinholes in the middle; thus, pinholes at the top of a small page indicate that the fragment was removed from the lower section of a full leaf, and\nvice versa). The types of paper and writing implements used by Whitman in each case have been documented for the same reasons. Since, in many cases, after 1860 Whitman changed the poems' titles and revised and\ntransferred them elsewhere, a brief narrative of each poem's post-1860 evolution accompanies its description.\n\n\u003c/p\u003e","\u003cp\u003eThe entry after the page numbers is the first autograph line at the top of the page. Beginning at page 34 of volume 1, the corresponding published poems are removed from 1860 edition and interleaved with the\nmanuscripts.\n\u003c/p\u003e","\u003cp\u003eOn thirty-three leaves comprising four types of paper (in a variety of shapes and sizes): pink, blue wove, white wove, and light blue Williamsburgh (Brooklyn) tax forms—inscribed, Bowers argues, in that\norder. Each leaf is numbered consecutively by Whitman, in pencil, in the lower left corner. Each leaf is also stabbed in the left margin and punctured with numerous pinholes. Bowers has identified at least four\nstages of revision based on the writing implements and ink used by Whitman to make his corrections: first pencil, then dark ink with a fine pen, once again pencil, and finally thin light-brown ink.\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePremonition\n\u003c/title\u003e was published as the introductory poem to the 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e under the title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e In the 1867 and later editions it appeared directly after the opening\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eInscriptions\n\u003c/title\u003e cluster as\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eStarting from Paumanok.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn verso of light blue Williamsburgh tax form (21.5 x 12 cm.), in black ink, with corrections in the same ink and in pencil. Multiple pinholes in center. This is a revision of the fragment that appears at the\ntop of Leaf 2, and corresponds to section 1 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf\n\u003c/title\u003e in the 1860 edition.\n\u003c/p\u003e","\u003cp\u003eOn a small pink sheet (12 x 13 cm.), in original black ink, with extensive deletions and revisions in fine pen (black ink) and pencil. Pinholes near top. This seems to have been the original first leaf of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePremonition.\n\u003c/title\u003e In drafting the revised version of this first section on a Williamsburgh tax form (see Vol. 1, p. 1) Whitman excised and apparently destroyed the verses at the top of this leaf, striking through the\nverses (beginning \"[Boy of the] Mannahatta—boy of/ the prairies,...\") below the cut. He then left a revised section of verses on the lower part of the leaf (beginning \"Victory, union, faith, democracy,/\nprudence,...\") undeleted. These lines correspond to section 2 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn pink leaf (21 x 13 cm.), in black ink, with extensive revisions in fine pen, pencil, and light ink. Pinholes in the center. The three verse sections—beginning \"This then is life,\" \"How curious! How\nreal!,\" and \"Take my Leaves America! Make/ places...\"—correspond to sections 3, 4, and 13 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn verso of light blue Williamsburgh tax form cut down to 10.5 x 12 cm., in black ink, with revisions in pencil and light ink. Pinholes in the center. A revision of lines deleted from the top of Leaf 5;\ncorresponds to section 14 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn pink leaf (22 x 13 cm.), in black ink, with deletions and revisions in pencil and fine pen. Pinholes in center. Whitman struck through the section beginning \"I do not discredit old times,\" the revised\nversion of which appears on Leaf 4, and which corresponds to section 15 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e Below a horizontal line he left revised but undeleted the section beginning \"Antiques of men,\" which corresponds to section 16 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn a pink leaf (21.5 x 13 cm.), in black ink, with extensive revisions in medium fine pen, pencil, and fine pen to the first section, corresponding to section 17 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e Pinholes in center. In the next two sections—[The Soul!] and [I will make the poems of materials,...]—corresponding to sections 18 and 19 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf,\n\u003c/title\u003e only minor revisions have been made, these in fine pen.\n\u003c/p\u003e","\u003cp\u003eOn pink leaf cut down to 17 x 13 cm., in black ink, with revisions in pencil, medium fine pen, and light ink. Pinholes below center. Corresponds to section 20 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e The excised portion contained several verses and was moved to Leaf 8 (see Vol. 1, p. 8).\n\u003c/p\u003e","\u003cp\u003eOn a torn sheet of blue wove paper (17 x 13 cm.), with the excised portion from pink Leaf 7 (beginning \"I will be the preparer of what is/ to come...\") pasted to the foot of the leaf. Pinholes mostly in center\nof composite leaf. The pasted-on section became the first three verses of section 21 in\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e Whitman struck through six unaltered lines (beginning \"I am the child of Democracy,\") in light-brown ink on the upper portion of the original blue leaf; these, Bowers observes, represent an intermediate\nstage between verses on a leaf used for\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eEnfans d'Adam\n\u003c/title\u003e and verses on Leaf 12 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePremonition\n\u003c/title\u003e (see Vol. 1, p. 47 and Vol. 1, p. 12). After appearing on Leaf 12, the verses—much altered from their earliest iteration on the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eEnfans d'Adam\n\u003c/title\u003e leaf—next became section 23 of the published\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn pink leaf, cut down to 11 x 13 cm., written in black ink with no revisions. Pinhole clusters are located both at the foot of leaf, dating from before Whitman's cutting of it, and in the current center. The\nexcised portion was renumbered Leaf 17 (see Vol. 1, p. 17). Leaf 9's remaining verses correspond to the second two verses of section 21 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn blue wove page torn down to 16 x 13 cm. In light-brown ink, with extensive revisions in the same ink. Pinholes in center. Corresponds to the first six lines of section 22 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn blue wove page cut down to 9 x 13 cm., in light-brown ink with no revisions. Pinholes in the current center and at the foot of the page (the original center). Incision patterns indicate that the blank\nportion cut from the foot of the leaf was pasted to the back of Leaf 17 for reinforcement (see Vol. 1, p. 17). Corresponds to verses 7-9 of section 22 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn two sections (6.5 x 16.5 cm.; 14 x 16 cm.) of the same leaf of white wove paper cut apart and pasted back together in reverse order. In brown-black ink, with revisions in same ink and in pencil. Pinholes in\ncenter of the composite leaf and in the original center. The current first section represents the latest extant draft of the verses that would form section 23 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e The second section of the leaf (\"Here myself I give,\") corresponds to section 24. The verso contains two deleted drafts, heavily revised in the same brown-black ink and pencil, of the first few verses of\nwhat would grow to become sections 25-36 of the published poem. An annotation, \"very crude,\" appears in the left verso margin.\n\u003c/p\u003e","\u003cp\u003eOn white wove paper (20 x 16 cm.), in dark-brown ink, with revisions in the same ink and in pencil. Pinholes in center. This is a later version of the drafts on the verso of Leaf 12 with additional materials,\nall of which would grow to become sections 25-36 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e The verses at the foot of this leaf (corresponding to the first part of section 35) are continued in the same ink on Leaf 14, which is also written on white wove paper.\n\u003c/p\u003e","\u003cp\u003eOn white wove paper (20 x 16 cm.), in dark-brown ink, with revisions in the same ink and in pencil. Pinholes in center. A continuation of the lines on Leaf 13, corresponding to the last three lines of section\n35 and all of section 36 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn white wove paper cut down to 16.5 x 16.5 cm., in brown-black ink, with revisions in the same ink. Pinholes from center downwards. Written on the verso of a deleted draft of what would become section 11 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e (see Vol. 1, pp. 78 - 79; this draft begins, \"When I heard at the close of/ the day how I had been/ praised in the Capitol,...\"). The section excised from the foot of the page has been pasted to the top\nof Leaf 16. The first verse section on Leaf 15 was abandoned or transformed beyond recognition in\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf,\n\u003c/title\u003e but the next three long verses (\"As I have walked my walk through the rows of the/ orchard-trees,\" \"I have seen the he-bird also—I heard him,\" \"And I have perceived that what he really sang\") became\nsections 38-40 of the published poem.\n\u003c/p\u003e","\u003cp\u003eOn two small joined sections of white wove paper (measuring 4 x 16.5 and 10 x 16, for a total of 13 x 16.5 cm.), the top one taken from Leaf 15, with a fragment of the same\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e draft on its verso as on Leaf 15's (see Vol. 1, p. 15 and Vol. 1, pp. 78 - 79). Pinholes in center of composite leaf. Both sections are written in the same brown-black ink as Leaf 15, with revisions in\nthis ink and in pencil. The upper verses correspond to section 41 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf,\n\u003c/title\u003e and the lower ones (\"Ma femme!/ Our offspring shall be provided for,\") to section 42.\n\u003c/p\u003e","\u003cp\u003eOn a small leaf of pink paper (11 x 13 cm.) removed, as Bowers notes, from the foot of Leaf 9, and pasted for reinforcement to a blank piece of blue wove paper (7 x 13 cm.) aken, incision patterns indicate,\nfrom the foot of Leaf 11 (see Vol. 1, p. 9 and Vol. 1, p. 11). In black ink, with revisions and a paragraph mark at the beginning of the verses in light ink. Pinholes at top (original center) and near current\ncenter. These two long verses (the second one beginning \"And I will make the true/ poem of riches,...\") correspond to sections 43-44 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn a full leaf of pink paper (21.5 x 13 cm.), in black ink, with revisions in the same ink and, apparently, in a finer pen. Pinholes in center. A continuation of Leaf 17, these verses correspond to section 45\nof\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn a full leaf of pink paper (21.5 x 13 cm.), in black ink, with revisions in the same ink and in a finer pen. Pinholes in center. The first section continues the verses on Leaf 18, but the second (\"Was\nsomebody asking to see the soul?\") constitutes an independent unit on the page. The two parts correspond to sections 46 and 47 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf,\n\u003c/title\u003e respectively.\n\u003c/p\u003e","\u003cp\u003eOn a full leaf of pink paper (21.5 x 13 cm.), in black ink, with revisions in light ink. Pinholes in center. These verse paragraphs (the second and third ones beginning with the lines \"Of that which is really\nyou, and/ of any part of you,\" and \"Not the types set up by the/ printer...\") correspond to sections 48-50 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn a full leaf of pink paper (21.5 x 13 cm.), in black ink, with revisions in a finer pen. Pinholes in center. These verse paragraphs (with those after the first one beginning \"Whoever you are! to you endless/\nannouncements!,\" \"Daughter of the lands, did you wait/ for your poet?,\" and \"Toward the female of The States, and/ toward the male...\") correspond to sections 51-54 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn a full leaf of pink paper (21.5 x 13 cm.), in black ink, with revisions in pencil, in finer pen, and in light ink. Pinholes in center. These lines correspond to the first seven verses of section 55 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn a full leaf of pink paper (21 x 12.5 cm.), in black ink, with revisions in a finer pen. Pinholes in center. These lines correspond to verses 8-15 of section 55 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn a full leaf of pink paper (21 x 13 cm.), in black ink, with revisions in a finer pen and in light ink. Pinholes in center. These lines correspond to verses 16-24 of section 55 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn a full leaf of pink paper (21 x 13.5 cm.), in black ink, with revisions in a finer pen and in light ink. Pinholes in center. These lines correspond to verses 25-31 of section 55 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn a full leaf of pink paper (21 x 13.5 cm.), in black ink, with revisions in pencil, in a finer pen, and in light ink. Pinholes in center. The first section of verses corresponds to verses 32-36 of section 55\nof\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf,\n\u003c/title\u003e and the second and third verse paragraphs (\"With me, with firm holding, yet/ haste, haste on!\" and \"For your life, adhere to me,\") correspond to sections 56 and 57.\n\u003c/p\u003e","\u003cp\u003eConsists of a section of pink paper (8 x 13.5 cm.) torn from the top of Leaf 30 (see Vol. 1, p. 30), numbered 26 1/2 by Whitman and pasted to the inscribed verso of a section of a blank, cut-down Williamsburgh\ntax form (12 x 11.5 cm.), numbered 27. In black ink, with heavy revisions (to the top section) in a finer pen and in light ink. Pinholes mostly in the center of the pink section and in the center of the composite\nleaf. The pink section's verses correspond to section 58 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf,\n\u003c/title\u003e and the tax form verses (\"On my way a moment I/ pause,\") to section 59.\n\u003c/p\u003e","\u003cp\u003eOn a full leaf of pink paper (21.5 x 13.5 cm.), in black ink, with revisions in finer pen and in light ink. Pinholes in center. Originally titled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eAborigines,\n\u003c/title\u003e this section corresponds to section 60 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn a full light-blue Williamsburgh tax form (21.5 x 12 cm.), in black and light ink, with revisions in light ink. Pinholes in center. The top verse section corresponds to section 61 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf,\n\u003c/title\u003e and the lower verses (\"These! These, my voice an-/nouncing—...\") became section 62.\n\u003c/p\u003e","\u003cp\u003eOn a torn section of pink paper (14 x 13.5 cm.), in black ink, with heavy revisions in pencil, in a finer pen, and in light ink. The section torn from the top (\"No dainty dolce affetuoso I,\") was renumbered \"26\n1/2\" and pasted to leaf 27 (see Vol. 1, p. 27). Pinholes in original and current center. These verses became the first five verses of section 63 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn a full leaf of pink paper (21 x 13 cm.), in black ink, with revisions and deletions in pencil, in a finer pen, and in light ink. Pinholes in center. Whitman corrected the leaf number from 30 to 31. The first\nverse on the page, deleted, begins \"See, by the sea-side bathing, free/ from costumes,...\" and the third verse, also deleted, begins \"See, the President, ashamed, scouted/ at by the people,...\" The undeleted lines\ncorrespond to verses 6-8 of section 63 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn a torn pink leaf (17.5 x 13 cm.), in black ink, with revisions in pencil, in a finer pen, and in light ink. Pinholes in the current and original centers. The verse or verses removed from the foot of the\npage, of which only the word \"at\" is legible, have apparently been lost. The remaining lines correspond to verses 9-12 of section 63 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn verso of a full light-blue Williamsburgh tax blank (21.5 x 12 cm.), in light ink, with no revisions. Pinholes in center and at top. Although these verses were written as one section, Whitman changed a\nsemicolon at the end of the fourth verse (before \"O a word to clear one's path/ ahead endlessly!\") to a period, creating sections 64 and 65 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf.\n\u003c/title\u003e An earlier draft of the last four verses appears, upside-down, on the verso of the top section of composite leaf 2:1:4 in\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChants Democratic.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eThe following pages are in the order in which the poems appeared, after revision, in the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves.\n\u003c/title\u003e These pages contain drafts of poems that would become five of the main numbered sections of the new cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eEnfans d'Adam\n\u003c/title\u003e in the 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass.\n\u003c/title\u003e In the 1867 and later editions these poems appeared, with individual titles, under the group title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChildren of Adam.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn a white wove leaf (16 x 10 cm.), in light ink, with no revisions. Pinholes mostly in center. An earlier draft of this poem appears on the verso of Vol. 1, p. 99 (\"City of my walks and joys!\") the leaf that\nwould become section 18 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. After being incorporated as the first main section of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eEnfans d'Adam\n\u003c/title\u003e in 1860, this poem received its own title,\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eTo the Garden, the World\n\u003c/title\u003e in the 1867\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn three pink leaves (all roughly 21 x 13 cm.), in black ink, with revisions in pencil, fine pen, and light ink. Multiple pinholes in the center of each leaf, with two at the top where the leaves were pinned\ntogether. Originally numbered 84. This poem appeared in the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e as main section 7 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eEnfans d'Adam,\n\u003c/title\u003e and was retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eWe Two—How Long We Were Fool'd\n\u003c/title\u003e in 1867.\n\u003c/p\u003e","\u003cp\u003eOne and one-half white wove leaves, the first 18.5 x 16 cm. (with a narrow section of the upper-right corner torn off) and the second roughly cut down to 11 x 16 cm. In brown-black ink, with revisions in the\nfine pen. Pinholes in the center of both leaves, but also near the original center of the second leaf and in the left margins of both. This poem, numbered 82 in pencil (presumably by Whitman) became main section 8\nof\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eEnfans d'Adam\n\u003c/title\u003e in 1860, and was permanently retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eNative Moments\n\u003c/title\u003e in 1867.\n\u003c/p\u003e","\u003cp\u003eOn a leaf of white wove paper (20 x 16 cm.), in brown-black ink, with extensive revisions in the same ink and in pencil. On the present verso appear, in pencil, two fragments: an undeleted verse that would be used in Satan's section of \u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChanting the Square Deific\n\u003c/title\u003e in \u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSequel to Drum-Taps\u003c/title\u003e (1865-66); and the earliest draft in the Barrett collection of what would become section 23 of \u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf\u003c/title\u003e (deleted; see Vol. 1, p. 8 for an intermediate version of the section and Vol. 1, p. 12 for the last version before publication). The undeleted verse is upside-down relative to the deleted section. The recto verses became main section 9 of \u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eEnfans d'Adam\u003c/title\u003e in 1860, and were retitled \u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eOnce I Pass'd Through a Populous City\u003c/title\u003e in 1867.\n\u003c/p\u003e","\u003cp\u003eOn pink leaf (21 x 12.5 cm.), in black ink, with extensive revisions in fine pen and light ink. Very few pinholes in center. The number 80 appears above the deleted 79 (both in ink) above the title, along with a pencil question mark in parentheses. This poem was revised to form main section 10 of \u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eEnfans d'Adam\u003c/title\u003e in 1860, and in 1867 was given two new opening lines and retitled \u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eFacing West from California's Shores.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003ePages generally follow the order in which the poems appeared, after revision, in the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eThese pages contain drafts of poems that would become main sections 1-2, 4, 7-18, 20-23, 25-27, 30-32, 34, and 36-45 of the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e cluster, which first appeared in the 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass.\n\u003c/title\u003e In 1867 the poems received individual titles, and in that and subsequent editions a small number of poems were removed from and added to the cluster; but, with the exceptions noted below, the great\nmajority of the original poems remained in\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e through all the versions of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. Twelve of the manuscript poems are taken from a small notebook and marked with ornamental Roman numerals, which Bowers used to reconstruct the original sequence upon which\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e was apparently built. This nucleus of poems is known as\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLive Oak, with Moss.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn white wove half-sheet (20 x 16 cm.), in dark brown ink, with heavy alterations in the same ink, in light ink, and in pencil. Appears on the verso of the second fragment of a pencil draft of an editorial,\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eImportant Questions in Brooklyn.—,\n\u003c/title\u003e which Whitman apparently never published but which seems to have inspired at least two published editorials on the Brooklyn Water Works and the political quarrels surrounding control of the project. The\neditorials appeared in the Brooklyn\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eTimes\n\u003c/title\u003e of March 15 and 16, 1859, supplying important clues to the dating of the Barrett manuscripts (see Bowers xxviii-xxix). Pinholes mostly in center. These verses became lines 6-10 of section 2 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in the 1860 edition.\n\u003c/p\u003e","\u003cp\u003eOn white wove half-sheet (20.5 x 16 cm.), in dark brown ink, with heavy revisions in the same ink, in lighter ink, and in pencil. On verso of the first, titled half-page of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eImportant Questions in Brooklyn—.\n\u003c/title\u003e Pinholes mostly in center. These lines became verses 11-14 of section 2 in the 1860 version of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn white wove half-sheet (20 x 16 cm.), in dark brown ink, with extensive revisions in the same ink, in a lighter ink, and in pencil. On verso of the third half-page of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eImportant Questions in Brooklyn—.\n\u003c/title\u003e Pinholes mostly in center. These lines became verses 15-20 of section 2 in the 1860 version of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn white wove half-sheet (20 x 16 cm.), in dark brown ink, with extensive revisions in the same ink, in a lighter ink, and in pencil. On verso of the fourth and (apparently) final half-page of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eImportant Questions in Brooklyn—.\n\u003c/title\u003e Pinholes mostly in center. These lines became verses 21-29 of section 2 in the 1860 version of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn white wove half-sheet (20 x 16 cm.), in dark brown ink, with extensive revisions in the same ink, in a lighter ink, and in pencil. Pinholes mostly in center. These lines became the final verses (30-40) of\nsection 2 in the 1860 version of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn white wove leaf (16 x 10 cm.), in light brown ink, with no revisions. Pinholes at top and in center. This became section 1 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860, and was retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eIn Paths Untrodden\n\u003c/title\u003e in the 1867\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eThis leaf comprises two sections of a poem inscribed (with very few alterations) on the first and third sides of a folded half-sheet (21.5 x 16 cm.) of the same white wove paper used for \"Long I was held by the\nlife.\" Whitman also used the same light-brown ink for these passages as for [Long I was held by the life/ that exhibits itself,], and, as Bowers notes, the pinholes in the two leaves match up. On the first side of\nthe folded leaf a blue pencil was used to correct a pencil number 7 to a 1, and on the third side the blue pencil corrected a pencil 8 to a 2. The five verses beginning \"Was it I who walked the/ earth...\" were not\nused in\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus,\n\u003c/title\u003e but the five lines beginning \"Scented herbage of my breast\" became the opening verses of section 2 of the cluster in the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. In the 1867 and later editions the first line was used as the title of the poem. See the following five entries for drafts of the remaining verses in the section, written on larger leaves (roughly 20 x\n16 cm.) of the same paper, in darker ink, and all heavily revised.\n\u003c/p\u003e","\u003cp\u003eThese leaves comprise four sections of a poem inscribed on the first and third sides of two folded half-sheets (20 x 16 cm.) of the same white wove paper used for 1:3:1 and 1:3:2, in the same light brown ink\nand, like them, with only minor revisions. The pages were folded and pinned together to form a small pamphlet. Pinholes mostly at center-top and in what was the left margin of the pamphlet. The lines on page 1\nbecame verses 1-8 of section 4 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus.\n\u003c/title\u003e in 1860; page 2 (\"Solitary, smelling the earthy/ smell,...\") became verses 9-14; page 3 (\"Here lilac with a branch of/ pine,\") became verses 15-22; and page 4 (\"And stems of currants, and/ plum-blows,\")\nbecame verses 23-28. From 1867 on the poem was titled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThese I, Singing in Spring.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn two light blue Williamsburgh tax blanks (21.5 x 12 cm.), in light brown ink, with minor revisions. A few pinholes at the head and in the center. A blue pencil question mark appears to the left of the first\nline on the second form. The lines on the first leaf became verses 1-9 of section 7 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860, and the second leaf's lines (\"To me all these, and the/ like of these,...\"] became verses 10-16. Retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eOf the Terrible Doubt of Appearances\n\u003c/title\u003e in 1867.\n\u003c/p\u003e","\u003cp\u003eOn three pieces of white wove paper (the first two 15 x 9.5 cm., the third 6.5 x 9.5 cm.), in black ink, with revisions in the same ink and in pencil. Whitman also penciled in the numbers 7, 8, and 8 1/2 in the\nlower-left corner of each page. Pinholes at the head and in the center of each page. This was the fifth poem of the original sequence\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLive Oak, with Moss\n\u003c/title\u003e; the poem number is inscribed ornamentally, as with the Roman numerals Whitman used for other\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLive Oak\n\u003c/title\u003e poems, and a wavy line appears after the last verse. The lines on the first leaf became verses 1-5 of section 8 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860; the second leaf's lines (\"Take notice, you Kanuck woods\") became verses 6-10; and the lines on the half-page (\"I am indifferent to my own/ songs—\") became verses 11-12. There were no\nfurther appearances of this poem during the poet's lifetime, Whitman having canceled it in his\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eBlue Book Copy\n\u003c/title\u003e of the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn two pieces of white wove paper, the first cut down to 9.5 x 9 cm. and the second comprising two sections (14.5 x 9 and 5 x 9.5 cm.) joined by means of a strip of pink paper. In brown-black ink, with\nrevisions in the same ink and in pencil. Pinholes mostly at top and in center of leaves. Whitman penciled in the numbers 11 and 12 (apparently over other numbers) in the lower-left corner of each page; his partly\nerased pencil note \"(finished in/ the other city)\" appears on the first page. The ornamental number \"VIII\" replaces a deleted ornamental \"IX\" on the first page, and the top of another \"IX\" appears at the foot of\nthe second page, beneath a wavy line indicating the end of the poem. Whitman removed the lower section of page 2 from the top of current leaf Vol. 1, p. 132 (\"I dreamed in a dream of a/ city...\"). This poem, the\neighth in the sequence\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLive Oak, with Moss,\n\u003c/title\u003e became section 9 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860. This was its only appearance in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. The first page contains what would become verses 1-3 in 1860, and the second (\"Hours discouraged, distracted,\") contains lines 4-12.\n\u003c/p\u003e","\u003cp\u003eOn two sections of white wove paper, the first cut down to 8 x 9 cm. and the second a composite of two pieces pasted together, the top measuring 14.5 x 9.5 and the bottom 5.5 x 9.5 cm. In black ink, with a few\nrevisions in the same ink. Pinholes at top and in center of both pages. Whitman numbered the first 9 1/2 and the second 10, in pencil, in the lower-left corner of each leaf. The Roman numeral is inscribed in an\nornamental style, and the poem terminates with a wavy line. The seventh poem in the sequence\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLive Oak, with Moss,\n\u003c/title\u003e became section 10 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860 and was permanently retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eRecorders Ages Hence\n\u003c/title\u003e in 1867. The lines on the first page correspond to verses 1-3 of the 1860 version, and those on the second page (\"Publish my name and hang up/ my picture...\") to lines 4-11.\n\u003c/p\u003e","\u003cp\u003eOn two leaves of white wove paper, both measuring 15 x 9.5 cm.; the lower half of the second page is pasted over with a section of white paper (8 x 9 cm.) containing four revised verses. In black ink, with\nrevisions in the same ink and in pencil. Pinholes mostly at top of both pages. Whitman numbered the pages 4 and 5, in pencil, in their lower-left corners. The third section of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLive Oak, with Moss\n\u003c/title\u003e (with ornamental Roman numeral), this poem became section 11 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860 and was permanently retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eWhen I Heard at the Close of the Day\n\u003c/title\u003e in 1867. For an earlier draft of the poem numbered V please see the verso of leaves 15-16 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePremonition\n\u003c/title\u003e (Vol 1, pp. 15-16). Bowers (p. 88) supplies the three earlier lines concealed by the paste-on revision to the second leaf. The lines on the first page correspond to verses 1-5 of the 1860 version, and\nthose on the second page (\"And when I thought how/ my friend,...\") to lines 6-13.\n\u003c/p\u003e","\u003cp\u003eOn two pieces of white wove paper, 13 x 11.5 and 20 x 16 cm., in brown-black ink, with substantial revisions in the same ink. Pinholes mostly at center and in left margins of both pages. This poem, featuring a\nnew first line, became section 12 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860; in 1867 Whitman dropped the last 2 1/2 lines and permanently retitled it\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eAre you the New Person Drawn Toward Me?\n\u003c/title\u003e The first page contains verses corresponding to lines 2-3 of the 1860 version, and the lines on the second page (\"Do you suppose you can easily/ be my lover,...\") became verses 4-11.\n\u003c/p\u003e","\u003cp\u003eOn pink leaf (21.5 x 13 cm.), in black ink, with minor revisions in the same ink.A few pinholes at top and near center. A pencil question mark appears in parentheses in the upper-right corner. The number 52\nappears to have been revised from 51. After adding several verses, Whitman designated this poem section 13 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e, and, after dropping the first two and last three lines of the 1860 version, permanently retitled it\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eRoots and Leaves Themselves Alone\n\u003c/title\u003e in 1867.\n\u003c/p\u003e","\u003cp\u003eOn white wove leaf, 15 x 9 cm., in black ink, with the title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLive Oak, with Moss\n\u003c/title\u003e stricken out and\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus-Leaves\n\u003c/title\u003e added in light brown ink, and with one small revision in blue pencil. Whitman numbered this page 1 in pencil. The first section of the original sequence\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLive Oak, with Moss,\n\u003c/title\u003e this became section 14 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860 and was permanently retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eNot Heat Flames up and Consumes\n\u003c/title\u003e in the 1867\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn verso of light blue Williamsburgh tax blank (21.5 x 12 cm.), in light ink, with no revisions. Pinholes at top and in center. This poem became section 15 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860, and, with the addition of a new first line, was retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eTrickle, Drops\n\u003c/title\u003e in 1867.\n\u003c/p\u003e","\u003cp\u003eOn two pink leaves (both 21.5 x 13 cm.), in black ink, with extensive revisions in the same ink, in pencil, and in fine pen. Pinholes mostly in center of both leaves, but also at top and in left margins. The\noriginal title was\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaflet.\n\u003c/title\u003e On the second page Whitman added, in a combination of normal and blue pencil, the number 43 (1/2). With the addition of a new first line (\"1. Who is now reading this?\") the poem became section 16 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860; the lines on the first draft page correspond to verses 2-8 and those on the second page (\"Or as if interior in me\") to verses 9-10. This was the first and last appearance of the poem during\nWhitman's lifetime: he rejected it from his\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eBlue Book Copy\n\u003c/title\u003e of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e in 1860.\n\u003c/p\u003e","\u003cp\u003eOn two pink leaves (21 x 13 cm.), in black ink, with revisions in the same ink and in light ink. Pinholes in center, at top, and in top-left corner. This poem was originally titled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaf\n\u003c/title\u003e and apparently numbered 78; Whitman inscribed its new title,\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePoemet,\n\u003c/title\u003e in light ink. It became section 17 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860, with the lines on the first leaf corresponding to verses 1-7 and those on the second (\"And what I dreamed I will/ henceforth tell...\") to verses 8-13 of the first published version. Retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eOf Him I Love Day and Night\n\u003c/title\u003e in 1867, it was transferred to the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eWhispers of Heavenly Death\n\u003c/title\u003e cluster in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003ePassage to India\n\u003c/title\u003e in 1871. In 1881 Whitman incorporated it, with the rest of the cluster, in the main body of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn a composite leaf consisting of two pieces of white wove paper, 8.5 x 10 and 20 x 16 cm.; the smaller section (in light brown ink, with few revisions) is pasted over some lines in the top-left corner of the\nlarger piece (in dark brown ink), from the top of which other lines were cut off. Whitman made extensive revisions to the larger piece in the same dark brown ink and in pencil before adding the smaller section. On\nthe verso of the larger piece appears an extensively revised pencil draft of the first poem in\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eEnfans d'Adam\n\u003c/title\u003e (see Vol. 1, p. 35; the lines on the composite page's verso represent an earlier draft of the poem). The verses on the current recto of the composite leaf became section 18 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860; the poem was permanently retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCity of Orgies\n\u003c/title\u003e in 1867.\n\u003c/p\u003e","\u003cp\u003eOn two leaves of white wove paper, both 15 x 9.5 cm., in black ink, with extensive revisions in the same ink, in light brown ink, and in pencil. Pinholes mostly at top and in center of both pages. Whitman\nnumbered the pages 2 and 3 in pencil. This was originally the second section of the sequence\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLive Oak, with Moss\n\u003c/title\u003e (one of the deleted lines reads \"I write/ these pieces, and name/ them after it [the Louisiana live-oak];\"), with ornamental Roman numeral. It became section 20 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860; the lines on the first manuscript page correspond to verses 1-7, and those on the second (\"It is not needed to remind/ me...\") to verses 8-13. The poem was retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eI saw in Louisiana a Live-Oak Growing\n\u003c/title\u003e in 1867.\n\u003c/p\u003e","\u003cp\u003eOn two leaves of pink paper, both 21 x 13 cm., in black ink, with minor revisions in the same ink. Pinholes mostly in center and at top of both pages. This poem became section 21 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860; the lines on the first manuscript page became verses 1-6, and those on the second (\"I hear not the volumes of/ sound merely—...\") became 7-9. Retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThat Music Always Round Me\n\u003c/title\u003e in 1867, it was transferred in 1871 to the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eWhispers of Heavenly Death\n\u003c/title\u003e cluster in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003ePassage to India.\n\u003c/title\u003e In 1881 Whitman incorporated it, with the rest of the cluster, in the main body of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn two leaves of pink paper, both 21 x 13 cm., in black ink, with revisions in the same ink and in light ink. Pinholes mostly in center and in left margin of each page. This poem was first numbered 94, and the\nfirst word was \"Stranger\"; Whitman penciled in a question mark, in parentheses, next to the title. It was numbered section 22 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860: the lines on the first page correspond to verses 1-6 of the 1860 version, and those on the second (\"You give me the pleasure\") to verses 7-10. Whitman reintroduced the title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eTo a Stranger\n\u003c/title\u003e in the 1867\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn one leaf of white wove paper, in dark brown ink, with revisions in pencil. Pinholes in center and at top. Whitman penciled in the number 6 in the lower-left corner. The fourth poem in the original sequence\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLive Oak, with Moss\n\u003c/title\u003e (with ornamental Roman numeral), it became section 23 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860 and was permanently retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThis Moment, Yearning and Thoughtful\n\u003c/title\u003e in 1867.\n\u003c/p\u003e","\u003cp\u003eOn one leaf of pink paper (21 x 13 cm.), in black ink, with revisions in an even blacker ink and in pencil. Pinholes in center. The poem was originally numbered 53. In 1860 Whitman designated it section 25 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus,\n\u003c/title\u003e transforming the title into a new first line and expanding the original first line into verses 2-4. In 1867 he further revised it, permanently retitling it\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThe Prairie-Grass Dividing.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn one leaf of pink paper (21 x 12.5 cm.), in black ink, with minor revisions in the same ink. Pinholes in center. This poem was originally numbered 83. With the addition of the new first lines \"We two boys\ntogether clinging,/ One the other never leaving...\" and attendant revisions it became section 26 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860, and was permanently retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eWe Two Boys Together Clinging\n\u003c/title\u003e in 1867.\n\u003c/p\u003e","\u003cp\u003eOn one light blue Williamsburgh tax blank (21.5 x 12 cm.), in dark brown ink, with revisions in fine pen and pencil. Whitman penciled in a question mark, in parentheses, next to the title. With the addition of\nthe new first line \"O love!\" this became section 27 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860. In the 1867\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e it was retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eO Living Always—Always Dying!\n\u003c/title\u003e Whitman next transferred it to the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePassage to India\n\u003c/title\u003e supplement bound in with\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e, where it reappeared in 1876; in the 1881\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e Whitman permanently added it to the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eWhispers of Heavenly Death.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn one leaf of pink paper (22 x 13 cm.), in black ink, with revisions in the same ink. Pinholes mostly in center. The original title was\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaflet,\n\u003c/title\u003e and the original number seems to have been 70. After substantial revision (including the addition of the new first line \"A promise and gift to California,\") this poem became section 30 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860. Whitman further revised the poem before including it, permanently retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eA Promise to California,\n\u003c/title\u003e in the 1867\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn one leaf of pink paper (21.5 x 13 cm.), in black ink, with a fair copy of the poem at the bottom of the leaf and a deleted draft featuring heavy revisions in the same ink and in pencil at the top. This poem\nwas originally numbered 68, and its title was\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaflet—.\n\u003c/title\u003e In 1860 it became the second numbered verse paragraph of section 31 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus.\n\u003c/title\u003e In 1867 Whitman split up the two paragraphs and made them separate poems; these verses were moved to a position between the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e and a\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e cluster and permanently retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eWhat Place Is Besieged?\n\u003c/title\u003e In 1881 the poem was transferred to the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eInscriptions.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn one leaf of white wove paper (15 x 9.5 cm.), in medium-brown ink, with one revision in the same ink. Pinholes mostly at top and in center. The two sets of verses are divided by a short horizontal line. In\n1860 the first set, with the addition of a new first line (\"Here my last words, and the most baffling,\") became section 44 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e; the poem was permanently retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eHere the Frailest Leaves of Me\n\u003c/title\u003e, and the new first line dropped, in 1867. The second set was revised to form section 38 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860; in 1867 it was further revised and retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eFast Anchor'd, Eternal, O Love.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn one leaf of white wove paper (14.5 x 9 cm.), in black ink, with revisions in pencil. Pinholes in center and at top. A blue-pencil number 3 appears in the upper right corner over an erased 9. With substantial\nadditions and revisions this evolved into section 37 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860; after further revision it became\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eA Leaf for Hand in Hand\n\u003c/title\u003e in 1867.\n\u003c/p\u003e","\u003cp\u003eOn one leaf of white wove paper (14.5 x 9.5 cm.), in brown-black ink, with revisions in lighter ink (including the deletion, undone in 1860, of the phrase \"My likeness!\" after \"Earth!\"). Pinholes mostly at top\nand in center. Whitman penciled in the number 15 in the lower-left corner. Originally poem XI in the sequence\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLive Oak, with Moss\n\u003c/title\u003e (with the Roman numeral ornamentally drawn), this was revised to become section 36 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860. In 1867 Whitman retitled the poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eEarth! My Likeness!\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn one leaf of white wove paper cut down to 9.5 x 9 cm., in brown-black ink, with revisions in pencil. Pinholes at top and in center. Whitman numbered the leaf 13, in pencil, in the lower-left corner. The\nexcised top portion of the leaf became the bottom section of page 2 (Vol. 1, p. 72), the poem (eighth in the sequence\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLive Oak, with Moss\n\u003c/title\u003e) beginning \"Hours continuing long, sore/ and heavy-hearted...\" In 1860 this poem was substantially revised to form section 34 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e; in 1867 it was retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eI Dreamed in a Dream.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn a composite leaf of white wove paper consisting of two sections (8.5 x 9 and 6.5 x 9 cm.) pasted together. Both sections are in black ink but, as Bowers notes, the lower verses were inscribed using a darker,\nthicker pen; the upper section is unrevised, but the lower section bears several alterations in the original ink. Pinholes at top of both sections and in the current center. Whitman numbered the page 9, in pencil,\nin the lower-left corner. Originally the sixth section of the sequence\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLive Oak, with Moss,\n\u003c/title\u003e this poem was revised to form section 32 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860, and in 1867 was retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eWhat Think You I Take My Pen in Hand?\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn one leaf of white wove paper (15 x 9.5 cm.), in light brown ink, with one revision in the same ink. Pinholes at top and in center. A blue pencil mark, possibly the number 4, has been inscribed in the upper\nright corner. Bowers notes that the page bears the imprint of a papermaker's lozenge die, perhaps that of Platner and Smith of Lee, Massachusetts. This poem became section 39 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860; in 1867 Whitman replaced the third line with a new one and permanently retitled the poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSometimes with One I Love.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn one leaf of white wove paper (15 x 9 cm.), in black ink, with revisions in the same ink and in pencil. Whitman also penciled in the page number 16 in the lower-left corner. Pinholes in center and at top.\nThis page bears the same papermaker's mark as Vol. 1, p. 136. Twelfth in the original sequence\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLive Oak, with Moss\n\u003c/title\u003e (with ornamental Roman numeral), it became section 42 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860. In 1867 Whitman changed the poem to an apostrophe, adding the first line \"O Boy of the West!\" (later removed) and permanently retitling it\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eTo a Western Boy.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn one leaf of pink paper (21.5 x 13 cm.), in black ink, with revisions in the same ink, in pencil, and in fine ink (in that order). Pinholes mostly in center. Originally titled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eTo Those Who Will Understand\n\u003c/title\u003e and numbered 100 (then 101, then the current ?100 in the fine pen). This was revised to form section 41 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860 and was permanently retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eAmong the Multitude\n\u003c/title\u003e in the 1867\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn one leaf of white wove paper (14.5 x 9 cm.), in brown-black ink, with revisions in the same ink. Pinholes mostly at the top, with a few lower down. The tenth section of the original sequence\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLive Oak, with Moss\n\u003c/title\u003e (with ornamental Roman numeral), this was reformatted and renumbered but otherwise left unrevised as section 43 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860. In 1867 Whitman permanently retitled it\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eO You Whom I Often and Silently Come.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOne one leaf of lined light blue wove paper (17 x 9.5 cm.), in pencil, with one pencil revision. Only two sets of pinholes, both in center. This was revised to become section 40 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in 1860; in 1867 it was retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThat Shadow, My Likeness.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn one composite leaf of pink paper formed of two sections (10 x 13 and 11.5 x 13 cm.) of the same page cut apart and pasted together in a new order. The poem number was originally 101 and then changed to 102;\nthis number was deleted and the current ?101 added in fine pen. Bowers explains that the poem, in two discrete verse sections and inscribed in black ink (with title), originally occupied one full side of this\nleaf. When Whitman wanted to expand the first section without having to retranscribe the second one, he simply cut the two sections apart, flipped the first section over (turning it upside-down in the process),\npasted the second section to the lower edge of the verso of the first section, and wrote his new first section (beginning \"Throwing far, throwing over the head/ of death\" and incorporating the original title as\nverse 3) in the blank space now created above the second section. The new first section is written and revised in light ink. As Bradley and Blodgett observe, the words \"thirty-eight years old the/ eighty-first\nyear of The States\" indicate that Whitman composed the poem in 1857; these were revised to read \"I, forty years old the Eighty-third Year of The States\" in the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e, in which this poem constituted section 45 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus.\n\u003c/title\u003e In 1867 Whitman retitled the poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eFull of Life, Now.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eThese fourteen poems were revised to form sections 4, 7-14, and 16-20 of the new cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChants Democratic and Native American\n\u003c/title\u003e in the 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass.\n\u003c/title\u003e In 1867 Whitman disbanded the cluster, and each poem then or later on received an individual title. This grouping carries over into Volume 2.\n\u003c/p\u003e","\u003cp\u003eOn sixteen leaves of pink paper, all basically the same size (21.5 x 13 cm.) and all in black ink, with a fair number of revisions in the same ink, in a darker ink, and in pencil. Multiple pinholes in the\ncenter, and also some at the top, of each leaf. This poem was originally numbered 89. Whitman also numbered each leaf in the lower-left corner in pencil: the leaves follow the order 1-9, 9 1/2 (a full page despite\nits number), and 10-15. The expression \"the Eightieth year of/ These States\" at the top of leaf 2 indicates, as Bradley and Blodgett note, that Whitman was working on this poem as early as 1856. It became section\n4 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChants Democratic\n\u003c/title\u003e in 1860. In 1867 Whitman ungrouped it and retitled the poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eAmerican Feuillage,\n\u003c/title\u003e a name it kept until being permanently retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eOur Old Feuillage\n\u003c/title\u003e in 1881. The lines on the manuscript leaves correspond to these verses in the 1860 edition: leaf 1 to verses 1-6; leaf 2 (\"The area the Eightieth year of/ These States,...\") to 7-12; leaf 3 (\"Always The\nWest, with strong native/ persons,...\") to 13-18; leaf 4 (\"In their northerly wilds, beasts of/ prey...\") to 19-24; leaf 5 (\"On solid land what is done/ in cities...\") to 25-29; leaf 6 (\"Rude boats descending the\nBig/ Pedee—...\") to 30-34; leaf 7 (\"Southern fishermen fishing—...\") to 35-38; leaf 8 (\"In Virginia, the planter's son/ returning...\" to 39-42; leaf 9 (\"Northward, young men of/ Mannahatta—...\")\nto 43-45; leaf 9 1/2 (\"The Texas cotton-field and/ the negro-cabins—...\") to 46-50; leaf 10 (\"The drama of the scalp-dance\") to 51-58; leaf 11 (\"The country-boy at the close/ of the day...\") to 59-61 and 63;\nleaf 12 (\"The athletic American matron\") to 64-70; leaf 13 (\"Otherways there, atwixt the banks/ of the Arkansaw,...\") to 71-73; leaf 14 (\"The migrating flock of wild-/geese...\") to 74-75; and leaf 15 (\"In the\nMannahatta, streets, piers,\") to verses 76-77 and 79-83.\n\u003c/p\u003e","\u003cp\u003eOn six leaves of pink paper, all 21 x 13 cm. in size, and all in the same black ink, with revisions in that ink, in a fine pen, in pencil, and in light ink. Each leaf has a pinhole cluster in the center and a\nfew pinholes in the left margin. The deleted title is\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePoemet—.\n\u003c/title\u003e As Bowers notes,\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eEvolutions.—\n\u003c/title\u003e is written in the light ink, and the number \"41—\" in a darker ink than the text. Whitman numbered each leaf in pencil in the upper right corner. As Bradley and Blodgett note, this poem was first\npublished in the January 14, 1860 issue of the\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNew York Saturday Press\n\u003c/title\u003e under the title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eYou and Me and To-day,\n\u003c/title\u003e after which it became section 7 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChants Democratic\n\u003c/title\u003e in the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. In 1867 Whitman ungrouped it and permanently retitled it\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eWith Antecedents\n\u003c/title\u003e; in 1881 it was permanently transferred to the new cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eBirds of Passage.\n\u003c/title\u003e The manuscript leaves correspond to the published verses in the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e as follows: leaf 1 to verses 1-7; leaf 2 (\"With the sale of slaves—\") to verses 8-13; leaf 3 (\"With this year, sending itself/ ahead...\") to verses 15-22; leaf 4 (\"I have the idea of all, and/ am\nall,...\") to verses 24-30; leaf 5 (\"I promulge that all past/ days...\") to verses 31-38; and leaf 6 (\"And that there is no untruth/ in time...\") to verses 40-41.\n\u003c/p\u003e","\u003cp\u003eOn six leaves of pink paper, the first a composite leaf measuring 25.5 x 12.5 cm. and the rest standard-sized leaves of 21.5 x 12.5 cm. In black ink, with extensive revisions in the same ink, in pencil, and,\nfinally, in light ink. Whitman also numbered each leaf, in pencil, in the upper right corner. Each leaf has a pinhole cluster in the center and a few holes in the left margin. The first leaf consists of an\nexpanded opening section (title and three verses) in light ink inscribed on a small section of pink paper (9.5 x 12.5 cm.) pasted to what Whitman left (18 x 12 cm.) of the original leaf after apparently excising\nthe original opening verse(s). The lower left corner of this first leaf, with part of two or three words, has been worn away. In the 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e Whitman published this poem as section 8 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChants Democratic.\n\u003c/title\u003e In 1867, Bradley and Blodgett note, he gave it the permanent title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong at Sunset\n\u003c/title\u003e and moved it to the supplement\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSongs Before Parting\n\u003c/title\u003e; in 1871 it was finally transferred to the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSongs of Parting\n\u003c/title\u003e within the main body of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. The leaves correspond to the verses in the 1860\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChants Democratic\n\u003c/title\u003e version as follows: leaf 1 to verses 1-12; leaf 2 (\"Illustrious the yet shining light!\") to verses 13-25; leaf 3 (\"To speak! To walk! To/ seize something by the/ hand!\") to verses 26-34; leaf 4 (\"How the\nwater sports and/ sings!...) to verses 35-42; leaf 5 (\"I too throb to the brain...\") to verses 43-49; and leaf 6 (\"As I roamed the streets of/ inland Chicago—...\") to verses 50-59.\n\u003c/p\u003e","\u003cp\u003eOn two leaves of pink paper, in black ink, with heavy revisions in the same ink, in pencil, in fine pen (very black ink), and in light ink. With the fine pen Whitman inscribed and circled the note \"2d/ piece/\nin Book\" in the upper-right corner of the first leaf. The first leaf is a standard page measuring 21.5 x 13 cm., while the second is a composite of two sections pasted together, the top section measuring 6 x 13\nand the bottom one 18.5 x 12.5 cm. The small top section is inscribed in light ink on the verso of some deleted draft verses excised from\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSo Long!\n\u003c/title\u003e (see Vol. 2, pp. 153-159); Bowers observes that Whitman seems to have cut away the original first verse(s) in order to attach this expanded verse (in light ink) to the main body of original verses.\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThought\n\u003c/title\u003e became section 9 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChants Democratic\n\u003c/title\u003e in 1860. In the 1867\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e Whitman combined it with the second\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThought\n\u003c/title\u003e (Vol. 2, pp. 21 - 22) to form the poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThoughts\n\u003c/title\u003e in the supplement\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSongs Before Parting.\n\u003c/title\u003e (This particular\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThought\n\u003c/title\u003e was numbered section 1 of the composite poem.) In 1871\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThoughts\n\u003c/title\u003e appeared in the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSongs of Parting\n\u003c/title\u003e within the main body of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e, and in 1881, Bradley and Blodgett note, it achieved its final position within that cluster. The leaves correspond to the verses in the 1860\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChants Democratic\n\u003c/title\u003e version as follows: leaf 1 to verses 1-6, and leaf 2 (\"How the great cities appear—\") to verses 7-14.\n\u003c/p\u003e","\u003cp\u003eOn two leaves of pink paper, the first a composite leaf consisting of a small section pasted to a larger one (9 x 12.5 and 17.5 x 13.5 cm.), and the second a normal leaf measuring 21 x 13.5 cm. In black ink,\nwith extensive revisions in the same ink, in fine pen, and in light ink. The paste-on revision is in light ink, and contains an expanded version of the original lines Whitman cut away and apparently discarded. The\nverso of the paste-on section contains, as Bowers notes, five undeleted draft lines that would become the final verses of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf\n\u003c/title\u003e in the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e; Whitman's small note in the lower-right corner, in a semi-circle, reads \"end of Poem\" (see Vol. 1, p. 33 for a later version of these lines). This\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThought\n\u003c/title\u003e became section 11 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChants Democratic\n\u003c/title\u003e in 1860; in 1867 Whitman made it section 2 of the composite poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThoughts\n\u003c/title\u003e, and the two\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThought\n\u003c/title\u003e poems were indivisible from that point on (see 2:1:3 for details). Leaf 1 corresponds to verses 9-15 in the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChants Democratic\n\u003c/title\u003e version and leaf 2 (\"Of the new and good names—\") to verses 16-22.\n\u003c/p\u003e","\u003cp\u003eOn one large composite leaf of white lined laid paper, consisting of two pieces (measuring 20 x 16 and 11 x 16 cm.) pasted together. In dark brown ink, with heavy revisions in the same ink, in a darker ink, and\nin pencil. On the verso of both pieces appear fragments of extensive pencil notes for a speech or essay Whitman wrote (most likely) in 1856, and revised in 1858, under the working title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSlavery—the Slaveholders—/ —The Constitution—the/ true America and Ameri-/cans, the laboring persons—.\n\u003c/title\u003e The lines seem to represent fragments of an earlier, discarded draft of a manuscript currently housed at Duke University. See p. 2185 in vol. 6,\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Index\n\u003c/title\u003e, of Edward F. Grier's edition of Whitman's\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotebooks and Unpublished Prose Manuscripts\n\u003c/title\u003e in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Collected Writings of Walt Whitman\n\u003c/title\u003e (New York: New York University Press, 1984). See the verso of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eTo a Cantatrice.—\n\u003c/title\u003e (Vol. 2, p. 92), inscribed on the same paper, for an additional fragment of the draft. After undergoing extensive revisions, in 1860\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eTo a Historian\n\u003c/title\u003e became section 10 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChants Democratic.\n\u003c/title\u003e In 1867 Whitman deleted five verses, transferred the poem to the supplement\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSongs Before Parting,\n\u003c/title\u003e and permanently retitled it\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eTo a Historian.\n\u003c/title\u003e It appeared as the fifth poem in the opening cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eInscriptions\n\u003c/title\u003e in the 1872 and all later editions of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn five leaves of pink paper (all roughly 22 x 13.5 cm.), in black ink, with extensive alterations in the same ink, in pencil, and in light ink. Pinhole cluster in center of each leaf. As Bowers notes, the poem\nwas originally numbered 67, and the partly erased pencil note \"Needs to be/ re-written/ or excluded\" appears in the upper-right corner of the first leaf. Whitman also numbered the leaves in pencil in their lower-\nleft corners. The leaves correspond to verses in section 12 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChants Democratic\n\u003c/title\u003e in the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e as follows: leaf 1 to verses 1-7; leaf 2 (\"Come duly to the divine/ power to use words?\") to verses 8-13; leaf 3 (\"Then toward that man or/ that woman...\") to verses 14-16; leaf 4 (\"O Now I see arise\norators/ fit for America,\") to verses 17-19; leaf 5 (\"Of a great vocalism, when/ you hear it,...\") to verses 20-26. After excising and altering numerous verses of the poem and numbering different verse paragraphs\nfor the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChants Democratic\n\u003c/title\u003e version, Whitman next made the poem the second numbered section of the last\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e cluster in the 1867 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. From 1872 to 1876 it bore the title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eTo Oratists.\n\u003c/title\u003e Then, in 1881, Whitman deleted several lines, joining this poem with a previously unconnected poem known as\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eVoices\n\u003c/title\u003e to form\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eVocalism\n\u003c/title\u003e in the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eAutumn Rivulets,\n\u003c/title\u003e a position and identity the now-composite poem retained from that point on.\n\u003c/p\u003e","\u003cp\u003eOn three leaves of pink paper (the first cut down to 19.5 x 12.5 cm., the second two measuring 21.5 x 12.5 cm.), in black ink, with revisions in the same ink, in fine pen, in pencil, and in light ink (including\nthe title). A partial horizontal line at the top of the first leaf indicates that Whitman cut away the original title and number; Bowers notes that in a list of his poems Whitman refers to this poem as\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003e38. Walt Whitman's Laws.\n\u003c/title\u003e Pinholes clustered mostly in center of each leaf, with some in the left margins and at least one pair in the upper right corner. Whitman numbered each leaf in pencil in the lower left corner. These pages\nwere transformed into section 13 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChants Democratic\n\u003c/title\u003e in the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e as follows: Leaf 1 to verses 1-6; Leaf 2 (\"Statements, models, censuses,\") to verses 7-12; Leaf 3 (\"What do you suppose Creation/ is?\") to verses 13-18. A pencil paragraph mark appears in the upper left\ncorner of the third leaf; the verses on it formed the third numbered sub-section of the poem in 1860. In 1867 it was greatly shortened and transferred to the final\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e cluster in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. In 1872 the poem was permanently retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLaws for Creations\n\u003c/title\u003e Its final position was in the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eAutumn Rivulets\n\u003c/title\u003e Three earlier pencil drafts of most of the lines on Leaf 1 and some on Leaf 2 are housed under accession number 3829-i (see\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003e[Laws for Creations]\n\u003c/title\u003e).\n\u003c/p\u003e","\u003cp\u003eOn two sides of a single page of white wove paper (20 x 16 cm.) folded to form a pamphlet. In light brown ink with only one minor revision. Pinholes in the left margin when folded. Whitman numbered the\ninscribed sides of the leaf 1 and 2, in pencil, in the upper right corners. Side 1 corresponds to verses 1-9 of section 14 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChants Democratic\n\u003c/title\u003e in the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e; side 2 (\"I expect that Kanadians,\") became verses 10-16 of that version. In 1867 it was shortened to make up section 4 of the final\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e cluster in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. In 1872 it was permanently retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePoets to Come\n\u003c/title\u003e and transferred to the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThe Answerer,\n\u003c/title\u003e where it stayed until being moved to the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eInscriptions\n\u003c/title\u003e cluster in 1881.\n\u003c/p\u003e","\u003cp\u003eOn two leaves of pink paper (21.5 x 12.5 cm.), in black ink, with extensive revisions in the same ink, in a fine pen, and in light ink. Pinholes in center and at top of both leaves. This became section 16 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChants Democratic\n\u003c/title\u003e in 1860, with Leaf 1 corresponding to verses 1-6 and Leaf 2 (\"They shall train themselves/ to go in public,...\") to verses 7-11. In 1867 Whitman restored the title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eMediums\n\u003c/title\u003e; in 1871, Bradley and Blodgett note, it was transferred to\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003ePassage to India\n\u003c/title\u003e, and in 1881 took its final position in the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eFrom Noon to Starry Night.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn two leaves of pink paper (both 21.5 x 13 cm.), in black ink, with revisions in the same ink, in a fine pen, and in light ink. Pinholes in center and in left margin. The poem was originally numbered 50.\nWhitman penciled in a question mark, in parentheses, in the upper-right corner. This became section 17 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChants Democratic\n\u003c/title\u003e in the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e, with leaf 1 corresponding to verses 1-6 and leaf 2 (\"We confer on equal terms with/ each of The States,\") to verses 7-13. Although he dropped it from\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e in 1867, Whitman nonetheless used the poem, permanently retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eOn Journeys through the States,\n\u003c/title\u003e in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003ePassage to India\n\u003c/title\u003e in 1871. In 1872 and 1876 it appeared in the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePassage to India\n\u003c/title\u003e annexes to\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e and\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eTwo Rivulets\n\u003c/title\u003e, respectively, and in the 1881\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e it took its final position in the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eInscriptions.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn one leaf of pink paper (21 x 13 cm.), in black ink, with revisions in the same ink and in a blacker ink. A few pinholes in the center and left margin. Originally numbered 73. This became section 18 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChants Democratic\n\u003c/title\u003e in 1860; in 1867 it was permanently retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eMe Imperturbe,\n\u003c/title\u003e and after various repositionings was finally transferred to the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eInscriptions\n\u003c/title\u003e in 1881.\n\u003c/p\u003e","\u003cp\u003eOn one leaf of pink paper (21 x 13 cm.), in black ink and pencil, with revisions in the same ink, in fine pen (blacker ink), and possibly one more type of ink. Originally numbered 75; the pencil title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaflet\n\u003c/title\u003e appears, deleted, in the upper-right corner. Pinholes in center and in left margin (towards center and top). This became section 19 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChants Democratic\n\u003c/title\u003e in 1860; in 1867 it was permanently retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eI Was Looking a Long While,\n\u003c/title\u003e and in 1881 was assigned to the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eAutumn Rivulets.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn two leaves of pink paper (21.5 x 13 cm.), in black ink, with revisions in the same ink, in a lighter ink, and in the final light ink. Originally numbered 54 and titled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaf.—\n\u003c/title\u003e; Bowers notes that the title was next\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSongs—always wanted\n\u003c/title\u003e and then\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eMouth-Songs.\n\u003c/title\u003e Pinholes in center and upper-left corner of each leaf. This became section 20 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChants Democratic\n\u003c/title\u003e in 1860, with leaf 1 corresponding to verses 1-6 and leaf 2 (\"The delicious singing of the/ mother...\") to verses 8-10. In 1867 Whitman revised the first line and permanently retitled the poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eI Hear America Singing\n\u003c/title\u003e; in 1881 it achieved its final position in the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eInscriptions.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eThese eight poems were revised to constitute sections 13, 15-19, and 21-22 of the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e in the 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e; in later editions they were revised and transferred to different clusters.\n\u003c/p\u003e","\u003cp\u003eOn the verso of three light blue Williamsburgh tax blanks (21.5 x 12 cm.), in medium-black ink, with revisions in the same ink and a lighter one. Pinholes in center and top of each leaf. After undergoing\nsubstantial deletions and revisions this poem became section 13 of the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e in 1860, with the manuscript leaves corresponding to the published version as follows: leaf 1 to numbered verse paragraphs 1 (now beginning \"O bitter sprig! Confession sprig!\") through 3 and 5; leaf 2\n(\"You felons on trial in courts,\") to 4 and most of 6; and leaf 3 (\"And I say I am of them—\") to the rest of 6. In 1867 Whitman permanently retitled the poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eYou Felons on Trial in Courts\n\u003c/title\u003e and further shortened it by removing the first three verse paragraphs. The poem's final position, in 1881, was in the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eAutumn Rivulets.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn three leaves of pink paper (all roughly 20 x 13 cm.), in medium-black ink, with revisions in the same ink, in black ink, and in light ink (including the title). As Bowers notes, Whitman cut off and flipped\nover the top section of the first leaf, gluing it to the rest of the leaf, in order to transform the original first line into the title. (The current verso of the top section still bears, undeleted, the first line\n\"Night on the prairies[,]\" along with the title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaf.—\n\u003c/title\u003e and the number 73, originally 72). Pinholes in center and in upper-left margin of each leaf. Whitman deleted the pencil numbers 16, 17, and 18 in the lower-left corner of the leaves, substituting the\nnumbers 1 through 3. This poem became section 15 of the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e in 1860, with the leaves corresponding to the published lines as follows: leaf 1 to numbered verse paragraphs 1-3 and half of 4; leaf 2 (\"I was thinking this globe/ enough for me...\") to the second half\nof 4, and 5; leaf 3 (\"O I see now that life/ cannot exhibit all...\") to verse paragraph 6. In 1867 Whitman restored the title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eNight on the Prairies\n\u003c/title\u003e and revised the poem, transferring it and the two poems that follow it here to a different\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e group. After other repositionings it achieved its current place in the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eWhispers of Heavenly Death\n\u003c/title\u003e in 1881.\n\u003c/p\u003e","\u003cp\u003eOn two leaves of pink paper (both roughly 22 x 13 cm.), in black ink, with no revisions in the verses. (The poem itself was originally numbered 71). Pinholes in center and upper half of left margin of both\nleaves. Leaf 1 corresponds to verses 1-5 in section 16 of the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass,\n\u003c/title\u003e in which the poem was first published; leaf 2 (\"Vast sluggish existences/ grazing there,...\") corresponds to verses 6-11. In 1867 Whitman transferred this to a different\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e group with the poems that would become\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eNight on the Prairies\n\u003c/title\u003e and\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eI Sit and Look Out.\n\u003c/title\u003e After receiving the title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThe World Below the Brine\n\u003c/title\u003e in the 1871\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSea-Shore Memories\n\u003c/title\u003e group of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003ePassage to India\n\u003c/title\u003e, Bradley and Blodgett note, the final change was its transfer to the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSea Drift\n\u003c/title\u003e within the main body of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e in 1881.\n\u003c/p\u003e","\u003cp\u003eOn two leaves of pink paper (21.5 x 13 cm.), in black ink, with revisions in pencil and fine pen. Pinholes in center and at top of both leaves. Originally numbered 77. This became section 17 of the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e in the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e, with leaf 1 corresponding to verses 1-6 and leaf 2 (\"I observe a famine at sea—\") to verses 7-10. In 1867 it was transferred to the same new\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e group as Vol. 2, pp. 57 - 59 and Vol. 2, pp. 61 - 62, in the original order. In 1872 Whitman placed it in a different\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e group under the title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eI Sit and Look Out,\n\u003c/title\u003e and in 1881 it took its final place in the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eBy the Roadside.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn four leaves of pink paper measuring roughly 21.5 x 13 (leaves 1 and 3-4) and 19.5 x 13 cm. (leaf 2). In medium-black ink, with extensive deletions and revisions in the same ink, a blacker ink, light ink, and\npencil. The second leaf is a composite formed when Whitman deleted and cut away the original first two verses on the leaf, flipped the new small section (7 x 13 cm.) over and upside-down, pasted it to the foot of\nthe remaining original verses (14.5 x 13 cm.), and inscribed a verse in light ink on the newly created blank space. Pinholes at top, in left margin, and in original and (in the case of the second leaf) current\ncenter of each leaf. This poem became section 18 of the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e in the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e, with leaf 1 corresponding to part of numbered verse paragraph 1, leaf 2 (\"Discovering to-day there is/ no lie,...\") to the rest of paragraph 1 and to 2, leaf 3 (\"Where has failed a perfect/ return\nindifferent of lies or the truth?\") to paragraph 3 and part of 4, and leaf 4 (\"And that the truth includes/ all,...\") to the rest of paragraph 4. In 1872 the poem received the title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eAll is Truth,\n\u003c/title\u003e and in 1881, after various repositionings, it was finally transferred to the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eFrom Noon to Starry Night.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn one composite leaf formed by the pasting together of three sections of pink paper (6.5 x 13, 8 x 13, and 12.5 x 13 cm.). The top section (consisting of the title and first verse) is inscribed in the light\nrevising ink, and the lower two sections are in the same black ink. The bottom section contains revisions in fine pen (very black ink). As Bowers notes, pinholes towards the foot of the bottom section indicate\nthat it was originally the top of a full leaf; the only other pinholes appear near the top of the middle section. This poem became section 19 of the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e in the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e; in 1867 Whitman moved it to a different\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e group in the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSongs Before Parting\n\u003c/title\u003e annex. In 1872 it was retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eGerms\n\u003c/title\u003e and was ultimately transferred, in 1881, to the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eBy the Roadside.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn two leaves of pink paper (21 x 13 cm.), in black ink, with revisions in a fine pen (blacker ink) and the light ink. Pinholes in center and towards middle-left margin of both leaves. This became section 21 of\nthe cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e in the 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e, with leaf 1 corresponding to the first three numbered verse paragraphs and leaf 2 (\"Now I believe that all/ waits for the right voices;\") to numbers 4-5. In 1867 Whitman placed it after what would\neventually become\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eAll is Truth\n\u003c/title\u003e and\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eGerms\n\u003c/title\u003e (see Vol. 2, pp. 70 - 73 and Vol. 2, p. 75) as section 3 of a\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e group in the annex\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSongs Before Parting.\n\u003c/title\u003e In 1872 Whitman restored the title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eVoices.\n\u003c/title\u003e In 1881 he dropped the first two verses and added\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eVoices\n\u003c/title\u003e (as verse paragraph 2) to the previously unrelated poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eTo Oratists\n\u003c/title\u003e to form\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eVocalism\n\u003c/title\u003e in the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eAutumn Rivulets\n\u003c/title\u003e (see Vol. 2, pp. 27 - 31).\n\u003c/p\u003e","\u003cp\u003eOn one leaf of pink paper (21 x 13 cm.), with the title and first verse in black ink and the remaining section in light black ink or fine pen. Heavy revisions in the same inks, pencil, and a fine pen (very\nblack ink). Pinholes mostly in center and upper-left margin. This became section 22 of the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e in the 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. In 1867 Whitman dropped the second 1860 verse and made it section 4 of a\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e group in the annex\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSongs Before Parting\n\u003c/title\u003e (see Vol. 2, pp. 70-78). Whitman gave it the title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eWhat Am I After All\n\u003c/title\u003e in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003ePassage to India\n\u003c/title\u003e (1871), and in 1881 it was finally transferred to the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eAutumn Rivulets.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eThese poems were revised for publication, with independent titles, in the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eMessenger Leaves\n\u003c/title\u003e in the 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. Between 1860 and the next edition, in 1867, Whitman disbanded the cluster and transferred the poems elsewhere in the book.\n\u003c/p\u003e","\u003cp\u003eOn two leaves of pink paper (both 21 x 13 cm.), in black ink, with revisions in the same ink, in pencil, and in fine pen. Pinholes in center and at top of both leaves. Originally numbered 95. This was published\nunder the same title, with only minor revisions, in the 1860\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eMessenger Leaves\n\u003c/title\u003e cluster. In 1871, Bradley and Blodgett note, Whitman made small but significant additions to the poem and transferred it to the supplement\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePassage to India.\n\u003c/title\u003e In 1881 it was finally moved to the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eWhispers of Heavenly Death.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn one leaf of pink paper (21 x 13 cm.), in black ink on recto and verso (in a finer pen), with revisions in the same inks and, on the recto, pencil and the light revising ink. A very few pinholes toward\ncenter. The interesting deleted verses on the back of the leaf represent an earlier version of the manuscript poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eTo the Future,\n\u003c/title\u003e unpublished until 1959 and currently housed in the Huntington Library.\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eTo Rich Givers—\n\u003c/title\u003e was originally numbered 98. In 1860 it formed part of the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eMessenger Leaves\n\u003c/title\u003e cluster under the same title. After being ungrouped (1867) and transferred to the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSongs of Parting\n\u003c/title\u003e (1872 and 1876), it finally appeared, in 1881, in the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eBy the Roadside.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn one light blue Williamsburgh tax blank (21 x 12 cm.) in black ink (fine pen) with revisions in the same ink and the title in light ink. The original title, it seems, was cut away. No pinholes. This was\nrevised somewhat and published under the same title in the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eMessenger Leaves\n\u003c/title\u003e cluster of the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. It was ungrouped in 1867, transferred to a\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e group within the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePassage to India\n\u003c/title\u003e supplement in 1872 (also 1876), and finally moved to the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eAutumn Rivulets\n\u003c/title\u003e within\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e in 1881.\n\u003c/p\u003e","\u003cp\u003eOn two leaves of pink paper (21 x 13 cm.), in black ink and pencil, with revisions in pencil, in the original ink, and in fine pen. Whitman wrote and deleted the date 1858 in blue pencil in the upper right\ncorner of the first leaf, and inscribed the same date in normal pencil in the lower left corner of the second leaf. Multiple pinholes in center and left margin of both leaves. This became\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eTo The States,/ To Identify the 16th, 17th, or 18th Presidentiad\n\u003c/title\u003e in the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eMessenger Leaves\n\u003c/title\u003e in the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. Ungrouped in 1867, it was transferred in 1872 to a\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e group within the main body of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. In 1881 it was finally transferred to the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eBy the Roadside\n\u003c/title\u003e Bradley and Blodgett observe that in his 1860\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eBlue Book Copy\n\u003c/title\u003e edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e Whitman gave the dates of composition for the poem as \"1857-8-9\"; these editors also recommend comparing the poem with Whitman's pamphlet\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThe Eighteenth Presidency!,\n\u003c/title\u003e edited by Edward F. Grier.\n\u003c/p\u003e","\u003cp\u003eOn one section (9 x 16 cm.) of the same leaf of white ruled laid paper used for\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eTo a Historian,\n\u003c/title\u003e in the same dark-brown ink, and with another fragment of the same pencil draft of the speech or essay\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSlavery—the Slaveholders—/ —The Constitution—the/ true America and Ameri-/ cans, the laboring persons.—\n\u003c/title\u003e on verso (see Vol. 2, p. 25). Revisions in the same ink and in pencil. This was first titled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eTo an artist,\n\u003c/title\u003e then\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eTo an architect\n\u003c/title\u003e; the smudged-out words \"Lecture[s]/ To\" appear in light ink in the upper-left corner. This was revised and published under the same title in the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eMessenger Leaves\n\u003c/title\u003e cluster of 1860. After being ungrouped and permanently retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eTo A Certain Cantatrice\n\u003c/title\u003e in 1867, it was revised for inclusion in the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSongs of Insurrection\n\u003c/title\u003e in the 1872 and 1876\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. In 1881 it was finally transferred to the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eInscriptions.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn one composite leaf consisting of two sections of pink paper (9 x 12.5 and 20 x 13 cm.) pasted together. Both sections in black ink (the upper section with a finer pen), with revisions in the same ink, in\nfine pen, and in light ink (the section numbers). Beneath the pasted-over section can be discerned a second title, also\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eTo You,\n\u003c/title\u003e with the number 91 (mended from 90). In the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e Whitman divided the poems again, publishing them in reverse order under the same titles at the end of the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eMessenger Leaves.\n\u003c/title\u003e Section 1 was eventually published (1881) as one of the poems in the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eInscriptions,\n\u003c/title\u003e but Whitman dropped section 2 from his published poems after an 1876 appearance in the supplement\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePassage to India.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eThese poems were published without a group title, roughly in the following order, after the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eMessenger Leaves\n\u003c/title\u003e cluster in the 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. In later editions they were transferred to different positions in the book.\n\u003c/p\u003e","\u003cp\u003eOn five leaves of pink paper (all 21 x 13 cm.) mounted on white paper stubs and joined into a booklet with linen tape. In black ink, with revisions in the same ink, in fine pen (blacker ink), and in light\nrevising ink. Originally numbered 56; Whitman numbered each leaf in pencil in the lower-left corner from 1 to 5. Pinhole clusters mostly in center of each leaf. The leaves correspond to the 1860 published version\nas follows: leaf 1 to verses 1-4; leaf 2 (\"Rich, hemmed thick all around with sailships\") to verses 5-9; leaf 3 (\"The down-town streets,\") to verses 10-14; leaf 4 (\"The mechanics of the city,\") to verses 15-19;\nleaf 5 (\"The beautiful city! The city of hurried and sparkling waters...\") to verses 20-23. In the 1872\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e it was transferred to a\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e group, and in 1881 took its final position in the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eFrom Noon to Starry Night.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn eighteen leaves of pink paper and two of white wove paper, numbered in pencil by a collector (in the upper-right corners), and described individually as follows. (See Bowers 196-215 for more details.) Leaf 1\n(21.5 x 13 cm.): pink paper, in black ink, with revisions in the same ink, a blacker ink (the number 36), and the light revising ink. Multiple pinholes in center and left margin. Corresponds to verse paragraphs 1-\n4 in the 1860 published version. Leaves 2-3 (21.5 x 13 cm.): pink paper, in black ink, with revisions in pencil, in blacker ink, and in the light ink. Multiple pinholes in center and left margin. Whitman penciled\nin the numbers 56a and 56b at the top of the leaves, and also (possibly) a number 5 in the upper-left corner of leaf 2. These leaves correspond to verse paragraphs 5-8 and 9-12. Leaf 4 (21 x 13 cm.): pink paper\n(21.5 x 13 cm.), in black ink, with revisions in the same ink and light ink. Originally titled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eContact\n\u003c/title\u003e and inscribed, as Bowers notes, as if it were the beginning of a major independent poem. The final verse was deleted with pencil strokes, but these strokes were erased. Multiple pinholes in center and at\ntop. Corresponds to verse paragraphs 13-14 in the published version. Leaves 5-8 (all roughly 21 x 13 cm.): pink paper, in black ink, with revisions in pencil, in blacker ink, in fine pen (very black ink), and in\nlight ink. Multiple pinholes in center and at top. Leaves 5-7 bear the deleted pencil numbers 2-4 in the lower left corner; leaf 8 bears the undeleted number 5, as well as the pencil number 2 at the top. Leaf 7\nhas an undeleted pencil 1 in the same position, as well as Whitman's pencil note \"Fifth Month\" above the word \"May\" in the first line. These leaves correspond to verse paragraphs 14 through 16 (verses 1-3); 16\n(verse 4) through 18 (verse 1); 18 (2-5) through 19 (1-2); and 19 (3-6) through 20. Leaves 9-10: pink paper (the first 21 x 13 cm., the second cut down to 14.5 x 13 cm.), in black ink, with revisions in fine pen\n(very black ink), in pencil, and in light ink. The section excised from leaf 10 was pasted, as Bowers notes, to the foot of what is now leaf 12. Multiple pinholes in the (original) center and at the top of both\nleaves. These leaves bear the deleted pencil numbers 6 and 6 1/2 (lower left corner) and the undeleted numbers 3 and 4 (at top). They correspond to verse paragraphs 21 through 23 (verses 1-3) and 23 (verses 4-8).\nLeaves 11-12: white wove paper (both 20 x 15.5 cm., with a 7.5 x 13 cm. pink-paper section from leaf 10 pasted to leaf 12), in dark ink (thick pen), with revisions in the same ink, in pencil, and in light ink.\nMultiple pinholes in center and at top. These leaves bear the deleted pencil numbers 15 and 16 (lower left corner) and the undeleted numbers 5-6 (at top). The lines inscribed on the white pages correspond to\nverses 1-10 and 11-13 of verse paragraph 24; the three pink-paper verses correspond to paragraph 25. Leaves 13-14: pink paper (21 x 13 cm.), in black ink, with revisions in the same ink and fine pen. Multiple\npinholes in center and at top. These leaves bear the deleted pencil numbers 7-8 (lower left corner), and leaf 13 still carries the number 7 at the top. They correspond to verse paragraphs 26-27 (verse 1) and 27\n(verses 2-6). Leaves 15-20: pink paper (all roughly 21 x 13 cm.), in black ink, with revisions in the same ink, in pencil, in fine pen (very black ink), and in light ink. Multiple pinholes in center and at top.\nThese leaves bear the deleted pencil numbers 14 and 9-13 (lower-left corner), although the number 11 on leaf 18 is undeleted. They correspond to verse paragraphs 28-29, 30-31, 32-34 (with a pencil X to the right\nof the last lines on this leaf [leaf 17]), 35-36, 37-39, and 40-41.\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePoem of Joys,\n\u003c/title\u003e which was never grouped in a\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e cluster, became\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePoems of Joy\n\u003c/title\u003e in 1867, but reverted to the original title in its next two iterations (in the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePassage to India\n\u003c/title\u003e supplement of 1872 and 1876). In 1881 it was finally titled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eA Song of Joys\n\u003c/title\u003e and left independent of any cluster.\n\u003c/p\u003e","\u003cp\u003eOn five leaves of pink paper (all between 21-22.5 x 13-13.5 cm.), in black ink, with heavy revisions in the same ink, in fine pen (blacker ink), in pencil, and in light ink. Multiple pinholes in center, and a\nfew in left margin, of each leaf. Originally numbered 86; Whitman also numbered the leaves 1-5 (in pencil, lower left corner), with the 1 replacing a 6 and the 2 written over what looks like a 7. The leaves\ncorrespond to the 1860 published version\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eFrance,/ The 18th Year of These States\n\u003c/title\u003e as follows: leaf 1 to numbered sections 1 through 2 (verses 1-3); leaf 2 (\"I was not so deadly/ sick...\") to sections 2 (verses 4-5) through 4 (verse 1); leaf 3 (\"I myself keep the blaze,\") to sections 4\n(verses 2-5) through 5 (verses 1-3); leaf 4 (\"And from to-day, sad and/ cogent,...\") to verses 4-8 of section 5; and leaf 5 (\"O I think now/ The east wind...\") to the remaining four verses of section 5. Although\nWhitman never changed the title, and did not revise the poem much, he did transfer it twice, grouping it in the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSongs of Insurrection\n\u003c/title\u003e within the main body of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e in 1872 and 1872, and in 1881 finally transferring it to the new cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eBirds of Passage\n\u003c/title\u003e within\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn five leaves of pink paper (21 x 13 cm.), in black ink, with revisions in the same ink, in a blacker ink (fine and thicker pen), and in light ink. Originally numbered 81, with the note \"?/(Leaf of)\" above the\nnumber and title. Whitman numbered the leaves 1-5 in pencil in the lower left corners. Pinholes in center and left margin of each leaf. The leaves correspond to the numbered sections of the 1860 published version\n(same title) as follows: leaf 1 to section 1 (verses 1-6); leaf 2 (\"What of liberty and slavery/ among them,\") to the remaining three verses of section 1 and to section 2; leaf 3 (\"Afar they stand—yet near/\nto me they stand,\") to section 3; leaf 4 (\"Are they gone? those/ billions of men?\") to sections 4 through 5; and leaf 5 (\"I believe that was not the/ end of those nations\") to section 6. In the 1872\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e Whitman transferred the poem to a\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e group, and in 1881 it was finally moved, after several revisions through the different published versions, to the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eAutumn Rivulets.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn two leaves of pink paper (21.5 x 12.5 cm.), in black ink, with revisions in the same ink, in pencil, in blacker ink, in fine pen (very black ink), and in light ink. Originally numbered 55. Pinholes in center\nand left margin. Leaf 1 corresponds to verses 1-6 of the 1860 version, and the lines on leaf 2 (\"Who out of the theory of the/ earth,...\") correspond to verses 7-10. Revised very little through the different\neditions,\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eKosmos\n\u003c/title\u003e appeared in 1872 and 1876 in a\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e group in the supplement\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePassage to India.\n\u003c/title\u003e In 1881 it was finally transferred to the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eAutumn Rivulets\n\u003c/title\u003e within the main body of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn one leaf of pink paper (21 x 13 cm.), in black ink, with revisions in a fine pen (blacker ink) and light ink, including the title. Originally titled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLooking-Glass\n\u003c/title\u003e and numbered 82. A few pinholes in center and left margin. This poem was titled but ungrouped until 1881, when Whitman finally placed it in the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eBy the Roadside.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn one leaf of pink paper (21 x 13 cm.), in black ink, with revisions in a fine pen (blacker ink) and pencil. Only two or three pinholes in center. Originally numbered 52. Ungrouped in the 1860 and 1867\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e, this poem, according to Bradley and Blodgett, was transferred to\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003ePassage to India\n\u003c/title\u003e in 1871 and from there to\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e groups in the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePassage to India\n\u003c/title\u003e annexes of the 1872\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e and the 1876\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eTwo Rivulets.\n\u003c/title\u003e From there it was moved, finally (in 1881), to the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eInscriptions\n\u003c/title\u003e cluster within the main body of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn five leaves of pink paper (all between 21 and 21.5 x 12.5 and 13 cm.), in black ink, with extensive revisions in the same ink, in pencil, and in fine pen (very black ink). Multiple pinholes in center, and a\npair at top, of each leaf. These poems were revised to form numbered sections of the ungrouped poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSays\n\u003c/title\u003e in the 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. According to Bradley and Blodgett, Whitman cut four verse paragraphs in the 1867\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e version; from that point on the shortened poem appeared, ungrouped, under the title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSuggestions\n\u003c/title\u003e until its final appearance in 1876. Leaf 1: originally numbered 85. Verses 3 and 4 went unpublished, but 1-2 and 5 became sections 1, 2, and 3 (verse 1) of the 1860 version. Leaf 2, [I say the least\ndeveloped/ person on earth...]: these lines became sections 3 (verse 2) and 4, with the second line remaining unpublished. Leaf 3,\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003e87—/ Say.\n\u003c/title\u003e [I say the human shape/ or face is so great,...]: first numbered 86. This became section 5. On the verso appears the deleted line \"And though I lie dead.\" Leaf 4,\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003e88—/ Say.—\n\u003c/title\u003e [I say the word of a land/ fearing nothing—...]: first numbered 86, then 87. This leaf became section 6. Leaf 5,\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003e89—/ Say\n\u003c/title\u003e [I have said many times/ that materials...]: this leaf was originally numbered 88 and titled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThought,\n\u003c/title\u003e with two verses that Whitman deleted along with the first title. Below a horizontal pencil line he inscribed, at some point, verses that became section 7 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSays\n\u003c/title\u003e in 1860.\n\u003c/p\u003e","\u003cp\u003eOn the first and third sides of a folded leaf of white wove paper (16 x 20 cm.), in light ink, with minor revisions in the same ink. A few pinholes in the upper left corner when folded up. Whitman retitled the\npoem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eTo My Soul\n\u003c/title\u003e in the 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. The first inscribed page corresponds to numbered sections 1 through 3, verses 1-3, of the 1860 version, and the second (\"The unspeakable love I inter-/changed with women,\") to section 3, verses 4-13. In\n1867 Whitman cut eight lines and revised others, retitling the poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eAs Nearing Departure\n\u003c/title\u003e and moving it to an untitled group of poems in the supplement\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSongs Before Parting.\n\u003c/title\u003e In 1872 it was finally retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eAs the Time Draws Nigh\n\u003c/title\u003e and transferred to the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSongs of Parting\n\u003c/title\u003e within the main body of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn seven leaves of blue lined laid paper, three of them composite leaves, with leaf 7 including a paste-on of white wove paper. Multiple pinholes in center of each leaf. Whitman numbered the leaves 75-81 in the\nupper right corner, with the exception of leaves 6 and 7, which are numbered at top center. In tiny script and various inks, with very heavy revisions, as follows. Leaf 1: plain leaf (15 x 9 cm.) in medium-black\nink, with revisions in the same ink, in pencil, in fine pen (very black ink), and in light ink. Corresponds exactly in terms of the number of lines used to the first page of the poem as published (under the title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSo long!\n\u003c/title\u003e) in the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. This first page comprised numbered sections 1 through 3, verses 1-6. Leaf 2 (\"When fathers, firm, unconstrained, nonchal-/ant, open-eyed—...\"): plain leaf (15 x 9 cm.), in medium-black ink, with\nrevisions in the same ink, in pencil, and in the fine pen (very black ink). Corresponds to sections 3 (verses 7-8) through 7 (verse 1) in the 1860 version. Leaf 3 (\"Once more I proclaim the whole of/ America...\"):\nplain leaf (15 x 9 cm.), in medium-black ink, with revisions in the same ink and in pencil. Corresponds to sections 7 (verse 2) through 10, along with section 12, in the 1860 version. On the verso appear two\ndeleted sections, comprising nine verses (beginning \"Yet, old throat, one loud/ cadenza!\") revised from the bottom of original leaf 4, which Whitman compressed and reversed on the leaf 4 paste-on to eventually\nform sections 15 and 16 in the published version. Leaf 4 (\"I announce the continued union of/ The States,\"): composite leaf measuring 15 x 9 cm., with a faded blue paste-on of 5.5 x 9 cm. covering several water-\ndamaged and heavily revised verses on the original leaf. In medium-black ink, with revisions in the same ink, in a slightly browner ink (thicker pen), in pencil, in fine pen, and in light ink. Corresponds to\nsections 11 and 13-16 of the 1860 version. Leaf 5 (\"Screaming electric, the atmosphere using,\"): plain leaf (15 x 9 cm.), in medium-black ink, with revisions in the same ink, in pencil, and in light ink.\nCorresponds to section 17 in the 1860 version. Whitman cut up a deleted earlier pink-paper draft of the first three verses for use as a paste-on in the poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThought\n\u003c/title\u003e (section 9 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChants Democratic\n\u003c/title\u003e in the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e; see 2:1:3). On the verso appear heavily revised draft verses, in pencil and only partly deleted, for sections 22 and 23. Leaf 6 (\"What is there more that I lag and pause?\"): full leaf (15 x 9 cm.) with\nsix paste-ons in light ink and black ink, and with heavy revisions in the same inks and in pencil. The final paste-on corresponds to sections 18-20 of the 1860 version, but the other paste-ons and the original\nleaf contain drafts for the rest of the poem (sections 21-23). Leaf 7 (\"O how your fingers drowse me!\"): full leaf (15 x 9 cm.) with two paste-ons, the first a large section (13 x 9 cm.) of the same blue paper and\nthe second a small section (6.5 x 10.5 cm.) of white wove paper. The white paste-over is inscribed in light ink with no revisions; the blue paste-over is inscribed in medium-black ink, with extensive revisions in\npencil and in the same ink, as with the deleted verses on the original page. The white paste-on corresponds to section 21 in the 1860 version, and the blue paste-on contains the latest draft of what would become\nsections 22 and 23. In 1860 this was the final poem in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e; in 1867 Whitman cut twenty-one lines (according to Bradley and Blodgett) and transferred it to the end of the last\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e supplement\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSongs of Parting.\n\u003c/title\u003e In 1872, with the transformation of this supplement into the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSongs Before Parting,\n\u003c/title\u003e it was permanently fixed as the final poem in the main body of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eFirst published not in the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e but in a\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e group in the separate publication\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003ePassage to India\n\u003c/title\u003e in 1871. On two leaves (25.5 x 20 cm.) of thick, ruled, white laid paper joined with paste in the left margin. In black ink with revisions in the same ink and in pencil. Whitman penciled in the note \"Long\nPrimer/ middling wide measure\" in the upper left corner of the first leaf, and on the verso of the second wrote and deleted (also in pencil) the note \"The worship of God is, honoring his gifts/ in other men, each\naccording to his genius, \u0026amp;/ loving the greatest men best. Those who/ envy or calumniate great men, hate God/ William Blake[.]\" After being bound with the rest of the\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003ePassage to India\n\u003c/title\u003e poems as a supplement to\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e, in 1881 this was permanently transferred to the cluster\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eAutumn Rivulets\n\u003c/title\u003e within the main body of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn one leaf (23 x 20 cm.) of thick, ruled white laid paper, in medium-black ink, with minor revisions in pencil and in the same ink. This became numbered verse paragraph 4 of section 2 of the title poem in the\nseparate 1871 publication\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePassage to India.\n\u003c/title\u003e In 1881 the poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePassage to India\n\u003c/title\u003e was transferred, ungrouped, to the main body of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eNote in folder states that for the centennial of the United States WW had 100 Centennial Editions of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e printed, which he then sold in a booth at the Centennial Celebration in Philadelphia. Written in ink. With typed transcription.\n\u003c/p\u003e","\u003cp\u003eFrom \"Thou Mother With Thy Equal Brood,\" verse 6.\n\u003c/p\u003e","\u003cp\u003eWhitman, in third person, describes the ethnic heritage of his mother and father which contributes to the writing of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass.\n\u003c/title\u003e Written on verso of an autograph seeker's letter. See McGregor Autograph Collection, Box 8.\n\u003c/p\u003e","\u003cp\u003eOn one fragment (10 x 15.5 cm.) of white wove paper, in brown-black ink, with extensive revisions in the same ink and in pencil. The pencil notes \"? for children\" and \"extend this/?\" appear in the upper left\ncorner. The final verse, also in pencil, appears in the upper right corner. There are also two or more ink squiggles on the leaf. Originally titled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePictures,\n\u003c/title\u003e this is a revision of the first four verses of a draft poem by that name, inscribed by Whitman in a twenty-nine page notebook before the first edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e appeared in 1855. (The\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePictures\n\u003c/title\u003e notebook is currently housed at Yale University.) Bradley and Blodgett note that after further revision Whitman published these verses in the October 30, 1880 issue of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe American\n\u003c/title\u003e under the title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eMy Picture-Gallery,\n\u003c/title\u003e after which he placed it in the new cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eAutumn Rivulets\n\u003c/title\u003e in the 1881 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn nine leaves of different types of white paper, all measuring roughly 25 x 19.5 cm., described individually as follows. Other drafts of the poem are housed in the Charles E. Feinberg Collection at the Library\nof Congress, the Trent Memorial Collection at Duke University, and the T.E. Hanley Collection at the University of Texas.\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThe Mystic Trumpeter\n\u003c/title\u003e was first published in the February 1872 issue of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Kansas Magazine\n\u003c/title\u003e, after which Whitman published it in the 1872 book\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eAs a Strong Bird on Pinions Free\n\u003c/title\u003e, in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eTwo Rivulets\n\u003c/title\u003e (1876), and in the 1881 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e. There and in later editions of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e the poem was included in the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eFrom Noon to Starry Night.\n\u003c/title\u003e Leaf 1: on the verso of a sheet of laid, gray-ruled Department of Justice letterhead, dated \"Washington...187[ ]\" (see leaves 2 and 8). Inscribed in black ink, with extensive revisions first in pencil and\nthen in black ink. This is a later draft than leaf 2 of verses that would eventually constitute the first numbered section of the poem. Whitman's number \"1\" appears in orange crayon in the upper right corner of\nthe leaf. Leaf 2 (\"Hark! some wild trumpeter—some/ strange musician!\"): also on the verso (upside-down) of a leaf of the same Department of Justice letterhead. Inscribed in black ink, with heavy revisions in\nthe same ink, then in pencil and in fine pen (original ink?). Whitman deleted most of the lines, drafting them again and shifting many of them around on leaf 1. Leaf 3 (\"Come nearer mystic/ trumpeter\"): on a\ncomposite leaf formed by pasting a small section (8 x 12 cm.) of unruled laid paper to a full sheet of laid paper, ruled in gray on recto. Inscribed in black ink, with extensive revisions in the same ink and in\npencil. After further revision these verses became section 2 of the published version. Leaf 4 (\"Blow, trumpeter, free and clear—I/ follow thee,\"): on a leaf of laid paper, gray-ruled on recto (see 6-7).\nInscribed in black ink, with revisions in the same, in pencil, and in orange crayon. Whitman's orange-crayon note \"Serenity—cool fresh/ placidity—\" runs lengthwise up the left margin to the top of the\npage. After further revision these verses became section 3 of the published version. Leaf 5 (\"Blow again trumpeter—and let/ the notes swell high,\"): on one leaf of white wove paper, ruled in blue on verso.\nThree sets of pinholes appear in the upper left corner. Inscribed in black ink, with revisions in the same. This is an early draft of lines Whitman would revise and expand in Leaf 6 to eventually form section 4 in\nthe published version. Leaf 6 (\"Blow again, trumpeter, and/ for my sensuous eyes\"): on the same paper as leaves 4 and 7. Inscribed partly in black ink and partly in pencil; the ink section is revised in the same\nink, in pencil, and in pink ink; the pencil section is revised in pencil, in brown-black ink (fine pen), and in pink ink. The pencil lines are written below the pencil note \"see last part of Consuelo vol 5th,\" by\nwhich Whitman apparently meant the novel\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eConsuelo\n\u003c/title\u003e by George Sand, a book from which he made frequent borrowings. This was a later draft of lines on leaf 7; the number \"4\" appears in orange crayon at the top of the leaf. Leaf 7 (\"Blow again, trumpeter\nand/ bring before me now,\"): on a leaf of the same paper as leaves 4 and 6. Inscribed in black ink, with revisions in the same, in brown ink, and in pink ink. At the foot of the leaf Whitman wrote the\nparenthetical note \"(see last vol. of Consuelo)\" with a cartoon hand pointing to it; at this point he revised the ink lines on leaf 6, consulted\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eConsuelo\n\u003c/title\u003e, and drafted his new pencil verses on the other leaf. Leaf 8 (\"Blow again trumpeter and/ for thy theme...\"): on the verso of a leaf of Department of Justice letterhead (see leaves 1-2), inscribed in black\nink, with revisions in pink ink and then black ink. The pink ink was mostly applied with a broader nib here than in earlier leaves. Whitman's note \"the piece must move on/ not lag/ sentimental\" runs up the left\nmargin to the top of the page. These trial verses, many of them incomplete, were revised to form section 5 in the published version of the poem. Leaf 9 (\"Blow again trumpeter/ and give/ for me/ now/ Thy war notes'\nmagic spell\"): on a leaf of white wove paper, blue-ruled on verso. Multiple pinholes in the center-left portion of the leaf. Inscribed and revised in black ink. In the lower right corner of the leaf appears a\ncryptic blue-crayon note in Whitman's hand: \"Hah!\"\n\u003c/p\u003e","\u003cp\u003eFrom \"Notes on the Meaning and Intention of 'Leaves of Grass,'\" sections 65. Includes \"Other writers/poets look on...\"\n\u003c/p\u003e","\u003cp\u003eFrom \"Specimen Days.\"\n\u003c/p\u003e","\u003cp\u003eBeginning \"Of all themes and of each\" contains draft lines written in pencil. The relationship between the draft lines and Whitman's published verse is unknown.\n\u003c/p\u003e","\u003cp\u003eOn one full Williamsburgh tax blank (21.5 x 12 cm.), with the corners cropped diagonally, and with two corrections in bright pink ink. Two sets of pinholes in center. These prose notes evidently preceded\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eTo a Literat.—\n\u003c/title\u003e (see below) in the composition of the poem. The ideas were incorporated in section 2 of the 1860 version.\n\u003c/p\u003e","\u003cp\u003eWritten in ink on two leaves of paper pasted together to form one long leaf. The general title appears to be\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eOld Age Echoes,\n\u003c/title\u003e but beneath that title are the two poems under which titles the item is catalogued:\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSounds of the Winter\n\u003c/title\u003e and\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThe Unexpress'd.\n\u003c/title\u003e Pasted to the leaf below the second poem is a woodcut engraving of Walt Whitman along with his autograph. Under that is what has been classified as two lines from an unidentified poem. A note at top\nstates, \"intended to make one page.\"\n\u003c/p\u003e","\u003cp\u003eNote at top states \"sent to Century accepted—paid.\" Written in ink.\n\u003c/p\u003e","\u003cp\u003eWith typed transcription.\n\u003c/p\u003e","\u003cp\u003eWith typed transcription.\n\u003c/p\u003e","\u003cp\u003eA description in third person, with a number of deletions and corrections, of his manner of composing\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eWritten in pencil on lined paper. ALS on verso: [G. M.] Williamson to Walt Whitman, 1887 June 1.\n\u003c/p\u003e","\u003cp\u003eNote at bottom states \"Sent to H March 17.\" Written in pencil.\n\u003c/p\u003e","\u003cp\u003eNotes at top state \"pub'd\" and \"personal.\" Note at bottom states \"sent to Herald Feb 27 '88.\" Written in ink on blue paper.\n\u003c/p\u003e","\u003cp\u003eOn the verso of a light blue Williamsburgh (N.Y.) tax form, dated \"185[ ],\" cut down to 20 x 12 cm. The corners are cropped diagonally. Multiple pinholes in center. Inscribed in pencil and revised in pencil and\nbrown-black ink (fine pen). Two sets of deleted verses constitute adaptations of lines from Whitman's pre-1855 unpublished notebook\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePictures\n\u003c/title\u003e: \"Now this is the fable of the/ mirror:/ The mirror lay clouded, (enveloped)/ enmisted,\" and \"And/ Now this is the fable of a/ beautiful statue:/ A beautiful statue was lost/ but not destroyed[.]\" Two\nother deleted titles of fables(?) appear above the verses: \"The trained runner\" and \"The five old men.\" At the foot of the leaf appears the note \"last piece/ (still another Death Song—/ Death Song/ with\nprophecies[.]\" All of the sections are demarcated with horizontal lines. Based on Whitman's use of the tax blank, this appears to be a set of notes he made between 1857 and 1859 while preparing the 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e, although the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePoem of Fables\n\u003c/title\u003e as such never materialized and Whitman's\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePictures\n\u003c/title\u003e were not published in their entirety until 1925. Whitman's executor Richard Maurice Bucke published these notes on p. 176 of his\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e (1899).\n\u003c/p\u003e","\u003cp\u003eIn a green bound volume measuring 34 cm. x 25.5 cm. Items are pasted to pages in the volume. Item in question is a facsimile of the MS. Also included in the volume are three sections from\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus,\n\u003c/title\u003e a newspaper review of Whitman and Tennyson's\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eMaud\n\u003c/title\u003e called\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eAn English and an American Poet,\n\u003c/title\u003e and three editions of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Conservator\n\u003c/title\u003e from March, May and June of 1900. Includes two signed photographs of Walt Whitman.\n\u003c/p\u003e","\u003cp\u003eNote at top states \"sent to Herald March 2.\" Written in purple pencil.\n\u003c/p\u003e","\u003cp\u003eNote on outside of folder states \"Put together from bits of paper with notes on Army Parade of May, 1865.\" 5 leaves are folded in half into a booklet which is bound with twine, the two inner most sheets smaller\nthan the outer three. These notes describe the Great Victory Parade of May 23-24, 1865. The relationship of these notes to Whitman's published work is unknown. Some pages unattached in notebook.\n\u003c/p\u003e","\u003cp\u003eThis manuscript is a partial draft of the poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSail Out for Good, Eidólon Yacht!\n\u003c/title\u003e which was published first in 1891.\n\u003c/p\u003e","\u003cp\u003eRevision of poem cluster originally titled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSea-Shore Memories\n\u003c/title\u003e contained in red bound volume measuring 26 cm. x 18 cm. Revisions are made in ink and pencil on printed edition of the poem. Walt Whitman apparently used two volumes to tear the leaves from, as every\nother page is slightly smaller than the rest; revisions are made only on the recto side of each leaf, verso is crossed out. Several leaves are cut apart and pasted in new order on other leaves or on lined paper.\nLeaf 8 is a handwritten MS.\n\u003c/p\u003e","\u003cp\u003eMany of these fragmentary notes were eventually used in or informed the long initial poem of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e, that became (as Bradley and Blodgett note)\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePoem of Walt Whitman, an American\n\u003c/title\u003e in the 1856 edition and\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eWalt Whitman\n\u003c/title\u003e in 1860, a title which it retained until 1881, when it was permanently renamed\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of Myself.\n\u003c/title\u003e (Leaves apparently unrelated to the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong\n\u003c/title\u003e are included in this description by virtue of being bound with\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong\n\u003c/title\u003e drafts.) Generally the dating is quite early. All but three of the leaves were at one point in the possession of Whitman's executor Dr. Richard Maurice Bucke, who transcribed them (often with significant\nerrors or verses later removed from these fragments) in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments: Left by Walt Whitman...\n\u003c/title\u003e (1899) and his 1902 edition of the\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eComplete Writings of Walt Whitman\n\u003c/title\u003e; page numbers to his transcriptions in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes\n\u003c/title\u003e are provided with each relevant entry here. Although Whitman used a wide range of paper-types for these fragments, five kinds of paper can be identified. These are assigned letters as follows. Type A:\noff-white notebook paper with light brown vertical lines running up the left and right margins, three on one side and one on the other. See Leaves 1, 8, 12, 20, and 28. A full leaf of the notebook paper seems to\nhave measured 19 x 15.5 cm. Type B: white wove paper, ruled in light blue-gray on both sides. See Leaves 3, 5, 21-22, and 27. No full sheet of this paper is present in the volume. Type C: light blue laid\nWilliamsburgh (N.Y.) tax forms, dated \"185[ ],\" and used extensively by Whitman in preparing his 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves and Grass.\n\u003c/title\u003e Described by Fredson Bowers in his work on the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e-related Barrett manuscripts also listed and described above. A full tax form measures 21.5 x 12 cm. See Leaves 4 and 34. Type D: yellow and green wove proof sheets used, it seems, for trial printings of\nthe title page of the first edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass.\n\u003c/title\u003e See Leaves 7, 24-25, and 30-31. Type E: white laid paper ruled in brown on both sides. See Leaves 9-11, 13, 15-16, and 23. The dimensions of a full leaf of the paper cannot be determined from these\nfragments.\n\u003c/p\u003e","\u003cp\u003eOn a section of type A paper (9.5 x 15 cm.), inscribed, revised, and deleted in pencil. Although, as Bradley and Blodgett note, the themes expressed in this early fragment would inform the lines that eventually\nbecame section 2 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of Myself,\n\u003c/title\u003e Whitman never used it verbatim. On the verso(?) appears an undeleted but heavily revised early draft (beginning \"The spotted hawk salutes the approaching night;\") of famous lines, beginning \"The spotted\nhawk swoops by...,\" incorporated in what would constitute the final canto of the poem in the 1867 and later editions of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. This verso fragment is revised in pencil and in brown-black ink (fine pen). Bucke published both sets of verses on p. 36 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn a section of blue wove paper (14 x 13.5 cm.), in black ink, with revisions in the same ink and in pencil. The pencil numbers 2 and 3, although partially erased, can still be seen in the right margin. Bucke\npublished it on p. 69, in the section (II) titled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eNotes on the Meaning and Intention of 'Leaves of Grass.'\n\u003c/title\u003e Although Whitman apparently never used it verbatim, it bears a similarity to two paragraphs on p. 10 of Whitman's 1871 publication\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eDemocratic Vistas,\n\u003c/title\u003e beginning with the sentence \"It may be claim'd, (and I admit the weight of the claim,) that common and general worldly prosperity, and a populace well-to-do, and with all life's material comforts, is the\nmain thing, and is enough...\"\n\u003c/p\u003e","\u003cp\u003eOn a section of type B paper measuring 17 x 19 cm. Inscribed and revised in pencil. Multiple pinholes at the top indicate that this was once the lower half of a full sheet, while pinholes elsewhere seem to have\nbeen made after the top section was removed. This is a poetic rendition of a long sentence on p. x of the preface to the 1855 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass.\n\u003c/title\u003e The prose sentence begins, \"Beyond the independence of a little sum laid aside for burial-money, and of a few clapboards around...\" Bucke published this manuscript and what seems to be a later version on\npage 29 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn the verso of a light blue Williamsburgh (N.Y.) tax form (type C), cropped and torn irregularly down to 15.5 x 12 cm. Inscribed and revised in pencil. Features four sets of pinholes, three of them clustering\naround the center. Published on p. 30 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e. As Bradley and Blodgett indicate in their notes to the poem, these verses seem to have been part of a larger set of verses or poems. Because of the way the page is torn the final word could read \"any\"\n(as Bucke transcribes it), providing closure to these particular verses, or it could just as easily read \"an,\" indicating that a continuation of the lines has been lost. Although never published verbatim, these\nlines prefigure section 6, especially beginning with the line \"Here is the test of wisdom,\" of what would become\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of the Open Road,\n\u003c/title\u003e first published in 1856 as\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePoem of the Road.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn a composite leaf formed by pasting a section of type B paper (4.5 x 19.5 cm.) to a section of ruled white laid paper (7 x 19.5 cm.). The upper verses are inscribed and revised in pencil, and those on the\nlower (laid) section are neatly inscribed in brown ink, with revisions in the same ink and in pencil. Some pinholes appear in each section. The first few lines were never used, but the last two verses (beginning\n\"I offer men no painted saucers...\") were revised and expanded(?) to form the final verse paragraph (beginning \"Stop this day and night with me and you shall possess the origin of all poems,\") of what would\neventually become section 2 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of Myself.\n\u003c/title\u003e Published on p. 20 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn a section of ruled blue wove paper (8 x 18.5 cm.) with irregularly cropped corners. Inscribed and revised in pencil. Multiple pinholes in center and towards left edge. These verses are inscribed (upside-\ndown) on the verso of several deleted pencil lines beginning \"I think there will never be any more heaven or hell/ than there is now,\" preceded by two undeleted lines beginning \"Whatever I say of myself, you shall\napply to yourself...\" On p. 25 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e Bucke publishes the undeleted and deleted sections together, along with lines from other manuscripts, as a single poem. An intermediate draft can be seen on p. 44. The deleted lines were revised to form\nwhat would eventually become the second verse paragraph of section 3 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of Myself,\n\u003c/title\u003e while the undeleted line above them eventually formed part of section 20. After heavy revision the undeleted recto lines were used in what would be section 41 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of Myself.\n\u003c/title\u003e Another version became an unnumbered section (beginning \"I will take an egg out of the robin's nest in the orchard,\") of the poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eDebris\n\u003c/title\u003e in the 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. It was the only appearance of these lines in any edition, and of the poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eDebris\n\u003c/title\u003e under that title and as a unified text, although some other sections became separate poems under individual titles in later editions. But the lines also bear a strong resemblance to the poem beginning\n\"Priests!/ Until you can explain a paving stone, do not try to explain God...,\" reprinted by Bucke on p. 89, and to the concluding lines of the 1855 poem that would eventually (in 1881) become\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eA Song for Occupations.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn a section of yellow type D paper, measuring 14 x 15 cm. Torn through the middle but repaired by means of a strip of the same paper pasted to the verso. Pinholes towards center of backing strip and in lower\nhalf of the main leaf. These lines, deleted with a single pencil stroke, appear on the verso of undeleted pencil lines beginning (extrapolating from Bucke's transcription) \"[As we are content and dumb/ the amount]\nof us in men/ and women is content and/ dumb,\" although someone has removed the words presented here in brackets, perhaps to emphasize the more finished nature of the lines on the present recto. Those verses are\ninscribed in brown ink, extensively revised in the same ink and in pencil deletion. After heavy revision and expansion they eventually formed part of section 21 of the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e in the 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e; in the 1867 edition this section received the title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThat Music Always Round Me.\n\u003c/title\u003e (For a later draft, titled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eAs of Eternity,\n\u003c/title\u003e see entry 1:3:22 under\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e [1860] above.) Bucke presents incomplete transcriptions of both sets of verses on p. 11.\n\u003c/p\u003e","\u003cp\u003eOn what seems to be a full leaf of the type A notebook paper, measuring 19 x 15.5 cm. Multiple pinholes in center. The numbers 195 and 196 are inscribed in light brown ink and deleted in pencil on the current\nverso and recto, respectively; these numbers, along with remnants of paste and binding tape along the left margin of the recto, suggest that the type A pages came from a notebook. The lines on the recto are\ninscribed, revised, and deleted (with a single stroke) in pencil, and appear on the verso of undeleted notes inscribed and revised in brown-black ink with some revisions in pencil. The verso notes begin with a\nlist of animals and plants (\"cottonwood—mulberry—/chickadee—large brown water-dog\"), followed by a verse (\"The suicide/ went to a lonesome place...\") that Whitman revised for use (\"The suicide\nsprawls on the bloody floor of the bedroom,\") in what would eventually constitute section 8 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of Myself.\n\u003c/title\u003e This verse is followed by another section of the natural \"catalogue\" (\"locust, birch/ cypress...\"), below which appears a pair of verses (beginning \"O dirt, you corpse—I reckon you are good\nmanure—\") used in what would be section 48 of the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong.\n\u003c/title\u003e (\"And as to you corpse I think you are good manure...\"). The list of flora and fauna could anticipate any number of similar lists in Whitman, but bears the strongest resemblance to section 29 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePoem of Joys\n\u003c/title\u003e (final title:\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eA Song of Joys\n\u003c/title\u003e), which first appeared in the 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. The deleted recto lines were revised to form what is now section 28 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of Myself.\n\u003c/title\u003e Bucke prints the poetic fragments on p. 38 and the list on p. 165.\n\u003c/p\u003e","\u003cp\u003eThese four leaves represent different stages in the evolution of a set of lines first published in the fourth main section in the 1855 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. In 1856 the section was titled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eNight Poem\n\u003c/title\u003e and in 1860 it became\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSleep-Chasings,\n\u003c/title\u003e with these lines forming sections 44-46. In 1867 they appeared under the same title as section 9 (with the stanzas again divided into sections 44-46); then under the final title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThe Sleepers\n\u003c/title\u003e in 1872 (section 14, stanzas 44-46) and 1876 (also section 14, 44-46), at which point the lines were permanently removed from this poem and\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e in general. Bucke reprints the drafts, with several errors, on pp. 15 and 19-20 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn a leaf of type E laid paper (18.5 x 17.5 cm.) with three corners cropped for mounting. Multiple pinholes in center. Inscribed and revised on both sides in pencil. A comparison of Whitman's revisions between\nleaves indicates that this was probably the second of the four\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLucifer\n\u003c/title\u003e drafts, written before he decided to merge his commentary on slavery with allusions to the fallen angel of Isaiah. The trial lines on the verso (beginning \"His very aches are exstasy\") seem to have been\nrevised for inclusion in what is now section 29 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of Myself.\n\u003c/title\u003e Whitman's unusual spelling of \"ecstasy\" indicates not only that the lines came very early in the process of writing\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e, but that these lines may have originally been part of the proto-\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of Myself\n\u003c/title\u003e before being transferred to what would become\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThe Sleepers.\n\u003c/title\u003e The verso lines and the words \"I am a curse\" link this leaf, like leaves 10 and 11, to two sections of draft verses in the earliest Library of Congress notebook (#80) beginning \"Fierce wrestler!\" and \"I\nam a curse:\" (see p. 77 of Grier's\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotebooks and Unpublished Prose Manuscripts\n\u003c/title\u003e, vol. 1, or the digitized version of the notebook on the Library of Congress Web site).\n\u003c/p\u003e","\u003cp\u003eOn a section (10.5 x 19.5 cm.) of the same type E paper as leaves 9 and 11, but more wrinkled, torn, and smudged than them. Fragments of tan wove paper are pasted to the verso for reinforcement of torn\nsections. Several pinholes are clustered at the bottom of the leaf, in the center, indicating that this was originally the upper section of a full leaf. Inscribed and extensively revised in pencil. The deleted\nfirst line reads \"I am a hell-name and a Curse...\" This seems to have been the last of the four\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLucifer\n\u003c/title\u003e leaves to be inscribed, although it was further revised for publication in the 1855 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. The word \"Sleepchaser's\" appears in the upper right corner, perhaps indicating that Whitman was considering a title similar to the 1860 and 1867 title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSleep-Chasings\n\u003c/title\u003e even before the poem was first published in 1855, unless this is in fact a reworking of the section for the 1860 edition. The possibility of a post-1855 dating, however, appears to be slight given the\nsimilarities of paper choice and inscription techniques among leaves 9-11 and their shared similarities to drafts in the earliest Library of Congress notebook.\n\u003c/p\u003e","\u003cp\u003eOn a section (15.5 x 19 cm.) of the same type E paper as leaves 9 and 10, with three of the corners cropped for mounting. Inscribed and extensively revised, like 9-10, in pencil. Pinholes at the top of the leaf\n(in the center) indicate that this was originally the lower section of a full leaf, although the excision patterns along the top edge of this leaf and the lower edge of Leaf 10 do not seem to match up. This leaf,\na reworking of the lines beginning \"I am a Curse\" in Library of Congress notebook #80, with verses added from Leaf 9, appears to have come third in the revision process. The only line specifically linking the poem\nto the theme of slavery (\"I look off the river with my bloodshot eyes, after/ the steamboat that carries away my woman.—\"), adapted from Leaf 9, is deleted, and Whitman apparently rejected these lines and\nthe \"curse\" theme in general as he moved towards the draft on Leaf 10, which would eventuate in the 1855 published version. On the verso (upside-down) appear two sets of trial verses for what would eventually\nbecome the second verse paragraph of section 4 of the poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eFaces,\n\u003c/title\u003e which in 1855 was published as the sixth of twelve poems in the first edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. These verso lines are inscribed and revised in pencil, and deleted with two vertical pencil strokes. The only complete line of the first draft reads \"Above the roar I hear/ the clear truth of victorious\nhorns.—\" and the second draft begins \"I stand at the top of the street[.]\" Bucke prints these verses on pp. 19-20.\n\u003c/p\u003e","\u003cp\u003eOn a section (8 x 15 cm.) of the type A notebook paper. Inscribed, revised, and deleted (with a single stroke) in pencil. Multiple pinholes cluster below and to the left of center. These verses seem to have\ncome first or second in the process of revising the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLucifer\n\u003c/title\u003e verses. On the verso appear the undeleted lines \"Hear my fife! —I am a recruiter/ Come, who will join my troop?\" These are printed by Bucke on p. 15 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e, and, as Bradley and Blodgett note, are a version of a line (\"And now a merry recruiter passes, with fife and drum, seeking who will/ join his troop...\") in the pre-1855 notebook poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePictures.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn a small section (6 x 19 cm.) of the type E laid paper, cut irregularly on three sides, with two corners cropped for mounting. Inscribed and revised on both sides in pencil. Multiple pinholes cluster towards\nthe bottom-center of the page, indicating that this was the lower section of the top half of a full leaf. The right side of the page has suffered smoke damage. Curiously, the only line used from the recto (\"Where\nthe life car is drawn on the slip-noose\") is deleted here; it became part of what would eventually form section 33 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of Myself.\n\u003c/title\u003e Bucke prints all of the verses on page 20. The deleted verso lines (beginning \"Who knows that I shall not myself/ [...] time be a God, as pure and prodigious/ as any?\") constitute a poetic revision of\nprose notes in Library of Congress notebook #85, and seem to have led up to what would eventually become section 48 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of Myself.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn a section of white wove paper (12.5 x 20 cm.), inscribed and revised in brown ink and pencil. Deleted with a single vertical pencil stroke. A very large number of pinholes cluster towards the bottom-center\nof the page, indicating that this was the top half of a full leaf, although one or more verses have been removed from the top. The left side is torn, as if the page had been removed from a notebook. This page was\napparently inscribed very close to the publication of the 1855\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e; with a few revisions it became part of what would eventually be section 40 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of Myself.\n\u003c/title\u003e Not in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e. On the verso, in very light brown ink, appear undeleted notes defining and illustrating such verse forms as \"hexameters,\" \"dactyl,\" \"Spondee,\" \"Iambus,\" and \"Trochee.\" These notes represent an incomplete\nversion of notes on a manuscript currently housed at Rutgers University, and printed by Bucke on pp. 162-63 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e, although the Leaf 14 notes, like the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of Myself\n\u003c/title\u003e verses on the recto, do not appear in Bucke. (For another version of the Rutgers notes, partially transcribed by Bucke, see Leaf 36 below.) Grier notes that the Rutgers manuscript probably dates to 1856\nor afterwards, when Whitman was pursuing a self-education in poetry, suggesting that the verso notes also date to that period.\n\u003c/p\u003e","\u003cp\u003eOn a section of the type E laid paper (4.5 x 19.5 cm.), inscribed and revised in pencil. A pencil question mark appears above a very faint line linking \"valved\" and \"cornet.\" These half-prose, half-poetic notes\nwere revised and incorporated in two separate verses of what would become\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of Myself\n\u003c/title\u003e: the eventual verse 597, in section 26 (\"I hear...the keyed cornet\") and verse 1067 in section 42 (\"Ever the vexer's hoot! hoot! till we find where the sly one hides and bring him/ forth...\"). Bucke\nprints these notes on p. 30 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn a section of the type E laid paper (8.5 x 20 cm.), inscribed, revised, and deleted (with a single vertical stroke) in pencil. The corners are cropped irregularly. The first line originally read \"Odor of the\nsalt marsh, and of the mud and sea-weed[.]\" An earlier version of these lines is also associated with proto-\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of Myself\n\u003c/title\u003e verses in Library of Congress Notebook #80 (\"And the salt marsh and creek have/ delicious odors...\"). The \"unearthly laugh of the laughing-gull\" reappears in what would eventually become line 763 (section\n33) of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of Myself.\n\u003c/title\u003e Most of the lines on Leaf 16 were incorporated, however (after further revision), into the tenth poem of the 1855 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. As Bradley and Blodgett note, this poem was titled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePoem of The Child That Went Forth, and Always Goes Forth, Forever and Forever\n\u003c/title\u003e in the 1856 edition, after which it became number 9 in the 1860 group\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass,\n\u003c/title\u003e number 1 of a different\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e group in 1867, and, finally,\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThere Was a Child Went Forth\n\u003c/title\u003e in the 1872 edition. The lines appear on p. 48 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn a section of heavily wrinkled, torn, and smudged unruled white laid paper (7 x 21 cm.) reinforced with white wove paper. All four corners are cropped for mounting. Inscribed, without revisions, in pencil.\nThe laid paper was originally the last page of a letter; a few illegible words and part of a signature can be seen dimly through the back of the composite leaf. Whitman wrote his lines on the verso of the page\nafter turning it sideways. Although Whitman did not use the verses word for word, they may have been part of an early draft of the fourth poem in the 1855 edition of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves,\n\u003c/title\u003e eventually titled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThe Sleepers.\n\u003c/title\u003e The lines appear on p. 46 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn a section of white wove paper torn down to 15.5 x 8 cm., inscribed and revised on both sides in medium brown ink and also inscribed and deleted, on the recto, in pencil. Features one set of pinholes in the\ncenter. The verses on the recto, while not published word-for-word until 1897, seem to represent an early draft of the poem first published as number 13 of the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e in the 1860\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e, and eventually titled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eYou Felons on Trial in Courts.\n\u003c/title\u003e (See 2:2:1 under\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e [1860] for a much later version of the poem.) Whitman's careful script and verse forms here also resemble the methods of inscription used for the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLive Oak, with Moss\n\u003c/title\u003e poems dated by Bowers to the post-1856, pre-1860 period. The undeleted notes on the back are titled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePoems\n\u003c/title\u003e and begin with the lines \"A cluster, (same style, as of sonnets li[ke]/ as 'Calamus Leaves')/ of poems, verses, thoughts \u0026amp;c, embodying/ religious emotions/ \u0026amp; thoughts.\" A cartoon hand in the left\nmargin points to the phrase \"religious emotions.\" Whitman's use of the title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus Leaves\n\u003c/title\u003e dates these notes to the same pre-1860 period as the deleted verses on the recto, since\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus-Leaves\n\u003c/title\u003e was what he renamed the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLive Oak, with Moss\n\u003c/title\u003e before settling on\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCalamus\n\u003c/title\u003e for the 1860 edition. A section of the notes below the rest (beginning \"spirituality—the unknown,...\") is inscribed in verse form. Bucke prints these, along with [Full of wickedness, I...], on p. 39\nof\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e. The rest of the notes appear on p. 165; related notes appear on 169 and 176.\n\u003c/p\u003e","\u003cp\u003eOn the verso of a letter (11 x 18 cm.) inscribed in light black ink on (wrinkled) white laid paper, embossed with a red design. All four corners are cropped for mounting. Whitman's lines are inscribed and\nrevised in thick pencil. The letter is dated \"Aug 14th /89,\" and asks Whitman to send the unidentified writer a copy of the \"latest special edition\" of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e. These trial verses became part of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eA Twilight Song\n\u003c/title\u003e—subtitled, Bradley and Blodgett note, \"for unknown buried soldiers, North and South\"—which was first published in the May, 1890\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eCentury\n\u003c/title\u003e and then included in the second annex\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eGood-Bye My Fancy\n\u003c/title\u003e in the 1892 \"deathbed\" edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. This draft does not appear in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn a composite leaf comprising two sections of the type A notebook paper (4 x 14.5 and 4.5 x 15 cm.) pasted together. Three pinholes appear near the foot of the page. Inscribed and revised on both sides in\npencil. The verso lines (beginning \"I think I could dash the girder of the earth/ away\" and \"Surely I am out of my head!\") are deleted with several pencil strokes. The deleted number 209 (in brown ink) appears in\nthe top right corner of the lower section. After much revision the recto lines, which are related to lines in Library of Congress Notebook #80, seem to have become part of what would be section 44 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of Myself.\n\u003c/title\u003e The verso lines represent an early draft of lines eventually incorporated in section 27 of the poem. Bucke transcribes both sets of verses, with additional lines not preserved in these sections, on pp.\n34-5 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn a small section of the type B wove paper irregularly cropped, torn, and cut down to 4.5 x 18 cm. Several pinholes appear in the center; some smoke damage appears along the right edge. Inscribed and revised\nin pencil. Below the verses appear the deleted phrase \"Echos [sic] of voices\" and the undeleted note \"? Personality\" beneath a faint horizontal line. Bucke prints the lines on p. 13 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e. Although Whitman did not publish these verses himself, their structure and the type of paper upon which they are inscribed suggest a close relationship with the lines on Leaf 22, which were revised to\nform part of section 14 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChants Democratic\n\u003c/title\u003e in the 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e, a set of verses eventually transformed into an independent poem under the title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePoets to Come.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn a small section (4 x 15 cm.) of the same type B paper as Leaf 21, with smoke damage in the upper left corner. The corners are cropped slightly for mounting. Two sets of pinholes appear in the center.\nInscribed and revised on both sides in pencil. Bucke transcribes both sets of verses on p. 39 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e. The recto verses were used as noted under Leaf 21, but the lines on the verso (deleted with several vertical and horizontal pencil strokes) seem to have been rejected.\n\u003c/p\u003e","\u003cp\u003eOn a section of the type E laid paper (6 x 19.5 cm.) with all four corners cropped for mounting. Multiple pinholes run up the center of the page. Inscribed and revised on both sides in pencil. The recto verses\nbear some similarity to what would eventually form section 28 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of Myself,\n\u003c/title\u003e while the deleted lines on the verso (beginning \"This mouth is pulled by some sexton for his dismalest fee,\") represent a fragment of draft lines eventually incorporated in the sixth poem of the 1855\nedition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e, a poem permanently retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eFaces\n\u003c/title\u003e in the 1872 edition. Bucke transcribes both sets of verses on p. 37 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn a composite leaf consisting of two sections (10 x 13 and 5 x 13 cm.) of light green type D paper used for trial printings(?) of the title page of the 1855 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e (see Leaf 25). (The words \"Leaves o[f],\" printed in a typeface similar to the one used for the 1855 edition, appear in the bottom right corner of the lower section.) All four corners of the top section,\nand the lower corners of the bottom section, are cropped for mounting. Multiple pinholes appear in each section. Inscribed and revised in black ink. As Bradley and Blodgett note, the lower set of verses seems to\nbe a later draft of the upper set, even though Bucke prints them in reverse order and as separate fragments on p. 32 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e. These lines foreshadow a number of poems new to the 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e, particularly\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf\n\u003c/title\u003e (ultimately titled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eStarting from Paumanok\n\u003c/title\u003e) and\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSo long!,\n\u003c/title\u003e as well as several of the poems grouped in the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChants Democratic and Native American.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn one section of light yellow type D paper torn down to 15.5 x 14.5 cm. (Part of the word \"Leaves\" appears in the lower right corner of the verso.) The lower left corner is cropped. Multiple pinholes in\ncenter. Inscribed in black ink, with revisions in the same ink and one addition in pencil. On the verso, in blue pencil, appears a quickly scrawled note, reading \"Drum Taps—City of Ships[,]\" which appears to\nbe in Whitman's hand. This may indeed have been a draft of the poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCity of Ships,\n\u003c/title\u003e which first appeared in 1865 as part of the independent publication\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eDrum-Taps\n\u003c/title\u003e, but its similarities to the lines on Leaf 24 and lack of references to the Civil War indicate that it was inscribed prior to the publication of the 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. These lines bear a strong resemblance to verses inscribed on Leaf 7 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePremonition\n\u003c/title\u003e as described above (under\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e [1860] 1:1:7), verses that formed section 20 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf\n\u003c/title\u003e in 1860 and, ultimately, part of section 6 of the poem under the title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eStarting from Paumanok.\n\u003c/title\u003e Printed on p. 30 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn one section of white wove paper torn and cut down to 10 x 15 cm., inscribed and revised in very thin brown-black ink. Two pinholes appear towards the right margin. The lower corners are cropped. Whitman's\nuse of the word \"Libertad\" and way of handling the theme of immigration suggest that this might be part of an early draft of the poem eventually known as\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eA Broadway Pageant,\n\u003c/title\u003e first published in the June 27, 1860 issue of the\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNew York Times\n\u003c/title\u003e as\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThe Errand-Bearers.\n\u003c/title\u003e Bucke prints the verses on p. 39 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn a section of type B wove paper cut down to 8 x 15.5 cm. All four corners are cropped for mounting. Multiple pinholes run up and down the center. Inscribed and corrected (in only one place) on the recto in\npencil, and on the verso in light brown ink and pencil. The verso lines (beginning \"[sl]ueing,/...[be]nding,/...halt in the shade,\") represent a fragment of a polished pre-1855-publication draft—almost a\nfair copy, but with interesting revisions nonetheless—of lines that would eventually belong in section 13 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of Myself.\n\u003c/title\u003e These verses are inscribed along the ruled lines. Whitman cannibalized this leaf at some point after 1855 to jot down the recto verses perpendicular to the ruled lines. These seem to constitute a complete\nbut very early draft of the poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eTo One Shortly To Die,\n\u003c/title\u003e first published in the 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e in the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eMessenger Leaves.\n\u003c/title\u003e (For a later draft see Leaf 28, and for an even later version inscribed shortly before the 1860 publication see 2:3:1 in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e [1860].) In the upper right corner of the recto appear the words \"note/ last page of 'Ghost-seers'\" in Whitman's hand, suggesting that he had considered forming a cluster under this title, never\npublished, in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e, perhaps in the 1860 edition. The phrase \"Ghost-seers\" recalls a statement regarding Emerson in\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLeaves-Droppings,\n\u003c/title\u003e a section of correspondence and commentary Whitman appended to the 1856 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e: \"[Emerson] sees the future of truths as our Spirit-seers discern the future of man...\" Bucke prints the recto verses on p. 13 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn a very small section (4 x 14.5 cm.) of the type A notebook paper. Inscribed and revised on the recto in (smudged) brown-black ink. Fragmentary lines on the verso are inscribed, revised, and deleted in\npencil. Four pinholes run up from the center of the leaf towards the upper right corner. The verso lines (beginning \"[I] and nobody else am the greatest traitor,\") represent a later draft than similar verses in\nLibrary of Congress Notebook #80 of what would eventually become part of section 28 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of Myself.\n\u003c/title\u003e The recto lines were revised to form part of the 1860 poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eTo One Shortly To Die.\n\u003c/title\u003e (See Leaf 27 for an earlier draft and entry 2:3:1 under\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass.\n\u003c/title\u003e [1860] for a later version.) Bucke prints the recto verses on p. 47 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn a small section of white laid paper (6 x 18.5 cm.) with all four corners cropped for mounting. Multiple pinholes in center. Inscribed and revised (in one place) in brown ink. A short horizontal line appears\nbeneath the verses, indicating (along with the finished appearance of the lines) that Whitman conceived of this when written as an independent poem. He may have used it, however, in the 1856\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePoem of Remembrances for A Girl or A Boy of These States,\n\u003c/title\u003e which, as Bradley and Blodgett note, became the sixth poem in\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChants Democratic and Native American\n\u003c/title\u003e in 1860. It was subsequently shortened by several stanzas (1867) and retitled (1872)\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThink of the Soul\n\u003c/title\u003e before being excluded from\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e with the publication of the 1881 edition. The verses on Leaf 29 combine the meanings expressed in both the excluded and preserved sections of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThink of the Soul.\n\u003c/title\u003e Bucke prints these verses and a related, longer set of verses on p. 27 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e; the other lines in Bucke were revised and expanded for use in sections 46-51 of the 1860 poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf,\n\u003c/title\u003e permanently retitled\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eStarting from Paumanok\n\u003c/title\u003e in 1867.\n\u003c/p\u003e","\u003cp\u003eOn a section of the type D proof sheet paper (light yellow) cut and torn irregularly down to 7.5 x 20 cm. (The words \"Leaves of\" appear on the verso.) Multiple pinholes appear towards the foot of the leaf,\nindicating—along with the damaging of the words \"The gripe\" in the last line by cutting and the appearance of the tops of other letters above the lower edge—that this was the upper section of a larger\nleaf before Whitman decided to make it an independent poem, adding his characteristic period and hyphen combination at the end of the lines to mark its separateness. Inscribed in brown-gray ink, with revisions in\nthe same ink, in pencil, and in a darker brown ink (in that order). Bucke prints the verses on p. 26 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e with the annotation \"Early or middle fifties, never used,\" but the lines bear a strong resemblance to a section of prose on p. vi of the preface to the 1855 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass.\n\u003c/title\u003e The verses on this leaf may represent a poetic adaptation of that section.\n\u003c/p\u003e","\u003cp\u003eOn a small section of what seems to be type D light yellow paper (5 x 16 cm.). All four corners are cropped for mounting. Inscribed and revised in pencil. Bucke transcribes these verses on p. 28 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e, combining them with other fragments to form a longer poem. They display some similarities to the eleventh untitled poem of the 1855 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e, named\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLesson Poem\n\u003c/title\u003e in 1856 and finally, beginning with 1871's\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003ePassage to India\n\u003c/title\u003e,\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eWho Learns My Lesson Complete?\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eOn the verso of an irregularly cut and cropped proof sheet (9 x 18 cm.) from the 1856 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass.\n\u003c/title\u003e A few pinholes are scattered around the page. The words \"Have I\" at the beginning are inscribed on a small scrap of the same paper, which Whitman pasted over some deleted words in the upper right corner\nthat cannot be discerned through the paper. Inscribed and extensively revised in pencil, these verses were part of a larger set of lines before Whitman cut away and (apparently) discarded the rest. Although the\npage number and many words on the left side of the proof have been cut away, the remaining words identify it as p. 188 from the\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePoem of Many in One,\n\u003c/title\u003e which eventually became\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eBy Blue Ontario's Shore.\n\u003c/title\u003e These unused but also undeleted lines may have been intended for that poem or a number of other poems in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. Bucke prints them on p. 30 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn a section of white laid letter(?) paper (10.5 x 19.5 cm.) folded in two places, perhaps for mailing. All four corners are cropped, and the right margin is cut irregularly. No pinholes. Inscribed in black ink\nthat has bled in several places from contact with water drops. A long horizontal line divides the first set of draft verses from a pair of trial verses beginning \"The railroads with their hundreds/ of lines...\"\nAlthough these poetic notes are difficult to date, they may represent an intermediate stage between the 1855 Preface to\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e and the 1856\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePoem of Many in One\n\u003c/title\u003e (eventually\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eBy Blue Ontario's Shore\n\u003c/title\u003e), which cast many sentences similar to these from the Preface in poetic form. Two editorial errors relating to the leaf should be mentioned: Bucke prints the fragment on p. 169 as a prose passage, and in\nrepublishing Bucke's transcription (still in prose form) Grier reports, on p. 1941 of the\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotebooks and Unpublished Prose Manuscripts\n\u003c/title\u003e (vol. 5) that this manuscript has not been found.\n\u003c/p\u003e","\u003cp\u003eOn the verso of a section (14 x 12 cm.) cut from a type C tax form. The corners are all cropped for mounting. Inscribed and revised in pencil. Multiple pinholes cluster towards the foot of the leaf, suggesting\nthat one or more verses were cut away and discarded; this is corroborated by the fact that the final word, \"gaunt,\" ends not with a period but with a comma. Whitman's use of the tax form and the strong similarity\nthis fragment bears (as Bradley and Blodgett note) both to the 1856\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePoem of the Road\n\u003c/title\u003e (later\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of the Open Road\n\u003c/title\u003e) and to the 1860\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf\n\u003c/title\u003e (eventually\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eStarting from Paumanok\n\u003c/title\u003e) indicate that this may have been a revision of the former poem or, as seems more likely, an early draft of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf\n\u003c/title\u003e intended for the 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\n\u003c/title\u003e. To compare this fragment with extant drafts of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eProto-Leaf,\n\u003c/title\u003e under its original title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePremonition,\n\u003c/title\u003e see leaves 1:1:1-1:1:33 as described under\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e (1860) above. Printed on p. 39 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e.\n\u003c/p\u003e","\u003cp\u003eOn one section of white wove paper (8 x 19.5 cm.) ruled on both sides, with the upper corners cropped for mounting. Inscribed in green-black ink with no revisions. These verses seem to have been part of a\nlarger set before Whitman decided to make them an independent poem, adding a hyphen at the end of the last line and cutting off the verses below. (The word \"nothing\" in the last line was partly cut away as well.)\nAlthough written in free verse, the rather conventional nature of this poem suggests an early date of inscription. Bucke does not transcribe it.\n\u003c/p\u003e","\u003cp\u003eOn a full leaf of light tan wove paper (25 x 13 cm.) that seems to have been removed from a notebook; the note \"Last Page\" and the number 5(?) appear at the top of the leaf. The foot of the page—wrinkled,\nsmudged with erased words, and largely worn away—has been reinforced with a strip of light brown wove paper pasted to the verso. Inscribed in pencil, with one minor revision in brown ink. The leaf is divided\nwith horizontal lines into four sections: \"Pentameter,\" \"Anapest,\" \"Dithyrambus/ Dithyramb/ Dithyrambic,\" and \"Caesura.\" Like the contents of the verso of Leaf 14, these notes represent a version of the poetic\ndefinitions that appear in a manuscript currently housed at Rutgers University. Bucke prints the final two sections of these notes on p. 163 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotes and Fragments\n\u003c/title\u003e, leaving the first two sections untranscribed, evidently because they so closely parallel the more complete Rutgers notes (which he prints in full). Grier lists this manuscript, on p. 357 of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotebooks and Unpublished Prose Manuscripts\n\u003c/title\u003e (vol. 1), as \"not found.\"\n\u003c/p\u003e","\u003cp\u003eRevision of poem cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of the Broad-Axe\n\u003c/title\u003e. Revisions are made in ink and blue pencil on printed edition of the poem. Walt Whitman apparently used two volumes to tear the leaves from, as every other page is slightly smaller than the rest,\nrevisions are made only on the recto side of each leaf, and verso is crossed out.\n\u003c/p\u003e","\u003cp\u003eThese two manuscripts represent different stages, earlier and later, in the evolution of a poem written during October and November 1873 and first published as\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of the Redwood-Tree\n\u003c/title\u003e in the February 1874 issue of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eHarper's Magazine\n\u003c/title\u003e. From a note prefacing the first manuscript, as Bowers writes, it appears that Whitman personally took charge of gathering and preserving the manuscripts. In 1876, Bradley and Blodgett observe, Whitman\npublished the poem in the independent group\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCentennial Songs\n\u003c/title\u003e and in this group as annexed to\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eTwo Rivulets\n\u003c/title\u003e, and in 1881 it appeared, ungrouped, in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e. For convenience these descriptions follow the ordering of the leaves presented by Bowers in his article\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThe Manuscripts of Whitman's 'Song of the Redwood-Tree'\n\u003c/title\u003e in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003ePapers of the Bibliographical Society of America\n\u003c/title\u003e, vol. 50 (1st quarter, 1956), pp. 53-85.\n\u003c/p\u003e","\u003cp\u003eThis rough draft begins with the following note, inscribed and initialed by Whitman in brown-black ink, on one piece (17.5 x 22.5 cm.) of thin, light brown wove paper with no pinholes: \"Camden,/ Oct. \u0026amp; Nov.\n'73./ Song of the Redwood Tree./ (rough draft—mems,/ printed sketch,/ letter from Harper's Mag.)/ \u0026amp;c./ W. W.\" The other leaves are described individually as follows. Unless noted otherwise, each leaf\nfeatures multiple pinholes in its center. Leaf 2 (\"Song of the Redwood/ Tree/ \u0026amp; other pieces\"): white wove paper (20.5 x 12.5 cm.), apparently a flyleaf or blank page removed from a book. The undeleted title\nas well as the deleted titles\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eEidólons\n\u003c/title\u003e (on both recto and verso, but upside-down relative to the undeleted title) and\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eWaves in the Vessel's Wake\n\u003c/title\u003e (also upside-down) are inscribed in blue crayon, while the line \"Waves, undulating/ waves—\" (on verso, upside-down) is in grey-black ink.\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eEidólons\n\u003c/title\u003e was the title Whitman used for a poem first published in 1876; and\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eWaves in the Vessel's Wake,\n\u003c/title\u003e according to Bradley and Blodgett, was an alternate title for a poem eventually named\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eAfter the Sea-Ship,\n\u003c/title\u003e in which the line \"Waves, undulating/ waves—\" can be found. Leaf 3 (\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eA California song./ Song of the Redwood/ Tree\n\u003c/title\u003e): white wove paper (20 x 12.5 cm.), ruled on both sides. The page contains four sections of pencil notes in prose and verse, with the title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eA California song\n\u003c/title\u003e (which became the first verse of the published poem) in medium black ink, and the second title, along with notes dating the second section to \"Oct. '73\" and the third section to \"Nov. '73/ Camden,\" in\nblue crayon. In pencil Whitman also drew a cartoon hand pointing to the sentence \"Use this point to express/ fully my California views\" in the second section. Leaf 4 (\"A mighty tree is/ falling.\"): white wove\npaper (20.5 x 13 cm.), ruled on recto. In pencil (on recto), with extensive pencil revisions. The verses on this leaf represent an early draft of numbered sections 1 and 2 of the published poem. On the verso\n(perpendicular to the recto verses) appear notes, deleted in pencil, for \"(a sonnet)\" written \"for Century Verses,\" which appears from a Library of Congress manuscript to have been a working title of the group\nthat became\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCentennial Verses\n\u003c/title\u003e in 1876. After heavy revision (see verso of leaf 5) the poem became the title-page epigraph to the 1876 (\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eCome, said my Soul\n\u003c/title\u003e) and several later editions of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves\u003c/title\u003e. The incomplete verso lines are in brown black ink with extensive revisions in the same ink. Leaf 5: on the same type of paper as 4, torn down to 20.5 x 13 cm. Recto is inscribed and extensively revised\nin pencil; these verses represent an early draft of section 3 of the published poem. On the verso (\"Go said my Soul, the real Me,\") appears a deleted later draft of the poem whose notes appear on the verso of Leaf\n4. The verso lines are inscribed in brown-black ink with extensive revisions in the same ink, in blue crayon, and in pencil, apparently in that order. Leaf 6 (\"So for a type for you, your/ race, Pacific lands\"):\nwhite laid paper (20.5 x 12.5 cm.), ruled on verso. Inscribed in pencil and medium black pen, with heavy revisions in both of these, particularly the pencil, and in light ink. Whitman inscribed the pencil note\n\"last,\" enclosed in a semicircle, in the upper right corner. After further revision these verses became the last italicized verse paragraph of section 4 of the 1876 version of the poem. Leaf 7 (\"(The teamsters,\nchoppers, chain/ and jackscrew men/ heard not...)\"): White quadrille paper (21 x 13.5 cm.), at one point folded in thirds. Inscribed and extensively revised in pencil. These lines were further revised to form the\nsecond and third verse paragraphs of section 2 in the 1876 version of the poem. Leaf 8 (\"Lands of the Western shore!\"): inscribed in medium black ink on the verso of p. [1] of a letter (18 x 11 cm.) cut from a fold\nof what Bowers characterizes as fine tinted laid paper. The verses are inscribed perpendicular to the sentences of the letter. Revised in the main ink and in a lighter ink. These verses were further revised to\nform the closing section (6) of the 1876 version of the poem. The letter, deleted in blue crayon, is dated \"Boston./ 96 Washington St/ 30 Sept '73\" and was written by Boston lawyer Albert B. Otis. In it, Otis\nexpresses his happiness on learning that Whitman's health is improving, thanks him for sending a paper with news of the recovery, and mentions his wish to obtain copies of Whitman's new works as they appear.\nWhitman used the verso of the second part of the letter as Leaf 3 of the second manuscript of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of the Redwood-Tree\n\u003c/title\u003e (see below). Leaf 9 (\"The Cascade range/ On the Pacific—...\"): white wove paper (20.5 x 13 cm.), ruled on both sides, with (as Bowers notes) the embossed device of Mercury's winged hat and a\ncaduceus in the upper left corner. Whitman began writing a letter on this page before using it for verse: deleted lines at the top read \"431 Stevens st./ cor West\" and \"Camden,/ Saturday forenoon/ Oct. 25.\" These\ntrial verses are inscribed in the same medium brown ink as the letter heading, except for the final verse, which appears finished and is written in black ink. Revisions are in the main ink and in a lighter ink.\nAfter further revision these verses were incorporated in sections 4 and 5 of the 1876 version of the poem. Leaf 10 (\"As of the wood-spirits'/ voices ancient, rustly, speaking,\"): inscribed on the same paper as\nLeaf 9, with the same embossed device (reversed, in upper right corner), in medium black ink, with revisions in the same ink and in light ink and the first and last sections deleted. The top deleted section\nincludes several false starts, along with the draft line \"A new Man/ and a new empire\" in the upper right corner. The undeleted verses were revised to form part of section 4 in the 1876 version of the poem. Leaf\n11 (\"Farewell/ My time has ended, my term has/ come,—\"): on the same paper as Leaf 6, also in pencil, with extensive revisions and deletions in the same. Only the verse quoted here was allowed to stand; it\nwas used as the final line of section 1 in the 1876 version of the poem. Leaf 12 (\"or chorus of dryads, fading, departing\"): inscribed on the verso of a letter (22.5 x 17.5 cm.) from Whitman family friend Abby H.\nPrice to Whitman's sister-in-law Mrs. George (Louisa Orr) Whitman. The letter and verses are on blue-tinted wove paper. Whitman's lines run perpendicular to the letter's, and are in brown-black ink, with revisions\nin the same. Multiple pinholes at top and bottom of Whitman's verses rather than in center. The first verse became part of section 1 in the 1876 version, and the rest of the verses on the leaf were revised to form\nsection 5. The letter is written in brown-black ink (deleted with a blue crayon stroke), and is dated \"New York. Oct 17th.\" In it, Abby Price tells Louisa Whitman of her dismay in reading newspaper reports that\nWalt Whitman \"'is...dangerously ill'\" and asks her for more news. Leaf 13 (\"Thus on the northern coast/ in the lumber-men's camp\"): on white laid paper (20.5 x 15 cm.), ruled on both sides, inscribed in brown-\nblack ink and pencil, with extensive revisions and notes from Whitman to himself in the same. After further revision these lines became the final verse paragraph of section 4 in the 1876 version of the poem. Leaf\n14 (\"Nor these alone—not dedicate to these/ alone,...\"): inscribed on the verso of a letter dated 1873 October 15 (21 x 12.5 cm.) to Whitman from his friend Charley [Eldridge]. On white laid paper, ruled on both sides, and\nembossed with the letters \"P \u0026amp; P\" (inside a decorative border) in the upper left corner. In medium-black ink, with three false starts, a paragraph mark, and revisions in the same. Whitman's lines run\nperpendicular to the letter's. After further revision these lines were incorporated in the first few verses of section 6 of the 1876 version of the poem. In the letter, dated \"Washington Oct 15. 1873\" and deleted\nwith a single blue crayon stroke, Eldridge reports collecting various articles of Whitman's clothing, with Whitman's companion Peter Doyle, from a room the poet kept in Washington, D.C., and sending them via Adams\nExpress. Leaf 15 (\"(Surely I did not dream)\"): on white wove paper (20 x 12.5 cm.), ruled on both sides, and embossed in one corner with the die of the Juniata Mills, Pennsylvania. Inscribed in medium black ink,\nwith revisions in the same. These trial verses were revised and expanded to become the final italicized verse paragraph of section 3 of the 1876 version of the poem. Leaf 16 (\"The influences of nature,\"): on white\nwove paper (19.5 x 12.5 cm.), ruled on recto. In pencil, with extensive revisions in the same. These verses were further revised and incorporated in the final italicized paragraph of section 4 in the 1876 version\nof the poem. Leaf 17 (\"The tree prophecies\"): on a section of white laid paper (torn down to 15.5 x 12 cm.) embossed with what appears to be the same paper-maker's die as leaf 14, but only ruled on recto.\nInscribed and revised in pencil. The pinholes are positioned near the top of the leaf. These trial verses express the themes of much of the finished poem. Leaf 18 (\"The spinal idea of/ the poem\"): on white wove\npaper (19.5 x 12 cm.), ruled on both sides. Inscribed and revised in pencil. This combination of prose and poetic notes provides an overview of the entire poem. Leaf 19 (\"...or seemed to say\"): on white wove paper\n(19 x 12 cm.), ruled on both sides. Inscribed and revised in pencil. These verses were further revised and incorporated in sections 3 and 4 of the published poem in 1876. Leaf 20 (\"Lessons to the/ race to grow\"):\non a fragment of white wove paper torn down to 11 x 12.5 cm., ruled on verso. Inscribed in pencil. Pinholes at foot of fragment, i.e., in the center of the original page, and in the current center. These trial\nverses provide an outline of most of the italicized passages (representing the Redwood's voice) in the published poem.\n\u003c/p\u003e","\u003cp\u003eLeaves described individually as follows. Unless otherwise noted, pinholes are clustered at the center of each leaf. Whitman also numbered each leaf in blue crayon in the upper right corner of the page. Leaf 1:\non a composite leaf made of two fragments (12.5 x 19 and 5.5 x 12.5 cm.) of different kinds of white laid paper (the bottom fragment ruled on recto, the top not ruled) pasted together. The top set of verses is\ninscribed in brown-black ink and revised in pencil and in the original ink; the bottom lines are inscribed in pencil, with revisions in the brown-black ink. Whitman numbered this section in blue crayon. Pinholes\nin center of each part of the composite leaf. With a small amount of further revision this leaf became section 1 of the published poem. Leaf 2 (\"Along the northern coast,\"): on a leaf of white laid paper torn down\nto 12.5 x 19.5 cm.; the watermark \"[HAND?]MADE\" is partly visible. On the back appear pencil notes in Whitman's hand for a letter regarding a painting or photograph of Whitman(?); this draft letter is deleted in\nblue crayon. The verses are inscribed in brown-black ink, with revisions in the same ink, in pencil, and in blue crayon. Whitman also numbered this section in blue crayon. After a small amount of further revision\nthese lines became the first verse paragraph of section 2 in the published version. Leaf 3 (\"The choppers haply heard not—the/ camp-shanties echoed not,\"): on the verso of p. [2] (17.5 x 11 cm.)\nof the Albert B. Otis letter, 1873 September 30, used for leaf 8 of the rough draft manuscript (see above); this part of the letter is also deleted with a blue crayon stroke. The verses are inscribed in medium black ink, with\nrevisions in the same ink and in pencil. After further revision they became the second and third verse paragraphs of section 2 in the published version. Leaf 4 (\"You untold life of me,\"): on three sections of\nunruled white laid paper from the same page (15 x 13, 5.5 x 13, and 6 x 13 cm.) joined by means of two irregular fragments of white ruled paper pasted to the back. The ruled fragments contain ink and pencil notes\nfor the poem, but at a very early stage of development. The recto verses are inscribed in medium black ink and revised in the same ink, in pencil, and in blue crayon. Whitman also numbered this section 3 in blue\ncrayon: it became the first verse paragraph of that section in the 1876 version. In pencil, he added the note \"ital\" in the upper left corner and underlined almost every verse to indicate that the Tree's voice\nshould be printed in italics. As Bowers notes, Whitman cut up and rearranged this page to reverse the order of the lines on the second and third sections of paper. Leaf 5 (\"N[or yie]ld we mournfully, majestic\nbrothers,\"): on a composite leaf formed of two sections of paper pasted together; the top section (10 x 15 cm.), damaged along the top edge, is of the same kind of paper used for leaf 13 of the rough draft and\nleaves 8 and 9 of this draft, and the bottom section (18.5 x 13 cm.) is of white wove paper, ruled on one side. The verses are inscribed in brown-black ink with heavy revisions in the same ink and in pencil. After\nfurther revision these sections became the second and third verse paragraphs, respectively, of section 3 of the poem. Leaf 6 (\"Then to a loftier strain/ Still prouder, more extatic rose/ the chant,\"): on two\nsections of different kinds of white paper, the lower section (20 x 12.5 cm.; wove, ruled on one side) being pasted to the top one (10 x 13 cm.; laid, unruled). The lower section is inscribed on the verso of part\nof a sheet of Department of Justice letterhead with the dateline \"Washington...187[ ],\" under which Whitman jotted down and deleted directions to the Hydropathic Institute in Wernersville (Pennsylvania) in blue\ncrayon. He also used blue crayon to designate the verses section 4, of which they became the first two paragraphs in the published version. The verses are inscribed in brown-black ink, with heavy revisions in the\nsame and in pencil. Whitman added the note \"ital\" after joining the two paper sections, and concomitantly underlined each verse of the lower section for the same reasons as in leaf 4. Leaf 7 (\"You occult, deep\nvolitions\"): on white wove paper (25.5 x 20 cm.), ruled on both sides. Inscribed in medium black ink, with revisions in the same, in pencil, and (possibly) in a lighter ink. The upper right corner is damaged,\nleaving the leaf number partially missing, but it seems clear that the number was a 7. As Bowers notes, the deleted title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eYou occult, deathless, deep volitions\n\u003c/title\u003e indicates that this was once an independent poem (as the existence of an early draft of the lines at Duke University would seem to confirm), but Whitman revised and italicized the lines—the note\n\"ital\" and underlinings in pencil also appear here—for inclusion as the third paragraph of section 4 in the published version of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of the Redwood-Tree.\n\u003c/title\u003e Leaf 8 (\"For you, for man of you your characteristic race,\"): on a section (21 x 16 cm.) of the same kind of paper used for leaves 5 (in part) and 9; inscribed in medium black ink, with extensive\nrevisions in the same, in pencil, and in what seems to be a lighter ink. The verses are all underlined in the lighter ink(?) using a fine pen. At the bottom of the leaf appear the words \"Idaho, Utah\" in blue\ncrayon. After further revision these lines became the fourth verse paragraph, and the final italicized one, of section 4 in the published version of the poem. Leaf 9 (\"Thus on the northern coast,\"): on a section\n(20.5 x 16 cm.) of the same kind of paper used for leaves 5 (in part) and 8; inscribed in medium black ink, with revisions in the same ink, in a lighter ink, and in pencil. The number 5 appears at the top of the\nleaf, obscured by the addition of new lines. In actuality these verses became the final paragraph of section 4 in the published version of the poem. Leaf 10 (\"The flashing \u0026amp; golden pageant of California,\"): on\na section of white laid paper (21 x 20 cm.), in brown-black ink, with extensive revisions in the same ink, in a lighter ink, and in pencil. The blue-crayon section number 6 appears next to a deleted pencil 2 at\nthe top of the leaf; at the bottom appears the ink note \"? Yosemite\" separated from the lines with a semicircle. These verses were further revised to form section 5 of the published version. Leaf 11 (\"But more in\nyou, than these, I see, lands of the western shore!\"): on three sections of white wove paper (top: 7 x 20 cm., unruled; middle: 8 x 19.5 cm., unruled; foot: 10 x 20.5 cm., ruled) pasted together and jointly pasted\nto a paper fragment (6.5 x 20 cm.) containing an earlier, deleted set of verses that are revised in the current top section. The top and concealed sections are both inscribed on the verso of fragments of a letter,\nwritten in purple ink and deleted by Whitman in blue crayon, from the engraver W. J. Linton. As Bradley and Blodgett note, Linton produced a portrait of Whitman that the poet included in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eTwo Rivulets\n\u003c/title\u003e and that also inspired the poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eOut from Behind This Mask.\n\u003c/title\u003e In what remains of the letter Linton inquires after Whitman's health. The verses on this composite leaf were revised to form the sixth and final section of the published version of the poem.\n\u003c/p\u003e","\u003cp\u003eOn one leaf (12 x 19.5 cm.) of white laid paper, ruled on recto. In light brown ink, with one deletion in the same ink. This appears to have been a trial cover leaf for the cluster\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSongs of Parting,\n\u003c/title\u003e new to the 1881 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e. Whitman struck out the words \"A few\" above the current title, but left undeleted four other possibilities at the top of the leaf:\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSongs of Departure/ Departing,/ Termination/ Completion.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003e\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThe Soul's Procession\n\u003c/title\u003e comprises very early notes for a projected poem that Whitman inscribed in a handmade notebook (20.5 x 13 cm.). This he made by folding in half seven leaves of white laid Philp \u0026amp; Solomon (Washington,\nD.C.) paper (measuring 25 x 19.5 cm. unfolded), ruled in blue on both sides (type A), in the direct middle of which he inserted a gathering of three folded leaves of a different kind of white laid paper (type B),\nruled horizontally in blue on both sides, but also featuring a single vertical rule in blue and red. This gathering is held together with a metal bracket, and is bound in with the main notebook pages by means of a\npink ribbon. Three sections of type B paper are also tipped in between bound type A pages. Inscribed and revised in black ink, in pencil, and in blue crayon. Although Whitman never finished or published\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThe Soul's Procession\n\u003c/title\u003e during his lifetime, Bradley and Blodgett note that the same ideas worked out here inform many of his poems, particularly the 1871 independent publication\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003ePassage to India.\n\u003c/title\u003e For a transcription of the notebook with comprehensive annotations see Grier's\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eNotebooks and Unpublished Prose Manuscripts\n\u003c/title\u003e, vol. 4, pp. 1390-94. The earliest dating of the notebook is supplied by an 1869 newspaper clipping pasted to Leaf 3, but Grier speculates, based on the shakiness of Whitman's handwriting in later leaves,\nthat some of the notes may have been added after the poet suffered a paralyzing stroke in 1873. On the back cover appear pencil notes detailing train numbers, times, and (apparently) amounts of money.\n\u003c/p\u003e","\u003cp\u003eThis half-leaf (19.5 x 12.5 cm.) constitutes the front cover. It bears the die of Philp \u0026amp; Solomon in the (current) upper right corner. The title is inscribed and underlined in brown ink, and Whitman's\ninitials appear in pencil in the center of the page, to the left of a pencil squiggle.\n\u003c/p\u003e","\u003cp\u003eInscribed on type A Philp \u0026amp; Solomon paper in black ink, with no revisions, on the page directly following the front cover.\n\u003c/p\u003e","\u003cp\u003eOn the type A page currently following Leaf 2, but originally following another type A page that Whitman bound with the other pages and later cut and tore (irregularly) out. The stub of the excised portion of\nthe original leaf can be seen here. A piece of very thin tan wove paper was inserted here, and a newspaper clipping dated in pencil (by Whitman?) 1869, about \"The Steamship Pereire Disaster,\" was pasted directly\nto the lower left section of Leaf 3. The trial verse \"My ship sails the sea/ in a storm\" appears at the end of Whitman's prose notes and beneath the clipping, which documents the near-sinking of a steamship in the\nAtlantic during a \"furious gale.\" Inscribed in black ink, with a short horizontal line separating the note \"In Soul's Procession\" from the rest of the notes.\n\u003c/p\u003e","\u003cp\u003eOn a section of type B paper (16 x 10 cm.) from the same irregular cutting as leaves 5 and 6, tipped in directly after Leaf 3. Some pinholes matching those on leaves 5 and 6—but in a way that indicates\nthat Whitman pinned the leaves together more than once—appear in the center and near the left margin. Inscribed, like leaves 5 and 6, in pencil, with cartoon hands to emphasize key points. The title is\nunderlined in pencil. Bradley and Blodgett publish leaves 4-6 on pp. 611-12 (2002 ed.), noting that the prose notes on Leaf 4 break into trial verses on leaves 5 and 6.\n\u003c/p\u003e","\u003cp\u003eOn a section of type B paper (16 x 10 cm.) tipped in after the type A page that follows leaf 4. See Leaf 4 description for notes on the pinholes. Inscribed in pencil, with no revisions. These lines are all\nformatted as trial verses rather than prose notes.\n\u003c/p\u003e","\u003cp\u003eOn a section of type B paper (16 x 10 cm.) tipped in after the type A page that follows leaf 5. See Leaf 4 description for notes on the pinholes. Inscribed in pencil with heavy revisions; the first two verses\n(beginning \"I knew the greater idea/ of Space\") are deleted with a single vertical pencil stroke. The last verse ends without a period.\n\u003c/p\u003e","\u003cp\u003eOn the first page (20.5 x 12.5 cm.) of the type B gathering, which starts after the type A page following leaf 6. The page is blank below the title, which is inscribed and underlined in pencil.\n\u003c/p\u003e","\u003cp\u003eOn the second page of the type B gathering (Whitman did not use the versos). Inscribed and revised in (smudged) pencil. The note \"Agassiz—/ Animal Life p. 53\" at the center of the page apparently refers\nto Louis Agassiz'\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Structure of Animal Life\n\u003c/title\u003e, delivered as six lectures in 1862 and first published in 1865. A horizontal line separates the upper set of notes from lower ones, which are formatted as trial verses.\n\u003c/p\u003e","\u003cp\u003eOn the third page of the type B gathering. The first half of the page is devoted to pencil trial verses that represent a continuation of Leaf 8. Following these, and separated from them by a horizontal line in\nblack ink, occurs a set of prose notes beginning with the words \"Make a succession/ of splendid gorgeous/ stately pageants or/ moving panoramas.\"\n\u003c/p\u003e","\u003cp\u003eOn the fourth page of the type B gathering. Inscribed in (somewhat smudged) black ink. These notes represent an intermediate stage between prose notes and trial verses; they are formatted as verses, but contain\nWhitman's instructions to himself, offering an outline of future verses rather than a sketch.\n\u003c/p\u003e","\u003cp\u003eOn the sixth page of the type B gathering. Inscribed and revised in black ink. Whitman's note \"Query?\" appears above the first line. Several phrases, like \"History,\" \"The Wars,\" and \"The greatest philosophers,\"\nare inscribed in very large letters and underlined.\n\u003c/p\u003e","\u003cp\u003eOn the first type A page after the type B gathering. These highly fragmentary prose and verse notes are inscribed in pencil and blue crayon, with some revisions to the blue crayon section in the same medium.\nDifferent sections of the notes are separated with dashes.\n\u003c/p\u003e","\u003cp\u003eOn the second type A page after the type B gathering. Inscribed, quite shakily, in pencil. The working title is underlined. As indicated above, these lines represent an intermediate stage between prose notes\nand trial verses. The different sections are separated by short horizontal lines. Although Whitman wrote about Greenwood Cemetery (Brooklyn) elsewhere, he did not use these notes for the independent poem he was\napparently projecting on this leaf.\n\u003c/p\u003e","\u003cp\u003eThe general title appears to be\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eOld Age Echoes,\n\u003c/title\u003e but beneath that title are the two poems under which titles the item is catalogued:\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSounds of the Winter\n\u003c/title\u003e and\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThe Unexpress'd.\n\u003c/title\u003e Pasted to the leaf below the second poem is a woodcut engraving of Walt Whitman along with his autograph. Under that is what has been classified as two lines from an unidentified poem. A note at top\nstates, \"intended to make one page.\"\n\u003c/p\u003e","\u003cp\u003eFrom \"Shorter Notes, Isolated Words\" section #54.\n\u003c/p\u003e","\u003cp\u003ePencil on white paper. Pasted on top half of archival leaf.\n\u003c/p\u003e","\u003cp\u003eInk on pink paper. Pasted on bottom half of archival leaf.\n\u003c/p\u003e","\u003cp\u003ePencil on verso of envelope. Pasted on top half of archival leaf.\n\u003c/p\u003e","\u003cp\u003eInk on blue paper. Pasted on bottom half of archival leaf. Verso has some notes for poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003e[America, so young and so magnificent].\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eWritten in ink. Pasted on top third of archival leaf.\n\u003c/p\u003e","\u003cp\u003eWritten in ink. Pasted in middle of archival leaf.\n\u003c/p\u003e","\u003cp\u003eWritten in pencil. Pasted on bottom third of archival leaf.\n\u003c/p\u003e","\u003cp\u003eWritten in ink. Pasted to own archival leaf.\n\u003c/p\u003e","\u003cp\u003eInk on lined paper. Pasted on own archival leaf.\n\u003c/p\u003e","\u003cp\u003eFrom \"Memoranda from Books\" section #64.\n\u003c/p\u003e","\u003cp\u003eThis manuscript is a draft of lines that were published in\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChants Democratic,\n\u003c/title\u003e number 13, in the 1860 edition of\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass\n\u003c/title\u003e. That poem was later revised and published as\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eLaws for Creations\n\u003c/title\u003e; however, the lines on this manuscript are a draft of the section of the poem that was deleted after the 1860 publication.\n\u003c/p\u003e","\u003cp\u003eA draft of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eA Thought of Columbus,\n\u003c/title\u003e a poem first published on July 16, 1892, in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eOnce a Week\n\u003c/title\u003e, accompanied by Horace Traubel's account of its composition, called \"Walt Whitman's Last Poem.\" This manuscript is a draft of only the first six lines and is dated 1891.\n\u003c/p\u003e","\u003cp\u003eOn one leaf of white wove paper (22.5 x 13.5 cm.), in very dark brown-black ink, with revisions in the same ink and in pencil. Multiple pinholes just below center. At the top, which is damaged, can be seen a\ntitle or notes for a different poem reading\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003e[One?] Song—Come Philander\n\u003c/title\u003e; the preliminary and incomplete draft of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThree verses\n\u003c/title\u003e (with the note \"2d or 3d verse\" and a question mark at different points) appears beneath a horizontal line. Whitman apparently never revised the poem further, and it was never published. At some point the\nleaf was folded in half, apparently to form part of a small notebook. On the verso appear two independent texts. One is a list of names and addresses (beginning with his brother and sisters \"Jeff./ Mary/ Han[nah]\"\nand including his friends and supporters Mrs. [Anne Burrows] Gilchrist, W[illiam] M[ichael] Rossetti, and [Edward] Dowden) of people to whom Whitman had apparently mailed copies of an article or book; all but two\nof the names are checked off in ink or in orange crayon. On the facing half-leaf, in pencil (mostly erased or deleted) and struck through with the same orange crayon, appear what seem to be notes for a newspaper\nannouncement, beginning \"Walt Whitman, after an absence of almost three years, appeared again on Pennsylvania Avenue this forenoon.\" Based on this date it can be speculated that the notes were written late in 1875\n(a possibility corroborated by the list of names), but the poem(s) may have been inscribed in the late 1860s or earlier.\n\u003c/p\u003e","\u003cp\u003eThis manuscript is a quotation from\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSong of the Answerer\n\u003c/title\u003e (from section two, two lines beginning \"Time always without break\") and Whitman's signature. The manuscript is dated\n\u003cdate normal=\"1887-03-14\" era=\"ce\" calendar=\"gregorian\"\u003eMarch 14, 1887\n\u003c/date\u003e.\n\u003c/p\u003e","\u003cp\u003eOn two sections of white, gray-ruled laid Department of Justice letterhead, the first cut down to 20 x 18 cm. and the second reduced to 18.5 x 18.5 cm. The engraved heading is missing from the first leaf but\nappears on the verso of the second, above the date \"187[ ].\" Both pages are inscribed in black ink, with revisions in the same and in brown-black ink. The first two entries on Leaf 1 appear to contain general\nnotes for this poem; the second entry reads, \"Make a demand for/ the Ideal, (or/ rather idea of the/ Ideal of the real).\" This is followed by the note \"in the piece,\" which leads up to several trial verses\neventually incorporated in the second verse paragraph of numbered section 5 of\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThou Mother With Thy Equal Brood.\n\u003c/title\u003e Leaf 2 (\"? Or—a song—a chant/ which shall sing—celebrate/—America...\"): these general notes, ending with a cartoon hand singling out the lines \"All the states/ East \u0026amp; west,/\nnorth \u0026amp; south/ Brotherhood/ an equal union[,]\" prefigure the whole poem, but particularly such lines as \"South, North, West, East,/ (To thy immortal breasts, Mother of All, thy every daughter,/ son, endear'd\nalike, forever equal,)\" in the same section projected on Leaf 1.\n\n\u003c/p\u003e","\u003cp\u003eThis manuscript is a draft of a piece for a periodical advertising the presence of a new \"burlesque portrait\" of Whitman by Frank Bellew. It was apparently published in the\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eFifth Avenue Journal\n\u003c/title\u003e in 1872.\n\u003c/p\u003e","\u003cp\u003eOn a tax form trimmed down to 21 x 12 cm., with the upper corners cropped diagonally. Two sets of pinholes. The first two verses, taken more or less directly from\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003e[Of Biography],\n\u003c/title\u003e have no revisions, but the remaining three verses represent a significant expansion of the themes in the prose notes and are extensively revised. Two of the corrections are in brown ink. These verses,\nwhich precede\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003e[Walt Whitman's law]\n\u003c/title\u003e in the composition process, correspond, like\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003e[Of Biography],\n\u003c/title\u003e to section 2 of the 1860 version of the poem.\n\u003c/p\u003e","\u003cp\u003eTwo leaves of ink on pink paper. Verso of second leaf is ordered list of poems beginning with \"33 A Handful of Air\" and ending with \"72 Leaf.\" Note indicates poem as unpublished.\n\u003c/p\u003e","\u003cp\u003eNote on top states \"sent April 21 to Herald.\"\n\u003c/p\u003e","\u003cp\u003eOn the top half of leaf is a printed, struck-through copy of the note about the Trent Affair which accompanied Whitman's poem\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eFor Queen Victoria's Birthday,\n\u003c/title\u003e which was published first in 1890. On the bottom half of leaf is a note written in purple pencil reading, \"W.W.'s respects—/—if convenient print in paper of 24th/—no pay expected.\"\n\u003c/p\u003e","\u003cp\u003eA partial draft of the Preface to\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eTwo Rivulets\n\u003c/title\u003e, a volume published in 1876.\n\u003c/p\u003e","\u003cp\u003eThe general title appears to be\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eOld Age Echoes,\n\u003c/title\u003e but beneath that title are the two poems under which titles the item is catalogued:\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eSounds of the Winter\n\u003c/title\u003e and\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eThe Unexpress'd.\n\u003c/title\u003e Pasted to the leaf below the second poem is a woodcut engraving of Walt Whitman along with his autograph. Under that is what has been classified as two lines from an unidentified poem. A note at top\nstates, \"intended to make one page.\"\n\u003c/p\u003e","\u003cp\u003ePossibly\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eDemocratic Vistas.\n\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eNote at bottom states \"sent to Herald March 11.\" Written in ink and partially on verso of letter addressed to Walt Whitman from London.\n\u003c/p\u003e","\u003cp\u003eIncludes copy of drawing, \"Where Walt Whitman was Born\"; printed sheet, \"Walt Whitman, His Home and His Inspiring Oak\"; typed description of Whitman's birthplace.\n\u003c/p\u003e","\u003cp\u003eAutobiographical sketch for publication in \"The Critic.\"\n\u003c/p\u003e","\u003cp\u003eOn a full tax form (22 cm. x 12 cm.) with the corners slightly cropped diagonally. Two sets of pinholes in center. This leaf, bearing the deleted title\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eTo an artist, literat, \u0026amp;c\n\u003c/title\u003e and first line \"Come, I have now to tell/ you[,]\" revises and expands on\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eTo a Literat.—\n\u003c/title\u003e It was revised to form sections 1 and 2 of the 1860 version of the poem, after first being revised itself in the leaves described under\n\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eChants Democratic\n\u003c/title\u003e below.\n\u003c/p\u003e","\u003cp\u003eFrom \"Notes on the Meaning and Intention of 'Leaves of Grass,'\" section #59.\n\u003c/p\u003e","\u003cp\u003eThis manuscript contains notes about whales. The relationship of this manuscript to Whitman's published work is unknown. These notes may be a continuation of notes written on a separate leaf and held at Duke\nUniversity (The Trent Collection of Walt Whitman Manuscripts, Duke University Rare Book, Manuscript, and Special Collections Library), \"The Whale,\" MS 4 to 88.\n\u003c/p\u003e","\u003cp\u003eBelieved to be for or from some poem in\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eSands at Seventy\n\u003c/title\u003e. Final version of poem entitled, \"By That Long Scan of Waves.\" Written in purple pencil and ink. Includes a negative photostat of manuscript.\n\u003c/p\u003e","\u003cp\u003eOne leaf in ink on lined paper with pencil revisions.\n\u003c/p\u003e","\u003cp\u003ePocket notebook of Walt Whitman in which he made notes of his visits with patients in Civil War hospitals. Consists of notes written in pencil on 8 leaves of paper folded in half to form a booklet which is\nbound with a pink ribbon. The notebook lists names and details about various Civil War soldiers that Whitman met while volunteering in Washington, D. C., hospitals during the war.\n\u003c/p\u003e","\u003cp\u003eWith autograph lines by Walt Whitman showing his past and proposed trips.\n\u003c/p\u003e","\u003cp\u003eRegarding Whitman correspondence to Robert Underwood Johnson, 1879 October 29.\n\u003c/p\u003e","\u003cp\u003eEdward Clifford is an English artist.\n\u003c/p\u003e","\u003cp\u003eRegarding a Walt Whitman letter to Peter Doyle, 1888 November 19, proven to be a forgery.\n\u003c/p\u003e","\u003cp\u003eOriginally enclosed in Walt Whitman letter to John Burroughs, [1879] November 23.\n\u003c/p\u003e","\u003cp\u003eSEE verso Walt Whitman to [J. B. Gilder], [1887] March 18.\n\u003c/p\u003e","\u003cp\u003eSEE verso of AMs, \"Walt Whitman is putting the later touches....\"\n\u003c/p\u003e","\u003cp\u003eRegarding a pencil sketch by Joseph Jackson completed at Walt Whitman's birthday dinner in Philadelphia on May 31, 1890.\n\u003c/p\u003e","\u003cp\u003eSee verso of manuscript fragment, \"the best part of literature and religion.\"\n\u003c/p\u003e","\u003cp\u003eIncludes Whitman manuscript, \"the city as well as country. Other wars...\" and photograph of Walt Whitman, Harry, and Kitty Johnston.\n\u003c/p\u003e","\u003cp\u003eRegarding Whitman correspondence to C. F. Currie, 1890 August 1.\n\u003c/p\u003e","\u003cp\u003eRegarding Whitman correspondence to Oran S. Baldwin, 1883 December 15.\n\u003c/p\u003e","\u003cp\u003eRegarding Whitman correspondence to Oran S. Baldwin, 1883 December 15.\n\u003c/p\u003e","\u003cp\u003eRegarding Walt Whitman's financial state, with attached clipping from Boston Saturday Evening Gazette, November 17, 1867.\n\u003c/p\u003e","\u003cp\u003eSEE Walt Whitman to [William Sloane Kennedy?], ALS, April 11, 1887.\n\u003c/p\u003e","\u003cp\u003eRegarding Whitman correspondence to Oran S. Baldwin, 1883 December 15.\n\u003c/p\u003e","\u003cp\u003eSee verso of \"How often I have fancied...\"\n\u003c/p\u003e","\u003cp\u003eEnvelope written in the hand of Walt Whitman: \"Mother's last lines.\"\n\u003c/p\u003e","\u003cp\u003eWith dealer's note and typed transcription.\n\u003c/p\u003e","\u003cp\u003eDr. Feinberg indicates recipient is Moncure Conway.\n\u003c/p\u003e","\u003cp\u003eWhitman transmits a copy of the 1871 J.S. Redfield edition of \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of grass\u003c/title\u003e for use as a dummy for a proposed English edition. Originally tipped in Barrett PS3201 1871b COPY 2.\n\u003c/p\u003e","\u003cp\u003eNote: \"This letter was written to Ann Gilchrist. Mrs. Gilchrist was the English widow who came to American to find Whitman. Whitman here is trying to warn her off.\"\n\u003c/p\u003e","\u003cp\u003eLetter purchased in honor of Michael Plunkett, Director of Special Collections, on his retirement 2005 December 1.\n\u003c/p\u003e","\u003cp\u003eFor original, see ALS, John Burroughs to [John Jay] Knox, 1873 September 14.\n\u003c/p\u003e","\u003cp\u003eSee \"Is Walt Whitman's Poetry Poetical?\"\n\u003c/p\u003e","\u003cp\u003eWith explanatory note regarding individuals mentioned and date of letter.\n\u003c/p\u003e","\u003cp\u003eSee TLS, Ellen C. Ahern to R. V. Thornton, 1949 July 21, regarding discovery of this Whitman letter with an enclosure: a brief biographical sketch of R. U. Johnson.\n\u003c/p\u003e","\u003cp\u003eAlso see Printed Map of the United States in Vault Barrett Oversize. For original Gilchrist letter, see Ann Gilchrist to Walt Whitman, 1879 October 6.\n\u003c/p\u003e","\u003cp\u003eSee \"Embers of Ending Days.\"\n\u003c/p\u003e","\u003cp\u003e\"Mrs. Alma Calder Johnston, wife of J. A. Johnston, [N. Y.?] jeweler, in whose home Whitman used to stay when in [N. Y.?].\"\n\u003c/p\u003e","\u003cp\u003eWhitman refers in this letter to the \"general Death-gloom\" of the nation,\" most likely referring to the assassination of President James A. Garfield.\n\u003c/p\u003e","\u003cp\u003eEnvelope addressed to \"Carl Knortz.\"\n\u003c/p\u003e","\u003cp\u003eTwo fragments of letter glued, with one of the fragments on the back of an envelope addressed to Walt Whitman. Dealer's note: \"The aging poet uses a page and the back of an envelope to draft a letter of thanks\nto the editor of \"Pall Mall Gazette\" for the gift of £81 sent by readers.\"\n\u003c/p\u003e","\u003cp\u003eRegarding Tennyson-Whitman correspondence. Verso: J. B. Gilder to [Walt] Whitman, ALS, 1887 March 17.\n\u003c/p\u003e","\u003cp\u003eReferring to T. W. Rolleston postcard to Walt Whitman, 1888 September 1.\n\u003c/p\u003e","\u003cp\u003eAlso see Jacob Klein to W. S. Kennedy, 1881 September 1, for reason of Whitman's letter to Jacob Klein.\n\u003c/p\u003e","\u003cp\u003eIncludes typed transcription and brief description.\n\u003c/p\u003e","\u003cp\u003eRegarding Algeron, Charles Swinburne, and Walt Whitman.\n\u003c/p\u003e","\u003cp\u003eSee verso of \"Orange buds by mail.\"\n\u003c/p\u003e","\u003cp\u003eSee verso of \"The First Dandelion.\"\n\u003c/p\u003e","\u003cp\u003eSEE verso of AMs fragment, \"The Bible as Poetry.\"\n\u003c/p\u003e","\u003cp\u003eInscribed on top: \"Walt Whitman's Card-receiver. Presented to Dr. Raley H. Bell by Mrs. Mary O. Davis, April 18th 1903.\" Inscribed on bottom: \"Plucked from the tomb of Whitman, April 18, 1903. R.H.B.\"\n\u003c/p\u003e","\u003cp\u003eGift in honor of Floyd Stovall\n\u003c/p\u003e","\u003cp\u003eStamped on verso: \"Life Photo by Thomas D. McAvoy\".\n\u003c/p\u003e","\u003cp\u003eGift in honor of Floyd Stovall. Printed below image: \"Photoype. F. Gutekunst. Philadelphia.\" \n\u003c/p\u003e","\u003cp\u003eGift in honor of Floyd Stovall. Printed below image: \"Phototype. F. Gutekunst. Philadelphia.\" Also one copy of Louisa Van Velsor Whitman and Walter Whitman included on same image.\n\u003c/p\u003e","\u003cp\u003e\n              \u003clist type=\"simple\"\u003e\n                \u003chead\u003eEngravings by Samuel Hollyer.\n\u003c/head\u003e\n                \u003citem\u003ec.1: Signed by Samuel Hollyer. Inscribed at bottom, \"First [India] finished proof off plate-approved by W. Whitman.\"\n\u003c/item\u003e\n                \u003citem\u003ec.2: Signed, \"Walt Whitman 1855\"\n\u003c/item\u003e\n                \u003citem\u003ec.3: Signed, \"Walt Whitman from life, 1855\"\n\u003c/item\u003e\n                \u003citem\u003ec.4: Signed \"Walt Whitman\" by unknown hand.\n\u003c/item\u003e\n                \u003citem\u003ec.5: Mounted, inscribed at bottom, \"Portrait noted on P. 357. Walt Whitman\" in unknown hand.\n\u003c/item\u003e\n              \u003c/list\u003e\n            \u003c/p\u003e","\u003cp\u003ePhotographer unknown, probably Gabriel Harrison.\n\u003c/p\u003e","\u003cp\u003e#3829-v, Gift in honor of Floyd Stovall. Original photograph by Charles C. Hine.\n\u003clist type=\"simple\"\u003e\u003citem\u003ec.1: Mounted reproduction by \"Rockwood. 1440 Broadway N.Y. (40th St.) Holland Building.\" Printed on verso: \"N.B.-This photograph is copied from another picture and must not be takes as a sample of our work direct from life. Geo. G. Rockwood.\" Inscribed on verso: \"Walt Whitman by Charles C. Hine\" [possibly Whitman's hand]\n\u003c/item\u003e\u003citem\u003ec.2: Print, signed \"Walt Whitman\"\n\u003c/item\u003e\u003citem\u003ec.3: Print, tipped to cardboard backing, no inscription.\n\u003c/item\u003e\u003citem\u003ec.4: Print, mounted, no inscription.\n\u003c/item\u003e\u003c/list\u003e\u003c/p\u003e","\u003cp\u003eInscribed, \"Walt Whitman New York 1860.\"\n\u003c/p\u003e","\u003cp\u003ePhotographer unknown, but speculation is J. W. Black of Boston.\n\u003c/p\u003e","\u003cp\u003ePhotograph by Gilbert \u0026amp; Bacon, 1030 Chestnut St. Philadelphia. Inscribed twice: \"Walt Whitman taken from life 1863 wartime Washington D.C.\" and \"to Horace L. Traubel from his friend W. W. June 1888.\"\n\u003c/p\u003e","\u003cp\u003ePhotograph by Alexander Gardner, Washington D.C., with typed description on back: \"Hitherto unpublished photograph of Walt Whitman from the private collection of Robert Coster. This is the only photograph of\nthe kind of Whitman known to be in existence.\"\n\u003c/p\u003e","\u003cp\u003ePhotograph by Alexander Gardner, inscribed on image: \"Walt Whitman 1865 ... born May 31, 1819\" and on verso: \"Given to a Comrade as a Memento in Washington City, June 29, 1865.\"\n\u003c/p\u003e","\u003cp\u003ePhotograph by Mathew Brady, Washington, D. C. Recto: Signed, \"Walt Whitman.\" Verso: Signed, \"Walt Whitman 1867-\" Printed, \"Brady's National Photographic Portrait Galleries Broadway and 10th Street New York-627\nPennsylvania Avenue, Washington D. C.\"\n\u003c/p\u003e","\u003cp\u003ePhotographer unknown, possibly Mathew Brady. Inscribed on verso: \"For C. A. Wilson- because he knows the hearts of books as well as their end-papers. From Jack Birso 2:25:36\".\n\u003c/p\u003e","\u003cp\u003ePhotograph by Mathew Brady. Note on back: \"5-18-54 Purchased from W. H. [Louder?] 715 12th St. NW Washington DC for 7.00, in frame. P. A. Jones official of WHL the owner. Says he had it framed about 25 years\nago at Cooper's Art Shop 1324 G St N.W. long since out of business. That's all he recollects. Believes this print was made in 1890's. Couldn't recall from where he...was born in '92.\"\n\u003c/p\u003e","\u003cp\u003ePhotographer unknown, perhaps William Kurtz. Inscribed on verso: \"Presented to Mr. [C. O. Maillong ?] by Mrs. Mary O. Davis May 20th 1903.\"\n\u003c/p\u003e","\u003cp\u003eGift in honor of Floyd Stovall. Photographer unknown.\n\u003c/p\u003e","\u003cp\u003ePhotographer unknown, perhaps William Kurtz. Original signed, \"Walt Whitman 1869\".\n\u003c/p\u003e","\u003cp\u003ePhotograph by G. Frank Pearsall, Brooklyn. Original signed, \"Walt Whitman Jan 1-1878\".\n\u003c/p\u003e","\u003cp\u003ePhotograph by J. Gurney and Son, New York.\n\u003clist type=\"simple\"\u003e\u003citem\u003ec.1: Mounted image, \"Gurney \u0026amp; Son, Fifth Ave. N. Y.\"\n\u003c/item\u003e\u003citem\u003ec.2: Copy, with typed description on verso: \"Hitherto unpublished photograph of Walt Whitman from the private collection of Robert Coster. This is the only photograph of Whitman known to be in existence.\"\n\u003c/item\u003e\u003c/list\u003e\u003c/p\u003e","\u003cp\u003ePhotograph by Henry Ulke and Brothers, Washington D. C. Inscribed on verso: \"Presented to Mr. [C. O. Maillong ?] by Mrs. Mary O. Davis May 20th 1903.\"\n\u003c/p\u003e","\u003cp\u003eRecto: \"Rockwood 1440 Broadway, N.Y. (40th St.) Holland Building. Verso: Inscribed, \"Walt Whitman,\" in unknown hand.\n\u003c/p\u003e","\u003cp\u003eInscribed in pencil on verso: \"Turney \u0026amp; Son Photographers.\" After careful scrutiny of image, although extremely similar to Saunders #41, there is slight discrepancy which indicates a different image.\n\u003c/p\u003e","\u003cp\u003ePrint by William J. Linton from a photograph of George C. Potter, Washington, D.C., with three copies.\n\u003c/p\u003e","\u003cp\u003eFrom \"Men of the Day,\" the Fifth Avenue Journal, (copy # 89 out of 100). Original in Vault oversize V-13.\n\u003c/p\u003e","\u003cp\u003e#3829-v, Gift in honor of Floyd Stovall. Photograph by G. Frank Pearsall, Brooklyn.\n\u003clist type=\"simple\"\u003e\u003citem\u003ec.1. Photograph signed by Walt Whitman, \"Walt Whitman 1877\"\n\u003c/item\u003e\u003citem\u003ec. 2. Photograph signed by Walt Whitman, \"Walt Whitman\"\n\u003c/item\u003e\u003citem\u003ec. 3. Mounted photograph, without printed caption at bottom\n\u003c/item\u003e\u003citem\u003ec. 4. Mounted photograph, with printed caption at bottom: \"Photo'd from life, Sept., '72, Brooklyn, N.Y. by G. F. E. Pearsall, Fulton St. (Printed by C. F. Spieler, Phila.)\n\u003c/item\u003e\u003citem\u003ec. 5. Mounted double photograph, without caption [possibly a stereoview]\n\u003c/item\u003e\u003c/list\u003e\u003c/p\u003e","\u003cp\u003ePhotograph by G. Frank Pearsall, Brooklyn.\n\u003c/p\u003e","\u003cp\u003eWood engraving of a portrait by Linton, 1875, with a proof title page of the 1876 edition of \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLeaves of Grass.\u003c/title\u003e\u003c/p\u003e","\u003cp\u003e#3829-v, Gift in honor of Floyd Stovall. Photograph by Napoleon Sarony, New York, with two copies.\n\u003clist type=\"simple\"\u003e\u003citem\u003ec.1. Photograph signed by Walt Whitman, \"Walt Whitman Sept 13 1881\"\n\u003c/item\u003e\u003citem\u003ec.2 Photograph, mounted, unsigned.\n\u003c/item\u003e\u003c/list\u003e\u003c/p\u003e","\u003cp\u003eEtching by [Gribayedoff?], based on 1878 photograph by Napoleon Sarony.\n\u003c/p\u003e","\u003cp\u003ePhotograph by Napoleon Sarony, New York, [?] 87 Union Square, N. Y.\n\u003c/p\u003e","\u003cp\u003ePhotograph by Napoleon Sarony, New York.\n\u003c/p\u003e","\u003cp\u003ePhotograph by Napoleon Sarony, New York.\n\u003c/p\u003e","\u003cp\u003eInscribed \"Harry and Kitty-Walt Whitman, 1879.\" Enclosed in John H. Johnston letter to Mr. Watson, March 11, 1912.\n\u003c/p\u003e","\u003cp\u003eInscribed on verso, \"Harold, 'Kittie', and 'Uncle Walt,'\" by William Kurtz, New York, Madison Square.\n\u003c/p\u003e","\u003cp\u003ePhotograph by William Kurtz, New York.\n\u003clist type=\"simple\"\u003e\u003citem\u003ec.1: grass drawn into child's hand, no inscription. Inscribed on verso: Loaned by Bertha Johnston 389 Clinton St. Brooklyn.\n\u003c/item\u003e\u003citem\u003ec.2: grass drawn into child's hand, with inscription from \"Leaves of Grass\" on bottom, \"'a child said to me \"What is the grass?\" fetching it to me with full hands. How could I answer the child!'\" Inscribed\non verso: \"Miss Bertha Johnston 514-8\" [...] Brooklyn. Walt Whitman, Harry Johnston (Harold Hugh)\"\n\u003c/item\u003e\u003c/list\u003e\u003c/p\u003e","\u003cp\u003eOriginal photograph by Edy Brothers, London Ontario.\n\u003c/p\u003e","\u003cp\u003eOriginal photograph by Edy Brothers, London, Ontario. Stamped \"Walt Whitman\" on verso.\n\u003c/p\u003e","\u003cp\u003eGift in honor of Floyd Stovall. Photograph by Edy Brothers, London, Ontario, with two copies.\n\u003c/p\u003e","\u003cp\u003e#3829-v, Gift in honor of Floyd Stovall. \n\u003clist type=\"simple\"\u003e\u003citem\u003ec.1: Printed on bottom of phototype: \"Photoype. F. Gutekunst. Philadelphia.\"\n\u003c/item\u003e\u003citem\u003ec.2: Image by Thomas C. Watkins, originally enclosed with AMS draft \"The Dalliance of Eagles.\"\n\u003c/item\u003e\u003citem\u003ec.3: Mounted phototype, printed at bottom, \"Phototype. F. Gutekunst. Philadelphia.\"\n\u003c/item\u003e\u003citem\u003ec.4: Inscribed on verso: \"Presented to Dr. Raley H. Bell by Mrs. Mary O. Davis. May 20th 1903.\"\n\u003c/item\u003e\u003c/list\u003e\u003c/p\u003e","\u003cp\u003ePhotographer unknown, perhaps Edy Brothers, London, Ontario. Printed on verso: \"Broadbent \u0026amp; Taylor 914 Chestnut St. Philadelphia. S. Broadbent. W. Curtis Taylor.\"\n\u003c/p\u003e","\u003cp\u003eInscribed on verso, \"made by Gutekunst 1881-early copy given to H.T. by W.W.,\"\n\u003c/p\u003e","\u003cp\u003eBy Charles H. Spieler, Philadelphia.\n\u003c/p\u003e","\u003cp\u003eBy Charles H. Spieler, Philadelphia.\n\u003c/p\u003e","\u003cp\u003ePhotograph by Phillips and Taylor, Philadelphia. Inscribed on back: \"Presented to Raley H. Bell by Mrs. Mary O. Davis May 20th 1908.\"\n\u003c/p\u003e","\u003cp\u003eBased on 1880 Frederick Gutekunst photograph. Printed below image: \"Walt Whitman, 1887.\"\n\u003c/p\u003e","\u003cp\u003ePhotograph by George C. Cox, New York.\n\u003clist type=\"simple\"\u003e\u003citem\u003ec.1. signed print.\n\u003c/item\u003e\u003citem\u003ec.2. unsigned print.\n\u003c/item\u003e\u003c/list\u003e\u003c/p\u003e","\u003cp\u003ePhotograph by Frank P. Harned, Camden.\n\u003clist type=\"simple\"\u003e\u003citem\u003ec.1: Signed photograph, \"Walt Whitman\"\n\u003c/item\u003e\u003citem\u003ec.2: Unsigned photograph. Inscribed on verso: \"To J H Johnston Camden NJ Feb 24 1893 Taken in Camden by F. P. Harned about 188[9?]\"\n\u003c/item\u003e\u003c/list\u003e\u003c/p\u003e","\u003cp\u003ePhotographer unknown, probably Frank P. Harned, Camden (similar to Saunders #96).\n\u003c/p\u003e","\u003cp\u003ePhotographer unknown, probably George C. Cox. Image similar to Saunders #98.\n\u003c/p\u003e","\u003cp\u003eInscribed on verso: \"Given to me by Mary Davis Mar 27 1895 J H Johnston.\" Photographer unknown, probably Thomas Eakins, Philadelphia.\n\u003c/p\u003e","\u003cp\u003ePhotograph possibly by Frederick Gutekunst, Philadelphia.\n\u003c/p\u003e","\u003cp\u003ePhotograph by H. C. Willets. More than likely an early hoax photograph. Biographical note of Walt Whitman top left. Printed below: \"This is a photo enlarged from a Kodak 3x4 in a form never before in print and\nsome facts never before made.\"\n\u003c/p\u003e","\u003cp\u003eOriginal signed, \"Walt Whitman in 1890.\" Photograph by Frederick Gutekunst, Philadelphia.\n\u003c/p\u003e","\u003cp\u003ePencil sketch by Joseph Jackson, inscribed on verso, \"sketched at Reisser's at the Walt Whitman dinner. Jo Jackson May 31, 1890,\" with explanatory letter, July 28, 1943, from Joseph Jackson to Mr. Borneman\nregarding sketch.\n\u003c/p\u003e","\u003cp\u003eInscribed: \"Walt Whitman, Camden, N. J. 1890-cut from life by his friend B. D.\"\n\u003c/p\u003e","\u003cp\u003eCopper plate for engraving by T. E. Johnson, based on 1887 George C. Cox photograph. Original copper plate and framed print in Vault-Barrett-Oversize W-5. 71 strikes from copper engraving plate in Vault-Barrett-Oversize V-13.\n\u003c/p\u003e","\u003cp\u003eEtching completed as a bust framed with classical motifs, with a reproduction of his signature framed below by Bernhardt Wall.\n\u003c/p\u003e","\u003cp\u003eInvitations from the Grolier Club to the Walt Whitman exhibit, with enclosure.\n\u003c/p\u003e","\u003cp\u003ePainting by Carl Holty. \"Walt\" by permission of Mr. Holty and Addison Gallery of American Art, Phillips Academy.\n\u003c/p\u003e","\u003cp\u003e\n              \u003clist type=\"simple\"\u003e\n                \u003chead\u003eImages attached to leaves of notebook\n\u003c/head\u003e\n                \u003citem\u003ep.1: Walt Whitman, 1866. Saunders #23.1\n\u003c/item\u003e\n                \u003citem\u003ep.2: Walt Whitman, [1867?]. Saunders 24\n\u003c/item\u003e\n                \u003citem\u003ep.3: Walt Whitman, 1866. Saunders #23.1\n\u003c/item\u003e\n                \u003citem\u003ep.4: Walt Whitman, 1880. Saunders #76.\n\u003c/item\u003e\n                \u003citem\u003ep.5: Walt Whitman, ca. 1862. Saunders #16\n\u003c/item\u003e\n                \u003citem\u003ep.6: Walt Whitman, [1867?]. Saunders #24\n\u003c/item\u003e\n                \u003citem\u003ep.6a: Walt Whitman, 1866. Saunders #23.1\n\u003c/item\u003e\n                \u003citem\u003ep.7: Walt Whitman, [1869?]. Saunders #70\n\u003c/item\u003e\n                \u003citem\u003ep.7a: Walt Whitman, 1866. Saunders #23.1\n\u003c/item\u003e\n                \u003citem\u003ep.8: Walt Whitman, [1881?]. Saunders #101\n\u003c/item\u003e\n                \u003citem\u003ep.9: Walt Whitman, 1887. Saunders #98\n\u003c/item\u003e\n                \u003citem\u003ep.9: Walt Whitman, ca. 1862. Saunders #16\n\u003c/item\u003e\n                \u003citem\u003ep.10: Walt Whitman, [1869?]. Saunders #70\n\u003c/item\u003e\n                \u003citem\u003ep.11: Walt Whitman, 1887. Saunders #94.\n\u003c/item\u003e\n                \u003citem\u003ep.12: Mark Twain\n\u003c/item\u003e\n                \u003citem\u003ep.12a: Walt Whitman, 1887. Saunders #92.\n\u003c/item\u003e\n                \u003citem\u003ep.13: Walt Whitman, 1887. Saunders #95.\n\u003c/item\u003e\n                \u003citem\u003ep.14: Walt Whitman, 1878. Saunders #71\n\u003c/item\u003e\n              \u003c/list\u003e\n            \u003c/p\u003e","\u003cp\u003eSketch by Joseph Simpson.\n\u003c/p\u003e","\u003cp\u003eSketch by George W. Waters. Printed below: \"Pen-and-ink sketch of Walt Whitman by George W. Waters, of Elmira, New York, given by him to Mrs. Alma Calder Johnston, in whose New York home both poet and artist\nwere frequent guests.\"\n\u003c/p\u003e","\u003cp\u003ePossibly based on 1878 Napoleon Sarony photograph of Walt Whitman.\n\u003c/p\u003e","\u003cp\u003eDrawing by Eastman Johnson.\n\u003c/p\u003e","\u003cp\u003eOriginal woodcut by Antonio Frasconi.\n\u003c/p\u003e","\u003cp\u003eArtist unknown.\n\u003c/p\u003e","\u003cp\u003eFrom the Painting by J. W. Alexander,\" by Kurtz. Published in H\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003earpers Magazine,\n\u003c/title\u003e volume 84, Number 503, April 1892.\n\u003c/p\u003e","\u003cp\u003eIncludes:\n\u003clist type=\"simple\"\u003e\u003citem\u003e\u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003ePortrait of Walt Whitman\u003c/title\u003e by Thomas Eakins\n\u003c/item\u003e\u003citem\u003ePhotograph of Walt Whitman, 1889, Saunders #111\n\u003c/item\u003e\u003citem\u003ePortrait of Walt Whitman painted from life by Mr. John W. Alexander\n\u003c/item\u003e\u003citem\u003ePhotograph of Walt Whitman and Warren Fritzinger, 1890, Saunders #108, with caption: \"Whitman on the Wharf at Camden, N.J.\"\n\u003c/item\u003e\u003c/list\u003e\u003c/p\u003e","\u003cp\u003eFrom cover of Suffolk Telephone Directory.\n\u003c/p\u003e","\u003cp\u003e\n              \u003clist type=\"simple\"\u003e\n                \u003citem\u003e1. Interior of Walt Whitman's room. Verso: \"Life Photo by Herbert Gehr\"\n\u003c/item\u003e\n                \u003citem\u003e2. Photograph of outside plaque. Verso: \"Life Photo by Herbert Gehr\"\n\u003c/item\u003e\n              \u003c/list\u003e\n            \u003c/p\u003e","\u003cp\u003eVerso of both photographs: \"Credit: Andreas Feininger from Black Star, Graybar Building, New York.\"\n\u003c/p\u003e","\u003cp\u003eVerso of each photograph: \"Life Photo by Herbert Gehr.\"\n\u003c/p\u003e","\u003cp\u003eOriginal print by George Innes. See AMsS, \u003ctitle type=\"simple\" render=\"doublequote\" href=\"\"\u003eDeath's Valley.\u003c/title\u003e From\n\u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eHarper's Magazine,\n\u003c/title\u003e volume 84, Number 503, April 1892.\n\u003c/p\u003e","\u003cp\u003eSpecial double issue: Whitman Photographs.\n\u003c/p\u003e"]}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_viu03978_c01_c120"}},{"id":"viu_viu02194_c01_c397","type":"Subseries","attributes":{"title":"\"You've \n                  Gotto be a Little Bit\n                  Nuts to be a Professional Football Quarterback\" -\n                  Correspondence, Research, Manuscript \n                  1957","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_viu02194_c01_c397#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viu_viu02194_c01_c397","ref_ssm":["viu_viu02194_c01_c397"],"id":"viu_viu02194_c01_c397","ead_ssi":"viu_viu02194","_root_":"viu_viu02194","_nest_parent_":"viu_viu02194_c01","parent_ssi":"viu_viu02194_c01","parent_ssim":["viu_viu02194","viu_viu02194_c01"],"parent_ids_ssim":["viu_viu02194","viu_viu02194_c01"],"parent_unittitles_ssm":["The Booton Herndon Papers, \n         \n         1939-1986","Alphabetical Files"],"parent_unittitles_tesim":["The Booton Herndon Papers, \n         \n         1939-1986","Alphabetical Files"],"text":["The Booton Herndon Papers, \n         \n         1939-1986","Alphabetical Files","\"You've \n                  Gotto be a Little Bit\n                  Nuts to be a Professional Football Quarterback\" -\n                  Correspondence, Research, Manuscript \n                  1957","Box 53"],"title_filing_ssi":"\"You've \n                   Got to be a Little Bit\n                  Nuts to be a Professional Football Quarterback\" -\n                  Correspondence, Research, Manuscript \n                   1957","title_ssm":["\"You've \n                  Gotto be a Little Bit\n                  Nuts to be a Professional Football Quarterback\" -\n                  Correspondence, Research, Manuscript \n                  1957"],"title_tesim":["\"You've \n                  Gotto be a Little Bit\n                  Nuts to be a Professional Football Quarterback\" -\n                  Correspondence, Research, Manuscript \n                  1957"],"normalized_title_ssm":["\"You've \n                  Gotto be a Little Bit\n                  Nuts to be a Professional Football Quarterback\" -\n                  Correspondence, Research, Manuscript \n                  1957"],"component_level_isim":[2],"repository_ssim":["University of Virginia, Special Collections Dept."],"collection_ssim":["The Booton Herndon Papers, \n         \n         1939-1986"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":398,"containers_ssim":["Box 53"],"_nest_path_":"/components#0/components#396","timestamp":"2026-05-21T12:50:54.389Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_viu02194","ead_ssi":"viu_viu02194","_root_":"viu_viu02194","_nest_parent_":"viu_viu02194","ead_source_url_ssi":"data/uva-sc/viu02194.xml","title_ssm":["The Booton Herndon Papers, \n         \n         1939-1986"],"title_tesim":["The Booton Herndon Papers, \n         \n         1939-1986"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["9859-a"],"text":["9859-a","The Booton Herndon Papers, \n         \n         1939-1986","ca. 10,000 items\n         (56 Hollinger boxes, 18 linear shelf feet)","There are no restrictions.","Arrangement These papers are arranged chronologically within each\n            topical folder, maintaining Herndon's original organization\n            whenever possible. A small group of unpublished manuscripts\n            of fiction and non-fiction articles compose a separate\n            series at the end of the collection.","These papers are arranged chronologically within each\n            topical folder, maintaining Herndon's original organization\n            whenever possible. A small group of unpublished manuscripts\n            of fiction and non-fiction articles compose a separate\n            series at the end of the collection.","Organization Herndon's papers have been divided into two series.\n            Series I, Alphabetical Files, is a topical arrangement of\n            his working files of various ideas for stories, articles,\n            and books. Each file contains all of the material pertinent\n            to its own subject whether correspondence, research\n            material, illustrative material, or manuscript. A few of\n            the more frequent correspondents will be listed with the\n            folder name in which they appear, and if necessary, with\n            dates of their letters. Series II, Miscellaneous Articles\n            \u0026 Stories, consists of several folders of unpublished\n            manuscripts by Herndon.","Herndon's papers have been divided into two series.\n            Series I, Alphabetical Files, is a topical arrangement of\n            his working files of various ideas for stories, articles,\n            and books. Each file contains all of the material pertinent\n            to its own subject whether correspondence, research\n            material, illustrative material, or manuscript. A few of\n            the more frequent correspondents will be listed with the\n            folder name in which they appear, and if necessary, with\n            dates of their letters. Series II, Miscellaneous Articles\n            \u0026 Stories, consists of several folders of unpublished\n            manuscripts by Herndon.","Booth Herndon (1915- ) has been a reporter, editor, public\n         relations consultant, free-lance writer, ghost writer, and a\n         contributor of several hundred articles and short stories to\n         national magazines.","The collection contains Booton Herndon's working files of\n         manuscripts for his books and articles together with related\n         research material, correspondence, drafts, illustrative\n         material and some proof. This collection is particularly\n         useful in showing the various stages of production of an\n         article or book by a professional writer.","There are files for projected books on the American Civil\n         Liberties Union and Mortimer Caplin, Internal Revenue\n         commissioner, and for an unpublished novel, \"Splendor in the\n         grass\" as well as books on the Ford family and motor company,\n         Leggett's department stores, Fulton Lewis, Jr., James A. Reed,\n         and exercise. Frequent topics for articles include sports,\n         particularly football, World War II, and Charlottesville and\n         Albemarle County, Virginia. Of interest is an article by Paul\n         Gaston and Thomas Hamond on public school desegregation in\n         Charlottesville, Virginia.","Correspondents include Patty Duke Astin, Roger N. Baldwin,\n         Mortimer Caplin, Arthur Hailey, Dorothy Kenyon, Fulton Lewis,\n         Jr., Littauer and Wilkinson, Robert D. Loomis, Eddie\n         Rickenbacker, William B. Spong, Max Wilkinson, and Babe\n         Zaharias.","Booton Herndon maintains his copyright for his books and\n            articles.","The papers, 1939-1986, of Booton\n         Herndon (1915- ) a free-lance writer of Charlottesville,\n         Virginia, contain typed and autograph manuscripts of his books\n         and articles, correspondence, business papers, research notes\n         and outlines, photographs, printed material, and\n         miscellany.","English"],"unitid_tesim":["9859-a"],"normalized_title_ssm":["The Booton Herndon Papers, \n         \n         1939-1986"],"collection_title_tesim":["The Booton Herndon Papers, \n         \n         1939-1986"],"collection_ssim":["The Booton Herndon Papers, \n         \n         1939-1986"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"acqinfo_ssim":["Mr. Booton Herndon of Charlottesville, Virginia, gave\n            his papers to the Library on August 31, 1987."],"has_online_content_ssim":["false"],"physdesc_tesim":["ca. 10,000 items\n         (56 Hollinger boxes, 18 linear shelf feet)"],"accessrestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no restrictions."],"arrangement_html_tesm":["\u003carrangement\u003e\n        \u003chead\u003eArrangement\u003c/head\u003e\n        \u003cp\u003eThese papers are arranged chronologically within each\n            topical folder, maintaining Herndon's original organization\n            whenever possible. A small group of unpublished manuscripts\n            of fiction and non-fiction articles compose a separate\n            series at the end of the collection.\u003c/p\u003e\n      \u003c/arrangement\u003e","\u003cp\u003eThese papers are arranged chronologically within each\n            topical folder, maintaining Herndon's original organization\n            whenever possible. A small group of unpublished manuscripts\n            of fiction and non-fiction articles compose a separate\n            series at the end of the collection.\u003c/p\u003e","\u003carrangement\u003e\n        \u003chead\u003eOrganization\u003c/head\u003e\n        \u003cp\u003eHerndon's papers have been divided into two series.\n            Series I, Alphabetical Files, is a topical arrangement of\n            his working files of various ideas for stories, articles,\n            and books. Each file contains all of the material pertinent\n            to its own subject whether correspondence, research\n            material, illustrative material, or manuscript. A few of\n            the more frequent correspondents will be listed with the\n            folder name in which they appear, and if necessary, with\n            dates of their letters. Series II, Miscellaneous Articles\n            \u0026amp; Stories, consists of several folders of unpublished\n            manuscripts by Herndon.\u003c/p\u003e\n      \u003c/arrangement\u003e","\u003cp\u003eHerndon's papers have been divided into two series.\n            Series I, Alphabetical Files, is a topical arrangement of\n            his working files of various ideas for stories, articles,\n            and books. Each file contains all of the material pertinent\n            to its own subject whether correspondence, research\n            material, illustrative material, or manuscript. A few of\n            the more frequent correspondents will be listed with the\n            folder name in which they appear, and if necessary, with\n            dates of their letters. Series II, Miscellaneous Articles\n            \u0026amp; Stories, consists of several folders of unpublished\n            manuscripts by Herndon.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement","Arrangement","Organization"],"arrangement_tesim":["Arrangement These papers are arranged chronologically within each\n            topical folder, maintaining Herndon's original organization\n            whenever possible. A small group of unpublished manuscripts\n            of fiction and non-fiction articles compose a separate\n            series at the end of the collection.","These papers are arranged chronologically within each\n            topical folder, maintaining Herndon's original organization\n            whenever possible. A small group of unpublished manuscripts\n            of fiction and non-fiction articles compose a separate\n            series at the end of the collection.","Organization Herndon's papers have been divided into two series.\n            Series I, Alphabetical Files, is a topical arrangement of\n            his working files of various ideas for stories, articles,\n            and books. Each file contains all of the material pertinent\n            to its own subject whether correspondence, research\n            material, illustrative material, or manuscript. A few of\n            the more frequent correspondents will be listed with the\n            folder name in which they appear, and if necessary, with\n            dates of their letters. Series II, Miscellaneous Articles\n            \u0026 Stories, consists of several folders of unpublished\n            manuscripts by Herndon.","Herndon's papers have been divided into two series.\n            Series I, Alphabetical Files, is a topical arrangement of\n            his working files of various ideas for stories, articles,\n            and books. Each file contains all of the material pertinent\n            to its own subject whether correspondence, research\n            material, illustrative material, or manuscript. A few of\n            the more frequent correspondents will be listed with the\n            folder name in which they appear, and if necessary, with\n            dates of their letters. Series II, Miscellaneous Articles\n            \u0026 Stories, consists of several folders of unpublished\n            manuscripts by Herndon."],"bioghist_html_tesm":["\u003cp\u003eBooth Herndon (1915- ) has been a reporter, editor, public\n         relations consultant, free-lance writer, ghost writer, and a\n         contributor of several hundred articles and short stories to\n         national magazines.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Booth Herndon (1915- ) has been a reporter, editor, public\n         relations consultant, free-lance writer, ghost writer, and a\n         contributor of several hundred articles and short stories to\n         national magazines."],"prefercite_html_tesm":["\u003cp\u003eBooton Herndon Papers, 1939-1986, Accession #9859-a,\n            Albert and Shirley Small Special Collections Library,\n            University of Virginia, Charlottesville, Va.\u003c/p\u003e"],"prefercite_tesim":["Booton Herndon Papers, 1939-1986, Accession #9859-a,\n            Albert and Shirley Small Special Collections Library,\n            University of Virginia, Charlottesville, Va."],"scopecontent_html_tesm":["\u003cp\u003eThe collection contains Booton Herndon's working files of\n         manuscripts for his books and articles together with related\n         research material, correspondence, drafts, illustrative\n         material and some proof. This collection is particularly\n         useful in showing the various stages of production of an\n         article or book by a professional writer.\u003c/p\u003e","\u003cp\u003eThere are files for projected books on the American Civil\n         Liberties Union and Mortimer Caplin, Internal Revenue\n         commissioner, and for an unpublished novel, \"Splendor in the\n         grass\" as well as books on the Ford family and motor company,\n         Leggett's department stores, Fulton Lewis, Jr., James A. Reed,\n         and exercise. Frequent topics for articles include sports,\n         particularly football, World War II, and Charlottesville and\n         Albemarle County, Virginia. Of interest is an article by Paul\n         Gaston and Thomas Hamond on public school desegregation in\n         Charlottesville, Virginia.\u003c/p\u003e","\u003cp\u003eCorrespondents include Patty Duke Astin, Roger N. Baldwin,\n         Mortimer Caplin, Arthur Hailey, Dorothy Kenyon, Fulton Lewis,\n         Jr., Littauer and Wilkinson, Robert D. Loomis, Eddie\n         Rickenbacker, William B. Spong, Max Wilkinson, and Babe\n         Zaharias.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content Information"],"scopecontent_tesim":["The collection contains Booton Herndon's working files of\n         manuscripts for his books and articles together with related\n         research material, correspondence, drafts, illustrative\n         material and some proof. This collection is particularly\n         useful in showing the various stages of production of an\n         article or book by a professional writer.","There are files for projected books on the American Civil\n         Liberties Union and Mortimer Caplin, Internal Revenue\n         commissioner, and for an unpublished novel, \"Splendor in the\n         grass\" as well as books on the Ford family and motor company,\n         Leggett's department stores, Fulton Lewis, Jr., James A. Reed,\n         and exercise. Frequent topics for articles include sports,\n         particularly football, World War II, and Charlottesville and\n         Albemarle County, Virginia. Of interest is an article by Paul\n         Gaston and Thomas Hamond on public school desegregation in\n         Charlottesville, Virginia.","Correspondents include Patty Duke Astin, Roger N. Baldwin,\n         Mortimer Caplin, Arthur Hailey, Dorothy Kenyon, Fulton Lewis,\n         Jr., Littauer and Wilkinson, Robert D. Loomis, Eddie\n         Rickenbacker, William B. Spong, Max Wilkinson, and Babe\n         Zaharias."],"userestrict_html_tesm":["\u003cp\u003eBooton Herndon maintains his copyright for his books and\n            articles.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["Booton Herndon maintains his copyright for his books and\n            articles."],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003eThe papers, 1939-1986, of Booton\n         Herndon (1915- ) a free-lance writer of Charlottesville,\n         Virginia, contain typed and autograph manuscripts of his books\n         and articles, correspondence, business papers, research notes\n         and outlines, photographs, printed material, and\n         miscellany.\u003c/abstract\u003e"],"abstract_tesim":["The papers, 1939-1986, of Booton\n         Herndon (1915- ) a free-lance writer of Charlottesville,\n         Virginia, contain typed and autograph manuscripts of his books\n         and articles, correspondence, business papers, research notes\n         and outlines, photographs, printed material, and\n         miscellany."],"language_ssim":["English"],"total_component_count_is":409,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T12:50:54.389Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_viu02194_c01_c397"}},{"id":"viu_viu02299_c01_c01_c3603","type":"Subseries","attributes":{"title":"Yugoslavia","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_viu02299_c01_c01_c3603#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viu_viu02299_c01_c01_c3603","ref_ssm":["viu_viu02299_c01_c01_c3603"],"id":"viu_viu02299_c01_c01_c3603","ead_ssi":"viu_viu02299","_root_":"viu_viu02299","_nest_parent_":"viu_viu02299_c01_c01","parent_ssi":"viu_viu02299_c01_c01","parent_ssim":["viu_viu02299","viu_viu02299_c01","viu_viu02299_c01_c01"],"parent_ids_ssim":["viu_viu02299","viu_viu02299_c01","viu_viu02299_c01_c01"],"parent_unittitles_ssm":["Correspondence Files of Special Collections, University of Virginia Library  \n         \n         1931-1990s","Series I: Correspondence (General)","Manuscripts Department Correspondence\n                  [ante 1990] and Patron-Use Files"],"parent_unittitles_tesim":["Correspondence Files of Special Collections, University of Virginia Library  \n         \n         1931-1990s","Series I: Correspondence (General)","Manuscripts Department Correspondence\n                  [ante 1990] and Patron-Use Files"],"text":["Correspondence Files of Special Collections, University of Virginia Library  \n         \n         1931-1990s","Series I: Correspondence (General)","Manuscripts Department Correspondence\n                  [ante 1990] and Patron-Use Files","Yugoslavia","box \n                     A29-12J"],"title_filing_ssi":"Yugoslavia","title_ssm":["Yugoslavia"],"title_tesim":["Yugoslavia"],"normalized_title_ssm":["Yugoslavia"],"component_level_isim":[3],"repository_ssim":["University of Virginia, Special Collections Dept."],"collection_ssim":["Correspondence Files of Special Collections, University of Virginia Library  \n         \n         1931-1990s"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":3605,"containers_ssim":["box \n                     A29-12J"],"_nest_path_":"/components#0/components#0/components#3602","timestamp":"2026-05-21T12:39:11.429Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_viu02299","ead_ssi":"viu_viu02299","_root_":"viu_viu02299","_nest_parent_":"viu_viu02299","ead_source_url_ssi":"data/uva-sc/viu02299.xml","title_ssm":["Correspondence Files of Special Collections, University of Virginia Library  \n         \n         1931-1990s"],"title_tesim":["Correspondence Files of Special Collections, University of Virginia Library  \n         \n         1931-1990s"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["RG-12/11/4.021"],"text":["RG-12/11/4.021","Correspondence Files of Special Collections, University of Virginia Library  \n         \n         1931-1990s","This collection is comprised of ca. 300,000 items.","Stored off-site. Users must request boxes 48 hours in advance of desired use. Neither drop-in nor next-day requests can be fulfilled. For additional information, contact Special Collections."," Access restrictions apply to specific student and staff records under the terms of the Family Educational Rights and Privacy Act (F.E.R.P.A.). Other records may also be restricted.","The collection is arranged in four series: Series I: Correspondence (General); Series II: Patron-Use Files [1991- ]; Series III: Manuscripts Field Agent's Files; Series IV: Special Collections Student Assistants and Employee Files [ -1995]","chronological","chronological","chronological","chronological","chronological","chronological","chronological","chronological","chronological","chronological","chronological","chronological","chronological","chronological","chronological","chronological","chronological","alphabetical box 1","alphabetical box 2","chronological","alphabetical","chronological","alphabetical","chronological","alphabetical","chronological","alphabetical","chronological","alphabetical","chronological","alphabetical","chronological","alphabetical","chronological","alphabetical","chronological","alphabetical","chronological","alphabetical","chronological","alphabetical","chronological","alphabetical","chronological","alphabetical","chronological","alphabetical","chronological","alphabetical","chronological","alphabetical","chronological","alphabetical","chronological","alphabetical","chronological","alphabetical","chronological","chronological","alphabetical A - D","alphabetical E - Z","alphabetical A - B","alphabetical C - E","alphabetical F - H","alphabetical I - L","alphabetical M - O","alphabetical P - Smi","alphabetical Smo - Z","alphabetical A - G","alphabetical H - O","alphabetical P - Z","alphabetical A - Z","alphabetical A - Z","alphabetical A - G","alphabetical H - Z","alphabetical A - Poch","alphabetical Pow - Z","alphabetical A - Z","alphabetical A - Z","alphabetical A - K","alphabetical L - Z","alphabetical A - F","alphabetical G - M","alphabetical N - Z","alphabetical A - F","alphabetical G - M","alphabetical N - Z","alphabetical A - D","alphabetical E - J","alphabetical K - Q","alphabetical R - Z","alphabetical A - C","alphabetical D - He","alphabetical Hi - Mc","alphabetical M - R","alphabetical S - Z","alphabetical A - E","alphabetical F - L","alphabetical M - R","alphabetical S - Z","alphabetical A - G","alphabetical H - O","alphabetical P - Z","alphabetical A - F","alphabetical G - O","alphabetical P - Z","alphabetical","chronological","alphabetical A - L","alphabetical K - Z","alphabetical","chronological","alphabetical A - Ba","alphabetical Be - Le","alphabetical Li - Z","chronological","alphabetical","chronological","alphabetical","chronological","alphabetical","The Special Collections Correspondence files pconsist chiefly of the\n         general correspondence files of Special Collections of the University of Virginia Library and like files of its predecessors, the Rare Book Department and the Manuscripts Department.","Included are patron use ledgers; patron request slips; Manuscripts Field Agent files; student assistant and employee files; dealer correspondence; thank you letters; and reference letters.","Chiefly concerning interlibrary loans, but with some information on exhibition loans.\n\t\t","Chiefly concerning interlibrary loans, but with some information on exhibition loans.\n\t\t","Chiefly concerning interlibrary loans, but with some information on exhibition loans.\n\t\t","Chiefly concerning interlibrary loans, but with some information on exhibition loans.\n\t\t","Chiefly concerning interlibrary loans, but with some information on exhibition loans.\n\t\t","Chiefly concerning interlibrary loans, but with some information on exhibition loans.\n\t\t","[1996 Publication Agreements and permissions\n                  shelved as Legal Instruments @vault mezz.]","Bierly, Carol I.; Billeaud, Lani; Boles, Nancy;\n                     Brown, Carolyn; Cowen, Juliette A. (Mrs. W. Walker\n                     [Cowen]); Doyle, Winnifred; Finlay, Linda Shaw\n                     (Mrs. Daniel Finlay); Follman, Caroline; Freeman,\n                     Allison M.; Guerin, Mary; Hall, Judy; Hrabe,\n                     Margaret; Johannesen, Gloria; Kerr, Virginia;\n                     Lucas, Carolyn; Magura, Carolyn Jane; Morrissett,\n                     Bob; Moss, Jocelyn J.; Nelson, Judy;\n                     Nelson-Saginor, Page","Palma, Susan; Powell, Billie L.; Rare Book Room\n                     Staff - Retired Files; Richards, Nancy B.; Ringer,\n                     Sarah A.; Robertshaw, Susan; Ross, Rosanne;\n                     Schumacher, Steven S.; Shrum, Suzan; Sinnott,\n                     Cynthia; Smith, Kathleen; Thornton, Neal B.;\n                     Thulean, Pat; Valkenaar, Maureen; Via, John E.;\n                     White, Amy Loope;","See the \n             \n            University of Virginia Library’s use policy.","English"],"unitid_tesim":["RG-12/11/4.021"],"normalized_title_ssm":["Correspondence Files of Special Collections, University of Virginia Library  \n         \n         1931-1990s"],"collection_title_tesim":["Correspondence Files of Special Collections, University of Virginia Library  \n         \n         1931-1990s"],"collection_ssim":["Correspondence Files of Special Collections, University of Virginia Library  \n         \n         1931-1990s"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"acqinfo_ssim":["The files were an internal archival transfer on April 10, 2002.\n"],"has_online_content_ssim":["false"],"physdesc_tesim":["This collection is comprised of ca. 300,000 items."],"accessrestrict_html_tesm":["\u003cp\u003eStored off-site. 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Books, Television \u0026 Radio Scripts, Articles, etc. ","Subseries A: Eastern Approaches Material (Boxes 12-15) ","Subseries B: Yugoslavia Related Material, including Books (Boxes 15-21); and Articles, Book Reviews, Lectures, Radio \u0026 Television, \u0026 Research (Boxes 21-26) ","Subseries C: Russia \u0026 the Former Soviet Union Material, including Books (Boxes 26-40); Articles (Boxes 41-43); Book Reviews \u0026 Lectures (Boxes 43-45); and Radio \u0026 Television (Boxes 45-46) ","Subseries D: Scotland Material, including Books (Boxes 46-57), Highlanders Television Series (Boxes 57-58), and Articles, Book Reviews and Lectures (Boxes 59-60) ","Subseries E: Miscellaneous Literary Material, including Take Nine Spies (Boxes 60-63), Articles (Boxes 64-66); Book Reviews, Introductions, Lectures \u0026 Speeches and Literary Correspondence (Boxes 67-68); and Radio and Television (Boxes 68-69) ","Series III: Photographic Material (Boxes 70-93)","Series IV: Sir Fitzroy Maclean Additional Papers (Boxes 94-102 ","re the Threat of Soviet Expansion in Asia","Parlimentary Delegation to Romania","Fitzroy Hew Royle Maclean was born in 1911 in Cairo, Egypt to Charles Maclean, a major in the British army, and Gladys Royle Maclean. He was raised in Scotland, India, and Italy and attended Eton (1924-28), the University of Marburg in Germany (1929), and Kings' College, Cambridge (1929-32) where he won a senior scholarship and first class honors. He entered the Foreign Office in 1934 and was first posted to Paris, and then to Moscow in 1937 where he served as the Third Secretary in the British Embassy. Stalin's purges were at their height during Maclean's two years in the Soviet Union, and he was present at the state trial of Nikolai Bukharin in 1938. He also made journeys to remote areas of the Soviet Union such as Central Asia and the Caucasus where few if any foreigners had been for many years. In 1939 he returned to London and worked in the Foreign Office on Russian affairs."," When World War II broke out, he wanted to enlist in the military, but as a diplomat was in a \"reserved\" position and was not allowed to do so. He learned that the only way to be released from the Foreign Office was to declare himself a candidate for Parliament, and so he was returned for the constituency of Lancaster at a by-election in 1941. He joined the Cameron Highlanders regiment in the British army as a private, and then the new Special Air Service (SAS) and served in the Western Desert, where he participated in the raid on Benghazi along with SAS founder David Stirling and Randolph Churchill, and foiled a coup in Persia by kidnapping General Zahidi who had collaborated with the Germans."," In July 1943 Prime Minister Winston Churchill asked Maclean to serve as his personal representative and Brigadier commanding a British Military Mission to Josip Broz Tito, leader of the Communist Partisans in German-occupied Yugoslavia. At this stage of the war, there was a debate in the British government over which Yugoslav resistance group it should support - Tito's Partisans or Draza Mihalovich's Cetniks. In September Maclean was dropped by parachute into Bosnia and met Tito, and subsequently reported to Churchill that the Partisans were the more effective fighting force and would benefit from additional British and American aid. In August 1944, as the Germans prepared to withdraw from Yugoslavia Maclean planned \"Operation Ratweek\" for the first week of September, a coordinated Allied and Partisan attack on enemy communications which proved quite successful. In the course of his mission, which lasted until 1945, he became a friend and admirer of Tito. In 1947 Maclean was asked to head the Special Refugee Commission which had the sensitive task of screening of tens of thousands of Yugoslav and Ukrainian Displaced Persons, some of whom were alleged to have committed war crimes, in Italy and Austria."," After completing this assignment, Maclean focused on politics, representing Lancaster until 1959 and Bute and North Ayrshire from 1959-1974, and served as Parliamentary Under Secretary of State for War from 1954-1957. He was chairman of the Committee of the North Atlantic Assembly from 1964-1974. Maclean's friendship with Tito and frequent visits to Yugoslavia allowed him to play a key role in Anglo-Yugoslav relations. In the 1960's he purchased a home on the island of Korcula, becoming one of the few foreigners allowed to own property in Yugoslavia. Maclean also maintained a keen interest in the Soviet Union where he traveled extensively and he served as chairman of the Great Britain-USSR Association. He lectured frequently in the United Kingdom and the United States on Yugoslav and Soviet affairs."," Maclean's literary career was launched in 1949 with the publication of Eastern Approaches, a memoir of his experiences as a diplomat and soldier, which was acclaimed by critics and became a best-seller. This was followed in 1957 by a biography of Tito,  Disputed Barricade, A Person from England (1958), describing the adventures of English travelers in Central Asia, and in 1958,  Back to Bokhara (1959), and a number of books, articles and book reviews on Yugoslavia, the Soviet Union, and other subjects."," A third focal point of his writing was Scotland, and he published  A Concise History of Scotland , (1970),  The Isles of the Sea , a collection of West Highland folk tales (1985),  Bonnie Prince Charlie , (1988) and  Highlanders (1995). Along with establishing a reputation as the author of entertaining and informative works that blended his travel experiences and historical research, he turned his attention to radio and television, working on a number of documentary programs including  The Road to Samarkand and  The Life and Times of Marshal Tito and two major series.  Portrait of the Soviet Union and  Highlanders ."," Maclean was made a baronet in 1957 and a Knight of the Thistle in 1993, and was the recipient of many honors and decorations including the Commander of the British Empire, the Croix de Guerre, the Order of Kutusov, and the Partisan Star, and several honorary degrees."," In 1946 Maclean married a widow with two children, Veronica (Fraser) Phipps, daughter of the 16th Lord Lovat. They had two sons, James and Charles. In 1957 the Macleans purchased Strachur, an estate in Argyllshire in the Scottish Highlands, and later operated a hotel on the estate, the Creggans Inn, which became known for its good food, drink, and hospitality. Maclean continued to be extremely active into his eighties and kept up a busy schedule of writing, lecturing and traveling. He died of a heart attack while swimming at a friend's house in June 1996. In Maclean's later years, there was speculation that he had been the inspiration for Ian Fleming's James Bond.","This Fitzroy Maclean papers consist (1827-1996; 44 cubic feet) of the professional and personal papers of Scottish soldier, diplomat, politician, author, and traveler, Sir Fitzroy Hew Maclean (1911-1996) of Dunconnel. It includes correspondence, memoranda, manuscripts, typescripts, newspaper and magazine articles, book reviews, lectures, speeches, photographs, memorabilia, and research material pertaining to his military, diplomatic, political and literary career as well as family and personal affairs.","Maclean is best known for his role during World War II as head of the British military mission to Yugoslavia in which he served as Winston Churchill's personal representative to leader of the Communist Partisans, Josip Broz Tito, his diplomatic service in the Soviet Union in the late 1930's, and as the author of the classic memoir Eastern Approaches (1949) and many other books and articles. After the war, he pursued a political career as a Conservative member of Parliament, and, based on his close relationship with Tito, played a key role in Anglo-Yugoslav affairs. He was also noted for his expertise on the Soviet Union."," A third focal point of his life and career was Scotland: he was a proud member of Clan Maclean and wrote several works on Scottish history, biography, and folklore. The collection contains some material in Serbo-Croatian, German, Italian and French."," The papers are arranged in four main series with various sub-series. Items of particular interest in the First Series, Career and Personal Papers, are described in the following paragraphs devoted to each subseries. In the Diplomatic Subseries are dispatches and memoranda of his trips through Central Asia (including Afghanistan and the ancient cities Bokhara and Samarkand) and the Caucasus, on the situation in Sinkiang (Chinese Turkestan) and on the political stability of the Soviet Union, 1937-1939."," The subseries British Military Mission to Yugoslavia contains Winston Churchill's Minute concerning his Mission to Tito, Autograph Diary (2 pages) re his arrival in Yugoslavia, \"Ratweek\" Map (oversize), twelve files (labeled Top Secret) including memoranda, correspondence, telegrams, etc concerning military and political affairs such as Allied operations and aid to Tito's Partisans, formation of the Yugoslav government, relief, the visit of Field Marshal Alexander, Supreme Allied Commander to Belgrade, Macedonia, Prospect of South Slav federation, and correspondence with Evelyn Waugh."," The Special Refugee Commission subseries contains correspondence, telegrams, reports, including one submitted to Foreign Secretary Ernest Bevin, articles, and a draft of a speech on the refugee problems to a parliamentary committee."," Political correspondence includes papers concerning the Lancaster by-election of 1941, the general election of 1945, and correspondence with Winston Churchill, Harold Macmillan, Anthony Eden, Alec Douglas- Home, Peter Carrington, Harold Wilson, Margaret Thatcher, John Major, Robert Kennedy, John Lindsay, Henry Jackson, and Averell Harriman ; a memorandum to Field Marshal Alexander of Tunis concerning irregular warfare; and correspondence and memoranda related to a parliamentary delegation to Romania in 1973."," Material in the VIP Subseries includes: letters and notes from members of the Royal Family including Prince Charles, Princess Margaret, Elizabeth the Queen Mother; Clementine Churchill and Mary Churchill Soames; and a thank you note from Lauren Bacall."," The Yugoslavia and Tito Subseries contains significant material including memoranda of meetings with Tito in 1949,1950, 1953, 1968, 1973; informative accounts by Maclean and other British officers about the Military Mission in World War II for an official book published by Muzej AVNOJ (1970-1971); correspondence about Maclean's involvement in proposals for the publication of Tito's memoirs (1966-1977) and about the nomination of Tito for the Nobel Peace Prize (1972-1973); correspondence and papers by Maclean and others from a conference on British Policy and Resistance in the Balkans (1973); Briefing papers, correspondence and memoranda of Margaret Thatcher's visit to Yugoslavia in 1977, and correspondence and memorabilia pertaining to the Prince of Wales' visit in 1978; correspondence about Maclean's visit in 1989 and transcript of an interview with Prime Minister Ante Markovic."," For the 1990's, the time of war and the dissolution of Yugoslavia , there is correspondence with David Owen, Stevan Dedijer and others, and about the Korcula Emergency Appeal, a relief effort for a hospital on the island of Korcula, Croatia, organized by the Macleans; letters from Yugoslav friends describing the turmoil , and/or seeking assistance in finding jobs in the United Kingdom; correspondence about renewed controversy about the British Military Mission in World War II. and the Aldington-Tolstoy Libel Case concerning the repatriation of Yugoslavs in 1945. It should also be noted that in Series II, Subseries B, Literary Material pertaining to Yugoslavia, there is some correspondence filed with the manuscripts, typescripts, articles and radio and television transcripts."," The Subseries Family and Personal Papers has letters from friends and teachers, some in German, French, and Italian. In a significant group of letters to his parents (1939-1945) from London, Cairo, Belgrade, and elsewhere, Maclean discussed the international situation, his desire to leave the Foreign Office in order to join the army, life in London during the Blitz, the beginning of his political career, and his military service (some letters were extensively cut by the censors). There are also a number of letters to his parents from the years 1946-1955 from Maclean and his wife Veronica discussing family matters and living conditions in Italy and Austria while Maclean was directing the Special Refugee Commission, and about their travels in Yugoslavia, Greece and Turkey in the early 1950's."," Also present is correspondence with Frank McLynn, his biographer, 1990-1994, and two scrapbooks. The blue scrapbook (1939-1951) includes one letter of Maclean to his aunt, newspaper clippings relating to his military service in Yugoslavia, his marriage, some articles by him, a few photographs. The red scrapbook, 1943-1946 also has newspaper clippings about his military service and political career and articles by him."," The Second Series consists of literary papers. This series contains drafts, typescripts, setting copies of his books with related correspondence with publishers and others about the publication process, contracts, royalty statements, book reviews, fan mail, articles, book reviews, speeches, lectures, transcripts of radio and television programs, film proposals or treatments. Several of his books were published under different titles in the United States. It is organized into five subseries based on subject matter. These include:  Eastern Approaches (American title-  Escape to Adventure ); Yugoslavia (the country as originally constituted and also the new states that emerged in the 1990's); Russia and the former Soviet Union and the new nations post 1990); Scotland; and Miscellaneous Literary."," The subseries about  Eastern Approaches contains a typed manuscript (Setting copy) with corrections, including an unpublished introduction; some material omitted from the published version including his admiration for a Soviet army unit, comments on the Cetniks, and conversations with King George VI and Winston Churchill and King Peter of Yugoslavia; letters from Michael Adeane, Secretary to King George VI and Winston Churchill requesting that certain passages be omitted; a letter from Peter Fleming to Jonathan Cape offering his opinion of the book, a letter from Ian Fleming to Jonathan Cape and a note to Maclean."," Other material includes correspondence with Jonathan Cape and other publishers about a new edition, correspondence with Douglas Fairbanks, Eric Ambler and others concerning a possible film version, and with Ian Curteis about a proposed television adaptation."," The Yugoslavia Subseries includes books:  Disputed Barricade (1957), published in America as  The Heretic , which includes an interview with Tito;  Yugoslavia (1969), in which Maclean wrote the text for this book of photographs;  Battle of Neretva (1970); and  Tito: A Pictorial Biography (1980). Also present are articles from newspapers and magazines, 1947-1995, on Yugoslav politics and society, including interviews with Tito. Particularly interesting are two unpublished articles \"Whither Yugoslavia?\" written in 1989 based on interviews with Yugoslav politicians, including Slobodan Milosevic. There are also a number of book reviews of works by Julian Amery, William Deakin, Noel Malcolm and Misha Glenny and others."," In addition, the subseries on Yugoslavia contains lectures, 1949-1995; transcripts of radio and television programs, with related correspondence; and some interviews with Tito, notably The \"Life and Times of Marshal Tito\" (December 1963); and one for a CBS news program (1969)."," The Russian Material Subseries contains drafts, correspondence, and research material for his books  A Person from England (1958), including several autograph letters,1827-1861, of Dr. Joseph Wolff, one of the English travelers chronicled in the book;  Back to Bokhara (1959);  Holy Russia (1978); drafts titled \"All the Russias\" and \"The Other Russias,\" which were the basis for  To the Back of Beyond (1974),  To Caucasus: End of All the Earth (1976); and  Holy Russia (1978) which completed the trilogy;  Portrait of the Soviet Union (1988), including material for both the book and the related TBS television series since Maclean was working on these simultaneously; and  All the Russias (1992). Correspondents include Pamela Harriman, Marietta Tree and Fitzgerald Bemiss."," In addition to his books about Russia and the Soviet Union, his papers also contain articles, 1949-1995 on political, social, economic, cultural aspects of the former Soviet Union, a number on Georgia and the Caucasus, and Mikhail Gorbachev; book reviews, 1949-1994; and radio and television material, such as correspondence and transcripts for programs, including \"The End of All the Earth\" and \"Carnival in the Caucasus\"; interviews with Anna Mikhailovna Larina (Bukharin's widow) and others for the BBC \"Timewatch\" program \"Bukharin.\""," The subseries concerning his Scotland material includes books,  A Concise History of Scotland (1970);  Isles of the Sea (1985);  Bonnie Prince Charlie (1988); and  Highlanders (originally titled  Clans ) (1995). Material for the book and television series are combined since Maclean was working on them simultaneously. Among the articles on Scotland is a notable series \"Scottish Approaches\" which appeared in  The Scotsman in 1959."," The last subseries in Maclean's Literary Papers consists of miscellaneous literary material, including material for the book  Take Nine Spies . There is also correspondence with publishers in which he discusses more than one book, and with his literary agents."," Articles are arranged chronologically, and topics range from post World War II Japan, Korea, Italy, the Middle East, and defense policy to China and Mongolia in the 1960's, an extended trip to China in 1988, and his travels in Nepal, Tibet, and Oman in the 1990's. There are also articles about his military, diplomatic, political and literary career, his travels, and personal life, and note that others are contained in two scrapbooks. The radio and television material includes his commentaries on the international scene from 1946 on."," Photographic Material comprises the third series, which contains twenty-four boxes of photographs (some in albums), contact sheets, negatives, and slides, taken by Maclean, primarily of his travels in the former Soviet Union, Europe and Asia, from 1938 through the 1990's. Especially noteworthy are those taken in Moscow, Leningrad, and Central Asia, including Afghanistan, the cities Bokhara and Samarkand, and Persia, Paris and Florence in the late 1930's, Yugoslavia during World War II, postwar Korean and China, and of Yugoslavia, Greece, Turkey and Iran in the early 1950's. Maclean visited the former Soviet Union frequently from the late 1950's through 1987 and took numerous photographs of his favorite regions, Central Asia and the Caucasus, particularly Georgia."," As for Yugoslavia, there is an album dated 1953 labeled Namanevru Jugoslovenska Narodne, Armije (Yugoslav People's Army) with photographs of Tito, Maclean, and soldiers; and photographs from the early 1960's through 1980 including a number of photographs of Tito. Individuals subjects include Winston Churchill and Margaret Thatcher. There are also many family photographs taken at Maclean's homes Beechfield and Strachur, and of friends. The photographs used in  Eastern Approaches ,  Disputed Barricade ,  A Person from England , and  Bonnie Prince Charlie are also in this section.\n \n The fourth series consists of two small additions to the papers and include some correpondence files, such as congratulatory letters about his appointment as Under Secretary for War in 1954 and his Baronetcy in 1957, his letters published in the press, and the Great Britain-USSR Association; files on his participation in various conferences concerning Yugoslavia and War War II; election campaign materials of Maclean; Notebooks, including \"Russian Notebook\" (May 15-June 17, 1958); \"Mission\" describing his recall from the Middle East in 1943 to go to Yugoslavia as Winston Churchill's personal representative to support the resistance forces that were most effective against the Germans, moving British support from the Chetniks to the Communist-led partisans and Tito, (circa 1943-1944); and a trip to the country of Georgia (no year, May-June); news articles; speeches by Maclean, including printed speeches published in \"Parliamentary Debates\"; passports; pocket and desk diaries; first drafts of \"Eastern Approaches\"; a file on guerilla warfare; a copy of a 1938 Report on Central Asia by Maclean; and Veronica Maclean's description about her first meeting with Josip Broz Tito in 1947.","re Appointments to London, Paris, and Moscow and his resignation from the Foreign Office","re Maclean's Mission to Tito and an Extract from  The Second World War","including \"The Partisan Movement in Yugoslavia\" and \"Note on the Present Military and Political Situation in Serbia\"","Drafts of Statement on the Extent of British Aid to the Partisans","re Appointments and Impact on Service to Constituency","re Irregular Warfare and Correspondence with Field Marshall Earl Alexander of Tunis and Others","re Vietnam War","re the Soviet Invasion of Czechoslovakia","re Interview with Vice-President Bodnaras of Romania; Meeting with Tito; and Draft Article on Sino-Soviet Border","re Winston Churchill","re E.C. Grants for Argyll and Bute","re Consideration of Fitzroy Maclean as Governor of Cyprus","re a Resignation to Veronica Maclean","re his serving as godfather to her daughter, Charlotte","re British Press Coverage of Yugoslavia","re Simic Cureija","re Visit with Tito, with note from Jack Coville, Secretary to Winston Churchill","re Tito","re Korcula","re the Soviet Invasion of Czechoslovakia","re Visit to Yugoslavia for 25th Anniversary of National Liberation, includes photographs of Maclean and Willian Deakin","Decoration Awarded to Fitzroy Maclean","Proposed British Decorations of Yugoslavs","re Yugoslav Students in Britain","re Allied Mission to Yugoslavia in World War II for Muzej AVNOJ","re Korcula, Yugoslavia, Town Twinning with Argyll and Bute, Scotland","re Maclean's Efforts in Support of Tito for the Nobel Peace Prize","re British Policy towards the Balkan Resistance Movements","re Meeting with Tito","re Research and Annual Summaries (Copies) of Events in Yugoslavia, 1957-1972","re Margaret Thatcher's Trip, with Official Program","re the Prince of Wales' Visit to Yugoslavia","re Fitzroy Maclean's article for the British-Yugoslav Society on the Prince of Wales' visit","re Arrangements for the British Delegation to Tito's Funeral","re Official Visit of Fitzroy Maclean","re Program of Economic Reform","re his biography of Tito","re Controversy over British Military Mission in World War II","re BBC \"Timewatch: Tito\" Program","re a Yugoslav Detainee in 1945","re Korcula, Croatia Emergency Appeal","re Benefit Concert for Dubrovnik","re Owen's Mission","re Aldington-Tolstoy Libel Case (Repatriations in 1945)","re Tito Memoirs and other projects","re Purchase of \"Beechfield\"","re Ticonderoga story","re Purchase of \"Creggans Inn\"","re  Fitzroy Maclean","re Evelyn Waugh biography","re Fitzroy Maclean","re Fitzroy Maclean and Articles by him","re Awarding of Baronetcy and Arms","re Honorary Degree from the University of Glasgow","re Honorary Degree from Acadia University","re Honorary Degree from Dalhousie University, Halifax, Nova Scotia, to Fitzroy Maclean and Tito","re Honorary Degree from Dalhousie University, Halifax, Nova Scotia, to Fitzroy Maclean and Tito, signed by Josip Broz Tito and Madame Jovanka Broz","re Honorary Degree from Dundee University","re Special Air Service","re the 23rd Special Air Service Regiment","re Installation of Fitzroy Maclean in the Order of theThistle","re Installation of Fitzroy Maclean in the Order of the Thistle","re Appointment of Fitzroy Maclean in the Order of the Thistle--Congratulations","re Appointment of Fitzroy Maclean in the Order of the Thistle","Order of the Thistle Ceremony","re Freedom of Argyll and Bute","re omitting part of an interview with the King about Yugoslavia from his book","with comments about what Maclean had written about himself in the book","thanking him for the copy of his book sent to the King","re Publicity","Translations","re American Edition","re German Edition","re Paperback Edition","re Proposed Film, with a copy of the script for the film, April 1956","re Proposed TV Series","re Proposed TV Series","re Yugoslav Edition","re Yugoslav Edition","Letter of thanks on behalf of Tito","re American Edition,  The Heretic","re Translations","re German Forces in Yugoslavia","including \"The Fourth Enemy Offensive\" and some in Serbo-Croatian","re Book Promotion Tour in Yugoslavia","re Book Promotion Tour in Yugoslavia","including some correspondence and notes","re Korcula by Charles Maclean","Unpublished","re of BBC Radio Broadcast on Mission to Tito","re Tito obituary for BBC Radio","re BBC Radio \"I Was There\"","re Film \"General from Strachur\"","re BBC Television Tito Obituary","re Tito Interview for CBS News","re Proposed BBC Programs","re Proposed Film on Tito","re BBC Program on the S.O.E. (Special Operations Executive)","re BBC Program on Evelyn Waugh","re Miscellaneous Television and Film Projects","re BBC Program \"Ratlines\"","re VPRO Program","re New Edition","re Proposed Film","re Research","re Translations","Original Letters of Joseph Wolff and Correspondence with Ancient Light Bookshop","Transcripts and Copies of Letters of Charles Stoddart and others from the Public Records Office","re American Edition and Other Projects","re Copyright Renewal","re German edition","re the Sino Russian Border in  Life","re the Caucasus Region","Correspondence re","re the Bukharin Trial in Moscow \u0026 Interview with his widow","re Mikhail Gorbachev","re Georgia in  The Sunday Times","re Azerbaijan","re Georgia, including notes and drafts","re Georgia in  The Scotsman Magazine","re Azerbaijan","re Caucasus","re Mikhail Gorbachov","re Mikhail Gorbachev in honor of Hugh Seton-Watson","given at Foyle's Lunch","re Georgia","re Georgia","re a New Edition","re an American Edition","re a German Edition","August 1, 1996 from Edwin Moore to Veronica Maclean","re German Edition","re reprint as  West Highland Tales","re Publicity \u0026 Book Reviews","re Publicity","re \"Scotland in Parliament\"","re Japan","re Asia","re Korea","re Italy","re the Middle East","re Persia","re Defense of Great Britain","re Greece","re Libya during World War II","re Turkey","re China \"Inside Red China\"","re China Trip","re China \"Peking Revisited,\" \"Don't Let China Stew in Her Own Juice,\" and \"Eyewitnesses in China\"","re Mongolia","re Sir Winston Churchill","Mongolia","re the Black Sea, including one by Veronica Maclean","re Defense of Europe: \"Nuclear Deterrence and Conventional Forces,\" with Correspondence","re China--Trip to Kashgar in Chinese Turkestan, including Correspondence","re Nepal and Bhutan","re Germany","re David Stirling for  Dictionary of National Biography and Correspondence","re Canary Islands","re Oman","re Tibet--Correspondence, Travel Arrangements, and Memorabilia","re Tibet","re the Channel Tunnel","re Fitzroy Maclean, some in German, French, Serbo-Croatian, Swedish, and Dutch","re Tibet","re Publication of Evelyn Waugh's Diaries, which include references to Fitzroy Maclean","re Invitation to Frankfurt","re German Translations of  Isles of the Sea and  Eastern Approaches","re Proposed Book of Interviews including Fitzroy Maclean","some accompanied by correspondence, including: Violet Asquith, Nancy Astor, Charles Bohlen, John Bute, Nicolae Causescu, Earl Cawdor, Thomas Churchill, John Clarke, the Queen Mother, Lord Lovat, Charles Maclean, Andrew Maxwell, Paddy Mayne and Bill Elliot, Iain Moncrieffe, Peter Moore, David Scott, David Stirling, and Lord Ward","People","Environs \u0026 Monasteries","GUM Store, Race Track, \u0026 Fashions","The Kremlin \u0026 Red Square","The file includes a draft of a 1968 letter to Aleksey Aleksandrovich Surkov, President of the USSR - Great Britain Society, also includes letters to and from the Baroness Asquith of Yarnbury (\"Violet\").","Notebooks include \"Russian Notebook\" (May 15-June 17, 1958); \"Mission\" describing his recall from the Middle East in 1943 to go to Yugoslavia as Winston Churchill's personal representative to support the resistance forces that were most effective against the Germans, moving British support from the Chetniks to the Communist-led partisans and Tito, (circa 1943-1944); and a trip to the country of Georgia (no year, May-June), circa 1943-1958","Includes Maclean's undated notes on Soviet history up to \"Glasnost,\" notes on the \"Council of Europe,\" (1973); series of letters between Sir Charles Peake, British Embassy, and Sir Fitzroy Maclean, 1946-1953.","These include a speech before the Boarding House and Catering Association, one mentioning nuclear deterrence, and international events.","This addition contains two letters written by Fitzroy Maclean and John Baldock to Helen F. Moore of Leicester, England. A typewritten letter from Maclean to Baldock addresses Moore's concern regarding rioting by South Koreans in the vicinity of the Troops Rest Center at Inchon and her request to move the Center. He reviews her concern, noting that the demonstrations were against the Neutral Nations Armistice Commission and took place six and a half miles from the Center. He notes that the Center was not affected by the rioting and that, after careful consideration, the Center would remain open and not move to another area. The second item is a cover letter from John Baldock forwarding Maclean's response to Ms. Moore.","Albert and Shirley Small Special Collections Library","Maclean, Fitzroy, 1911-1996","Materials are in English."],"unitid_tesim":["MSS 11487","Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/838"],"normalized_title_ssm":["Sir Fitzroy Maclean papers"],"collection_title_tesim":["Sir Fitzroy Maclean papers"],"collection_ssim":["Sir Fitzroy Maclean papers"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["Maclean, Fitzroy, 1911-1996"],"creator_ssim":["Maclean, Fitzroy, 1911-1996"],"creator_persname_ssim":["Maclean, Fitzroy, 1911-1996"],"creators_ssim":["Maclean, Fitzroy, 1911-1996"],"acqinfo_ssim":["This collection was purchased by the University of Virginia Library on November 30, 1998. The first addition, consisting of the desk diaries of Sir Fitzroy Maclean (MSS 11487-a), was received on March 7, 2003, and the second addition (ViU20160030) was received on December 1, 2015."],"access_subjects_ssim":["letters (correspondence)","diaries","Black-and-white photographs"],"access_subjects_ssm":["letters (correspondence)","diaries","Black-and-white photographs"],"has_online_content_ssim":["false"],"extent_ssm":["44 Cubic Feet 102 document boxes, 2 os folders"],"extent_tesim":["44 Cubic Feet 102 document boxes, 2 os folders"],"genreform_ssim":["letters (correspondence)","diaries","Black-and-white photographs"],"date_range_isim":[1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open for research use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open for research use."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged in four main series, with various subseries: \u003c/p\u003e\n","\u003cp\u003eSeries I: Career and Personal Papers (Boxes 1-11) \u003c/p\u003e\n","\u003cp\u003eSubseries A: Diplomatic Service (Box 1) \u003c/p\u003e\n","\u003cp\u003eSubseries B: British Military Mission to Yugoslavia (Boxes 1-2) \u003c/p\u003e\n","\u003cp\u003eSubseries C: Special Refugee Commission (Boxes 2-3) \u003c/p\u003e\n","\u003cp\u003eSubseries D: Political Correspondence (Box 3) \u003c/p\u003e\n","\u003cp\u003eSubseries E: VIP Material (Boxes 3-4) \u003c/p\u003e\n","\u003cp\u003eSubseries F: Yugoslavia \u0026amp; Tito Related Material (Boxes 4-8) \u003c/p\u003e\n","\u003cp\u003eSubseries G: Family \u0026amp; Personal Papers (Boxes 9-10) \u003c/p\u003e\n","\u003cp\u003eSubseries H: Honors \u0026amp; Decorations (Boxes 10- 11) \u003c/p\u003e\n","\u003cp\u003eSeries II: Literary Papers - Books, Television \u0026amp; Radio Scripts, Articles, etc. \u003c/p\u003e\n","\u003cp\u003eSubseries A: Eastern Approaches Material (Boxes 12-15) \u003c/p\u003e\n","\u003cp\u003eSubseries B: Yugoslavia Related Material, including Books (Boxes 15-21); and Articles, Book Reviews, Lectures, Radio \u0026amp; Television, \u0026amp; Research (Boxes 21-26) \u003c/p\u003e\n","\u003cp\u003eSubseries C: Russia \u0026amp; the Former Soviet Union Material, including Books (Boxes 26-40); Articles (Boxes 41-43); Book Reviews \u0026amp; Lectures (Boxes 43-45); and Radio \u0026amp; Television (Boxes 45-46) \u003c/p\u003e\n","\u003cp\u003eSubseries D: Scotland Material, including Books (Boxes 46-57), Highlanders Television Series (Boxes 57-58), and Articles, Book Reviews and Lectures (Boxes 59-60) \u003c/p\u003e\n","\u003cp\u003eSubseries E: Miscellaneous Literary Material, including Take Nine Spies (Boxes 60-63), Articles (Boxes 64-66); Book Reviews, Introductions, Lectures \u0026amp; Speeches and Literary Correspondence (Boxes 67-68); and Radio and Television (Boxes 68-69) \u003c/p\u003e\n","\u003cp\u003eSeries III: Photographic Material (Boxes 70-93)\u003c/p\u003e\n","\u003cp\u003eSeries IV: Sir Fitzroy Maclean Additional Papers (Boxes 94-102 \u003c/p\u003e","\u003cp\u003ere the Threat of Soviet Expansion in Asia\u003c/p\u003e","\u003cp\u003eParlimentary Delegation to Romania\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement","Arrangement","Arrangement"],"arrangement_tesim":["The collection is arranged in four main series, with various subseries: ","Series I: Career and Personal Papers (Boxes 1-11) ","Subseries A: Diplomatic Service (Box 1) ","Subseries B: British Military Mission to Yugoslavia (Boxes 1-2) ","Subseries C: Special Refugee Commission (Boxes 2-3) ","Subseries D: Political Correspondence (Box 3) ","Subseries E: VIP Material (Boxes 3-4) ","Subseries F: Yugoslavia \u0026 Tito Related Material (Boxes 4-8) ","Subseries G: Family \u0026 Personal Papers (Boxes 9-10) ","Subseries H: Honors \u0026 Decorations (Boxes 10- 11) ","Series II: Literary Papers - Books, Television \u0026 Radio Scripts, Articles, etc. ","Subseries A: Eastern Approaches Material (Boxes 12-15) ","Subseries B: Yugoslavia Related Material, including Books (Boxes 15-21); and Articles, Book Reviews, Lectures, Radio \u0026 Television, \u0026 Research (Boxes 21-26) ","Subseries C: Russia \u0026 the Former Soviet Union Material, including Books (Boxes 26-40); Articles (Boxes 41-43); Book Reviews \u0026 Lectures (Boxes 43-45); and Radio \u0026 Television (Boxes 45-46) ","Subseries D: Scotland Material, including Books (Boxes 46-57), Highlanders Television Series (Boxes 57-58), and Articles, Book Reviews and Lectures (Boxes 59-60) ","Subseries E: Miscellaneous Literary Material, including Take Nine Spies (Boxes 60-63), Articles (Boxes 64-66); Book Reviews, Introductions, Lectures \u0026 Speeches and Literary Correspondence (Boxes 67-68); and Radio and Television (Boxes 68-69) ","Series III: Photographic Material (Boxes 70-93)","Series IV: Sir Fitzroy Maclean Additional Papers (Boxes 94-102 ","re the Threat of Soviet Expansion in Asia","Parlimentary Delegation to Romania"],"bioghist_html_tesm":["\u003cp\u003eFitzroy Hew Royle Maclean was born in 1911 in Cairo, Egypt to Charles Maclean, a major in the British army, and Gladys Royle Maclean. He was raised in Scotland, India, and Italy and attended Eton (1924-28), the University of Marburg in Germany (1929), and Kings' College, Cambridge (1929-32) where he won a senior scholarship and first class honors. He entered the Foreign Office in 1934 and was first posted to Paris, and then to Moscow in 1937 where he served as the Third Secretary in the British Embassy. Stalin's purges were at their height during Maclean's two years in the Soviet Union, and he was present at the state trial of Nikolai Bukharin in 1938. He also made journeys to remote areas of the Soviet Union such as Central Asia and the Caucasus where few if any foreigners had been for many years. In 1939 he returned to London and worked in the Foreign Office on Russian affairs.\u003c/p\u003e\n","\u003cp\u003e When World War II broke out, he wanted to enlist in the military, but as a diplomat was in a \"reserved\" position and was not allowed to do so. He learned that the only way to be released from the Foreign Office was to declare himself a candidate for Parliament, and so he was returned for the constituency of Lancaster at a by-election in 1941. He joined the Cameron Highlanders regiment in the British army as a private, and then the new Special Air Service (SAS) and served in the Western Desert, where he participated in the raid on Benghazi along with SAS founder David Stirling and Randolph Churchill, and foiled a coup in Persia by kidnapping General Zahidi who had collaborated with the Germans.\u003c/p\u003e\n","\u003cp\u003e In July 1943 Prime Minister Winston Churchill asked Maclean to serve as his personal representative and Brigadier commanding a British Military Mission to Josip Broz Tito, leader of the Communist Partisans in German-occupied Yugoslavia. At this stage of the war, there was a debate in the British government over which Yugoslav resistance group it should support - Tito's Partisans or Draza Mihalovich's Cetniks. In September Maclean was dropped by parachute into Bosnia and met Tito, and subsequently reported to Churchill that the Partisans were the more effective fighting force and would benefit from additional British and American aid. In August 1944, as the Germans prepared to withdraw from Yugoslavia Maclean planned \"Operation Ratweek\" for the first week of September, a coordinated Allied and Partisan attack on enemy communications which proved quite successful. In the course of his mission, which lasted until 1945, he became a friend and admirer of Tito. In 1947 Maclean was asked to head the Special Refugee Commission which had the sensitive task of screening of tens of thousands of Yugoslav and Ukrainian Displaced Persons, some of whom were alleged to have committed war crimes, in Italy and Austria.\u003c/p\u003e\n","\u003cp\u003e After completing this assignment, Maclean focused on politics, representing Lancaster until 1959 and Bute and North Ayrshire from 1959-1974, and served as Parliamentary Under Secretary of State for War from 1954-1957. He was chairman of the Committee of the North Atlantic Assembly from 1964-1974. Maclean's friendship with Tito and frequent visits to Yugoslavia allowed him to play a key role in Anglo-Yugoslav relations. In the 1960's he purchased a home on the island of Korcula, becoming one of the few foreigners allowed to own property in Yugoslavia. Maclean also maintained a keen interest in the Soviet Union where he traveled extensively and he served as chairman of the Great Britain-USSR Association. He lectured frequently in the United Kingdom and the United States on Yugoslav and Soviet affairs.\u003c/p\u003e\n","\u003cp\u003e Maclean's literary career was launched in 1949 with the publication of Eastern Approaches, a memoir of his experiences as a diplomat and soldier, which was acclaimed by critics and became a best-seller. This was followed in 1957 by a biography of Tito, \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eDisputed Barricade, A Person from England\u003c/title\u003e(1958), describing the adventures of English travelers in Central Asia, and in 1958, \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eBack to Bokhara\u003c/title\u003e(1959), and a number of books, articles and book reviews on Yugoslavia, the Soviet Union, and other subjects.\u003c/p\u003e\n","\u003cp\u003e A third focal point of his writing was Scotland, and he published \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eA Concise History of Scotland\u003c/title\u003e, (1970), \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Isles of the Sea\u003c/title\u003e, a collection of West Highland folk tales (1985), \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eBonnie Prince Charlie\u003c/title\u003e, (1988) and \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eHighlanders\u003c/title\u003e(1995). Along with establishing a reputation as the author of entertaining and informative works that blended his travel experiences and historical research, he turned his attention to radio and television, working on a number of documentary programs including \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Road to Samarkand\u003c/title\u003eand \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Life and Times of Marshal Tito\u003c/title\u003eand two major series. \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003ePortrait of the Soviet Union\u003c/title\u003eand \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eHighlanders\u003c/title\u003e.\u003c/p\u003e\n","\u003cp\u003e Maclean was made a baronet in 1957 and a Knight of the Thistle in 1993, and was the recipient of many honors and decorations including the Commander of the British Empire, the Croix de Guerre, the Order of Kutusov, and the Partisan Star, and several honorary degrees.\u003c/p\u003e\n","\u003cp\u003e In 1946 Maclean married a widow with two children, Veronica (Fraser) Phipps, daughter of the 16th Lord Lovat. They had two sons, James and Charles. In 1957 the Macleans purchased Strachur, an estate in Argyllshire in the Scottish Highlands, and later operated a hotel on the estate, the Creggans Inn, which became known for its good food, drink, and hospitality. Maclean continued to be extremely active into his eighties and kept up a busy schedule of writing, lecturing and traveling. He died of a heart attack while swimming at a friend's house in June 1996. In Maclean's later years, there was speculation that he had been the inspiration for Ian Fleming's James Bond.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Fitzroy Hew Royle Maclean was born in 1911 in Cairo, Egypt to Charles Maclean, a major in the British army, and Gladys Royle Maclean. He was raised in Scotland, India, and Italy and attended Eton (1924-28), the University of Marburg in Germany (1929), and Kings' College, Cambridge (1929-32) where he won a senior scholarship and first class honors. He entered the Foreign Office in 1934 and was first posted to Paris, and then to Moscow in 1937 where he served as the Third Secretary in the British Embassy. Stalin's purges were at their height during Maclean's two years in the Soviet Union, and he was present at the state trial of Nikolai Bukharin in 1938. He also made journeys to remote areas of the Soviet Union such as Central Asia and the Caucasus where few if any foreigners had been for many years. In 1939 he returned to London and worked in the Foreign Office on Russian affairs."," When World War II broke out, he wanted to enlist in the military, but as a diplomat was in a \"reserved\" position and was not allowed to do so. He learned that the only way to be released from the Foreign Office was to declare himself a candidate for Parliament, and so he was returned for the constituency of Lancaster at a by-election in 1941. He joined the Cameron Highlanders regiment in the British army as a private, and then the new Special Air Service (SAS) and served in the Western Desert, where he participated in the raid on Benghazi along with SAS founder David Stirling and Randolph Churchill, and foiled a coup in Persia by kidnapping General Zahidi who had collaborated with the Germans."," In July 1943 Prime Minister Winston Churchill asked Maclean to serve as his personal representative and Brigadier commanding a British Military Mission to Josip Broz Tito, leader of the Communist Partisans in German-occupied Yugoslavia. At this stage of the war, there was a debate in the British government over which Yugoslav resistance group it should support - Tito's Partisans or Draza Mihalovich's Cetniks. In September Maclean was dropped by parachute into Bosnia and met Tito, and subsequently reported to Churchill that the Partisans were the more effective fighting force and would benefit from additional British and American aid. In August 1944, as the Germans prepared to withdraw from Yugoslavia Maclean planned \"Operation Ratweek\" for the first week of September, a coordinated Allied and Partisan attack on enemy communications which proved quite successful. In the course of his mission, which lasted until 1945, he became a friend and admirer of Tito. In 1947 Maclean was asked to head the Special Refugee Commission which had the sensitive task of screening of tens of thousands of Yugoslav and Ukrainian Displaced Persons, some of whom were alleged to have committed war crimes, in Italy and Austria."," After completing this assignment, Maclean focused on politics, representing Lancaster until 1959 and Bute and North Ayrshire from 1959-1974, and served as Parliamentary Under Secretary of State for War from 1954-1957. He was chairman of the Committee of the North Atlantic Assembly from 1964-1974. Maclean's friendship with Tito and frequent visits to Yugoslavia allowed him to play a key role in Anglo-Yugoslav relations. In the 1960's he purchased a home on the island of Korcula, becoming one of the few foreigners allowed to own property in Yugoslavia. Maclean also maintained a keen interest in the Soviet Union where he traveled extensively and he served as chairman of the Great Britain-USSR Association. He lectured frequently in the United Kingdom and the United States on Yugoslav and Soviet affairs."," Maclean's literary career was launched in 1949 with the publication of Eastern Approaches, a memoir of his experiences as a diplomat and soldier, which was acclaimed by critics and became a best-seller. This was followed in 1957 by a biography of Tito,  Disputed Barricade, A Person from England (1958), describing the adventures of English travelers in Central Asia, and in 1958,  Back to Bokhara (1959), and a number of books, articles and book reviews on Yugoslavia, the Soviet Union, and other subjects."," A third focal point of his writing was Scotland, and he published  A Concise History of Scotland , (1970),  The Isles of the Sea , a collection of West Highland folk tales (1985),  Bonnie Prince Charlie , (1988) and  Highlanders (1995). Along with establishing a reputation as the author of entertaining and informative works that blended his travel experiences and historical research, he turned his attention to radio and television, working on a number of documentary programs including  The Road to Samarkand and  The Life and Times of Marshal Tito and two major series.  Portrait of the Soviet Union and  Highlanders ."," Maclean was made a baronet in 1957 and a Knight of the Thistle in 1993, and was the recipient of many honors and decorations including the Commander of the British Empire, the Croix de Guerre, the Order of Kutusov, and the Partisan Star, and several honorary degrees."," In 1946 Maclean married a widow with two children, Veronica (Fraser) Phipps, daughter of the 16th Lord Lovat. They had two sons, James and Charles. In 1957 the Macleans purchased Strachur, an estate in Argyllshire in the Scottish Highlands, and later operated a hotel on the estate, the Creggans Inn, which became known for its good food, drink, and hospitality. Maclean continued to be extremely active into his eighties and kept up a busy schedule of writing, lecturing and traveling. He died of a heart attack while swimming at a friend's house in June 1996. In Maclean's later years, there was speculation that he had been the inspiration for Ian Fleming's James Bond."],"prefercite_html_tesm":["\u003cp\u003eMSS 11487 Sir Fitzroy Maclean papers, Albert and Shirley Small Special Collections Library, University of Virginia.\u003c/p\u003e"],"prefercite_tesim":["MSS 11487 Sir Fitzroy Maclean papers, Albert and Shirley Small Special Collections Library, University of Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis Fitzroy Maclean papers consist (1827-1996; 44 cubic feet) of the professional and personal papers of Scottish soldier, diplomat, politician, author, and traveler, Sir Fitzroy Hew Maclean (1911-1996) of Dunconnel. It includes correspondence, memoranda, manuscripts, typescripts, newspaper and magazine articles, book reviews, lectures, speeches, photographs, memorabilia, and research material pertaining to his military, diplomatic, political and literary career as well as family and personal affairs.\u003c/p\u003e\n","\u003cp\u003eMaclean is best known for his role during World War II as head of the British military mission to Yugoslavia in which he served as Winston Churchill's personal representative to leader of the Communist Partisans, Josip Broz Tito, his diplomatic service in the Soviet Union in the late 1930's, and as the author of the classic memoir Eastern Approaches (1949) and many other books and articles. After the war, he pursued a political career as a Conservative member of Parliament, and, based on his close relationship with Tito, played a key role in Anglo-Yugoslav affairs. He was also noted for his expertise on the Soviet Union.\u003c/p\u003e\n","\u003cp\u003e A third focal point of his life and career was Scotland: he was a proud member of Clan Maclean and wrote several works on Scottish history, biography, and folklore. The collection contains some material in Serbo-Croatian, German, Italian and French.\u003c/p\u003e\n","\u003cp\u003e The papers are arranged in four main series with various sub-series. Items of particular interest in the First Series, Career and Personal Papers, are described in the following paragraphs devoted to each subseries. In the Diplomatic Subseries are dispatches and memoranda of his trips through Central Asia (including Afghanistan and the ancient cities Bokhara and Samarkand) and the Caucasus, on the situation in Sinkiang (Chinese Turkestan) and on the political stability of the Soviet Union, 1937-1939.\u003c/p\u003e\n","\u003cp\u003e The subseries British Military Mission to Yugoslavia contains Winston Churchill's Minute concerning his Mission to Tito, Autograph Diary (2 pages) re his arrival in Yugoslavia, \"Ratweek\" Map (oversize), twelve files (labeled Top Secret) including memoranda, correspondence, telegrams, etc concerning military and political affairs such as Allied operations and aid to Tito's Partisans, formation of the Yugoslav government, relief, the visit of Field Marshal Alexander, Supreme Allied Commander to Belgrade, Macedonia, Prospect of South Slav federation, and correspondence with Evelyn Waugh.\u003c/p\u003e\n","\u003cp\u003e The Special Refugee Commission subseries contains correspondence, telegrams, reports, including one submitted to Foreign Secretary Ernest Bevin, articles, and a draft of a speech on the refugee problems to a parliamentary committee.\u003c/p\u003e\n","\u003cp\u003e Political correspondence includes papers concerning the Lancaster by-election of 1941, the general election of 1945, and correspondence with Winston Churchill, Harold Macmillan, Anthony Eden, Alec Douglas- Home, Peter Carrington, Harold Wilson, Margaret Thatcher, John Major, Robert Kennedy, John Lindsay, Henry Jackson, and Averell Harriman ; a memorandum to Field Marshal Alexander of Tunis concerning irregular warfare; and correspondence and memoranda related to a parliamentary delegation to Romania in 1973.\u003c/p\u003e\n","\u003cp\u003e Material in the VIP Subseries includes: letters and notes from members of the Royal Family including Prince Charles, Princess Margaret, Elizabeth the Queen Mother; Clementine Churchill and Mary Churchill Soames; and a thank you note from Lauren Bacall.\u003c/p\u003e\n","\u003cp\u003e The Yugoslavia and Tito Subseries contains significant material including memoranda of meetings with Tito in 1949,1950, 1953, 1968, 1973; informative accounts by Maclean and other British officers about the Military Mission in World War II for an official book published by Muzej AVNOJ (1970-1971); correspondence about Maclean's involvement in proposals for the publication of Tito's memoirs (1966-1977) and about the nomination of Tito for the Nobel Peace Prize (1972-1973); correspondence and papers by Maclean and others from a conference on British Policy and Resistance in the Balkans (1973); Briefing papers, correspondence and memoranda of Margaret Thatcher's visit to Yugoslavia in 1977, and correspondence and memorabilia pertaining to the Prince of Wales' visit in 1978; correspondence about Maclean's visit in 1989 and transcript of an interview with Prime Minister Ante Markovic.\u003c/p\u003e\n","\u003cp\u003e For the 1990's, the time of war and the dissolution of Yugoslavia , there is correspondence with David Owen, Stevan Dedijer and others, and about the Korcula Emergency Appeal, a relief effort for a hospital on the island of Korcula, Croatia, organized by the Macleans; letters from Yugoslav friends describing the turmoil , and/or seeking assistance in finding jobs in the United Kingdom; correspondence about renewed controversy about the British Military Mission in World War II. and the Aldington-Tolstoy Libel Case concerning the repatriation of Yugoslavs in 1945. It should also be noted that in Series II, Subseries B, Literary Material pertaining to Yugoslavia, there is some correspondence filed with the manuscripts, typescripts, articles and radio and television transcripts.\u003c/p\u003e\n","\u003cp\u003e The Subseries Family and Personal Papers has letters from friends and teachers, some in German, French, and Italian. In a significant group of letters to his parents (1939-1945) from London, Cairo, Belgrade, and elsewhere, Maclean discussed the international situation, his desire to leave the Foreign Office in order to join the army, life in London during the Blitz, the beginning of his political career, and his military service (some letters were extensively cut by the censors). There are also a number of letters to his parents from the years 1946-1955 from Maclean and his wife Veronica discussing family matters and living conditions in Italy and Austria while Maclean was directing the Special Refugee Commission, and about their travels in Yugoslavia, Greece and Turkey in the early 1950's.\u003c/p\u003e\n","\u003cp\u003e Also present is correspondence with Frank McLynn, his biographer, 1990-1994, and two scrapbooks. The blue scrapbook (1939-1951) includes one letter of Maclean to his aunt, newspaper clippings relating to his military service in Yugoslavia, his marriage, some articles by him, a few photographs. The red scrapbook, 1943-1946 also has newspaper clippings about his military service and political career and articles by him.\u003c/p\u003e\n","\u003cp\u003e The Second Series consists of literary papers. This series contains drafts, typescripts, setting copies of his books with related correspondence with publishers and others about the publication process, contracts, royalty statements, book reviews, fan mail, articles, book reviews, speeches, lectures, transcripts of radio and television programs, film proposals or treatments. Several of his books were published under different titles in the United States. It is organized into five subseries based on subject matter. These include: \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eEastern Approaches\u003c/title\u003e(American title- \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eEscape to Adventure\u003c/title\u003e); Yugoslavia (the country as originally constituted and also the new states that emerged in the 1990's); Russia and the former Soviet Union and the new nations post 1990); Scotland; and Miscellaneous Literary.\u003c/p\u003e\n","\u003cp\u003e The subseries about \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eEastern Approaches\u003c/title\u003econtains a typed manuscript (Setting copy) with corrections, including an unpublished introduction; some material omitted from the published version including his admiration for a Soviet army unit, comments on the Cetniks, and conversations with King George VI and Winston Churchill and King Peter of Yugoslavia; letters from Michael Adeane, Secretary to King George VI and Winston Churchill requesting that certain passages be omitted; a letter from Peter Fleming to Jonathan Cape offering his opinion of the book, a letter from Ian Fleming to Jonathan Cape and a note to Maclean.\u003c/p\u003e\n","\u003cp\u003e Other material includes correspondence with Jonathan Cape and other publishers about a new edition, correspondence with Douglas Fairbanks, Eric Ambler and others concerning a possible film version, and with Ian Curteis about a proposed television adaptation.\u003c/p\u003e\n","\u003cp\u003e The Yugoslavia Subseries includes books: \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eDisputed Barricade\u003c/title\u003e(1957), published in America as \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Heretic\u003c/title\u003e, which includes an interview with Tito; \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eYugoslavia\u003c/title\u003e(1969), in which Maclean wrote the text for this book of photographs; \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eBattle of Neretva\u003c/title\u003e(1970); and \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eTito: A Pictorial Biography\u003c/title\u003e(1980). Also present are articles from newspapers and magazines, 1947-1995, on Yugoslav politics and society, including interviews with Tito. Particularly interesting are two unpublished articles \"Whither Yugoslavia?\" written in 1989 based on interviews with Yugoslav politicians, including Slobodan Milosevic. There are also a number of book reviews of works by Julian Amery, William Deakin, Noel Malcolm and Misha Glenny and others.\u003c/p\u003e\n","\u003cp\u003e In addition, the subseries on Yugoslavia contains lectures, 1949-1995; transcripts of radio and television programs, with related correspondence; and some interviews with Tito, notably The \"Life and Times of Marshal Tito\" (December 1963); and one for a CBS news program (1969).\u003c/p\u003e\n","\u003cp\u003e The Russian Material Subseries contains drafts, correspondence, and research material for his books \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eA Person from England\u003c/title\u003e(1958), including several autograph letters,1827-1861, of Dr. Joseph Wolff, one of the English travelers chronicled in the book; \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eBack to Bokhara\u003c/title\u003e(1959); \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eHoly Russia\u003c/title\u003e(1978); drafts titled \"All the Russias\" and \"The Other Russias,\" which were the basis for \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eTo the Back of Beyond\u003c/title\u003e(1974), \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eTo Caucasus: End of All the Earth\u003c/title\u003e(1976); and \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eHoly Russia\u003c/title\u003e(1978) which completed the trilogy; \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003ePortrait of the Soviet Union\u003c/title\u003e(1988), including material for both the book and the related TBS television series since Maclean was working on these simultaneously; and \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eAll the Russias\u003c/title\u003e(1992). Correspondents include Pamela Harriman, Marietta Tree and Fitzgerald Bemiss.\u003c/p\u003e\n","\u003cp\u003e In addition to his books about Russia and the Soviet Union, his papers also contain articles, 1949-1995 on political, social, economic, cultural aspects of the former Soviet Union, a number on Georgia and the Caucasus, and Mikhail Gorbachev; book reviews, 1949-1994; and radio and television material, such as correspondence and transcripts for programs, including \"The End of All the Earth\" and \"Carnival in the Caucasus\"; interviews with Anna Mikhailovna Larina (Bukharin's widow) and others for the BBC \"Timewatch\" program \"Bukharin.\"\u003c/p\u003e\n","\u003cp\u003e The subseries concerning his Scotland material includes books, \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eA Concise History of Scotland\u003c/title\u003e(1970); \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eIsles of the Sea\u003c/title\u003e(1985); \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eBonnie Prince Charlie\u003c/title\u003e(1988); and \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eHighlanders\u003c/title\u003e(originally titled \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eClans\u003c/title\u003e) (1995). Material for the book and television series are combined since Maclean was working on them simultaneously. Among the articles on Scotland is a notable series \"Scottish Approaches\" which appeared in \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Scotsman\u003c/title\u003ein 1959.\u003c/p\u003e\n","\u003cp\u003e The last subseries in Maclean's Literary Papers consists of miscellaneous literary material, including material for the book \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eTake Nine Spies\u003c/title\u003e. There is also correspondence with publishers in which he discusses more than one book, and with his literary agents.\u003c/p\u003e\n","\u003cp\u003e Articles are arranged chronologically, and topics range from post World War II Japan, Korea, Italy, the Middle East, and defense policy to China and Mongolia in the 1960's, an extended trip to China in 1988, and his travels in Nepal, Tibet, and Oman in the 1990's. There are also articles about his military, diplomatic, political and literary career, his travels, and personal life, and note that others are contained in two scrapbooks. The radio and television material includes his commentaries on the international scene from 1946 on.\u003c/p\u003e\n","\u003cp\u003e Photographic Material comprises the third series, which contains twenty-four boxes of photographs (some in albums), contact sheets, negatives, and slides, taken by Maclean, primarily of his travels in the former Soviet Union, Europe and Asia, from 1938 through the 1990's. Especially noteworthy are those taken in Moscow, Leningrad, and Central Asia, including Afghanistan, the cities Bokhara and Samarkand, and Persia, Paris and Florence in the late 1930's, Yugoslavia during World War II, postwar Korean and China, and of Yugoslavia, Greece, Turkey and Iran in the early 1950's. Maclean visited the former Soviet Union frequently from the late 1950's through 1987 and took numerous photographs of his favorite regions, Central Asia and the Caucasus, particularly Georgia.\u003c/p\u003e\n","\u003cp\u003e As for Yugoslavia, there is an album dated 1953 labeled Namanevru Jugoslovenska Narodne, Armije (Yugoslav People's Army) with photographs of Tito, Maclean, and soldiers; and photographs from the early 1960's through 1980 including a number of photographs of Tito. Individuals subjects include Winston Churchill and Margaret Thatcher. There are also many family photographs taken at Maclean's homes Beechfield and Strachur, and of friends. The photographs used in \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eEastern Approaches\u003c/title\u003e, \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eDisputed Barricade\u003c/title\u003e, \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eA Person from England\u003c/title\u003e, and \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eBonnie Prince Charlie\u003c/title\u003eare also in this section.\n \n The fourth series consists of two small additions to the papers and include some correpondence files, such as congratulatory letters about his appointment as Under Secretary for War in 1954 and his Baronetcy in 1957, his letters published in the press, and the Great Britain-USSR Association; files on his participation in various conferences concerning Yugoslavia and War War II; election campaign materials of Maclean; Notebooks, including \"Russian Notebook\" (May 15-June 17, 1958); \"Mission\" describing his recall from the Middle East in 1943 to go to Yugoslavia as Winston Churchill's personal representative to support the resistance forces that were most effective against the Germans, moving British support from the Chetniks to the Communist-led partisans and Tito, (circa 1943-1944); and a trip to the country of Georgia (no year, May-June); news articles; speeches by Maclean, including printed speeches published in \"Parliamentary Debates\"; passports; pocket and desk diaries; first drafts of \"Eastern Approaches\"; a file on guerilla warfare; a copy of a 1938 Report on Central Asia by Maclean; and Veronica Maclean's description about her first meeting with Josip Broz Tito in 1947.\u003c/p\u003e","\u003cp\u003ere Appointments to London, Paris, and Moscow and his resignation from the Foreign Office\u003c/p\u003e","\u003cp\u003ere Maclean's Mission to Tito and an Extract from \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Second World War\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eincluding \"The Partisan Movement in Yugoslavia\" and \"Note on the Present Military and Political Situation in Serbia\"\u003c/p\u003e","\u003cp\u003eDrafts of Statement on the Extent of British Aid to the Partisans\u003c/p\u003e","\u003cp\u003ere Appointments and Impact on Service to Constituency\u003c/p\u003e","\u003cp\u003ere Irregular Warfare and Correspondence with Field Marshall Earl Alexander of Tunis and Others\u003c/p\u003e","\u003cp\u003ere Vietnam War\u003c/p\u003e","\u003cp\u003ere the Soviet Invasion of Czechoslovakia\u003c/p\u003e","\u003cp\u003ere Interview with Vice-President Bodnaras of Romania; Meeting with Tito; and Draft Article on Sino-Soviet Border\u003c/p\u003e","\u003cp\u003ere Winston Churchill\u003c/p\u003e","\u003cp\u003ere E.C. Grants for Argyll and Bute\u003c/p\u003e","\u003cp\u003ere Consideration of Fitzroy Maclean as Governor of Cyprus\u003c/p\u003e","\u003cp\u003ere a Resignation to Veronica Maclean\u003c/p\u003e","\u003cp\u003ere his serving as godfather to her daughter, Charlotte\u003c/p\u003e","\u003cp\u003ere British Press Coverage of Yugoslavia\u003c/p\u003e","\u003cp\u003ere Simic Cureija\u003c/p\u003e","\u003cp\u003ere Visit with Tito, with note from Jack Coville, Secretary to Winston Churchill\u003c/p\u003e","\u003cp\u003ere Tito\u003c/p\u003e","\u003cp\u003ere Korcula\u003c/p\u003e","\u003cp\u003ere the Soviet Invasion of Czechoslovakia\u003c/p\u003e","\u003cp\u003ere Visit to Yugoslavia for 25th Anniversary of National Liberation, includes photographs of Maclean and Willian Deakin\u003c/p\u003e","\u003cp\u003eDecoration Awarded to Fitzroy Maclean\u003c/p\u003e","\u003cp\u003eProposed British Decorations of Yugoslavs\u003c/p\u003e","\u003cp\u003ere Yugoslav Students in Britain\u003c/p\u003e","\u003cp\u003ere Allied Mission to Yugoslavia in World War II for Muzej AVNOJ\u003c/p\u003e","\u003cp\u003ere Korcula, Yugoslavia, Town Twinning with Argyll and Bute, Scotland\u003c/p\u003e","\u003cp\u003ere Maclean's Efforts in Support of Tito for the Nobel Peace Prize\u003c/p\u003e","\u003cp\u003ere British Policy towards the Balkan Resistance Movements\u003c/p\u003e","\u003cp\u003ere Meeting with Tito\u003c/p\u003e","\u003cp\u003ere Research and Annual Summaries (Copies) of Events in Yugoslavia, 1957-1972\u003c/p\u003e","\u003cp\u003ere Margaret Thatcher's Trip, with Official Program\u003c/p\u003e","\u003cp\u003ere the Prince of Wales' Visit to Yugoslavia\u003c/p\u003e","\u003cp\u003ere Fitzroy Maclean's article for the British-Yugoslav Society on the Prince of Wales' visit\u003c/p\u003e","\u003cp\u003ere Arrangements for the British Delegation to Tito's Funeral\u003c/p\u003e","\u003cp\u003ere Official Visit of Fitzroy Maclean\u003c/p\u003e","\u003cp\u003ere Program of Economic Reform\u003c/p\u003e","\u003cp\u003ere his biography of Tito\u003c/p\u003e","\u003cp\u003ere Controversy over British Military Mission in World War II\u003c/p\u003e","\u003cp\u003ere BBC \"Timewatch: Tito\" Program\u003c/p\u003e","\u003cp\u003ere a Yugoslav Detainee in 1945\u003c/p\u003e","\u003cp\u003ere Korcula, Croatia Emergency Appeal\u003c/p\u003e","\u003cp\u003ere Benefit Concert for Dubrovnik\u003c/p\u003e","\u003cp\u003ere Owen's Mission\u003c/p\u003e","\u003cp\u003ere Aldington-Tolstoy Libel Case (Repatriations in 1945)\u003c/p\u003e","\u003cp\u003ere Tito Memoirs and other projects\u003c/p\u003e","\u003cp\u003ere Purchase of \"Beechfield\"\u003c/p\u003e","\u003cp\u003ere Ticonderoga story\u003c/p\u003e","\u003cp\u003ere Purchase of \"Creggans Inn\"\u003c/p\u003e","\u003cp\u003ere \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eFitzroy Maclean\u003c/title\u003e\u003c/p\u003e","\u003cp\u003ere Evelyn Waugh biography\u003c/p\u003e","\u003cp\u003ere Fitzroy Maclean\u003c/p\u003e","\u003cp\u003ere Fitzroy Maclean and Articles by him\u003c/p\u003e","\u003cp\u003ere Awarding of Baronetcy and Arms\u003c/p\u003e","\u003cp\u003ere Honorary Degree from the University of Glasgow\u003c/p\u003e","\u003cp\u003ere Honorary Degree from Acadia University\u003c/p\u003e","\u003cp\u003ere Honorary Degree from Dalhousie University, Halifax, Nova Scotia, to Fitzroy Maclean and Tito\u003c/p\u003e","\u003cp\u003ere Honorary Degree from Dalhousie University, Halifax, Nova Scotia, to Fitzroy Maclean and Tito, signed by Josip Broz Tito and Madame Jovanka Broz\u003c/p\u003e","\u003cp\u003ere Honorary Degree from Dundee University\u003c/p\u003e","\u003cp\u003ere Special Air Service\u003c/p\u003e","\u003cp\u003ere the 23rd Special Air Service Regiment\u003c/p\u003e","\u003cp\u003ere Installation of Fitzroy Maclean in the Order of theThistle\u003c/p\u003e","\u003cp\u003ere Installation of Fitzroy Maclean in the Order of the Thistle\u003c/p\u003e","\u003cp\u003ere Appointment of Fitzroy Maclean in the Order of the Thistle--Congratulations\u003c/p\u003e","\u003cp\u003ere Appointment of Fitzroy Maclean in the Order of the Thistle\u003c/p\u003e","\u003cp\u003eOrder of the Thistle Ceremony\u003c/p\u003e","\u003cp\u003ere Freedom of Argyll and Bute\u003c/p\u003e","\u003cp\u003ere omitting part of an interview with the King about Yugoslavia from his book\u003c/p\u003e","\u003cp\u003ewith comments about what Maclean had written about himself in the book\u003c/p\u003e","\u003cp\u003ethanking him for the copy of his book sent to the King\u003c/p\u003e","\u003cp\u003ere Publicity\u003c/p\u003e","\u003cp\u003eTranslations\u003c/p\u003e","\u003cp\u003ere American Edition\u003c/p\u003e","\u003cp\u003ere German Edition\u003c/p\u003e","\u003cp\u003ere Paperback Edition\u003c/p\u003e","\u003cp\u003ere Proposed Film, with a copy of the script for the film, April 1956\u003c/p\u003e","\u003cp\u003ere Proposed TV Series\u003c/p\u003e","\u003cp\u003ere Proposed TV Series\u003c/p\u003e","\u003cp\u003ere Yugoslav Edition\u003c/p\u003e","\u003cp\u003ere Yugoslav Edition\u003c/p\u003e","\u003cp\u003eLetter of thanks on behalf of Tito\u003c/p\u003e","\u003cp\u003ere American Edition, \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Heretic\u003c/title\u003e\u003c/p\u003e","\u003cp\u003ere Translations\u003c/p\u003e","\u003cp\u003ere German Forces in Yugoslavia\u003c/p\u003e","\u003cp\u003eincluding \"The Fourth Enemy Offensive\" and some in Serbo-Croatian\u003c/p\u003e","\u003cp\u003ere Book Promotion Tour in Yugoslavia\u003c/p\u003e","\u003cp\u003ere Book Promotion Tour in Yugoslavia\u003c/p\u003e","\u003cp\u003eincluding some correspondence and notes\u003c/p\u003e","\u003cp\u003ere Korcula by Charles Maclean\u003c/p\u003e","\u003cp\u003eUnpublished\u003c/p\u003e","\u003cp\u003ere of BBC Radio Broadcast on Mission to Tito\u003c/p\u003e","\u003cp\u003ere Tito obituary for BBC Radio\u003c/p\u003e","\u003cp\u003ere BBC Radio \"I Was There\"\u003c/p\u003e","\u003cp\u003ere Film \"General from Strachur\"\u003c/p\u003e","\u003cp\u003ere BBC Television Tito Obituary\u003c/p\u003e","\u003cp\u003ere Tito Interview for CBS News\u003c/p\u003e","\u003cp\u003ere Proposed BBC Programs\u003c/p\u003e","\u003cp\u003ere Proposed Film on Tito\u003c/p\u003e","\u003cp\u003ere BBC Program on the S.O.E. (Special Operations Executive)\u003c/p\u003e","\u003cp\u003ere BBC Program on Evelyn Waugh\u003c/p\u003e","\u003cp\u003ere Miscellaneous Television and Film Projects\u003c/p\u003e","\u003cp\u003ere BBC Program \"Ratlines\"\u003c/p\u003e","\u003cp\u003ere VPRO Program\u003c/p\u003e","\u003cp\u003ere New Edition\u003c/p\u003e","\u003cp\u003ere Proposed Film\u003c/p\u003e","\u003cp\u003ere Research\u003c/p\u003e","\u003cp\u003ere Translations\u003c/p\u003e","\u003cp\u003eOriginal Letters of Joseph Wolff and Correspondence with Ancient Light Bookshop\u003c/p\u003e","\u003cp\u003eTranscripts and Copies of Letters of Charles Stoddart and others from the Public Records Office\u003c/p\u003e","\u003cp\u003ere American Edition and Other Projects\u003c/p\u003e","\u003cp\u003ere Copyright Renewal\u003c/p\u003e","\u003cp\u003ere German edition\u003c/p\u003e","\u003cp\u003ere the Sino Russian Border in \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLife\u003c/title\u003e\u003c/p\u003e","\u003cp\u003ere the Caucasus Region\u003c/p\u003e","\u003cp\u003eCorrespondence re\u003c/p\u003e","\u003cp\u003ere the Bukharin Trial in Moscow \u0026amp; Interview with his widow\u003c/p\u003e","\u003cp\u003ere Mikhail Gorbachev\u003c/p\u003e","\u003cp\u003ere Georgia in \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Sunday Times\u003c/title\u003e\u003c/p\u003e","\u003cp\u003ere Azerbaijan\u003c/p\u003e","\u003cp\u003ere Georgia, including notes and drafts\u003c/p\u003e","\u003cp\u003ere Georgia in \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Scotsman Magazine\u003c/title\u003e\u003c/p\u003e","\u003cp\u003ere Azerbaijan\u003c/p\u003e","\u003cp\u003ere Caucasus\u003c/p\u003e","\u003cp\u003ere Mikhail Gorbachov\u003c/p\u003e","\u003cp\u003ere Mikhail Gorbachev in honor of Hugh Seton-Watson\u003c/p\u003e","\u003cp\u003egiven at Foyle's Lunch\u003c/p\u003e","\u003cp\u003ere Georgia\u003c/p\u003e","\u003cp\u003ere Georgia\u003c/p\u003e","\u003cp\u003ere a New Edition\u003c/p\u003e","\u003cp\u003ere an American Edition\u003c/p\u003e","\u003cp\u003ere a German Edition\u003c/p\u003e","\u003cp\u003eAugust 1, 1996 from Edwin Moore to Veronica Maclean\u003c/p\u003e","\u003cp\u003ere German Edition\u003c/p\u003e","\u003cp\u003ere reprint as \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eWest Highland Tales\u003c/title\u003e\u003c/p\u003e","\u003cp\u003ere Publicity \u0026amp; Book Reviews\u003c/p\u003e","\u003cp\u003ere Publicity\u003c/p\u003e","\u003cp\u003ere \"Scotland in Parliament\"\u003c/p\u003e","\u003cp\u003ere Japan\u003c/p\u003e","\u003cp\u003ere Asia\u003c/p\u003e","\u003cp\u003ere Korea\u003c/p\u003e","\u003cp\u003ere Italy\u003c/p\u003e","\u003cp\u003ere the Middle East\u003c/p\u003e","\u003cp\u003ere Persia\u003c/p\u003e","\u003cp\u003ere Defense of Great Britain\u003c/p\u003e","\u003cp\u003ere Greece\u003c/p\u003e","\u003cp\u003ere Libya during World War II\u003c/p\u003e","\u003cp\u003ere Turkey\u003c/p\u003e","\u003cp\u003ere China \"Inside Red China\"\u003c/p\u003e","\u003cp\u003ere China Trip\u003c/p\u003e","\u003cp\u003ere China \"Peking Revisited,\" \"Don't Let China Stew in Her Own Juice,\" and \"Eyewitnesses in China\"\u003c/p\u003e","\u003cp\u003ere Mongolia\u003c/p\u003e","\u003cp\u003ere Sir Winston Churchill\u003c/p\u003e","\u003cp\u003eMongolia\u003c/p\u003e","\u003cp\u003ere the Black Sea, including one by Veronica Maclean\u003c/p\u003e","\u003cp\u003ere Defense of Europe: \"Nuclear Deterrence and Conventional Forces,\" with Correspondence\u003c/p\u003e","\u003cp\u003ere China--Trip to Kashgar in Chinese Turkestan, including Correspondence\u003c/p\u003e","\u003cp\u003ere Nepal and Bhutan\u003c/p\u003e","\u003cp\u003ere Germany\u003c/p\u003e","\u003cp\u003ere David Stirling for \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eDictionary of National Biography\u003c/title\u003eand Correspondence\u003c/p\u003e","\u003cp\u003ere Canary Islands\u003c/p\u003e","\u003cp\u003ere Oman\u003c/p\u003e","\u003cp\u003ere Tibet--Correspondence, Travel Arrangements, and Memorabilia\u003c/p\u003e","\u003cp\u003ere Tibet\u003c/p\u003e","\u003cp\u003ere the Channel Tunnel\u003c/p\u003e","\u003cp\u003ere Fitzroy Maclean, some in German, French, Serbo-Croatian, Swedish, and Dutch\u003c/p\u003e","\u003cp\u003ere Tibet\u003c/p\u003e","\u003cp\u003ere Publication of Evelyn Waugh's Diaries, which include references to Fitzroy Maclean\u003c/p\u003e","\u003cp\u003ere Invitation to Frankfurt\u003c/p\u003e","\u003cp\u003ere German Translations of \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eIsles of the Sea\u003c/title\u003eand \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eEastern Approaches\u003c/title\u003e\u003c/p\u003e","\u003cp\u003ere Proposed Book of Interviews including Fitzroy Maclean\u003c/p\u003e","\u003cp\u003esome accompanied by correspondence, including: Violet Asquith, Nancy Astor, Charles Bohlen, John Bute, Nicolae Causescu, Earl Cawdor, Thomas Churchill, John Clarke, the Queen Mother, Lord Lovat, Charles Maclean, Andrew Maxwell, Paddy Mayne and Bill Elliot, Iain Moncrieffe, Peter Moore, David Scott, David Stirling, and Lord Ward\u003c/p\u003e","\u003cp\u003ePeople\u003c/p\u003e","\u003cp\u003eEnvirons \u0026amp; Monasteries\u003c/p\u003e","\u003cp\u003eGUM Store, Race Track, \u0026amp; Fashions\u003c/p\u003e","\u003cp\u003eThe Kremlin \u0026amp; Red Square\u003c/p\u003e","\u003cp\u003eThe file includes a draft of a 1968 letter to Aleksey Aleksandrovich Surkov, President of the USSR - Great Britain Society, also includes letters to and from the Baroness Asquith of Yarnbury (\"Violet\").\u003c/p\u003e","\u003cp\u003eNotebooks include \"Russian Notebook\" (May 15-June 17, 1958); \"Mission\" describing his recall from the Middle East in 1943 to go to Yugoslavia as Winston Churchill's personal representative to support the resistance forces that were most effective against the Germans, moving British support from the Chetniks to the Communist-led partisans and Tito, (circa 1943-1944); and a trip to the country of Georgia (no year, May-June), circa 1943-1958\u003c/p\u003e","\u003cp\u003eIncludes Maclean's undated notes on Soviet history up to \"Glasnost,\" notes on the \"Council of Europe,\" (1973); series of letters between Sir Charles Peake, British Embassy, and Sir Fitzroy Maclean, 1946-1953.\u003c/p\u003e","\u003cp\u003eThese include a speech before the Boarding House and Catering Association, one mentioning nuclear deterrence, and international events.\u003c/p\u003e","\u003cp\u003eThis addition contains two letters written by Fitzroy Maclean and John Baldock to Helen F. Moore of Leicester, England. A typewritten letter from Maclean to Baldock addresses Moore's concern regarding rioting by South Koreans in the vicinity of the Troops Rest Center at Inchon and her request to move the Center. He reviews her concern, noting that the demonstrations were against the Neutral Nations Armistice Commission and took place six and a half miles from the Center. He notes that the Center was not affected by the rioting and that, after careful consideration, the Center would remain open and not move to another area. The second item is a cover letter from John Baldock forwarding Maclean's response to Ms. Moore.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents Note","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This Fitzroy Maclean papers consist (1827-1996; 44 cubic feet) of the professional and personal papers of Scottish soldier, diplomat, politician, author, and traveler, Sir Fitzroy Hew Maclean (1911-1996) of Dunconnel. It includes correspondence, memoranda, manuscripts, typescripts, newspaper and magazine articles, book reviews, lectures, speeches, photographs, memorabilia, and research material pertaining to his military, diplomatic, political and literary career as well as family and personal affairs.","Maclean is best known for his role during World War II as head of the British military mission to Yugoslavia in which he served as Winston Churchill's personal representative to leader of the Communist Partisans, Josip Broz Tito, his diplomatic service in the Soviet Union in the late 1930's, and as the author of the classic memoir Eastern Approaches (1949) and many other books and articles. After the war, he pursued a political career as a Conservative member of Parliament, and, based on his close relationship with Tito, played a key role in Anglo-Yugoslav affairs. He was also noted for his expertise on the Soviet Union."," A third focal point of his life and career was Scotland: he was a proud member of Clan Maclean and wrote several works on Scottish history, biography, and folklore. The collection contains some material in Serbo-Croatian, German, Italian and French."," The papers are arranged in four main series with various sub-series. Items of particular interest in the First Series, Career and Personal Papers, are described in the following paragraphs devoted to each subseries. In the Diplomatic Subseries are dispatches and memoranda of his trips through Central Asia (including Afghanistan and the ancient cities Bokhara and Samarkand) and the Caucasus, on the situation in Sinkiang (Chinese Turkestan) and on the political stability of the Soviet Union, 1937-1939."," The subseries British Military Mission to Yugoslavia contains Winston Churchill's Minute concerning his Mission to Tito, Autograph Diary (2 pages) re his arrival in Yugoslavia, \"Ratweek\" Map (oversize), twelve files (labeled Top Secret) including memoranda, correspondence, telegrams, etc concerning military and political affairs such as Allied operations and aid to Tito's Partisans, formation of the Yugoslav government, relief, the visit of Field Marshal Alexander, Supreme Allied Commander to Belgrade, Macedonia, Prospect of South Slav federation, and correspondence with Evelyn Waugh."," The Special Refugee Commission subseries contains correspondence, telegrams, reports, including one submitted to Foreign Secretary Ernest Bevin, articles, and a draft of a speech on the refugee problems to a parliamentary committee."," Political correspondence includes papers concerning the Lancaster by-election of 1941, the general election of 1945, and correspondence with Winston Churchill, Harold Macmillan, Anthony Eden, Alec Douglas- Home, Peter Carrington, Harold Wilson, Margaret Thatcher, John Major, Robert Kennedy, John Lindsay, Henry Jackson, and Averell Harriman ; a memorandum to Field Marshal Alexander of Tunis concerning irregular warfare; and correspondence and memoranda related to a parliamentary delegation to Romania in 1973."," Material in the VIP Subseries includes: letters and notes from members of the Royal Family including Prince Charles, Princess Margaret, Elizabeth the Queen Mother; Clementine Churchill and Mary Churchill Soames; and a thank you note from Lauren Bacall."," The Yugoslavia and Tito Subseries contains significant material including memoranda of meetings with Tito in 1949,1950, 1953, 1968, 1973; informative accounts by Maclean and other British officers about the Military Mission in World War II for an official book published by Muzej AVNOJ (1970-1971); correspondence about Maclean's involvement in proposals for the publication of Tito's memoirs (1966-1977) and about the nomination of Tito for the Nobel Peace Prize (1972-1973); correspondence and papers by Maclean and others from a conference on British Policy and Resistance in the Balkans (1973); Briefing papers, correspondence and memoranda of Margaret Thatcher's visit to Yugoslavia in 1977, and correspondence and memorabilia pertaining to the Prince of Wales' visit in 1978; correspondence about Maclean's visit in 1989 and transcript of an interview with Prime Minister Ante Markovic."," For the 1990's, the time of war and the dissolution of Yugoslavia , there is correspondence with David Owen, Stevan Dedijer and others, and about the Korcula Emergency Appeal, a relief effort for a hospital on the island of Korcula, Croatia, organized by the Macleans; letters from Yugoslav friends describing the turmoil , and/or seeking assistance in finding jobs in the United Kingdom; correspondence about renewed controversy about the British Military Mission in World War II. and the Aldington-Tolstoy Libel Case concerning the repatriation of Yugoslavs in 1945. It should also be noted that in Series II, Subseries B, Literary Material pertaining to Yugoslavia, there is some correspondence filed with the manuscripts, typescripts, articles and radio and television transcripts."," The Subseries Family and Personal Papers has letters from friends and teachers, some in German, French, and Italian. In a significant group of letters to his parents (1939-1945) from London, Cairo, Belgrade, and elsewhere, Maclean discussed the international situation, his desire to leave the Foreign Office in order to join the army, life in London during the Blitz, the beginning of his political career, and his military service (some letters were extensively cut by the censors). There are also a number of letters to his parents from the years 1946-1955 from Maclean and his wife Veronica discussing family matters and living conditions in Italy and Austria while Maclean was directing the Special Refugee Commission, and about their travels in Yugoslavia, Greece and Turkey in the early 1950's."," Also present is correspondence with Frank McLynn, his biographer, 1990-1994, and two scrapbooks. The blue scrapbook (1939-1951) includes one letter of Maclean to his aunt, newspaper clippings relating to his military service in Yugoslavia, his marriage, some articles by him, a few photographs. The red scrapbook, 1943-1946 also has newspaper clippings about his military service and political career and articles by him."," The Second Series consists of literary papers. This series contains drafts, typescripts, setting copies of his books with related correspondence with publishers and others about the publication process, contracts, royalty statements, book reviews, fan mail, articles, book reviews, speeches, lectures, transcripts of radio and television programs, film proposals or treatments. Several of his books were published under different titles in the United States. It is organized into five subseries based on subject matter. These include:  Eastern Approaches (American title-  Escape to Adventure ); Yugoslavia (the country as originally constituted and also the new states that emerged in the 1990's); Russia and the former Soviet Union and the new nations post 1990); Scotland; and Miscellaneous Literary."," The subseries about  Eastern Approaches contains a typed manuscript (Setting copy) with corrections, including an unpublished introduction; some material omitted from the published version including his admiration for a Soviet army unit, comments on the Cetniks, and conversations with King George VI and Winston Churchill and King Peter of Yugoslavia; letters from Michael Adeane, Secretary to King George VI and Winston Churchill requesting that certain passages be omitted; a letter from Peter Fleming to Jonathan Cape offering his opinion of the book, a letter from Ian Fleming to Jonathan Cape and a note to Maclean."," Other material includes correspondence with Jonathan Cape and other publishers about a new edition, correspondence with Douglas Fairbanks, Eric Ambler and others concerning a possible film version, and with Ian Curteis about a proposed television adaptation."," The Yugoslavia Subseries includes books:  Disputed Barricade (1957), published in America as  The Heretic , which includes an interview with Tito;  Yugoslavia (1969), in which Maclean wrote the text for this book of photographs;  Battle of Neretva (1970); and  Tito: A Pictorial Biography (1980). Also present are articles from newspapers and magazines, 1947-1995, on Yugoslav politics and society, including interviews with Tito. Particularly interesting are two unpublished articles \"Whither Yugoslavia?\" written in 1989 based on interviews with Yugoslav politicians, including Slobodan Milosevic. There are also a number of book reviews of works by Julian Amery, William Deakin, Noel Malcolm and Misha Glenny and others."," In addition, the subseries on Yugoslavia contains lectures, 1949-1995; transcripts of radio and television programs, with related correspondence; and some interviews with Tito, notably The \"Life and Times of Marshal Tito\" (December 1963); and one for a CBS news program (1969)."," The Russian Material Subseries contains drafts, correspondence, and research material for his books  A Person from England (1958), including several autograph letters,1827-1861, of Dr. Joseph Wolff, one of the English travelers chronicled in the book;  Back to Bokhara (1959);  Holy Russia (1978); drafts titled \"All the Russias\" and \"The Other Russias,\" which were the basis for  To the Back of Beyond (1974),  To Caucasus: End of All the Earth (1976); and  Holy Russia (1978) which completed the trilogy;  Portrait of the Soviet Union (1988), including material for both the book and the related TBS television series since Maclean was working on these simultaneously; and  All the Russias (1992). Correspondents include Pamela Harriman, Marietta Tree and Fitzgerald Bemiss."," In addition to his books about Russia and the Soviet Union, his papers also contain articles, 1949-1995 on political, social, economic, cultural aspects of the former Soviet Union, a number on Georgia and the Caucasus, and Mikhail Gorbachev; book reviews, 1949-1994; and radio and television material, such as correspondence and transcripts for programs, including \"The End of All the Earth\" and \"Carnival in the Caucasus\"; interviews with Anna Mikhailovna Larina (Bukharin's widow) and others for the BBC \"Timewatch\" program \"Bukharin.\""," The subseries concerning his Scotland material includes books,  A Concise History of Scotland (1970);  Isles of the Sea (1985);  Bonnie Prince Charlie (1988); and  Highlanders (originally titled  Clans ) (1995). Material for the book and television series are combined since Maclean was working on them simultaneously. Among the articles on Scotland is a notable series \"Scottish Approaches\" which appeared in  The Scotsman in 1959."," The last subseries in Maclean's Literary Papers consists of miscellaneous literary material, including material for the book  Take Nine Spies . There is also correspondence with publishers in which he discusses more than one book, and with his literary agents."," Articles are arranged chronologically, and topics range from post World War II Japan, Korea, Italy, the Middle East, and defense policy to China and Mongolia in the 1960's, an extended trip to China in 1988, and his travels in Nepal, Tibet, and Oman in the 1990's. There are also articles about his military, diplomatic, political and literary career, his travels, and personal life, and note that others are contained in two scrapbooks. The radio and television material includes his commentaries on the international scene from 1946 on."," Photographic Material comprises the third series, which contains twenty-four boxes of photographs (some in albums), contact sheets, negatives, and slides, taken by Maclean, primarily of his travels in the former Soviet Union, Europe and Asia, from 1938 through the 1990's. Especially noteworthy are those taken in Moscow, Leningrad, and Central Asia, including Afghanistan, the cities Bokhara and Samarkand, and Persia, Paris and Florence in the late 1930's, Yugoslavia during World War II, postwar Korean and China, and of Yugoslavia, Greece, Turkey and Iran in the early 1950's. Maclean visited the former Soviet Union frequently from the late 1950's through 1987 and took numerous photographs of his favorite regions, Central Asia and the Caucasus, particularly Georgia."," As for Yugoslavia, there is an album dated 1953 labeled Namanevru Jugoslovenska Narodne, Armije (Yugoslav People's Army) with photographs of Tito, Maclean, and soldiers; and photographs from the early 1960's through 1980 including a number of photographs of Tito. Individuals subjects include Winston Churchill and Margaret Thatcher. There are also many family photographs taken at Maclean's homes Beechfield and Strachur, and of friends. The photographs used in  Eastern Approaches ,  Disputed Barricade ,  A Person from England , and  Bonnie Prince Charlie are also in this section.\n \n The fourth series consists of two small additions to the papers and include some correpondence files, such as congratulatory letters about his appointment as Under Secretary for War in 1954 and his Baronetcy in 1957, his letters published in the press, and the Great Britain-USSR Association; files on his participation in various conferences concerning Yugoslavia and War War II; election campaign materials of Maclean; Notebooks, including \"Russian Notebook\" (May 15-June 17, 1958); \"Mission\" describing his recall from the Middle East in 1943 to go to Yugoslavia as Winston Churchill's personal representative to support the resistance forces that were most effective against the Germans, moving British support from the Chetniks to the Communist-led partisans and Tito, (circa 1943-1944); and a trip to the country of Georgia (no year, May-June); news articles; speeches by Maclean, including printed speeches published in \"Parliamentary Debates\"; passports; pocket and desk diaries; first drafts of \"Eastern Approaches\"; a file on guerilla warfare; a copy of a 1938 Report on Central Asia by Maclean; and Veronica Maclean's description about her first meeting with Josip Broz Tito in 1947.","re Appointments to London, Paris, and Moscow and his resignation from the Foreign Office","re Maclean's Mission to Tito and an Extract from  The Second World War","including \"The Partisan Movement in Yugoslavia\" and \"Note on the Present Military and Political Situation in Serbia\"","Drafts of Statement on the Extent of British Aid to the Partisans","re Appointments and Impact on Service to Constituency","re Irregular Warfare and Correspondence with Field Marshall Earl Alexander of Tunis and Others","re Vietnam War","re the Soviet Invasion of Czechoslovakia","re Interview with Vice-President Bodnaras of Romania; Meeting with Tito; and Draft Article on Sino-Soviet Border","re Winston Churchill","re E.C. Grants for Argyll and Bute","re Consideration of Fitzroy Maclean as Governor of Cyprus","re a Resignation to Veronica Maclean","re his serving as godfather to her daughter, Charlotte","re British Press Coverage of Yugoslavia","re Simic Cureija","re Visit with Tito, with note from Jack Coville, Secretary to Winston Churchill","re Tito","re Korcula","re the Soviet Invasion of Czechoslovakia","re Visit to Yugoslavia for 25th Anniversary of National Liberation, includes photographs of Maclean and Willian Deakin","Decoration Awarded to Fitzroy Maclean","Proposed British Decorations of Yugoslavs","re Yugoslav Students in Britain","re Allied Mission to Yugoslavia in World War II for Muzej AVNOJ","re Korcula, Yugoslavia, Town Twinning with Argyll and Bute, Scotland","re Maclean's Efforts in Support of Tito for the Nobel Peace Prize","re British Policy towards the Balkan Resistance Movements","re Meeting with Tito","re Research and Annual Summaries (Copies) of Events in Yugoslavia, 1957-1972","re Margaret Thatcher's Trip, with Official Program","re the Prince of Wales' Visit to Yugoslavia","re Fitzroy Maclean's article for the British-Yugoslav Society on the Prince of Wales' visit","re Arrangements for the British Delegation to Tito's Funeral","re Official Visit of Fitzroy Maclean","re Program of Economic Reform","re his biography of Tito","re Controversy over British Military Mission in World War II","re BBC \"Timewatch: Tito\" Program","re a Yugoslav Detainee in 1945","re Korcula, Croatia Emergency Appeal","re Benefit Concert for Dubrovnik","re Owen's Mission","re Aldington-Tolstoy Libel Case (Repatriations in 1945)","re Tito Memoirs and other projects","re Purchase of \"Beechfield\"","re Ticonderoga story","re Purchase of \"Creggans Inn\"","re  Fitzroy Maclean","re Evelyn Waugh biography","re Fitzroy Maclean","re Fitzroy Maclean and Articles by him","re Awarding of Baronetcy and Arms","re Honorary Degree from the University of Glasgow","re Honorary Degree from Acadia University","re Honorary Degree from Dalhousie University, Halifax, Nova Scotia, to Fitzroy Maclean and Tito","re Honorary Degree from Dalhousie University, Halifax, Nova Scotia, to Fitzroy Maclean and Tito, signed by Josip Broz Tito and Madame Jovanka Broz","re Honorary Degree from Dundee University","re Special Air Service","re the 23rd Special Air Service Regiment","re Installation of Fitzroy Maclean in the Order of theThistle","re Installation of Fitzroy Maclean in the Order of the Thistle","re Appointment of Fitzroy Maclean in the Order of the Thistle--Congratulations","re Appointment of Fitzroy Maclean in the Order of the Thistle","Order of the Thistle Ceremony","re Freedom of Argyll and Bute","re omitting part of an interview with the King about Yugoslavia from his book","with comments about what Maclean had written about himself in the book","thanking him for the copy of his book sent to the King","re Publicity","Translations","re American Edition","re German Edition","re Paperback Edition","re Proposed Film, with a copy of the script for the film, April 1956","re Proposed TV Series","re Proposed TV Series","re Yugoslav Edition","re Yugoslav Edition","Letter of thanks on behalf of Tito","re American Edition,  The Heretic","re Translations","re German Forces in Yugoslavia","including \"The Fourth Enemy Offensive\" and some in Serbo-Croatian","re Book Promotion Tour in Yugoslavia","re Book Promotion Tour in Yugoslavia","including some correspondence and notes","re Korcula by Charles Maclean","Unpublished","re of BBC Radio Broadcast on Mission to Tito","re Tito obituary for BBC Radio","re BBC Radio \"I Was There\"","re Film \"General from Strachur\"","re BBC Television Tito Obituary","re Tito Interview for CBS News","re Proposed BBC Programs","re Proposed Film on Tito","re BBC Program on the S.O.E. (Special Operations Executive)","re BBC Program on Evelyn Waugh","re Miscellaneous Television and Film Projects","re BBC Program \"Ratlines\"","re VPRO Program","re New Edition","re Proposed Film","re Research","re Translations","Original Letters of Joseph Wolff and Correspondence with Ancient Light Bookshop","Transcripts and Copies of Letters of Charles Stoddart and others from the Public Records Office","re American Edition and Other Projects","re Copyright Renewal","re German edition","re the Sino Russian Border in  Life","re the Caucasus Region","Correspondence re","re the Bukharin Trial in Moscow \u0026 Interview with his widow","re Mikhail Gorbachev","re Georgia in  The Sunday Times","re Azerbaijan","re Georgia, including notes and drafts","re Georgia in  The Scotsman Magazine","re Azerbaijan","re Caucasus","re Mikhail Gorbachov","re Mikhail Gorbachev in honor of Hugh Seton-Watson","given at Foyle's Lunch","re Georgia","re Georgia","re a New Edition","re an American Edition","re a German Edition","August 1, 1996 from Edwin Moore to Veronica Maclean","re German Edition","re reprint as  West Highland Tales","re Publicity \u0026 Book Reviews","re Publicity","re \"Scotland in Parliament\"","re Japan","re Asia","re Korea","re Italy","re the Middle East","re Persia","re Defense of Great Britain","re Greece","re Libya during World War II","re Turkey","re China \"Inside Red China\"","re China Trip","re China \"Peking Revisited,\" \"Don't Let China Stew in Her Own Juice,\" and \"Eyewitnesses in China\"","re Mongolia","re Sir Winston Churchill","Mongolia","re the Black Sea, including one by Veronica Maclean","re Defense of Europe: \"Nuclear Deterrence and Conventional Forces,\" with Correspondence","re China--Trip to Kashgar in Chinese Turkestan, including Correspondence","re Nepal and Bhutan","re Germany","re David Stirling for  Dictionary of National Biography and Correspondence","re Canary Islands","re Oman","re Tibet--Correspondence, Travel Arrangements, and Memorabilia","re Tibet","re the Channel Tunnel","re Fitzroy Maclean, some in German, French, Serbo-Croatian, Swedish, and Dutch","re Tibet","re Publication of Evelyn Waugh's Diaries, which include references to Fitzroy Maclean","re Invitation to Frankfurt","re German Translations of  Isles of the Sea and  Eastern Approaches","re Proposed Book of Interviews including Fitzroy Maclean","some accompanied by correspondence, including: Violet Asquith, Nancy Astor, Charles Bohlen, John Bute, Nicolae Causescu, Earl Cawdor, Thomas Churchill, John Clarke, the Queen Mother, Lord Lovat, Charles Maclean, Andrew Maxwell, Paddy Mayne and Bill Elliot, Iain Moncrieffe, Peter Moore, David Scott, David Stirling, and Lord Ward","People","Environs \u0026 Monasteries","GUM Store, Race Track, \u0026 Fashions","The Kremlin \u0026 Red Square","The file includes a draft of a 1968 letter to Aleksey Aleksandrovich Surkov, President of the USSR - Great Britain Society, also includes letters to and from the Baroness Asquith of Yarnbury (\"Violet\").","Notebooks include \"Russian Notebook\" (May 15-June 17, 1958); \"Mission\" describing his recall from the Middle East in 1943 to go to Yugoslavia as Winston Churchill's personal representative to support the resistance forces that were most effective against the Germans, moving British support from the Chetniks to the Communist-led partisans and Tito, (circa 1943-1944); and a trip to the country of Georgia (no year, May-June), circa 1943-1958","Includes Maclean's undated notes on Soviet history up to \"Glasnost,\" notes on the \"Council of Europe,\" (1973); series of letters between Sir Charles Peake, British Embassy, and Sir Fitzroy Maclean, 1946-1953.","These include a speech before the Boarding House and Catering Association, one mentioning nuclear deterrence, and international events.","This addition contains two letters written by Fitzroy Maclean and John Baldock to Helen F. Moore of Leicester, England. A typewritten letter from Maclean to Baldock addresses Moore's concern regarding rioting by South Koreans in the vicinity of the Troops Rest Center at Inchon and her request to move the Center. He reviews her concern, noting that the demonstrations were against the Neutral Nations Armistice Commission and took place six and a half miles from the Center. He notes that the Center was not affected by the rioting and that, after careful consideration, the Center would remain open and not move to another area. The second item is a cover letter from John Baldock forwarding Maclean's response to Ms. Moore."],"names_ssim":["Albert and Shirley Small Special Collections Library","Maclean, Fitzroy, 1911-1996"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"persname_ssim":["Maclean, Fitzroy, 1911-1996"],"language_ssim":["Materials are in English."],"descrules_ssm":["Anglo-American Cataloguing Rules"],"total_component_count_is":763,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-20T23:47:27.185Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_repositories_3_resources_838_c02_c02"}},{"id":"viu_repositories_3_resources_838_c01_c06","type":"Subseries","attributes":{"title":"Yugoslavia \u0026 Tito Related Material","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_838_c01_c06#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viu_repositories_3_resources_838_c01_c06","ref_ssm":["viu_repositories_3_resources_838_c01_c06"],"id":"viu_repositories_3_resources_838_c01_c06","ead_ssi":"viu_repositories_3_resources_838","_root_":"viu_repositories_3_resources_838","_nest_parent_":"viu_repositories_3_resources_838_c01","parent_ssi":"viu_repositories_3_resources_838_c01","parent_ssim":["viu_repositories_3_resources_838","viu_repositories_3_resources_838_c01"],"parent_ids_ssim":["viu_repositories_3_resources_838","viu_repositories_3_resources_838_c01"],"parent_unittitles_ssm":["Sir Fitzroy Maclean papers","Career and Personal papers"],"parent_unittitles_tesim":["Sir Fitzroy Maclean papers","Career and Personal papers"],"text":["Sir Fitzroy Maclean papers","Career and Personal papers","Yugoslavia \u0026 Tito Related Material"],"title_filing_ssi":"Yugoslavia \u0026 Tito Related Material","title_ssm":["Yugoslavia \u0026 Tito Related Material"],"title_tesim":["Yugoslavia \u0026 Tito Related Material"],"normalized_title_ssm":["Yugoslavia \u0026 Tito Related Material"],"component_level_isim":[2],"repository_ssim":["University of Virginia, Special Collections Dept."],"collection_ssim":["Sir Fitzroy Maclean papers"],"has_online_content_ssim":["false"],"child_component_count_isi":62,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":96,"parent_access_restrict_tesm":["Collection is open for research use."],"_nest_path_":"/components#0/components#5","timestamp":"2026-05-20T23:47:27.185Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_838","ead_ssi":"viu_repositories_3_resources_838","_root_":"viu_repositories_3_resources_838","_nest_parent_":"viu_repositories_3_resources_838","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_838.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/103243","title_filing_ssi":"Maclean, Sir Fitzroy, papers","title_ssm":["Sir Fitzroy Maclean papers"],"title_tesim":["Sir Fitzroy Maclean papers"],"unitdate_ssm":["1827-1996"],"unitdate_inclusive_ssm":["1827-1996"],"level_ssm":["collection"],"level_ssim":["File","Collection"],"unitid_ssm":["MSS 11487","Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/838"],"text":["MSS 11487","Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/838","Sir Fitzroy Maclean papers","letters (correspondence)","diaries","Black-and-white photographs","Collection is open for research use.","The collection is arranged in four main series, with various subseries: ","Series I: Career and Personal Papers (Boxes 1-11) ","Subseries A: Diplomatic Service (Box 1) ","Subseries B: British Military Mission to Yugoslavia (Boxes 1-2) ","Subseries C: Special Refugee Commission (Boxes 2-3) ","Subseries D: Political Correspondence (Box 3) ","Subseries E: VIP Material (Boxes 3-4) ","Subseries F: Yugoslavia \u0026 Tito Related Material (Boxes 4-8) ","Subseries G: Family \u0026 Personal Papers (Boxes 9-10) ","Subseries H: Honors \u0026 Decorations (Boxes 10- 11) ","Series II: Literary Papers - Books, Television \u0026 Radio Scripts, Articles, etc. ","Subseries A: Eastern Approaches Material (Boxes 12-15) ","Subseries B: Yugoslavia Related Material, including Books (Boxes 15-21); and Articles, Book Reviews, Lectures, Radio \u0026 Television, \u0026 Research (Boxes 21-26) ","Subseries C: Russia \u0026 the Former Soviet Union Material, including Books (Boxes 26-40); Articles (Boxes 41-43); Book Reviews \u0026 Lectures (Boxes 43-45); and Radio \u0026 Television (Boxes 45-46) ","Subseries D: Scotland Material, including Books (Boxes 46-57), Highlanders Television Series (Boxes 57-58), and Articles, Book Reviews and Lectures (Boxes 59-60) ","Subseries E: Miscellaneous Literary Material, including Take Nine Spies (Boxes 60-63), Articles (Boxes 64-66); Book Reviews, Introductions, Lectures \u0026 Speeches and Literary Correspondence (Boxes 67-68); and Radio and Television (Boxes 68-69) ","Series III: Photographic Material (Boxes 70-93)","Series IV: Sir Fitzroy Maclean Additional Papers (Boxes 94-102 ","re the Threat of Soviet Expansion in Asia","Parlimentary Delegation to Romania","Fitzroy Hew Royle Maclean was born in 1911 in Cairo, Egypt to Charles Maclean, a major in the British army, and Gladys Royle Maclean. He was raised in Scotland, India, and Italy and attended Eton (1924-28), the University of Marburg in Germany (1929), and Kings' College, Cambridge (1929-32) where he won a senior scholarship and first class honors. He entered the Foreign Office in 1934 and was first posted to Paris, and then to Moscow in 1937 where he served as the Third Secretary in the British Embassy. Stalin's purges were at their height during Maclean's two years in the Soviet Union, and he was present at the state trial of Nikolai Bukharin in 1938. He also made journeys to remote areas of the Soviet Union such as Central Asia and the Caucasus where few if any foreigners had been for many years. In 1939 he returned to London and worked in the Foreign Office on Russian affairs."," When World War II broke out, he wanted to enlist in the military, but as a diplomat was in a \"reserved\" position and was not allowed to do so. He learned that the only way to be released from the Foreign Office was to declare himself a candidate for Parliament, and so he was returned for the constituency of Lancaster at a by-election in 1941. He joined the Cameron Highlanders regiment in the British army as a private, and then the new Special Air Service (SAS) and served in the Western Desert, where he participated in the raid on Benghazi along with SAS founder David Stirling and Randolph Churchill, and foiled a coup in Persia by kidnapping General Zahidi who had collaborated with the Germans."," In July 1943 Prime Minister Winston Churchill asked Maclean to serve as his personal representative and Brigadier commanding a British Military Mission to Josip Broz Tito, leader of the Communist Partisans in German-occupied Yugoslavia. At this stage of the war, there was a debate in the British government over which Yugoslav resistance group it should support - Tito's Partisans or Draza Mihalovich's Cetniks. In September Maclean was dropped by parachute into Bosnia and met Tito, and subsequently reported to Churchill that the Partisans were the more effective fighting force and would benefit from additional British and American aid. In August 1944, as the Germans prepared to withdraw from Yugoslavia Maclean planned \"Operation Ratweek\" for the first week of September, a coordinated Allied and Partisan attack on enemy communications which proved quite successful. In the course of his mission, which lasted until 1945, he became a friend and admirer of Tito. In 1947 Maclean was asked to head the Special Refugee Commission which had the sensitive task of screening of tens of thousands of Yugoslav and Ukrainian Displaced Persons, some of whom were alleged to have committed war crimes, in Italy and Austria."," After completing this assignment, Maclean focused on politics, representing Lancaster until 1959 and Bute and North Ayrshire from 1959-1974, and served as Parliamentary Under Secretary of State for War from 1954-1957. He was chairman of the Committee of the North Atlantic Assembly from 1964-1974. Maclean's friendship with Tito and frequent visits to Yugoslavia allowed him to play a key role in Anglo-Yugoslav relations. In the 1960's he purchased a home on the island of Korcula, becoming one of the few foreigners allowed to own property in Yugoslavia. Maclean also maintained a keen interest in the Soviet Union where he traveled extensively and he served as chairman of the Great Britain-USSR Association. He lectured frequently in the United Kingdom and the United States on Yugoslav and Soviet affairs."," Maclean's literary career was launched in 1949 with the publication of Eastern Approaches, a memoir of his experiences as a diplomat and soldier, which was acclaimed by critics and became a best-seller. This was followed in 1957 by a biography of Tito,  Disputed Barricade, A Person from England (1958), describing the adventures of English travelers in Central Asia, and in 1958,  Back to Bokhara (1959), and a number of books, articles and book reviews on Yugoslavia, the Soviet Union, and other subjects."," A third focal point of his writing was Scotland, and he published  A Concise History of Scotland , (1970),  The Isles of the Sea , a collection of West Highland folk tales (1985),  Bonnie Prince Charlie , (1988) and  Highlanders (1995). Along with establishing a reputation as the author of entertaining and informative works that blended his travel experiences and historical research, he turned his attention to radio and television, working on a number of documentary programs including  The Road to Samarkand and  The Life and Times of Marshal Tito and two major series.  Portrait of the Soviet Union and  Highlanders ."," Maclean was made a baronet in 1957 and a Knight of the Thistle in 1993, and was the recipient of many honors and decorations including the Commander of the British Empire, the Croix de Guerre, the Order of Kutusov, and the Partisan Star, and several honorary degrees."," In 1946 Maclean married a widow with two children, Veronica (Fraser) Phipps, daughter of the 16th Lord Lovat. They had two sons, James and Charles. In 1957 the Macleans purchased Strachur, an estate in Argyllshire in the Scottish Highlands, and later operated a hotel on the estate, the Creggans Inn, which became known for its good food, drink, and hospitality. Maclean continued to be extremely active into his eighties and kept up a busy schedule of writing, lecturing and traveling. He died of a heart attack while swimming at a friend's house in June 1996. In Maclean's later years, there was speculation that he had been the inspiration for Ian Fleming's James Bond.","This Fitzroy Maclean papers consist (1827-1996; 44 cubic feet) of the professional and personal papers of Scottish soldier, diplomat, politician, author, and traveler, Sir Fitzroy Hew Maclean (1911-1996) of Dunconnel. It includes correspondence, memoranda, manuscripts, typescripts, newspaper and magazine articles, book reviews, lectures, speeches, photographs, memorabilia, and research material pertaining to his military, diplomatic, political and literary career as well as family and personal affairs.","Maclean is best known for his role during World War II as head of the British military mission to Yugoslavia in which he served as Winston Churchill's personal representative to leader of the Communist Partisans, Josip Broz Tito, his diplomatic service in the Soviet Union in the late 1930's, and as the author of the classic memoir Eastern Approaches (1949) and many other books and articles. After the war, he pursued a political career as a Conservative member of Parliament, and, based on his close relationship with Tito, played a key role in Anglo-Yugoslav affairs. He was also noted for his expertise on the Soviet Union."," A third focal point of his life and career was Scotland: he was a proud member of Clan Maclean and wrote several works on Scottish history, biography, and folklore. The collection contains some material in Serbo-Croatian, German, Italian and French."," The papers are arranged in four main series with various sub-series. Items of particular interest in the First Series, Career and Personal Papers, are described in the following paragraphs devoted to each subseries. In the Diplomatic Subseries are dispatches and memoranda of his trips through Central Asia (including Afghanistan and the ancient cities Bokhara and Samarkand) and the Caucasus, on the situation in Sinkiang (Chinese Turkestan) and on the political stability of the Soviet Union, 1937-1939."," The subseries British Military Mission to Yugoslavia contains Winston Churchill's Minute concerning his Mission to Tito, Autograph Diary (2 pages) re his arrival in Yugoslavia, \"Ratweek\" Map (oversize), twelve files (labeled Top Secret) including memoranda, correspondence, telegrams, etc concerning military and political affairs such as Allied operations and aid to Tito's Partisans, formation of the Yugoslav government, relief, the visit of Field Marshal Alexander, Supreme Allied Commander to Belgrade, Macedonia, Prospect of South Slav federation, and correspondence with Evelyn Waugh."," The Special Refugee Commission subseries contains correspondence, telegrams, reports, including one submitted to Foreign Secretary Ernest Bevin, articles, and a draft of a speech on the refugee problems to a parliamentary committee."," Political correspondence includes papers concerning the Lancaster by-election of 1941, the general election of 1945, and correspondence with Winston Churchill, Harold Macmillan, Anthony Eden, Alec Douglas- Home, Peter Carrington, Harold Wilson, Margaret Thatcher, John Major, Robert Kennedy, John Lindsay, Henry Jackson, and Averell Harriman ; a memorandum to Field Marshal Alexander of Tunis concerning irregular warfare; and correspondence and memoranda related to a parliamentary delegation to Romania in 1973."," Material in the VIP Subseries includes: letters and notes from members of the Royal Family including Prince Charles, Princess Margaret, Elizabeth the Queen Mother; Clementine Churchill and Mary Churchill Soames; and a thank you note from Lauren Bacall."," The Yugoslavia and Tito Subseries contains significant material including memoranda of meetings with Tito in 1949,1950, 1953, 1968, 1973; informative accounts by Maclean and other British officers about the Military Mission in World War II for an official book published by Muzej AVNOJ (1970-1971); correspondence about Maclean's involvement in proposals for the publication of Tito's memoirs (1966-1977) and about the nomination of Tito for the Nobel Peace Prize (1972-1973); correspondence and papers by Maclean and others from a conference on British Policy and Resistance in the Balkans (1973); Briefing papers, correspondence and memoranda of Margaret Thatcher's visit to Yugoslavia in 1977, and correspondence and memorabilia pertaining to the Prince of Wales' visit in 1978; correspondence about Maclean's visit in 1989 and transcript of an interview with Prime Minister Ante Markovic."," For the 1990's, the time of war and the dissolution of Yugoslavia , there is correspondence with David Owen, Stevan Dedijer and others, and about the Korcula Emergency Appeal, a relief effort for a hospital on the island of Korcula, Croatia, organized by the Macleans; letters from Yugoslav friends describing the turmoil , and/or seeking assistance in finding jobs in the United Kingdom; correspondence about renewed controversy about the British Military Mission in World War II. and the Aldington-Tolstoy Libel Case concerning the repatriation of Yugoslavs in 1945. It should also be noted that in Series II, Subseries B, Literary Material pertaining to Yugoslavia, there is some correspondence filed with the manuscripts, typescripts, articles and radio and television transcripts."," The Subseries Family and Personal Papers has letters from friends and teachers, some in German, French, and Italian. In a significant group of letters to his parents (1939-1945) from London, Cairo, Belgrade, and elsewhere, Maclean discussed the international situation, his desire to leave the Foreign Office in order to join the army, life in London during the Blitz, the beginning of his political career, and his military service (some letters were extensively cut by the censors). There are also a number of letters to his parents from the years 1946-1955 from Maclean and his wife Veronica discussing family matters and living conditions in Italy and Austria while Maclean was directing the Special Refugee Commission, and about their travels in Yugoslavia, Greece and Turkey in the early 1950's."," Also present is correspondence with Frank McLynn, his biographer, 1990-1994, and two scrapbooks. The blue scrapbook (1939-1951) includes one letter of Maclean to his aunt, newspaper clippings relating to his military service in Yugoslavia, his marriage, some articles by him, a few photographs. The red scrapbook, 1943-1946 also has newspaper clippings about his military service and political career and articles by him."," The Second Series consists of literary papers. This series contains drafts, typescripts, setting copies of his books with related correspondence with publishers and others about the publication process, contracts, royalty statements, book reviews, fan mail, articles, book reviews, speeches, lectures, transcripts of radio and television programs, film proposals or treatments. Several of his books were published under different titles in the United States. It is organized into five subseries based on subject matter. These include:  Eastern Approaches (American title-  Escape to Adventure ); Yugoslavia (the country as originally constituted and also the new states that emerged in the 1990's); Russia and the former Soviet Union and the new nations post 1990); Scotland; and Miscellaneous Literary."," The subseries about  Eastern Approaches contains a typed manuscript (Setting copy) with corrections, including an unpublished introduction; some material omitted from the published version including his admiration for a Soviet army unit, comments on the Cetniks, and conversations with King George VI and Winston Churchill and King Peter of Yugoslavia; letters from Michael Adeane, Secretary to King George VI and Winston Churchill requesting that certain passages be omitted; a letter from Peter Fleming to Jonathan Cape offering his opinion of the book, a letter from Ian Fleming to Jonathan Cape and a note to Maclean."," Other material includes correspondence with Jonathan Cape and other publishers about a new edition, correspondence with Douglas Fairbanks, Eric Ambler and others concerning a possible film version, and with Ian Curteis about a proposed television adaptation."," The Yugoslavia Subseries includes books:  Disputed Barricade (1957), published in America as  The Heretic , which includes an interview with Tito;  Yugoslavia (1969), in which Maclean wrote the text for this book of photographs;  Battle of Neretva (1970); and  Tito: A Pictorial Biography (1980). Also present are articles from newspapers and magazines, 1947-1995, on Yugoslav politics and society, including interviews with Tito. Particularly interesting are two unpublished articles \"Whither Yugoslavia?\" written in 1989 based on interviews with Yugoslav politicians, including Slobodan Milosevic. There are also a number of book reviews of works by Julian Amery, William Deakin, Noel Malcolm and Misha Glenny and others."," In addition, the subseries on Yugoslavia contains lectures, 1949-1995; transcripts of radio and television programs, with related correspondence; and some interviews with Tito, notably The \"Life and Times of Marshal Tito\" (December 1963); and one for a CBS news program (1969)."," The Russian Material Subseries contains drafts, correspondence, and research material for his books  A Person from England (1958), including several autograph letters,1827-1861, of Dr. Joseph Wolff, one of the English travelers chronicled in the book;  Back to Bokhara (1959);  Holy Russia (1978); drafts titled \"All the Russias\" and \"The Other Russias,\" which were the basis for  To the Back of Beyond (1974),  To Caucasus: End of All the Earth (1976); and  Holy Russia (1978) which completed the trilogy;  Portrait of the Soviet Union (1988), including material for both the book and the related TBS television series since Maclean was working on these simultaneously; and  All the Russias (1992). Correspondents include Pamela Harriman, Marietta Tree and Fitzgerald Bemiss."," In addition to his books about Russia and the Soviet Union, his papers also contain articles, 1949-1995 on political, social, economic, cultural aspects of the former Soviet Union, a number on Georgia and the Caucasus, and Mikhail Gorbachev; book reviews, 1949-1994; and radio and television material, such as correspondence and transcripts for programs, including \"The End of All the Earth\" and \"Carnival in the Caucasus\"; interviews with Anna Mikhailovna Larina (Bukharin's widow) and others for the BBC \"Timewatch\" program \"Bukharin.\""," The subseries concerning his Scotland material includes books,  A Concise History of Scotland (1970);  Isles of the Sea (1985);  Bonnie Prince Charlie (1988); and  Highlanders (originally titled  Clans ) (1995). Material for the book and television series are combined since Maclean was working on them simultaneously. Among the articles on Scotland is a notable series \"Scottish Approaches\" which appeared in  The Scotsman in 1959."," The last subseries in Maclean's Literary Papers consists of miscellaneous literary material, including material for the book  Take Nine Spies . There is also correspondence with publishers in which he discusses more than one book, and with his literary agents."," Articles are arranged chronologically, and topics range from post World War II Japan, Korea, Italy, the Middle East, and defense policy to China and Mongolia in the 1960's, an extended trip to China in 1988, and his travels in Nepal, Tibet, and Oman in the 1990's. There are also articles about his military, diplomatic, political and literary career, his travels, and personal life, and note that others are contained in two scrapbooks. The radio and television material includes his commentaries on the international scene from 1946 on."," Photographic Material comprises the third series, which contains twenty-four boxes of photographs (some in albums), contact sheets, negatives, and slides, taken by Maclean, primarily of his travels in the former Soviet Union, Europe and Asia, from 1938 through the 1990's. Especially noteworthy are those taken in Moscow, Leningrad, and Central Asia, including Afghanistan, the cities Bokhara and Samarkand, and Persia, Paris and Florence in the late 1930's, Yugoslavia during World War II, postwar Korean and China, and of Yugoslavia, Greece, Turkey and Iran in the early 1950's. Maclean visited the former Soviet Union frequently from the late 1950's through 1987 and took numerous photographs of his favorite regions, Central Asia and the Caucasus, particularly Georgia."," As for Yugoslavia, there is an album dated 1953 labeled Namanevru Jugoslovenska Narodne, Armije (Yugoslav People's Army) with photographs of Tito, Maclean, and soldiers; and photographs from the early 1960's through 1980 including a number of photographs of Tito. Individuals subjects include Winston Churchill and Margaret Thatcher. There are also many family photographs taken at Maclean's homes Beechfield and Strachur, and of friends. The photographs used in  Eastern Approaches ,  Disputed Barricade ,  A Person from England , and  Bonnie Prince Charlie are also in this section.\n \n The fourth series consists of two small additions to the papers and include some correpondence files, such as congratulatory letters about his appointment as Under Secretary for War in 1954 and his Baronetcy in 1957, his letters published in the press, and the Great Britain-USSR Association; files on his participation in various conferences concerning Yugoslavia and War War II; election campaign materials of Maclean; Notebooks, including \"Russian Notebook\" (May 15-June 17, 1958); \"Mission\" describing his recall from the Middle East in 1943 to go to Yugoslavia as Winston Churchill's personal representative to support the resistance forces that were most effective against the Germans, moving British support from the Chetniks to the Communist-led partisans and Tito, (circa 1943-1944); and a trip to the country of Georgia (no year, May-June); news articles; speeches by Maclean, including printed speeches published in \"Parliamentary Debates\"; passports; pocket and desk diaries; first drafts of \"Eastern Approaches\"; a file on guerilla warfare; a copy of a 1938 Report on Central Asia by Maclean; and Veronica Maclean's description about her first meeting with Josip Broz Tito in 1947.","re Appointments to London, Paris, and Moscow and his resignation from the Foreign Office","re Maclean's Mission to Tito and an Extract from  The Second World War","including \"The Partisan Movement in Yugoslavia\" and \"Note on the Present Military and Political Situation in Serbia\"","Drafts of Statement on the Extent of British Aid to the Partisans","re Appointments and Impact on Service to Constituency","re Irregular Warfare and Correspondence with Field Marshall Earl Alexander of Tunis and Others","re Vietnam War","re the Soviet Invasion of Czechoslovakia","re Interview with Vice-President Bodnaras of Romania; Meeting with Tito; and Draft Article on Sino-Soviet Border","re Winston Churchill","re E.C. Grants for Argyll and Bute","re Consideration of Fitzroy Maclean as Governor of Cyprus","re a Resignation to Veronica Maclean","re his serving as godfather to her daughter, Charlotte","re British Press Coverage of Yugoslavia","re Simic Cureija","re Visit with Tito, with note from Jack Coville, Secretary to Winston Churchill","re Tito","re Korcula","re the Soviet Invasion of Czechoslovakia","re Visit to Yugoslavia for 25th Anniversary of National Liberation, includes photographs of Maclean and Willian Deakin","Decoration Awarded to Fitzroy Maclean","Proposed British Decorations of Yugoslavs","re Yugoslav Students in Britain","re Allied Mission to Yugoslavia in World War II for Muzej AVNOJ","re Korcula, Yugoslavia, Town Twinning with Argyll and Bute, Scotland","re Maclean's Efforts in Support of Tito for the Nobel Peace Prize","re British Policy towards the Balkan Resistance Movements","re Meeting with Tito","re Research and Annual Summaries (Copies) of Events in Yugoslavia, 1957-1972","re Margaret Thatcher's Trip, with Official Program","re the Prince of Wales' Visit to Yugoslavia","re Fitzroy Maclean's article for the British-Yugoslav Society on the Prince of Wales' visit","re Arrangements for the British Delegation to Tito's Funeral","re Official Visit of Fitzroy Maclean","re Program of Economic Reform","re his biography of Tito","re Controversy over British Military Mission in World War II","re BBC \"Timewatch: Tito\" Program","re a Yugoslav Detainee in 1945","re Korcula, Croatia Emergency Appeal","re Benefit Concert for Dubrovnik","re Owen's Mission","re Aldington-Tolstoy Libel Case (Repatriations in 1945)","re Tito Memoirs and other projects","re Purchase of \"Beechfield\"","re Ticonderoga story","re Purchase of \"Creggans Inn\"","re  Fitzroy Maclean","re Evelyn Waugh biography","re Fitzroy Maclean","re Fitzroy Maclean and Articles by him","re Awarding of Baronetcy and Arms","re Honorary Degree from the University of Glasgow","re Honorary Degree from Acadia University","re Honorary Degree from Dalhousie University, Halifax, Nova Scotia, to Fitzroy Maclean and Tito","re Honorary Degree from Dalhousie University, Halifax, Nova Scotia, to Fitzroy Maclean and Tito, signed by Josip Broz Tito and Madame Jovanka Broz","re Honorary Degree from Dundee University","re Special Air Service","re the 23rd Special Air Service Regiment","re Installation of Fitzroy Maclean in the Order of theThistle","re Installation of Fitzroy Maclean in the Order of the Thistle","re Appointment of Fitzroy Maclean in the Order of the Thistle--Congratulations","re Appointment of Fitzroy Maclean in the Order of the Thistle","Order of the Thistle Ceremony","re Freedom of Argyll and Bute","re omitting part of an interview with the King about Yugoslavia from his book","with comments about what Maclean had written about himself in the book","thanking him for the copy of his book sent to the King","re Publicity","Translations","re American Edition","re German Edition","re Paperback Edition","re Proposed Film, with a copy of the script for the film, April 1956","re Proposed TV Series","re Proposed TV Series","re Yugoslav Edition","re Yugoslav Edition","Letter of thanks on behalf of Tito","re American Edition,  The Heretic","re Translations","re German Forces in Yugoslavia","including \"The Fourth Enemy Offensive\" and some in Serbo-Croatian","re Book Promotion Tour in Yugoslavia","re Book Promotion Tour in Yugoslavia","including some correspondence and notes","re Korcula by Charles Maclean","Unpublished","re of BBC Radio Broadcast on Mission to Tito","re Tito obituary for BBC Radio","re BBC Radio \"I Was There\"","re Film \"General from Strachur\"","re BBC Television Tito Obituary","re Tito Interview for CBS News","re Proposed BBC Programs","re Proposed Film on Tito","re BBC Program on the S.O.E. (Special Operations Executive)","re BBC Program on Evelyn Waugh","re Miscellaneous Television and Film Projects","re BBC Program \"Ratlines\"","re VPRO Program","re New Edition","re Proposed Film","re Research","re Translations","Original Letters of Joseph Wolff and Correspondence with Ancient Light Bookshop","Transcripts and Copies of Letters of Charles Stoddart and others from the Public Records Office","re American Edition and Other Projects","re Copyright Renewal","re German edition","re the Sino Russian Border in  Life","re the Caucasus Region","Correspondence re","re the Bukharin Trial in Moscow \u0026 Interview with his widow","re Mikhail Gorbachev","re Georgia in  The Sunday Times","re Azerbaijan","re Georgia, including notes and drafts","re Georgia in  The Scotsman Magazine","re Azerbaijan","re Caucasus","re Mikhail Gorbachov","re Mikhail Gorbachev in honor of Hugh Seton-Watson","given at Foyle's Lunch","re Georgia","re Georgia","re a New Edition","re an American Edition","re a German Edition","August 1, 1996 from Edwin Moore to Veronica Maclean","re German Edition","re reprint as  West Highland Tales","re Publicity \u0026 Book Reviews","re Publicity","re \"Scotland in Parliament\"","re Japan","re Asia","re Korea","re Italy","re the Middle East","re Persia","re Defense of Great Britain","re Greece","re Libya during World War II","re Turkey","re China \"Inside Red China\"","re China Trip","re China \"Peking Revisited,\" \"Don't Let China Stew in Her Own Juice,\" and \"Eyewitnesses in China\"","re Mongolia","re Sir Winston Churchill","Mongolia","re the Black Sea, including one by Veronica Maclean","re Defense of Europe: \"Nuclear Deterrence and Conventional Forces,\" with Correspondence","re China--Trip to Kashgar in Chinese Turkestan, including Correspondence","re Nepal and Bhutan","re Germany","re David Stirling for  Dictionary of National Biography and Correspondence","re Canary Islands","re Oman","re Tibet--Correspondence, Travel Arrangements, and Memorabilia","re Tibet","re the Channel Tunnel","re Fitzroy Maclean, some in German, French, Serbo-Croatian, Swedish, and Dutch","re Tibet","re Publication of Evelyn Waugh's Diaries, which include references to Fitzroy Maclean","re Invitation to Frankfurt","re German Translations of  Isles of the Sea and  Eastern Approaches","re Proposed Book of Interviews including Fitzroy Maclean","some accompanied by correspondence, including: Violet Asquith, Nancy Astor, Charles Bohlen, John Bute, Nicolae Causescu, Earl Cawdor, Thomas Churchill, John Clarke, the Queen Mother, Lord Lovat, Charles Maclean, Andrew Maxwell, Paddy Mayne and Bill Elliot, Iain Moncrieffe, Peter Moore, David Scott, David Stirling, and Lord Ward","People","Environs \u0026 Monasteries","GUM Store, Race Track, \u0026 Fashions","The Kremlin \u0026 Red Square","The file includes a draft of a 1968 letter to Aleksey Aleksandrovich Surkov, President of the USSR - Great Britain Society, also includes letters to and from the Baroness Asquith of Yarnbury (\"Violet\").","Notebooks include \"Russian Notebook\" (May 15-June 17, 1958); \"Mission\" describing his recall from the Middle East in 1943 to go to Yugoslavia as Winston Churchill's personal representative to support the resistance forces that were most effective against the Germans, moving British support from the Chetniks to the Communist-led partisans and Tito, (circa 1943-1944); and a trip to the country of Georgia (no year, May-June), circa 1943-1958","Includes Maclean's undated notes on Soviet history up to \"Glasnost,\" notes on the \"Council of Europe,\" (1973); series of letters between Sir Charles Peake, British Embassy, and Sir Fitzroy Maclean, 1946-1953.","These include a speech before the Boarding House and Catering Association, one mentioning nuclear deterrence, and international events.","This addition contains two letters written by Fitzroy Maclean and John Baldock to Helen F. Moore of Leicester, England. A typewritten letter from Maclean to Baldock addresses Moore's concern regarding rioting by South Koreans in the vicinity of the Troops Rest Center at Inchon and her request to move the Center. He reviews her concern, noting that the demonstrations were against the Neutral Nations Armistice Commission and took place six and a half miles from the Center. He notes that the Center was not affected by the rioting and that, after careful consideration, the Center would remain open and not move to another area. The second item is a cover letter from John Baldock forwarding Maclean's response to Ms. Moore.","Albert and Shirley Small Special Collections Library","Maclean, Fitzroy, 1911-1996","Materials are in English."],"unitid_tesim":["MSS 11487","Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/838"],"normalized_title_ssm":["Sir Fitzroy Maclean papers"],"collection_title_tesim":["Sir Fitzroy Maclean papers"],"collection_ssim":["Sir Fitzroy Maclean papers"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["Maclean, Fitzroy, 1911-1996"],"creator_ssim":["Maclean, Fitzroy, 1911-1996"],"creator_persname_ssim":["Maclean, Fitzroy, 1911-1996"],"creators_ssim":["Maclean, Fitzroy, 1911-1996"],"acqinfo_ssim":["This collection was purchased by the University of Virginia Library on November 30, 1998. The first addition, consisting of the desk diaries of Sir Fitzroy Maclean (MSS 11487-a), was received on March 7, 2003, and the second addition (ViU20160030) was received on December 1, 2015."],"access_subjects_ssim":["letters (correspondence)","diaries","Black-and-white photographs"],"access_subjects_ssm":["letters (correspondence)","diaries","Black-and-white photographs"],"has_online_content_ssim":["false"],"extent_ssm":["44 Cubic Feet 102 document boxes, 2 os folders"],"extent_tesim":["44 Cubic Feet 102 document boxes, 2 os folders"],"genreform_ssim":["letters (correspondence)","diaries","Black-and-white photographs"],"date_range_isim":[1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open for research use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open for research use."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged in four main series, with various subseries: \u003c/p\u003e\n","\u003cp\u003eSeries I: Career and Personal Papers (Boxes 1-11) \u003c/p\u003e\n","\u003cp\u003eSubseries A: Diplomatic Service (Box 1) \u003c/p\u003e\n","\u003cp\u003eSubseries B: British Military Mission to Yugoslavia (Boxes 1-2) \u003c/p\u003e\n","\u003cp\u003eSubseries C: Special Refugee Commission (Boxes 2-3) \u003c/p\u003e\n","\u003cp\u003eSubseries D: Political Correspondence (Box 3) \u003c/p\u003e\n","\u003cp\u003eSubseries E: VIP Material (Boxes 3-4) \u003c/p\u003e\n","\u003cp\u003eSubseries F: Yugoslavia \u0026amp; Tito Related Material (Boxes 4-8) \u003c/p\u003e\n","\u003cp\u003eSubseries G: Family \u0026amp; Personal Papers (Boxes 9-10) \u003c/p\u003e\n","\u003cp\u003eSubseries H: Honors \u0026amp; Decorations (Boxes 10- 11) \u003c/p\u003e\n","\u003cp\u003eSeries II: Literary Papers - Books, Television \u0026amp; Radio Scripts, Articles, etc. \u003c/p\u003e\n","\u003cp\u003eSubseries A: Eastern Approaches Material (Boxes 12-15) \u003c/p\u003e\n","\u003cp\u003eSubseries B: Yugoslavia Related Material, including Books (Boxes 15-21); and Articles, Book Reviews, Lectures, Radio \u0026amp; Television, \u0026amp; Research (Boxes 21-26) \u003c/p\u003e\n","\u003cp\u003eSubseries C: Russia \u0026amp; the Former Soviet Union Material, including Books (Boxes 26-40); Articles (Boxes 41-43); Book Reviews \u0026amp; Lectures (Boxes 43-45); and Radio \u0026amp; Television (Boxes 45-46) \u003c/p\u003e\n","\u003cp\u003eSubseries D: Scotland Material, including Books (Boxes 46-57), Highlanders Television Series (Boxes 57-58), and Articles, Book Reviews and Lectures (Boxes 59-60) \u003c/p\u003e\n","\u003cp\u003eSubseries E: Miscellaneous Literary Material, including Take Nine Spies (Boxes 60-63), Articles (Boxes 64-66); Book Reviews, Introductions, Lectures \u0026amp; Speeches and Literary Correspondence (Boxes 67-68); and Radio and Television (Boxes 68-69) \u003c/p\u003e\n","\u003cp\u003eSeries III: Photographic Material (Boxes 70-93)\u003c/p\u003e\n","\u003cp\u003eSeries IV: Sir Fitzroy Maclean Additional Papers (Boxes 94-102 \u003c/p\u003e","\u003cp\u003ere the Threat of Soviet Expansion in Asia\u003c/p\u003e","\u003cp\u003eParlimentary Delegation to Romania\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement","Arrangement","Arrangement"],"arrangement_tesim":["The collection is arranged in four main series, with various subseries: ","Series I: Career and Personal Papers (Boxes 1-11) ","Subseries A: Diplomatic Service (Box 1) ","Subseries B: British Military Mission to Yugoslavia (Boxes 1-2) ","Subseries C: Special Refugee Commission (Boxes 2-3) ","Subseries D: Political Correspondence (Box 3) ","Subseries E: VIP Material (Boxes 3-4) ","Subseries F: Yugoslavia \u0026 Tito Related Material (Boxes 4-8) ","Subseries G: Family \u0026 Personal Papers (Boxes 9-10) ","Subseries H: Honors \u0026 Decorations (Boxes 10- 11) ","Series II: Literary Papers - Books, Television \u0026 Radio Scripts, Articles, etc. ","Subseries A: Eastern Approaches Material (Boxes 12-15) ","Subseries B: Yugoslavia Related Material, including Books (Boxes 15-21); and Articles, Book Reviews, Lectures, Radio \u0026 Television, \u0026 Research (Boxes 21-26) ","Subseries C: Russia \u0026 the Former Soviet Union Material, including Books (Boxes 26-40); Articles (Boxes 41-43); Book Reviews \u0026 Lectures (Boxes 43-45); and Radio \u0026 Television (Boxes 45-46) ","Subseries D: Scotland Material, including Books (Boxes 46-57), Highlanders Television Series (Boxes 57-58), and Articles, Book Reviews and Lectures (Boxes 59-60) ","Subseries E: Miscellaneous Literary Material, including Take Nine Spies (Boxes 60-63), Articles (Boxes 64-66); Book Reviews, Introductions, Lectures \u0026 Speeches and Literary Correspondence (Boxes 67-68); and Radio and Television (Boxes 68-69) ","Series III: Photographic Material (Boxes 70-93)","Series IV: Sir Fitzroy Maclean Additional Papers (Boxes 94-102 ","re the Threat of Soviet Expansion in Asia","Parlimentary Delegation to Romania"],"bioghist_html_tesm":["\u003cp\u003eFitzroy Hew Royle Maclean was born in 1911 in Cairo, Egypt to Charles Maclean, a major in the British army, and Gladys Royle Maclean. He was raised in Scotland, India, and Italy and attended Eton (1924-28), the University of Marburg in Germany (1929), and Kings' College, Cambridge (1929-32) where he won a senior scholarship and first class honors. He entered the Foreign Office in 1934 and was first posted to Paris, and then to Moscow in 1937 where he served as the Third Secretary in the British Embassy. Stalin's purges were at their height during Maclean's two years in the Soviet Union, and he was present at the state trial of Nikolai Bukharin in 1938. He also made journeys to remote areas of the Soviet Union such as Central Asia and the Caucasus where few if any foreigners had been for many years. In 1939 he returned to London and worked in the Foreign Office on Russian affairs.\u003c/p\u003e\n","\u003cp\u003e When World War II broke out, he wanted to enlist in the military, but as a diplomat was in a \"reserved\" position and was not allowed to do so. He learned that the only way to be released from the Foreign Office was to declare himself a candidate for Parliament, and so he was returned for the constituency of Lancaster at a by-election in 1941. He joined the Cameron Highlanders regiment in the British army as a private, and then the new Special Air Service (SAS) and served in the Western Desert, where he participated in the raid on Benghazi along with SAS founder David Stirling and Randolph Churchill, and foiled a coup in Persia by kidnapping General Zahidi who had collaborated with the Germans.\u003c/p\u003e\n","\u003cp\u003e In July 1943 Prime Minister Winston Churchill asked Maclean to serve as his personal representative and Brigadier commanding a British Military Mission to Josip Broz Tito, leader of the Communist Partisans in German-occupied Yugoslavia. At this stage of the war, there was a debate in the British government over which Yugoslav resistance group it should support - Tito's Partisans or Draza Mihalovich's Cetniks. In September Maclean was dropped by parachute into Bosnia and met Tito, and subsequently reported to Churchill that the Partisans were the more effective fighting force and would benefit from additional British and American aid. In August 1944, as the Germans prepared to withdraw from Yugoslavia Maclean planned \"Operation Ratweek\" for the first week of September, a coordinated Allied and Partisan attack on enemy communications which proved quite successful. In the course of his mission, which lasted until 1945, he became a friend and admirer of Tito. In 1947 Maclean was asked to head the Special Refugee Commission which had the sensitive task of screening of tens of thousands of Yugoslav and Ukrainian Displaced Persons, some of whom were alleged to have committed war crimes, in Italy and Austria.\u003c/p\u003e\n","\u003cp\u003e After completing this assignment, Maclean focused on politics, representing Lancaster until 1959 and Bute and North Ayrshire from 1959-1974, and served as Parliamentary Under Secretary of State for War from 1954-1957. He was chairman of the Committee of the North Atlantic Assembly from 1964-1974. Maclean's friendship with Tito and frequent visits to Yugoslavia allowed him to play a key role in Anglo-Yugoslav relations. In the 1960's he purchased a home on the island of Korcula, becoming one of the few foreigners allowed to own property in Yugoslavia. Maclean also maintained a keen interest in the Soviet Union where he traveled extensively and he served as chairman of the Great Britain-USSR Association. He lectured frequently in the United Kingdom and the United States on Yugoslav and Soviet affairs.\u003c/p\u003e\n","\u003cp\u003e Maclean's literary career was launched in 1949 with the publication of Eastern Approaches, a memoir of his experiences as a diplomat and soldier, which was acclaimed by critics and became a best-seller. This was followed in 1957 by a biography of Tito, \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eDisputed Barricade, A Person from England\u003c/title\u003e(1958), describing the adventures of English travelers in Central Asia, and in 1958, \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eBack to Bokhara\u003c/title\u003e(1959), and a number of books, articles and book reviews on Yugoslavia, the Soviet Union, and other subjects.\u003c/p\u003e\n","\u003cp\u003e A third focal point of his writing was Scotland, and he published \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eA Concise History of Scotland\u003c/title\u003e, (1970), \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Isles of the Sea\u003c/title\u003e, a collection of West Highland folk tales (1985), \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eBonnie Prince Charlie\u003c/title\u003e, (1988) and \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eHighlanders\u003c/title\u003e(1995). Along with establishing a reputation as the author of entertaining and informative works that blended his travel experiences and historical research, he turned his attention to radio and television, working on a number of documentary programs including \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Road to Samarkand\u003c/title\u003eand \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Life and Times of Marshal Tito\u003c/title\u003eand two major series. \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003ePortrait of the Soviet Union\u003c/title\u003eand \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eHighlanders\u003c/title\u003e.\u003c/p\u003e\n","\u003cp\u003e Maclean was made a baronet in 1957 and a Knight of the Thistle in 1993, and was the recipient of many honors and decorations including the Commander of the British Empire, the Croix de Guerre, the Order of Kutusov, and the Partisan Star, and several honorary degrees.\u003c/p\u003e\n","\u003cp\u003e In 1946 Maclean married a widow with two children, Veronica (Fraser) Phipps, daughter of the 16th Lord Lovat. They had two sons, James and Charles. In 1957 the Macleans purchased Strachur, an estate in Argyllshire in the Scottish Highlands, and later operated a hotel on the estate, the Creggans Inn, which became known for its good food, drink, and hospitality. Maclean continued to be extremely active into his eighties and kept up a busy schedule of writing, lecturing and traveling. He died of a heart attack while swimming at a friend's house in June 1996. In Maclean's later years, there was speculation that he had been the inspiration for Ian Fleming's James Bond.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Fitzroy Hew Royle Maclean was born in 1911 in Cairo, Egypt to Charles Maclean, a major in the British army, and Gladys Royle Maclean. He was raised in Scotland, India, and Italy and attended Eton (1924-28), the University of Marburg in Germany (1929), and Kings' College, Cambridge (1929-32) where he won a senior scholarship and first class honors. He entered the Foreign Office in 1934 and was first posted to Paris, and then to Moscow in 1937 where he served as the Third Secretary in the British Embassy. Stalin's purges were at their height during Maclean's two years in the Soviet Union, and he was present at the state trial of Nikolai Bukharin in 1938. He also made journeys to remote areas of the Soviet Union such as Central Asia and the Caucasus where few if any foreigners had been for many years. In 1939 he returned to London and worked in the Foreign Office on Russian affairs."," When World War II broke out, he wanted to enlist in the military, but as a diplomat was in a \"reserved\" position and was not allowed to do so. He learned that the only way to be released from the Foreign Office was to declare himself a candidate for Parliament, and so he was returned for the constituency of Lancaster at a by-election in 1941. He joined the Cameron Highlanders regiment in the British army as a private, and then the new Special Air Service (SAS) and served in the Western Desert, where he participated in the raid on Benghazi along with SAS founder David Stirling and Randolph Churchill, and foiled a coup in Persia by kidnapping General Zahidi who had collaborated with the Germans."," In July 1943 Prime Minister Winston Churchill asked Maclean to serve as his personal representative and Brigadier commanding a British Military Mission to Josip Broz Tito, leader of the Communist Partisans in German-occupied Yugoslavia. At this stage of the war, there was a debate in the British government over which Yugoslav resistance group it should support - Tito's Partisans or Draza Mihalovich's Cetniks. In September Maclean was dropped by parachute into Bosnia and met Tito, and subsequently reported to Churchill that the Partisans were the more effective fighting force and would benefit from additional British and American aid. In August 1944, as the Germans prepared to withdraw from Yugoslavia Maclean planned \"Operation Ratweek\" for the first week of September, a coordinated Allied and Partisan attack on enemy communications which proved quite successful. In the course of his mission, which lasted until 1945, he became a friend and admirer of Tito. In 1947 Maclean was asked to head the Special Refugee Commission which had the sensitive task of screening of tens of thousands of Yugoslav and Ukrainian Displaced Persons, some of whom were alleged to have committed war crimes, in Italy and Austria."," After completing this assignment, Maclean focused on politics, representing Lancaster until 1959 and Bute and North Ayrshire from 1959-1974, and served as Parliamentary Under Secretary of State for War from 1954-1957. He was chairman of the Committee of the North Atlantic Assembly from 1964-1974. Maclean's friendship with Tito and frequent visits to Yugoslavia allowed him to play a key role in Anglo-Yugoslav relations. In the 1960's he purchased a home on the island of Korcula, becoming one of the few foreigners allowed to own property in Yugoslavia. Maclean also maintained a keen interest in the Soviet Union where he traveled extensively and he served as chairman of the Great Britain-USSR Association. He lectured frequently in the United Kingdom and the United States on Yugoslav and Soviet affairs."," Maclean's literary career was launched in 1949 with the publication of Eastern Approaches, a memoir of his experiences as a diplomat and soldier, which was acclaimed by critics and became a best-seller. This was followed in 1957 by a biography of Tito,  Disputed Barricade, A Person from England (1958), describing the adventures of English travelers in Central Asia, and in 1958,  Back to Bokhara (1959), and a number of books, articles and book reviews on Yugoslavia, the Soviet Union, and other subjects."," A third focal point of his writing was Scotland, and he published  A Concise History of Scotland , (1970),  The Isles of the Sea , a collection of West Highland folk tales (1985),  Bonnie Prince Charlie , (1988) and  Highlanders (1995). Along with establishing a reputation as the author of entertaining and informative works that blended his travel experiences and historical research, he turned his attention to radio and television, working on a number of documentary programs including  The Road to Samarkand and  The Life and Times of Marshal Tito and two major series.  Portrait of the Soviet Union and  Highlanders ."," Maclean was made a baronet in 1957 and a Knight of the Thistle in 1993, and was the recipient of many honors and decorations including the Commander of the British Empire, the Croix de Guerre, the Order of Kutusov, and the Partisan Star, and several honorary degrees."," In 1946 Maclean married a widow with two children, Veronica (Fraser) Phipps, daughter of the 16th Lord Lovat. They had two sons, James and Charles. In 1957 the Macleans purchased Strachur, an estate in Argyllshire in the Scottish Highlands, and later operated a hotel on the estate, the Creggans Inn, which became known for its good food, drink, and hospitality. Maclean continued to be extremely active into his eighties and kept up a busy schedule of writing, lecturing and traveling. He died of a heart attack while swimming at a friend's house in June 1996. In Maclean's later years, there was speculation that he had been the inspiration for Ian Fleming's James Bond."],"prefercite_html_tesm":["\u003cp\u003eMSS 11487 Sir Fitzroy Maclean papers, Albert and Shirley Small Special Collections Library, University of Virginia.\u003c/p\u003e"],"prefercite_tesim":["MSS 11487 Sir Fitzroy Maclean papers, Albert and Shirley Small Special Collections Library, University of Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis Fitzroy Maclean papers consist (1827-1996; 44 cubic feet) of the professional and personal papers of Scottish soldier, diplomat, politician, author, and traveler, Sir Fitzroy Hew Maclean (1911-1996) of Dunconnel. It includes correspondence, memoranda, manuscripts, typescripts, newspaper and magazine articles, book reviews, lectures, speeches, photographs, memorabilia, and research material pertaining to his military, diplomatic, political and literary career as well as family and personal affairs.\u003c/p\u003e\n","\u003cp\u003eMaclean is best known for his role during World War II as head of the British military mission to Yugoslavia in which he served as Winston Churchill's personal representative to leader of the Communist Partisans, Josip Broz Tito, his diplomatic service in the Soviet Union in the late 1930's, and as the author of the classic memoir Eastern Approaches (1949) and many other books and articles. After the war, he pursued a political career as a Conservative member of Parliament, and, based on his close relationship with Tito, played a key role in Anglo-Yugoslav affairs. He was also noted for his expertise on the Soviet Union.\u003c/p\u003e\n","\u003cp\u003e A third focal point of his life and career was Scotland: he was a proud member of Clan Maclean and wrote several works on Scottish history, biography, and folklore. The collection contains some material in Serbo-Croatian, German, Italian and French.\u003c/p\u003e\n","\u003cp\u003e The papers are arranged in four main series with various sub-series. Items of particular interest in the First Series, Career and Personal Papers, are described in the following paragraphs devoted to each subseries. In the Diplomatic Subseries are dispatches and memoranda of his trips through Central Asia (including Afghanistan and the ancient cities Bokhara and Samarkand) and the Caucasus, on the situation in Sinkiang (Chinese Turkestan) and on the political stability of the Soviet Union, 1937-1939.\u003c/p\u003e\n","\u003cp\u003e The subseries British Military Mission to Yugoslavia contains Winston Churchill's Minute concerning his Mission to Tito, Autograph Diary (2 pages) re his arrival in Yugoslavia, \"Ratweek\" Map (oversize), twelve files (labeled Top Secret) including memoranda, correspondence, telegrams, etc concerning military and political affairs such as Allied operations and aid to Tito's Partisans, formation of the Yugoslav government, relief, the visit of Field Marshal Alexander, Supreme Allied Commander to Belgrade, Macedonia, Prospect of South Slav federation, and correspondence with Evelyn Waugh.\u003c/p\u003e\n","\u003cp\u003e The Special Refugee Commission subseries contains correspondence, telegrams, reports, including one submitted to Foreign Secretary Ernest Bevin, articles, and a draft of a speech on the refugee problems to a parliamentary committee.\u003c/p\u003e\n","\u003cp\u003e Political correspondence includes papers concerning the Lancaster by-election of 1941, the general election of 1945, and correspondence with Winston Churchill, Harold Macmillan, Anthony Eden, Alec Douglas- Home, Peter Carrington, Harold Wilson, Margaret Thatcher, John Major, Robert Kennedy, John Lindsay, Henry Jackson, and Averell Harriman ; a memorandum to Field Marshal Alexander of Tunis concerning irregular warfare; and correspondence and memoranda related to a parliamentary delegation to Romania in 1973.\u003c/p\u003e\n","\u003cp\u003e Material in the VIP Subseries includes: letters and notes from members of the Royal Family including Prince Charles, Princess Margaret, Elizabeth the Queen Mother; Clementine Churchill and Mary Churchill Soames; and a thank you note from Lauren Bacall.\u003c/p\u003e\n","\u003cp\u003e The Yugoslavia and Tito Subseries contains significant material including memoranda of meetings with Tito in 1949,1950, 1953, 1968, 1973; informative accounts by Maclean and other British officers about the Military Mission in World War II for an official book published by Muzej AVNOJ (1970-1971); correspondence about Maclean's involvement in proposals for the publication of Tito's memoirs (1966-1977) and about the nomination of Tito for the Nobel Peace Prize (1972-1973); correspondence and papers by Maclean and others from a conference on British Policy and Resistance in the Balkans (1973); Briefing papers, correspondence and memoranda of Margaret Thatcher's visit to Yugoslavia in 1977, and correspondence and memorabilia pertaining to the Prince of Wales' visit in 1978; correspondence about Maclean's visit in 1989 and transcript of an interview with Prime Minister Ante Markovic.\u003c/p\u003e\n","\u003cp\u003e For the 1990's, the time of war and the dissolution of Yugoslavia , there is correspondence with David Owen, Stevan Dedijer and others, and about the Korcula Emergency Appeal, a relief effort for a hospital on the island of Korcula, Croatia, organized by the Macleans; letters from Yugoslav friends describing the turmoil , and/or seeking assistance in finding jobs in the United Kingdom; correspondence about renewed controversy about the British Military Mission in World War II. and the Aldington-Tolstoy Libel Case concerning the repatriation of Yugoslavs in 1945. It should also be noted that in Series II, Subseries B, Literary Material pertaining to Yugoslavia, there is some correspondence filed with the manuscripts, typescripts, articles and radio and television transcripts.\u003c/p\u003e\n","\u003cp\u003e The Subseries Family and Personal Papers has letters from friends and teachers, some in German, French, and Italian. In a significant group of letters to his parents (1939-1945) from London, Cairo, Belgrade, and elsewhere, Maclean discussed the international situation, his desire to leave the Foreign Office in order to join the army, life in London during the Blitz, the beginning of his political career, and his military service (some letters were extensively cut by the censors). There are also a number of letters to his parents from the years 1946-1955 from Maclean and his wife Veronica discussing family matters and living conditions in Italy and Austria while Maclean was directing the Special Refugee Commission, and about their travels in Yugoslavia, Greece and Turkey in the early 1950's.\u003c/p\u003e\n","\u003cp\u003e Also present is correspondence with Frank McLynn, his biographer, 1990-1994, and two scrapbooks. The blue scrapbook (1939-1951) includes one letter of Maclean to his aunt, newspaper clippings relating to his military service in Yugoslavia, his marriage, some articles by him, a few photographs. The red scrapbook, 1943-1946 also has newspaper clippings about his military service and political career and articles by him.\u003c/p\u003e\n","\u003cp\u003e The Second Series consists of literary papers. This series contains drafts, typescripts, setting copies of his books with related correspondence with publishers and others about the publication process, contracts, royalty statements, book reviews, fan mail, articles, book reviews, speeches, lectures, transcripts of radio and television programs, film proposals or treatments. Several of his books were published under different titles in the United States. It is organized into five subseries based on subject matter. These include: \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eEastern Approaches\u003c/title\u003e(American title- \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eEscape to Adventure\u003c/title\u003e); Yugoslavia (the country as originally constituted and also the new states that emerged in the 1990's); Russia and the former Soviet Union and the new nations post 1990); Scotland; and Miscellaneous Literary.\u003c/p\u003e\n","\u003cp\u003e The subseries about \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eEastern Approaches\u003c/title\u003econtains a typed manuscript (Setting copy) with corrections, including an unpublished introduction; some material omitted from the published version including his admiration for a Soviet army unit, comments on the Cetniks, and conversations with King George VI and Winston Churchill and King Peter of Yugoslavia; letters from Michael Adeane, Secretary to King George VI and Winston Churchill requesting that certain passages be omitted; a letter from Peter Fleming to Jonathan Cape offering his opinion of the book, a letter from Ian Fleming to Jonathan Cape and a note to Maclean.\u003c/p\u003e\n","\u003cp\u003e Other material includes correspondence with Jonathan Cape and other publishers about a new edition, correspondence with Douglas Fairbanks, Eric Ambler and others concerning a possible film version, and with Ian Curteis about a proposed television adaptation.\u003c/p\u003e\n","\u003cp\u003e The Yugoslavia Subseries includes books: \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eDisputed Barricade\u003c/title\u003e(1957), published in America as \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Heretic\u003c/title\u003e, which includes an interview with Tito; \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eYugoslavia\u003c/title\u003e(1969), in which Maclean wrote the text for this book of photographs; \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eBattle of Neretva\u003c/title\u003e(1970); and \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eTito: A Pictorial Biography\u003c/title\u003e(1980). Also present are articles from newspapers and magazines, 1947-1995, on Yugoslav politics and society, including interviews with Tito. Particularly interesting are two unpublished articles \"Whither Yugoslavia?\" written in 1989 based on interviews with Yugoslav politicians, including Slobodan Milosevic. There are also a number of book reviews of works by Julian Amery, William Deakin, Noel Malcolm and Misha Glenny and others.\u003c/p\u003e\n","\u003cp\u003e In addition, the subseries on Yugoslavia contains lectures, 1949-1995; transcripts of radio and television programs, with related correspondence; and some interviews with Tito, notably The \"Life and Times of Marshal Tito\" (December 1963); and one for a CBS news program (1969).\u003c/p\u003e\n","\u003cp\u003e The Russian Material Subseries contains drafts, correspondence, and research material for his books \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eA Person from England\u003c/title\u003e(1958), including several autograph letters,1827-1861, of Dr. Joseph Wolff, one of the English travelers chronicled in the book; \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eBack to Bokhara\u003c/title\u003e(1959); \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eHoly Russia\u003c/title\u003e(1978); drafts titled \"All the Russias\" and \"The Other Russias,\" which were the basis for \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eTo the Back of Beyond\u003c/title\u003e(1974), \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eTo Caucasus: End of All the Earth\u003c/title\u003e(1976); and \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eHoly Russia\u003c/title\u003e(1978) which completed the trilogy; \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003ePortrait of the Soviet Union\u003c/title\u003e(1988), including material for both the book and the related TBS television series since Maclean was working on these simultaneously; and \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eAll the Russias\u003c/title\u003e(1992). Correspondents include Pamela Harriman, Marietta Tree and Fitzgerald Bemiss.\u003c/p\u003e\n","\u003cp\u003e In addition to his books about Russia and the Soviet Union, his papers also contain articles, 1949-1995 on political, social, economic, cultural aspects of the former Soviet Union, a number on Georgia and the Caucasus, and Mikhail Gorbachev; book reviews, 1949-1994; and radio and television material, such as correspondence and transcripts for programs, including \"The End of All the Earth\" and \"Carnival in the Caucasus\"; interviews with Anna Mikhailovna Larina (Bukharin's widow) and others for the BBC \"Timewatch\" program \"Bukharin.\"\u003c/p\u003e\n","\u003cp\u003e The subseries concerning his Scotland material includes books, \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eA Concise History of Scotland\u003c/title\u003e(1970); \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eIsles of the Sea\u003c/title\u003e(1985); \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eBonnie Prince Charlie\u003c/title\u003e(1988); and \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eHighlanders\u003c/title\u003e(originally titled \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eClans\u003c/title\u003e) (1995). Material for the book and television series are combined since Maclean was working on them simultaneously. Among the articles on Scotland is a notable series \"Scottish Approaches\" which appeared in \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Scotsman\u003c/title\u003ein 1959.\u003c/p\u003e\n","\u003cp\u003e The last subseries in Maclean's Literary Papers consists of miscellaneous literary material, including material for the book \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eTake Nine Spies\u003c/title\u003e. There is also correspondence with publishers in which he discusses more than one book, and with his literary agents.\u003c/p\u003e\n","\u003cp\u003e Articles are arranged chronologically, and topics range from post World War II Japan, Korea, Italy, the Middle East, and defense policy to China and Mongolia in the 1960's, an extended trip to China in 1988, and his travels in Nepal, Tibet, and Oman in the 1990's. There are also articles about his military, diplomatic, political and literary career, his travels, and personal life, and note that others are contained in two scrapbooks. The radio and television material includes his commentaries on the international scene from 1946 on.\u003c/p\u003e\n","\u003cp\u003e Photographic Material comprises the third series, which contains twenty-four boxes of photographs (some in albums), contact sheets, negatives, and slides, taken by Maclean, primarily of his travels in the former Soviet Union, Europe and Asia, from 1938 through the 1990's. Especially noteworthy are those taken in Moscow, Leningrad, and Central Asia, including Afghanistan, the cities Bokhara and Samarkand, and Persia, Paris and Florence in the late 1930's, Yugoslavia during World War II, postwar Korean and China, and of Yugoslavia, Greece, Turkey and Iran in the early 1950's. Maclean visited the former Soviet Union frequently from the late 1950's through 1987 and took numerous photographs of his favorite regions, Central Asia and the Caucasus, particularly Georgia.\u003c/p\u003e\n","\u003cp\u003e As for Yugoslavia, there is an album dated 1953 labeled Namanevru Jugoslovenska Narodne, Armije (Yugoslav People's Army) with photographs of Tito, Maclean, and soldiers; and photographs from the early 1960's through 1980 including a number of photographs of Tito. Individuals subjects include Winston Churchill and Margaret Thatcher. There are also many family photographs taken at Maclean's homes Beechfield and Strachur, and of friends. The photographs used in \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eEastern Approaches\u003c/title\u003e, \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eDisputed Barricade\u003c/title\u003e, \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eA Person from England\u003c/title\u003e, and \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eBonnie Prince Charlie\u003c/title\u003eare also in this section.\n \n The fourth series consists of two small additions to the papers and include some correpondence files, such as congratulatory letters about his appointment as Under Secretary for War in 1954 and his Baronetcy in 1957, his letters published in the press, and the Great Britain-USSR Association; files on his participation in various conferences concerning Yugoslavia and War War II; election campaign materials of Maclean; Notebooks, including \"Russian Notebook\" (May 15-June 17, 1958); \"Mission\" describing his recall from the Middle East in 1943 to go to Yugoslavia as Winston Churchill's personal representative to support the resistance forces that were most effective against the Germans, moving British support from the Chetniks to the Communist-led partisans and Tito, (circa 1943-1944); and a trip to the country of Georgia (no year, May-June); news articles; speeches by Maclean, including printed speeches published in \"Parliamentary Debates\"; passports; pocket and desk diaries; first drafts of \"Eastern Approaches\"; a file on guerilla warfare; a copy of a 1938 Report on Central Asia by Maclean; and Veronica Maclean's description about her first meeting with Josip Broz Tito in 1947.\u003c/p\u003e","\u003cp\u003ere Appointments to London, Paris, and Moscow and his resignation from the Foreign Office\u003c/p\u003e","\u003cp\u003ere Maclean's Mission to Tito and an Extract from \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Second World War\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eincluding \"The Partisan Movement in Yugoslavia\" and \"Note on the Present Military and Political Situation in Serbia\"\u003c/p\u003e","\u003cp\u003eDrafts of Statement on the Extent of British Aid to the Partisans\u003c/p\u003e","\u003cp\u003ere Appointments and Impact on Service to Constituency\u003c/p\u003e","\u003cp\u003ere Irregular Warfare and Correspondence with Field Marshall Earl Alexander of Tunis and Others\u003c/p\u003e","\u003cp\u003ere Vietnam War\u003c/p\u003e","\u003cp\u003ere the Soviet Invasion of Czechoslovakia\u003c/p\u003e","\u003cp\u003ere Interview with Vice-President Bodnaras of Romania; Meeting with Tito; and Draft Article on Sino-Soviet Border\u003c/p\u003e","\u003cp\u003ere Winston Churchill\u003c/p\u003e","\u003cp\u003ere E.C. Grants for Argyll and Bute\u003c/p\u003e","\u003cp\u003ere Consideration of Fitzroy Maclean as Governor of Cyprus\u003c/p\u003e","\u003cp\u003ere a Resignation to Veronica Maclean\u003c/p\u003e","\u003cp\u003ere his serving as godfather to her daughter, Charlotte\u003c/p\u003e","\u003cp\u003ere British Press Coverage of Yugoslavia\u003c/p\u003e","\u003cp\u003ere Simic Cureija\u003c/p\u003e","\u003cp\u003ere Visit with Tito, with note from Jack Coville, Secretary to Winston Churchill\u003c/p\u003e","\u003cp\u003ere Tito\u003c/p\u003e","\u003cp\u003ere Korcula\u003c/p\u003e","\u003cp\u003ere the Soviet Invasion of Czechoslovakia\u003c/p\u003e","\u003cp\u003ere Visit to Yugoslavia for 25th Anniversary of National Liberation, includes photographs of Maclean and Willian Deakin\u003c/p\u003e","\u003cp\u003eDecoration Awarded to Fitzroy Maclean\u003c/p\u003e","\u003cp\u003eProposed British Decorations of Yugoslavs\u003c/p\u003e","\u003cp\u003ere Yugoslav Students in Britain\u003c/p\u003e","\u003cp\u003ere Allied Mission to Yugoslavia in World War II for Muzej AVNOJ\u003c/p\u003e","\u003cp\u003ere Korcula, Yugoslavia, Town Twinning with Argyll and Bute, Scotland\u003c/p\u003e","\u003cp\u003ere Maclean's Efforts in Support of Tito for the Nobel Peace Prize\u003c/p\u003e","\u003cp\u003ere British Policy towards the Balkan Resistance Movements\u003c/p\u003e","\u003cp\u003ere Meeting with Tito\u003c/p\u003e","\u003cp\u003ere Research and Annual Summaries (Copies) of Events in Yugoslavia, 1957-1972\u003c/p\u003e","\u003cp\u003ere Margaret Thatcher's Trip, with Official Program\u003c/p\u003e","\u003cp\u003ere the Prince of Wales' Visit to Yugoslavia\u003c/p\u003e","\u003cp\u003ere Fitzroy Maclean's article for the British-Yugoslav Society on the Prince of Wales' visit\u003c/p\u003e","\u003cp\u003ere Arrangements for the British Delegation to Tito's Funeral\u003c/p\u003e","\u003cp\u003ere Official Visit of Fitzroy Maclean\u003c/p\u003e","\u003cp\u003ere Program of Economic Reform\u003c/p\u003e","\u003cp\u003ere his biography of Tito\u003c/p\u003e","\u003cp\u003ere Controversy over British Military Mission in World War II\u003c/p\u003e","\u003cp\u003ere BBC \"Timewatch: Tito\" Program\u003c/p\u003e","\u003cp\u003ere a Yugoslav Detainee in 1945\u003c/p\u003e","\u003cp\u003ere Korcula, Croatia Emergency Appeal\u003c/p\u003e","\u003cp\u003ere Benefit Concert for Dubrovnik\u003c/p\u003e","\u003cp\u003ere Owen's Mission\u003c/p\u003e","\u003cp\u003ere Aldington-Tolstoy Libel Case (Repatriations in 1945)\u003c/p\u003e","\u003cp\u003ere Tito Memoirs and other projects\u003c/p\u003e","\u003cp\u003ere Purchase of \"Beechfield\"\u003c/p\u003e","\u003cp\u003ere Ticonderoga story\u003c/p\u003e","\u003cp\u003ere Purchase of \"Creggans Inn\"\u003c/p\u003e","\u003cp\u003ere \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eFitzroy Maclean\u003c/title\u003e\u003c/p\u003e","\u003cp\u003ere Evelyn Waugh biography\u003c/p\u003e","\u003cp\u003ere Fitzroy Maclean\u003c/p\u003e","\u003cp\u003ere Fitzroy Maclean and Articles by him\u003c/p\u003e","\u003cp\u003ere Awarding of Baronetcy and Arms\u003c/p\u003e","\u003cp\u003ere Honorary Degree from the University of Glasgow\u003c/p\u003e","\u003cp\u003ere Honorary Degree from Acadia University\u003c/p\u003e","\u003cp\u003ere Honorary Degree from Dalhousie University, Halifax, Nova Scotia, to Fitzroy Maclean and Tito\u003c/p\u003e","\u003cp\u003ere Honorary Degree from Dalhousie University, Halifax, Nova Scotia, to Fitzroy Maclean and Tito, signed by Josip Broz Tito and Madame Jovanka Broz\u003c/p\u003e","\u003cp\u003ere Honorary Degree from Dundee University\u003c/p\u003e","\u003cp\u003ere Special Air Service\u003c/p\u003e","\u003cp\u003ere the 23rd Special Air Service Regiment\u003c/p\u003e","\u003cp\u003ere Installation of Fitzroy Maclean in the Order of theThistle\u003c/p\u003e","\u003cp\u003ere Installation of Fitzroy Maclean in the Order of the Thistle\u003c/p\u003e","\u003cp\u003ere Appointment of Fitzroy Maclean in the Order of the Thistle--Congratulations\u003c/p\u003e","\u003cp\u003ere Appointment of Fitzroy Maclean in the Order of the Thistle\u003c/p\u003e","\u003cp\u003eOrder of the Thistle Ceremony\u003c/p\u003e","\u003cp\u003ere Freedom of Argyll and Bute\u003c/p\u003e","\u003cp\u003ere omitting part of an interview with the King about Yugoslavia from his book\u003c/p\u003e","\u003cp\u003ewith comments about what Maclean had written about himself in the book\u003c/p\u003e","\u003cp\u003ethanking him for the copy of his book sent to the King\u003c/p\u003e","\u003cp\u003ere Publicity\u003c/p\u003e","\u003cp\u003eTranslations\u003c/p\u003e","\u003cp\u003ere American Edition\u003c/p\u003e","\u003cp\u003ere German Edition\u003c/p\u003e","\u003cp\u003ere Paperback Edition\u003c/p\u003e","\u003cp\u003ere Proposed Film, with a copy of the script for the film, April 1956\u003c/p\u003e","\u003cp\u003ere Proposed TV Series\u003c/p\u003e","\u003cp\u003ere Proposed TV Series\u003c/p\u003e","\u003cp\u003ere Yugoslav Edition\u003c/p\u003e","\u003cp\u003ere Yugoslav Edition\u003c/p\u003e","\u003cp\u003eLetter of thanks on behalf of Tito\u003c/p\u003e","\u003cp\u003ere American Edition, \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Heretic\u003c/title\u003e\u003c/p\u003e","\u003cp\u003ere Translations\u003c/p\u003e","\u003cp\u003ere German Forces in Yugoslavia\u003c/p\u003e","\u003cp\u003eincluding \"The Fourth Enemy Offensive\" and some in Serbo-Croatian\u003c/p\u003e","\u003cp\u003ere Book Promotion Tour in Yugoslavia\u003c/p\u003e","\u003cp\u003ere Book Promotion Tour in Yugoslavia\u003c/p\u003e","\u003cp\u003eincluding some correspondence and notes\u003c/p\u003e","\u003cp\u003ere Korcula by Charles Maclean\u003c/p\u003e","\u003cp\u003eUnpublished\u003c/p\u003e","\u003cp\u003ere of BBC Radio Broadcast on Mission to Tito\u003c/p\u003e","\u003cp\u003ere Tito obituary for BBC Radio\u003c/p\u003e","\u003cp\u003ere BBC Radio \"I Was There\"\u003c/p\u003e","\u003cp\u003ere Film \"General from Strachur\"\u003c/p\u003e","\u003cp\u003ere BBC Television Tito Obituary\u003c/p\u003e","\u003cp\u003ere Tito Interview for CBS News\u003c/p\u003e","\u003cp\u003ere Proposed BBC Programs\u003c/p\u003e","\u003cp\u003ere Proposed Film on Tito\u003c/p\u003e","\u003cp\u003ere BBC Program on the S.O.E. (Special Operations Executive)\u003c/p\u003e","\u003cp\u003ere BBC Program on Evelyn Waugh\u003c/p\u003e","\u003cp\u003ere Miscellaneous Television and Film Projects\u003c/p\u003e","\u003cp\u003ere BBC Program \"Ratlines\"\u003c/p\u003e","\u003cp\u003ere VPRO Program\u003c/p\u003e","\u003cp\u003ere New Edition\u003c/p\u003e","\u003cp\u003ere Proposed Film\u003c/p\u003e","\u003cp\u003ere Research\u003c/p\u003e","\u003cp\u003ere Translations\u003c/p\u003e","\u003cp\u003eOriginal Letters of Joseph Wolff and Correspondence with Ancient Light Bookshop\u003c/p\u003e","\u003cp\u003eTranscripts and Copies of Letters of Charles Stoddart and others from the Public Records Office\u003c/p\u003e","\u003cp\u003ere American Edition and Other Projects\u003c/p\u003e","\u003cp\u003ere Copyright Renewal\u003c/p\u003e","\u003cp\u003ere German edition\u003c/p\u003e","\u003cp\u003ere the Sino Russian Border in \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eLife\u003c/title\u003e\u003c/p\u003e","\u003cp\u003ere the Caucasus Region\u003c/p\u003e","\u003cp\u003eCorrespondence re\u003c/p\u003e","\u003cp\u003ere the Bukharin Trial in Moscow \u0026amp; Interview with his widow\u003c/p\u003e","\u003cp\u003ere Mikhail Gorbachev\u003c/p\u003e","\u003cp\u003ere Georgia in \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Sunday Times\u003c/title\u003e\u003c/p\u003e","\u003cp\u003ere Azerbaijan\u003c/p\u003e","\u003cp\u003ere Georgia, including notes and drafts\u003c/p\u003e","\u003cp\u003ere Georgia in \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eThe Scotsman Magazine\u003c/title\u003e\u003c/p\u003e","\u003cp\u003ere Azerbaijan\u003c/p\u003e","\u003cp\u003ere Caucasus\u003c/p\u003e","\u003cp\u003ere Mikhail Gorbachov\u003c/p\u003e","\u003cp\u003ere Mikhail Gorbachev in honor of Hugh Seton-Watson\u003c/p\u003e","\u003cp\u003egiven at Foyle's Lunch\u003c/p\u003e","\u003cp\u003ere Georgia\u003c/p\u003e","\u003cp\u003ere Georgia\u003c/p\u003e","\u003cp\u003ere a New Edition\u003c/p\u003e","\u003cp\u003ere an American Edition\u003c/p\u003e","\u003cp\u003ere a German Edition\u003c/p\u003e","\u003cp\u003eAugust 1, 1996 from Edwin Moore to Veronica Maclean\u003c/p\u003e","\u003cp\u003ere German Edition\u003c/p\u003e","\u003cp\u003ere reprint as \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eWest Highland Tales\u003c/title\u003e\u003c/p\u003e","\u003cp\u003ere Publicity \u0026amp; Book Reviews\u003c/p\u003e","\u003cp\u003ere Publicity\u003c/p\u003e","\u003cp\u003ere \"Scotland in Parliament\"\u003c/p\u003e","\u003cp\u003ere Japan\u003c/p\u003e","\u003cp\u003ere Asia\u003c/p\u003e","\u003cp\u003ere Korea\u003c/p\u003e","\u003cp\u003ere Italy\u003c/p\u003e","\u003cp\u003ere the Middle East\u003c/p\u003e","\u003cp\u003ere Persia\u003c/p\u003e","\u003cp\u003ere Defense of Great Britain\u003c/p\u003e","\u003cp\u003ere Greece\u003c/p\u003e","\u003cp\u003ere Libya during World War II\u003c/p\u003e","\u003cp\u003ere Turkey\u003c/p\u003e","\u003cp\u003ere China \"Inside Red China\"\u003c/p\u003e","\u003cp\u003ere China Trip\u003c/p\u003e","\u003cp\u003ere China \"Peking Revisited,\" \"Don't Let China Stew in Her Own Juice,\" and \"Eyewitnesses in China\"\u003c/p\u003e","\u003cp\u003ere Mongolia\u003c/p\u003e","\u003cp\u003ere Sir Winston Churchill\u003c/p\u003e","\u003cp\u003eMongolia\u003c/p\u003e","\u003cp\u003ere the Black Sea, including one by Veronica Maclean\u003c/p\u003e","\u003cp\u003ere Defense of Europe: \"Nuclear Deterrence and Conventional Forces,\" with Correspondence\u003c/p\u003e","\u003cp\u003ere China--Trip to Kashgar in Chinese Turkestan, including Correspondence\u003c/p\u003e","\u003cp\u003ere Nepal and Bhutan\u003c/p\u003e","\u003cp\u003ere Germany\u003c/p\u003e","\u003cp\u003ere David Stirling for \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eDictionary of National Biography\u003c/title\u003eand Correspondence\u003c/p\u003e","\u003cp\u003ere Canary Islands\u003c/p\u003e","\u003cp\u003ere Oman\u003c/p\u003e","\u003cp\u003ere Tibet--Correspondence, Travel Arrangements, and Memorabilia\u003c/p\u003e","\u003cp\u003ere Tibet\u003c/p\u003e","\u003cp\u003ere the Channel Tunnel\u003c/p\u003e","\u003cp\u003ere Fitzroy Maclean, some in German, French, Serbo-Croatian, Swedish, and Dutch\u003c/p\u003e","\u003cp\u003ere Tibet\u003c/p\u003e","\u003cp\u003ere Publication of Evelyn Waugh's Diaries, which include references to Fitzroy Maclean\u003c/p\u003e","\u003cp\u003ere Invitation to Frankfurt\u003c/p\u003e","\u003cp\u003ere German Translations of \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eIsles of the Sea\u003c/title\u003eand \u003ctitle type=\"simple\" render=\"italic\" href=\"\"\u003eEastern Approaches\u003c/title\u003e\u003c/p\u003e","\u003cp\u003ere Proposed Book of Interviews including Fitzroy Maclean\u003c/p\u003e","\u003cp\u003esome accompanied by correspondence, including: Violet Asquith, Nancy Astor, Charles Bohlen, John Bute, Nicolae Causescu, Earl Cawdor, Thomas Churchill, John Clarke, the Queen Mother, Lord Lovat, Charles Maclean, Andrew Maxwell, Paddy Mayne and Bill Elliot, Iain Moncrieffe, Peter Moore, David Scott, David Stirling, and Lord Ward\u003c/p\u003e","\u003cp\u003ePeople\u003c/p\u003e","\u003cp\u003eEnvirons \u0026amp; Monasteries\u003c/p\u003e","\u003cp\u003eGUM Store, Race Track, \u0026amp; Fashions\u003c/p\u003e","\u003cp\u003eThe Kremlin \u0026amp; Red Square\u003c/p\u003e","\u003cp\u003eThe file includes a draft of a 1968 letter to Aleksey Aleksandrovich Surkov, President of the USSR - Great Britain Society, also includes letters to and from the Baroness Asquith of Yarnbury (\"Violet\").\u003c/p\u003e","\u003cp\u003eNotebooks include \"Russian Notebook\" (May 15-June 17, 1958); \"Mission\" describing his recall from the Middle East in 1943 to go to Yugoslavia as Winston Churchill's personal representative to support the resistance forces that were most effective against the Germans, moving British support from the Chetniks to the Communist-led partisans and Tito, (circa 1943-1944); and a trip to the country of Georgia (no year, May-June), circa 1943-1958\u003c/p\u003e","\u003cp\u003eIncludes Maclean's undated notes on Soviet history up to \"Glasnost,\" notes on the \"Council of Europe,\" (1973); series of letters between Sir Charles Peake, British Embassy, and Sir Fitzroy Maclean, 1946-1953.\u003c/p\u003e","\u003cp\u003eThese include a speech before the Boarding House and Catering Association, one mentioning nuclear deterrence, and international events.\u003c/p\u003e","\u003cp\u003eThis addition contains two letters written by Fitzroy Maclean and John Baldock to Helen F. Moore of Leicester, England. A typewritten letter from Maclean to Baldock addresses Moore's concern regarding rioting by South Koreans in the vicinity of the Troops Rest Center at Inchon and her request to move the Center. He reviews her concern, noting that the demonstrations were against the Neutral Nations Armistice Commission and took place six and a half miles from the Center. He notes that the Center was not affected by the rioting and that, after careful consideration, the Center would remain open and not move to another area. The second item is a cover letter from John Baldock forwarding Maclean's response to Ms. Moore.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents Note","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This Fitzroy Maclean papers consist (1827-1996; 44 cubic feet) of the professional and personal papers of Scottish soldier, diplomat, politician, author, and traveler, Sir Fitzroy Hew Maclean (1911-1996) of Dunconnel. It includes correspondence, memoranda, manuscripts, typescripts, newspaper and magazine articles, book reviews, lectures, speeches, photographs, memorabilia, and research material pertaining to his military, diplomatic, political and literary career as well as family and personal affairs.","Maclean is best known for his role during World War II as head of the British military mission to Yugoslavia in which he served as Winston Churchill's personal representative to leader of the Communist Partisans, Josip Broz Tito, his diplomatic service in the Soviet Union in the late 1930's, and as the author of the classic memoir Eastern Approaches (1949) and many other books and articles. After the war, he pursued a political career as a Conservative member of Parliament, and, based on his close relationship with Tito, played a key role in Anglo-Yugoslav affairs. He was also noted for his expertise on the Soviet Union."," A third focal point of his life and career was Scotland: he was a proud member of Clan Maclean and wrote several works on Scottish history, biography, and folklore. The collection contains some material in Serbo-Croatian, German, Italian and French."," The papers are arranged in four main series with various sub-series. Items of particular interest in the First Series, Career and Personal Papers, are described in the following paragraphs devoted to each subseries. In the Diplomatic Subseries are dispatches and memoranda of his trips through Central Asia (including Afghanistan and the ancient cities Bokhara and Samarkand) and the Caucasus, on the situation in Sinkiang (Chinese Turkestan) and on the political stability of the Soviet Union, 1937-1939."," The subseries British Military Mission to Yugoslavia contains Winston Churchill's Minute concerning his Mission to Tito, Autograph Diary (2 pages) re his arrival in Yugoslavia, \"Ratweek\" Map (oversize), twelve files (labeled Top Secret) including memoranda, correspondence, telegrams, etc concerning military and political affairs such as Allied operations and aid to Tito's Partisans, formation of the Yugoslav government, relief, the visit of Field Marshal Alexander, Supreme Allied Commander to Belgrade, Macedonia, Prospect of South Slav federation, and correspondence with Evelyn Waugh."," The Special Refugee Commission subseries contains correspondence, telegrams, reports, including one submitted to Foreign Secretary Ernest Bevin, articles, and a draft of a speech on the refugee problems to a parliamentary committee."," Political correspondence includes papers concerning the Lancaster by-election of 1941, the general election of 1945, and correspondence with Winston Churchill, Harold Macmillan, Anthony Eden, Alec Douglas- Home, Peter Carrington, Harold Wilson, Margaret Thatcher, John Major, Robert Kennedy, John Lindsay, Henry Jackson, and Averell Harriman ; a memorandum to Field Marshal Alexander of Tunis concerning irregular warfare; and correspondence and memoranda related to a parliamentary delegation to Romania in 1973."," Material in the VIP Subseries includes: letters and notes from members of the Royal Family including Prince Charles, Princess Margaret, Elizabeth the Queen Mother; Clementine Churchill and Mary Churchill Soames; and a thank you note from Lauren Bacall."," The Yugoslavia and Tito Subseries contains significant material including memoranda of meetings with Tito in 1949,1950, 1953, 1968, 1973; informative accounts by Maclean and other British officers about the Military Mission in World War II for an official book published by Muzej AVNOJ (1970-1971); correspondence about Maclean's involvement in proposals for the publication of Tito's memoirs (1966-1977) and about the nomination of Tito for the Nobel Peace Prize (1972-1973); correspondence and papers by Maclean and others from a conference on British Policy and Resistance in the Balkans (1973); Briefing papers, correspondence and memoranda of Margaret Thatcher's visit to Yugoslavia in 1977, and correspondence and memorabilia pertaining to the Prince of Wales' visit in 1978; correspondence about Maclean's visit in 1989 and transcript of an interview with Prime Minister Ante Markovic."," For the 1990's, the time of war and the dissolution of Yugoslavia , there is correspondence with David Owen, Stevan Dedijer and others, and about the Korcula Emergency Appeal, a relief effort for a hospital on the island of Korcula, Croatia, organized by the Macleans; letters from Yugoslav friends describing the turmoil , and/or seeking assistance in finding jobs in the United Kingdom; correspondence about renewed controversy about the British Military Mission in World War II. and the Aldington-Tolstoy Libel Case concerning the repatriation of Yugoslavs in 1945. It should also be noted that in Series II, Subseries B, Literary Material pertaining to Yugoslavia, there is some correspondence filed with the manuscripts, typescripts, articles and radio and television transcripts."," The Subseries Family and Personal Papers has letters from friends and teachers, some in German, French, and Italian. In a significant group of letters to his parents (1939-1945) from London, Cairo, Belgrade, and elsewhere, Maclean discussed the international situation, his desire to leave the Foreign Office in order to join the army, life in London during the Blitz, the beginning of his political career, and his military service (some letters were extensively cut by the censors). There are also a number of letters to his parents from the years 1946-1955 from Maclean and his wife Veronica discussing family matters and living conditions in Italy and Austria while Maclean was directing the Special Refugee Commission, and about their travels in Yugoslavia, Greece and Turkey in the early 1950's."," Also present is correspondence with Frank McLynn, his biographer, 1990-1994, and two scrapbooks. The blue scrapbook (1939-1951) includes one letter of Maclean to his aunt, newspaper clippings relating to his military service in Yugoslavia, his marriage, some articles by him, a few photographs. The red scrapbook, 1943-1946 also has newspaper clippings about his military service and political career and articles by him."," The Second Series consists of literary papers. This series contains drafts, typescripts, setting copies of his books with related correspondence with publishers and others about the publication process, contracts, royalty statements, book reviews, fan mail, articles, book reviews, speeches, lectures, transcripts of radio and television programs, film proposals or treatments. Several of his books were published under different titles in the United States. It is organized into five subseries based on subject matter. These include:  Eastern Approaches (American title-  Escape to Adventure ); Yugoslavia (the country as originally constituted and also the new states that emerged in the 1990's); Russia and the former Soviet Union and the new nations post 1990); Scotland; and Miscellaneous Literary."," The subseries about  Eastern Approaches contains a typed manuscript (Setting copy) with corrections, including an unpublished introduction; some material omitted from the published version including his admiration for a Soviet army unit, comments on the Cetniks, and conversations with King George VI and Winston Churchill and King Peter of Yugoslavia; letters from Michael Adeane, Secretary to King George VI and Winston Churchill requesting that certain passages be omitted; a letter from Peter Fleming to Jonathan Cape offering his opinion of the book, a letter from Ian Fleming to Jonathan Cape and a note to Maclean."," Other material includes correspondence with Jonathan Cape and other publishers about a new edition, correspondence with Douglas Fairbanks, Eric Ambler and others concerning a possible film version, and with Ian Curteis about a proposed television adaptation."," The Yugoslavia Subseries includes books:  Disputed Barricade (1957), published in America as  The Heretic , which includes an interview with Tito;  Yugoslavia (1969), in which Maclean wrote the text for this book of photographs;  Battle of Neretva (1970); and  Tito: A Pictorial Biography (1980). Also present are articles from newspapers and magazines, 1947-1995, on Yugoslav politics and society, including interviews with Tito. Particularly interesting are two unpublished articles \"Whither Yugoslavia?\" written in 1989 based on interviews with Yugoslav politicians, including Slobodan Milosevic. There are also a number of book reviews of works by Julian Amery, William Deakin, Noel Malcolm and Misha Glenny and others."," In addition, the subseries on Yugoslavia contains lectures, 1949-1995; transcripts of radio and television programs, with related correspondence; and some interviews with Tito, notably The \"Life and Times of Marshal Tito\" (December 1963); and one for a CBS news program (1969)."," The Russian Material Subseries contains drafts, correspondence, and research material for his books  A Person from England (1958), including several autograph letters,1827-1861, of Dr. Joseph Wolff, one of the English travelers chronicled in the book;  Back to Bokhara (1959);  Holy Russia (1978); drafts titled \"All the Russias\" and \"The Other Russias,\" which were the basis for  To the Back of Beyond (1974),  To Caucasus: End of All the Earth (1976); and  Holy Russia (1978) which completed the trilogy;  Portrait of the Soviet Union (1988), including material for both the book and the related TBS television series since Maclean was working on these simultaneously; and  All the Russias (1992). Correspondents include Pamela Harriman, Marietta Tree and Fitzgerald Bemiss."," In addition to his books about Russia and the Soviet Union, his papers also contain articles, 1949-1995 on political, social, economic, cultural aspects of the former Soviet Union, a number on Georgia and the Caucasus, and Mikhail Gorbachev; book reviews, 1949-1994; and radio and television material, such as correspondence and transcripts for programs, including \"The End of All the Earth\" and \"Carnival in the Caucasus\"; interviews with Anna Mikhailovna Larina (Bukharin's widow) and others for the BBC \"Timewatch\" program \"Bukharin.\""," The subseries concerning his Scotland material includes books,  A Concise History of Scotland (1970);  Isles of the Sea (1985);  Bonnie Prince Charlie (1988); and  Highlanders (originally titled  Clans ) (1995). Material for the book and television series are combined since Maclean was working on them simultaneously. Among the articles on Scotland is a notable series \"Scottish Approaches\" which appeared in  The Scotsman in 1959."," The last subseries in Maclean's Literary Papers consists of miscellaneous literary material, including material for the book  Take Nine Spies . There is also correspondence with publishers in which he discusses more than one book, and with his literary agents."," Articles are arranged chronologically, and topics range from post World War II Japan, Korea, Italy, the Middle East, and defense policy to China and Mongolia in the 1960's, an extended trip to China in 1988, and his travels in Nepal, Tibet, and Oman in the 1990's. There are also articles about his military, diplomatic, political and literary career, his travels, and personal life, and note that others are contained in two scrapbooks. The radio and television material includes his commentaries on the international scene from 1946 on."," Photographic Material comprises the third series, which contains twenty-four boxes of photographs (some in albums), contact sheets, negatives, and slides, taken by Maclean, primarily of his travels in the former Soviet Union, Europe and Asia, from 1938 through the 1990's. Especially noteworthy are those taken in Moscow, Leningrad, and Central Asia, including Afghanistan, the cities Bokhara and Samarkand, and Persia, Paris and Florence in the late 1930's, Yugoslavia during World War II, postwar Korean and China, and of Yugoslavia, Greece, Turkey and Iran in the early 1950's. Maclean visited the former Soviet Union frequently from the late 1950's through 1987 and took numerous photographs of his favorite regions, Central Asia and the Caucasus, particularly Georgia."," As for Yugoslavia, there is an album dated 1953 labeled Namanevru Jugoslovenska Narodne, Armije (Yugoslav People's Army) with photographs of Tito, Maclean, and soldiers; and photographs from the early 1960's through 1980 including a number of photographs of Tito. Individuals subjects include Winston Churchill and Margaret Thatcher. There are also many family photographs taken at Maclean's homes Beechfield and Strachur, and of friends. The photographs used in  Eastern Approaches ,  Disputed Barricade ,  A Person from England , and  Bonnie Prince Charlie are also in this section.\n \n The fourth series consists of two small additions to the papers and include some correpondence files, such as congratulatory letters about his appointment as Under Secretary for War in 1954 and his Baronetcy in 1957, his letters published in the press, and the Great Britain-USSR Association; files on his participation in various conferences concerning Yugoslavia and War War II; election campaign materials of Maclean; Notebooks, including \"Russian Notebook\" (May 15-June 17, 1958); \"Mission\" describing his recall from the Middle East in 1943 to go to Yugoslavia as Winston Churchill's personal representative to support the resistance forces that were most effective against the Germans, moving British support from the Chetniks to the Communist-led partisans and Tito, (circa 1943-1944); and a trip to the country of Georgia (no year, May-June); news articles; speeches by Maclean, including printed speeches published in \"Parliamentary Debates\"; passports; pocket and desk diaries; first drafts of \"Eastern Approaches\"; a file on guerilla warfare; a copy of a 1938 Report on Central Asia by Maclean; and Veronica Maclean's description about her first meeting with Josip Broz Tito in 1947.","re Appointments to London, Paris, and Moscow and his resignation from the Foreign Office","re Maclean's Mission to Tito and an Extract from  The Second World War","including \"The Partisan Movement in Yugoslavia\" and \"Note on the Present Military and Political Situation in Serbia\"","Drafts of Statement on the Extent of British Aid to the Partisans","re Appointments and Impact on Service to Constituency","re Irregular Warfare and Correspondence with Field Marshall Earl Alexander of Tunis and Others","re Vietnam War","re the Soviet Invasion of Czechoslovakia","re Interview with Vice-President Bodnaras of Romania; Meeting with Tito; and Draft Article on Sino-Soviet Border","re Winston Churchill","re E.C. Grants for Argyll and Bute","re Consideration of Fitzroy Maclean as Governor of Cyprus","re a Resignation to Veronica Maclean","re his serving as godfather to her daughter, Charlotte","re British Press Coverage of Yugoslavia","re Simic Cureija","re Visit with Tito, with note from Jack Coville, Secretary to Winston Churchill","re Tito","re Korcula","re the Soviet Invasion of Czechoslovakia","re Visit to Yugoslavia for 25th Anniversary of National Liberation, includes photographs of Maclean and Willian Deakin","Decoration Awarded to Fitzroy Maclean","Proposed British Decorations of Yugoslavs","re Yugoslav Students in Britain","re Allied Mission to Yugoslavia in World War II for Muzej AVNOJ","re Korcula, Yugoslavia, Town Twinning with Argyll and Bute, Scotland","re Maclean's Efforts in Support of Tito for the Nobel Peace Prize","re British Policy towards the Balkan Resistance Movements","re Meeting with Tito","re Research and Annual Summaries (Copies) of Events in Yugoslavia, 1957-1972","re Margaret Thatcher's Trip, with Official Program","re the Prince of Wales' Visit to Yugoslavia","re Fitzroy Maclean's article for the British-Yugoslav Society on the Prince of Wales' visit","re Arrangements for the British Delegation to Tito's Funeral","re Official Visit of Fitzroy Maclean","re Program of Economic Reform","re his biography of Tito","re Controversy over British Military Mission in World War II","re BBC \"Timewatch: Tito\" Program","re a Yugoslav Detainee in 1945","re Korcula, Croatia Emergency Appeal","re Benefit Concert for Dubrovnik","re Owen's Mission","re Aldington-Tolstoy Libel Case (Repatriations in 1945)","re Tito Memoirs and other projects","re Purchase of \"Beechfield\"","re Ticonderoga story","re Purchase of \"Creggans Inn\"","re  Fitzroy Maclean","re Evelyn Waugh biography","re Fitzroy Maclean","re Fitzroy Maclean and Articles by him","re Awarding of Baronetcy and Arms","re Honorary Degree from the University of Glasgow","re Honorary Degree from Acadia University","re Honorary Degree from Dalhousie University, Halifax, Nova Scotia, to Fitzroy Maclean and Tito","re Honorary Degree from Dalhousie University, Halifax, Nova Scotia, to Fitzroy Maclean and Tito, signed by Josip Broz Tito and Madame Jovanka Broz","re Honorary Degree from Dundee University","re Special Air Service","re the 23rd Special Air Service Regiment","re Installation of Fitzroy Maclean in the Order of theThistle","re Installation of Fitzroy Maclean in the Order of the Thistle","re Appointment of Fitzroy Maclean in the Order of the Thistle--Congratulations","re Appointment of Fitzroy Maclean in the Order of the Thistle","Order of the Thistle Ceremony","re Freedom of Argyll and Bute","re omitting part of an interview with the King about Yugoslavia from his book","with comments about what Maclean had written about himself in the book","thanking him for the copy of his book sent to the King","re Publicity","Translations","re American Edition","re German Edition","re Paperback Edition","re Proposed Film, with a copy of the script for the film, April 1956","re Proposed TV Series","re Proposed TV Series","re Yugoslav Edition","re Yugoslav Edition","Letter of thanks on behalf of Tito","re American Edition,  The Heretic","re Translations","re German Forces in Yugoslavia","including \"The Fourth Enemy Offensive\" and some in Serbo-Croatian","re Book Promotion Tour in Yugoslavia","re Book Promotion Tour in Yugoslavia","including some correspondence and notes","re Korcula by Charles Maclean","Unpublished","re of BBC Radio Broadcast on Mission to Tito","re Tito obituary for BBC Radio","re BBC Radio \"I Was There\"","re Film \"General from Strachur\"","re BBC Television Tito Obituary","re Tito Interview for CBS News","re Proposed BBC Programs","re Proposed Film on Tito","re BBC Program on the S.O.E. (Special Operations Executive)","re BBC Program on Evelyn Waugh","re Miscellaneous Television and Film Projects","re BBC Program \"Ratlines\"","re VPRO Program","re New Edition","re Proposed Film","re Research","re Translations","Original Letters of Joseph Wolff and Correspondence with Ancient Light Bookshop","Transcripts and Copies of Letters of Charles Stoddart and others from the Public Records Office","re American Edition and Other Projects","re Copyright Renewal","re German edition","re the Sino Russian Border in  Life","re the Caucasus Region","Correspondence re","re the Bukharin Trial in Moscow \u0026 Interview with his widow","re Mikhail Gorbachev","re Georgia in  The Sunday Times","re Azerbaijan","re Georgia, including notes and drafts","re Georgia in  The Scotsman Magazine","re Azerbaijan","re Caucasus","re Mikhail Gorbachov","re Mikhail Gorbachev in honor of Hugh Seton-Watson","given at Foyle's Lunch","re Georgia","re Georgia","re a New Edition","re an American Edition","re a German Edition","August 1, 1996 from Edwin Moore to Veronica Maclean","re German Edition","re reprint as  West Highland Tales","re Publicity \u0026 Book Reviews","re Publicity","re \"Scotland in Parliament\"","re Japan","re Asia","re Korea","re Italy","re the Middle East","re Persia","re Defense of Great Britain","re Greece","re Libya during World War II","re Turkey","re China \"Inside Red China\"","re China Trip","re China \"Peking Revisited,\" \"Don't Let China Stew in Her Own Juice,\" and \"Eyewitnesses in China\"","re Mongolia","re Sir Winston Churchill","Mongolia","re the Black Sea, including one by Veronica Maclean","re Defense of Europe: \"Nuclear Deterrence and Conventional Forces,\" with Correspondence","re China--Trip to Kashgar in Chinese Turkestan, including Correspondence","re Nepal and Bhutan","re Germany","re David Stirling for  Dictionary of National Biography and Correspondence","re Canary Islands","re Oman","re Tibet--Correspondence, Travel Arrangements, and Memorabilia","re Tibet","re the Channel Tunnel","re Fitzroy Maclean, some in German, French, Serbo-Croatian, Swedish, and Dutch","re Tibet","re Publication of Evelyn Waugh's Diaries, which include references to Fitzroy Maclean","re Invitation to Frankfurt","re German Translations of  Isles of the Sea and  Eastern Approaches","re Proposed Book of Interviews including Fitzroy Maclean","some accompanied by correspondence, including: Violet Asquith, Nancy Astor, Charles Bohlen, John Bute, Nicolae Causescu, Earl Cawdor, Thomas Churchill, John Clarke, the Queen Mother, Lord Lovat, Charles Maclean, Andrew Maxwell, Paddy Mayne and Bill Elliot, Iain Moncrieffe, Peter Moore, David Scott, David Stirling, and Lord Ward","People","Environs \u0026 Monasteries","GUM Store, Race Track, \u0026 Fashions","The Kremlin \u0026 Red Square","The file includes a draft of a 1968 letter to Aleksey Aleksandrovich Surkov, President of the USSR - Great Britain Society, also includes letters to and from the Baroness Asquith of Yarnbury (\"Violet\").","Notebooks include \"Russian Notebook\" (May 15-June 17, 1958); \"Mission\" describing his recall from the Middle East in 1943 to go to Yugoslavia as Winston Churchill's personal representative to support the resistance forces that were most effective against the Germans, moving British support from the Chetniks to the Communist-led partisans and Tito, (circa 1943-1944); and a trip to the country of Georgia (no year, May-June), circa 1943-1958","Includes Maclean's undated notes on Soviet history up to \"Glasnost,\" notes on the \"Council of Europe,\" (1973); series of letters between Sir Charles Peake, British Embassy, and Sir Fitzroy Maclean, 1946-1953.","These include a speech before the Boarding House and Catering Association, one mentioning nuclear deterrence, and international events.","This addition contains two letters written by Fitzroy Maclean and John Baldock to Helen F. Moore of Leicester, England. A typewritten letter from Maclean to Baldock addresses Moore's concern regarding rioting by South Koreans in the vicinity of the Troops Rest Center at Inchon and her request to move the Center. He reviews her concern, noting that the demonstrations were against the Neutral Nations Armistice Commission and took place six and a half miles from the Center. He notes that the Center was not affected by the rioting and that, after careful consideration, the Center would remain open and not move to another area. The second item is a cover letter from John Baldock forwarding Maclean's response to Ms. Moore."],"names_ssim":["Albert and Shirley Small Special Collections Library","Maclean, Fitzroy, 1911-1996"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"persname_ssim":["Maclean, Fitzroy, 1911-1996"],"language_ssim":["Materials are in English."],"descrules_ssm":["Anglo-American Cataloguing Rules"],"total_component_count_is":763,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-20T23:47:27.185Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_repositories_3_resources_838_c01_c06"}},{"id":"vifarl_repositories_2_resources_107_c01_c147","type":"Subseries","attributes":{"title":"Y.W.C.A., My STC Diary","breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifarl_repositories_2_resources_107_c01_c147#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifarl_repositories_2_resources_107_c01_c147","ref_ssm":["vifarl_repositories_2_resources_107_c01_c147"],"id":"vifarl_repositories_2_resources_107_c01_c147","ead_ssi":"vifarl_repositories_2_resources_107","_root_":"vifarl_repositories_2_resources_107","_nest_parent_":"vifarl_repositories_2_resources_107_c01","parent_ssi":"vifarl_repositories_2_resources_107_c01","parent_ssim":["vifarl_repositories_2_resources_107","vifarl_repositories_2_resources_107_c01"],"parent_ids_ssim":["vifarl_repositories_2_resources_107","vifarl_repositories_2_resources_107_c01"],"parent_unittitles_ssm":["Pi Gamma Mu Collection","Records, Memorabilia, and Ephemera"],"parent_unittitles_tesim":["Pi Gamma Mu Collection","Records, Memorabilia, and Ephemera"],"text":["Pi Gamma Mu Collection","Records, Memorabilia, and Ephemera","Y.W.C.A., My STC Diary","box 07 of 09"],"title_filing_ssi":"Y.W.C.A., My STC Diary","title_ssm":["Y.W.C.A., My STC Diary"],"title_tesim":["Y.W.C.A., My STC Diary"],"unitdate_other_ssim":["1943"],"normalized_date_ssm":["1943"],"normalized_title_ssm":["Y.W.C.A., My STC Diary"],"component_level_isim":[2],"repository_ssim":["Longwood University"],"collection_ssim":["Pi Gamma Mu Collection"],"extent_ssm":["1 Sheets"],"extent_tesim":["1 Sheets"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":181,"parent_access_restrict_tesm":["No restrictions on access or use for research purposes."],"date_range_isim":[1943],"containers_ssim":["box 07 of 09"],"_nest_path_":"/components#0/components#146","timestamp":"2026-05-20T19:32:29.062Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifarl_repositories_2_resources_107","ead_ssi":"vifarl_repositories_2_resources_107","_root_":"vifarl_repositories_2_resources_107","_nest_parent_":"vifarl_repositories_2_resources_107","ead_source_url_ssi":"data/oai/LONG/repositories_2_resources_107.xml","title_ssm":["Pi Gamma Mu Collection"],"title_tesim":["Pi Gamma Mu Collection"],"unitdate_ssm":["1818-1970"],"unitdate_inclusive_ssm":["1818-1970"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["LU.001"],"text":["LU.001","Pi Gamma Mu Collection","Women -- Societies and clubs.","No restrictions on access or use for research purposes.","Pi Gamma Mu   is an international honorary interdisciplinary social science society founded in 1924. 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This image is the same as 188.015, but is zoomed in a little closer","A Professor and a student pose, professor looking at a sheet of paper while the student types on a typewriter.","Looks like the girl might be opening a door, but photo is very dark and is very foggy","This photo was likely used in a yearbook. The Girls are seated around the fountain in the hidden garden.","Photo has creases and damage on one side. This is the original print of 188.023","This is a reprint of 188.022, and also has crease lines in the center of the photograph","Can see a view of the back of the Library, Grainger and students doing an activity or event on the grass outside the library. Written on the back \"Christmas Greetings 1952, Douglas W. Fraser)","Student pose to represent each year of college, Freshman student wears a Freshman Beanie, while Senior wears her cap and gown.","Written on back \" Maybe circus 1955 Freshman Class\"","Many of the students are looking away or got disc"],"scopecontent_html_tesm":["\u003cp\u003eThe materials in this collection date from 1818 to 1970 and consist of historical memorabilia, ephemera, documents, and photographs collected by members of Pi Gamma Mu, as well as materials related specifically to the organization itself.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and content"],"scopecontent_tesim":["The materials in this collection date from 1818 to 1970 and consist of historical memorabilia, ephemera, documents, and photographs collected by members of Pi Gamma Mu, as well as materials related specifically to the organization itself."],"names_coll_ssim":["Longwood College -- : History.","State Teachers College (Farmville, Va.) -- : History.","Longwood College -- : Students."],"names_ssim":["Greenwood Library Archives and Special Collections","Pi Gamma Mu","Pi Gamma Mu ","Longwood College -- : History.","State Teachers College (Farmville, Va.) -- : History.","Longwood College -- : Students."],"corpname_ssim":["Greenwood Library Archives and Special Collections","Pi Gamma Mu","Pi Gamma Mu ","Longwood College -- : History.","State Teachers College (Farmville, Va.) -- : History.","Longwood College -- : Students."],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":302,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-20T19:32:29.062Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifarl_repositories_2_resources_107_c01_c147"}},{"id":"vilxw_repositories_5_resources_231_c02_c12_c58","type":"Subseries","attributes":{"title":"Y-Z","breadcrumbs":{"id":"https://arvasarchive.org/catalog/vilxw_repositories_5_resources_231_c02_c12_c58#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vilxw_repositories_5_resources_231_c02_c12_c58","ref_ssm":["vilxw_repositories_5_resources_231_c02_c12_c58"],"id":"vilxw_repositories_5_resources_231_c02_c12_c58","ead_ssi":"vilxw_repositories_5_resources_231","_root_":"vilxw_repositories_5_resources_231","_nest_parent_":"vilxw_repositories_5_resources_231_c02_c12","parent_ssi":"vilxw_repositories_5_resources_231_c02_c12","parent_ssim":["vilxw_repositories_5_resources_231","vilxw_repositories_5_resources_231_c02","vilxw_repositories_5_resources_231_c02_c12"],"parent_ids_ssim":["vilxw_repositories_5_resources_231","vilxw_repositories_5_resources_231_c02","vilxw_repositories_5_resources_231_c02_c12"],"parent_unittitles_ssm":["O.W. Riegel Papers","Dupont Awards","Judges"],"parent_unittitles_tesim":["O.W. Riegel Papers","Dupont Awards","Judges"],"text":["O.W. Riegel Papers","Dupont Awards","Judges","Y-Z","English .","folder 301"],"title_filing_ssi":"Y-Z","title_ssm":["Y-Z"],"title_tesim":["Y-Z"],"unitdate_inclusive_ssm":["1951-1966"],"normalized_date_ssm":["1951/1966"],"normalized_title_ssm":["Y-Z"],"component_level_isim":[3],"repository_ssim":["Washington and Lee University, Leyburn Library"],"collection_ssim":["O.W. Riegel Papers"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Subseries"],"level_ssim":["Subseries"],"sort_isi":386,"parent_access_restrict_tesm":["This collection is open to research use."],"parent_access_terms_tesm":["The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections."],"date_range_isim":[1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966],"language_ssim":["English ."],"containers_ssim":["folder 301"],"_nest_path_":"/components#1/components#11/components#57","timestamp":"2026-05-20T21:30:16.538Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vilxw_repositories_5_resources_231","ead_ssi":"vilxw_repositories_5_resources_231","_root_":"vilxw_repositories_5_resources_231","_nest_parent_":"vilxw_repositories_5_resources_231","ead_source_url_ssi":"data/oai/WLU/repositories_5_resources_231.xml","title_ssm":["O.W. Riegel Papers"],"title_tesim":["O.W. Riegel Papers"],"unitdate_ssm":["1900-1992"],"unitdate_inclusive_ssm":["1900-1992"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["WLU.Coll.0387","/repositories/5/resources/231"],"text":["WLU.Coll.0387","/repositories/5/resources/231","O.W. Riegel Papers","Propaganda ","Journalism","This collection is open to research use.","This part of the collection is not yet processed. Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information.","This part of the collection is not yet processed. Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information.","This part of the collection is not yet processed. Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information.","This part of the collection is not yet processed. Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information.","This part of the collection is not yet processed. Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information.","This part of the collection is not yet processed. Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information.","This part of the collection requires restoration or preservation. Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information.","This part of the collection is not yet processed. Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information.","This part of the collection is not yet processed. Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information.","This part of the collection is not yet processed. Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information.","This part of the collection is not yet processed. Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information.","This part of the collection is not yet processed. Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information.","This part of the collection is not yet processed. Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information.","Some items have been removed from their appropriate folders and are located in oversize storage at the end of the series. Additionally, some books, magazines, and newspaper clippings are stored separately from the rest of the collection at this time. They are stored for the researcher's convenience and may be examined upon request.","Oscar Wetherhold Riegel, also known as Tom, was born in Reading, PA in 1903. Riegel's professional career began as a reporter and editor for the Chicago Tribune in the 1920s. He then shifted his focus to the information gathering and application, attaining a Bachelor's degree in the field from Dartmouth College and later attending Washington and Lee University. ","Riegel became an internationally-known expert on the topic of propaganda in the 1930s after extensive studies of its importance in modern politics. His monograph, Mobilizing for Chaos: The Story of the New Propaganda, was published in 1934 and focused on the role propaganda was playing in the rise of National Socialism in Germany.\nIn his studies he amassed an extensive collection of American, European, and Asian propaganda spanning World War I through the Cold War. Aspects of his compilation of propaganda studies are included within this collection.\nRiegel joined the Washington and Lee University Journalism Department in 1930 and was named department head in 1934. He served as department head until his retirement in 1973. During his tenure with the university, he taught various courses on film, journalism, propaganda, and information application.\nHe passed away in 1997 in Lexington, VA.","Highlights of this collection include material concerning the Washington and Lee Journalism Department, including course material, student papers, and lecture notes. Supplementing this course material are published materials on the history of film, 20th century war propaganda, the Nazification of Germany, Paris in the 1920's and the \"Lost Generation.\" \nThere also includes wide selections of personal research materials for projects such as Riegel's books Mobilizing for Chaos and Crown of Glory; collections on Riegel's travels to Central and South America and Europe including Germany during the 1930s, and the typescript of his unpublished autobigraphy to 1945 titled \"Hacking It.\"","Items in this series relate to news and developments in communications sattelites. Riegel wrote a short article about their impact on mass media. His manuscripts along with correspondence, reports, and publications about communications satellites make up the bulk of this series. Some items of note include reports on the progress of Canada's Telesat system, Riegel's analysis of satellite communication, and Comsat and Intelesat reports from the early 1970's","Riegel discussed with over thirty correspondents over matters related to Communications Satellites and his academic article discussing the political barriers to satellite usage. Most correspondents provide suggestions to Riegel's article or explain how an academic journal they're associated with plans to use or not use his article.","Press releases in this subseries mostly come from the COMSAT, INTELSAT, and TELESAT corporations. These press releases give reports on the developments in the satellite industry, and the changes in stock values for these companies' shareholders.","Items in this subseries relate to pulbications from various sources refering to communications satellites. Items of note include: a Thesis titled, \"Defense Department's usage of Communications Satellites\" by Maurice Fliess from West Virginia University, annual COMSAT publications, and  a Canadian publication on the ᐊᓂᒃ (\"anik\" or little brother)satellite by TELESAT.","Items in this subseries consist of reports by government and independent organizations about communication satellites. The reports vary in focus, ranging from technical data to impending impact of satellites on public life. Items of note include the 1972 Aeronautics and Space Report of the President and the operating agreement between the United States and other nations regarding INTELSAT.","This subseries consists of Riegel's communication satellite article manuscripts. These manuscripts show the revisions Riegel made to his work.","Items in this subseries are materials related to Riegel's work on Communication Satellites that have not yet been processed.","Items in this series are relevant to the Dupont Awards, which were given to Television stations, Radiostations, and commentators who have contributed to the field in their performance on the air. Award winners received $1,000, and most used the money to fund a journalism scholarship. Within this series are correspondence between award winners, judges, the Dupont estate, Washington and Lee University, members of the Federal Communications Commission, public relations firms, and O.W. Riegel, photographs of the award winners and annual awards dinner, publications by the Dupont Awards foundation, and published statements by various awards winners. Some items and subjects of note include a draft of a couple of the physical awards, letters discussing the conclusion of Washington and Lee's Association with the awards in 1967, and some resumes of different journalists and  Judges' comments on various radio and television stations. Three scrapbooks are contained wtithin the collection, but are not in folders. They are listed in the appropriate sub-series. Major correspondents and speakers include: O. W. Riegel, FCC Chairman Rosel Hyde, and Jessie Ball Dupont.","Items in this sub-series consist of materials describing the removal of Washington and Lee University from the administration of the Dupont Awards.","Items in this subseries consist of correspondence, photos and cirtificates relating to types of awards given by institutions. Items of note include a small magazine of different award designs, correspondence over the dupont awards, and photographs of different awards.","Items in this subseries primarily consist of correspondence related to the design of a brochure for the Dupont Awards. As the Awards' curator, Riegel was responsible for the Awrds' presentation and outreach.","Items in this subseries consist of correspondents between Riegel and and individual reviewers the Dupont Awards. These letters consist of recommended radio stations  that people felt deserved the award for 1963.","Items in this sub-series consist of materials related to the Dupont Awards dinner including photographs, ivitations, and RSVP's.","Items in this subseries consist of the financial documents Riegel dealt with for the Dupont Awards. Items of note include letters with the awards' finanical statements and individual bills for expenses.","Items in this subseries relate to forms used by the Dupont Awards committee. Some forms of note include blank radio station judging forms and form letters to nominees and participants.","Riegel's correspondence in this series is primarily between different awards administrators and judges. Riegel corresponded with approximately 320 different individauls within this subseries. Correspondents of note include Mrs. Dupont, Turner Catledge, and Sol Taishoff.","Items in this subseries relate to communications between the General Federation of Women's Clubs and Riegel as curator for the Dupont Awards. Most of the correspondence consists of requests by Riegel for the leadership of the G.F.W.C. to participate on the Committee of the Dupont Awards.","Items in this sub-series consist of materials related to the judging of various Television stations, radio stations, and commentators for the Dupont Awards. Included are some judges' comments on different stations and correspondence about evaluating stations.","Items in this sub-series consist of materials related to the coverage of the Kennedy Assassination. The Dupont Awards foundation found it apporpriate to commemorate numerous stations for their detailed coverage of the event.","Items in this subseries consist of correspondence between Riegel and various lettershops regarding the production of a mass qualtity of letters to individuals regarding the awards. Some letters focused on the errors by the lettershop businesses such as errors in the use of names, punctuation, and grammar.","Items in this subseries consist of lists of individuals based on association. Some of the lists of note in this subseries include a list of CBS correspondents, Dupont Award winners, and the Dupont Award Foundation Mailing List.","Items in this sub-series consist of materials published or sent by the National Association for Better Radio and Television. This organization sought to encourage quality programing for families and children. some items of note include a booklet of television programs with ratings and reviews and newsletters mentioning the Dupont Awards.","Items in this subseries consist primarily of correspondence  addressing various concerns individuals had with the awards. These problems ranged from the permission of including some materials in various nominee presentations to the eligibility of certain networks in the Dupont Awards.","Correspondence in this subseries focuses primarily on the manner in which the Awards were determined and given. There is extensive discussion between Haefele, Spackman, and Riegel about the Trustee's involvment in the selection of judges and giving awards. The Dupont foundation wanted to increase its influence on the awards process, while Riegel thought that the Awards should have more liberty to act on its own.","Items in this subseries consist of documents by the Dupont Awards Foundation that were issued or available to the public, including: the agreements between the Dupont Foundation and the Awards committee, annual programs and brochures, and descriptions of the awards.","Items in this subseries consist of correspondence about spreading the awareness of the Dupont Awards.","Items in this subseries relate to efforts by the Dupont Awards Foundation to capitalize on their public relations. A large part of correspondence is with the Public Relations office of Earle Palmer Brown.","Correspondence in this subseries consists of correspondence related to how some winners chose to use their prize money from the Dupont Awards to give a small scholarship to journalism majors at various universities.","This subseries focuses on the process determining a logo for the Dupont Awards including correspondence, images, and sketches.","Items in this sub-series consist of materials related to the presentation of the Dupont Awards to their respective winners. Because of the annual nature of the award, material is sorted by year and then by content.","The items in this sub-series consist of miscellaeous materials that did not necessarily fit with the other groupings. Along with the files listed are two scrap-books of remarks made at the Dupont Awards Dinner.","Items in this subseries consist of materials that belong in the Journalism Department series but have not been processed into the collection yet.","Items in this series consist of and are related to O.W. Riegel's unpublished memoir \"Hacking It\". The first section of the series contains the most refined drafts of the Autobiography. Then there is correspondence between individuals who assited Riegel in drafting and editing his work. There are also several unrefined drafts of material, and a couple of artifacts and notes related to the Memoir. Housed separately from the rest of the collection, is one box of Newspaper clippings sorted by topic around different subjects Riegel's memoir addresses.","This subseries contains the most up-to-date version of Riegel's unpublished autobiography.","Correspondence in this subseries focuses on revisions of Riegel's memoirs and requests for information for Riegel to use in his writing.","Items in this subseries consist of various drafts on sections considered in the development of Riegel's Memoir. Topics range from his trip to the Virgin Islands, to his view of religion, and his year in Hungary after the conclusion of World War II.","Items in this subseries relate to Jane Riegel's materials that were stored with Riegel's autobiography. Oscar Riegel had Jane's journal bound and printed as a gift. These items are the scans and illustrations of her journal that were necessary to make his gift possible.","Items in this subseries consist of notes that Riegel took on various subjects related to his autobiography.","Items in this subseries consist of aspects of Riegel's autiobiography that have not yet been processed into the collection.","Items in the Journalism Department series are based in the time period when Riegel was a member and later director of the department. sub-sections of this series include correspondence within the department, course materials, department seminars, accreditiation discussions,the Lee Memorial Journalism Foundation, the maintenance of the department's library, and publicity related to the department and its faculty. some items of note include some student work for classes, including a project by Phillipe Labro, a cartoonist awards program with signatures from various cartoonists including Charles Shultz, and various surveys related to higher education and journalism.","As the department chair of Washington and Lee University's Journalism department, Riegel was responsible for its accreditation. This subseries consists of documents related to the accreditation status of Washington and Lee's Journalism department. The main agencies that Riegel worked with were the American Council on Education for Journalism, the American Association of Educators in Journalism, and the Association for Education in Journalism. Items are organized by year within each accreditation agency. Documents of note in this subseries include evaluation forms, correspondence about accreditation agency policy and goals, and annual accreditation reports.","Items in this subseries consist of letters between Riegel and over 550 correspondents related to Washington and Lee's Journalism program. Letters range in theme from inquiries about the program, job openings for journalism graudates, the Associated Press, the British Library, the American Association of Schools with Departments in Journalism, and others.","Items in this subseries relate to the courses within the Journalism Department which Riegel taught while at Washington and Lee University. Courses ranged in topic from public opinion to advertising to psychological warfare and propaganda. Most courses are sorted by order of sylabbi, class handouts, lecture notes, and other relevant materials to the course. The Psychological Warfare and Propaganda course also has a few student samples of a project where students were to make their own propaganda aimed at countries behind the Iron Curtain.","The Journalism 101 course focused on the principles of Journalism. Within this subseries are documents related to the course including syllabi, class handouts, quizzes, exams, and other materials Riegel had that were relevant to the course.","Journalism 102 was a course that covered the principles of Journalism, and at times was a continuation of Journalism 101 to create a year long class. Items in this subseries consist of course syllabi, class handouts, quizzes, exams, lecture notes and other material Riegel had that was relevant to the course.","Riegel's public oppinion course focused on the purpose and manner of polling, specifically as a pulse of American Democracy. It elaborated on how to conduct polls and how they influence and  show the views of the public. Items in this subseries consist of course syllabi, lecutre notes, and other related materials.","Riegel's Literary Critism course focused on the purpose and manner in which one critiques a written work. Riegel emphasized the different critical theories by different reviewers and had students study reviewers and conduct their own reviews using the fundamentals taught in the course. Items in this subseries consist of course syllabi, class handouts, quizzes, exams, lecture notes, and other material related to the course.","The Journalism Department's Short Story Writing Course focused on the elements of a short story and its goal of portraying life as the author sees it from their own lens. within the course, students were expected to anaylze and uncover the principles of short story writing and apply them in their own works. Items in this subseries consist of course syllabi, class handouts, quizzes, exams, and other materials related to the course.","The Principles of Advertising course covered basic elements of advertisements found in mass media sources. Items in this subseries consist of a course syllabus, quizzes, and exams.","The Journalism Department's course on communications law focused on the legal developments regarding the freedom of the press. Course topics ranged from copyright, to libel, to privacy, to climate, to the Freedom of Information Act, and courtroom procedures. Items in this subseries consist of course syllabi, class handouts, extensive lecture notes sorted by topic, and extensive relevant materials related to the course.","The Psychological Warfare and Propaganda course covered how the media has been used to sway public opinion in a variety of settings. Students examined the methods the military, governments, intelligence agencies, international U.S. broadcasts, and other sources used in an attempt to persuade others to support their goals and causes. Items in ths subseries consist of student work on a couple of projects including a mock propaganda piece by Philippe Labro, course syllabi, class handouts and project rubrics, lecutre notes, and other materials related to the course.","The Public Relations course focused on the purposes of public relations and the various attitudes people hold towards the field. Students were tasked to analyze the goals of a person in a public relations position and to understand why some view it as a means for corruption while others see it as an essential part of any business, firm, or public figure. Items in this subseries consist of course syllabi, class handouts, lecture notes, and other material related to the course.","This advertising course focused on the principles and critical analysis of advertisements. Items in this subseries consist of course syllabi, class handouts, lecture notes, and other material related to the course.","The Editorial was a journalism department course that focused on the principles and practice of newspaper editorial writing. Students in the course were members of a hypothetical editorial board and were tasked to develop articles on a variety of topics. Items in this subseries consist of course syllabi, class handouts, lecture notes, and other material related to the course.","Items in this subseries consist of discussions between the Journalism Department and outside news industries about job availability and the desire for higher quality recruits. Riegel points the low quality towards a national issue of low incentives for high quality students in the Journalism field.","the Lee Editorial Award was a prize for what the award's judges thought was the best editorial in a given year based on nominations  by editors, newspapers, and publishers. Items in this subseries focus on informing the public about the award, statements by award winners, and the announcement of award winners.","The Lee Memorial Journalism Foundation was an institution that sought to share the history of Journalism at Washington and Lee through a variety of publications, news stories and events. Items of note in this subseries include a scrapbook of journalism department activites from the mid 1950s and small posters of different journalism department events on campus.","During Riegel's tenure as a professor, the Journalism Department kept its own library for students to use. Items in this subseries consist of correspondence and materials related to the library's everyday function.","Mass Media Booknotes was a publication that reported new publications related to mass media and communications. Items within this series consist of monthly reports on new journalism publications.","Publicity regarding the Journalism Department consists of articles in magazines, newspapers, and other media sources that highlight the department's activities. The bulk of items in this subseries consist of articles and press releases related to the Journalism department. Items of note include an article by Riegel titled \"The Muted Trumpet\" and a Spanish booklet about Nationalism and Communications.","Items in this subseries focus on the establishment and early years of WLUR. some events of note include problems with the radio antenna during installation, and program listings from early WLUR broadcasts.","This subseries consists of various seminars hosted by the Journalism department including a seminar on editorial writing and one on law in relation to the media. Items of note include the speeches of seminar speakers and seminar programs.","Items in this subseries are relevant to the journalism department, but do not relate to any of the other subseries. Items of note include a menu at a Sigma Delta Chi dinner, a chart comparing  faculty compensation at various universities during the 1970s and a large chart analyzing Virginia daily newspapers.","Items in this subseries consist of materials that belong in the Journalism Department series but have not been processed into the collection yet.","Items in this series pertain to Riegel's personal correspondence between himself and colleagues, friends, and family. Some material is related to or mentions his work, but the majority of the material is about his or other people's personal lives, opinions, and thoughts around world events.","Items in this subseries consist of materials that belong in the Journalism Department series but have not been processed into the collection yet.","Items in this series consist primarily of articles, bulletins, memos, and programs which are in reference to O.W. Riegel and his career achievements. The material spans the majority of his professional carreer and makes reference to his published works, acts as a staff member of Washington and Lee, and personal achievements. The publicity material is primarily newspaper clippings selected by Riegel himself.","Materials in this series consist of items Riegel acquired while traveling after World War II. Riegel went to several european nations during the Cold War including Yugoslavia, Bulgaria, Romania, Czechoslovakia, Poland, Hungary, Italy, East Germany, Germany, and Britain. Throughout his journeys, Riegel retained numerous maps, brochures, publications, and pamphlets of places and events he attended.","This subseries concerns Riegel's correspondence during his travels in Eastern Europe and focuses primarily on upcoming european film festivals and catching up with friend and acquaintences while abroad.","Items in this subseries focus on the US in relation to Riegel's travel after World War II. some items of note include maps of San Francisco, CA and Madison, WI, assorted brochures from various city centers, and a couple of sketches.","This subseries consists of  iteme Riegel acquired during his international travel. Most items are from Eastern Europe, but there are a couple of items from Western Europe and a publication from Australia.","Items in this subseries consist of pamphlets and brochures related to Riegel's travels throughout Europe. some publications of note include lodging brochures from Bulgaria and Romania and hungarian recreational brochures.","Items in this subseries consist of the  receipts and charges Riegel kept from his travels in europe.","This subseries consists of maps of various european countries that Riegel traveled through.","Items in this subseries were the personal affects of Oscar Riegel in relation to his post-war European travel. Some items of note include his travel diary and a diary by \"Dee\", and press membership identification.","Items in this subseries consist of notes that Riegel prior to and during his trip to Eastern Europe. One item of note is a German quiz he took prior to his departure.","Items in this subseries consist of materials that belong in the Journalism Department series but have not been processed into the collection yet.","The items in this series relate to two major projects Riegel conducted in Europe between 1950 and 1952. The first one focused on public opinion in West Germany on a variety of topics, but emphasised government and politics in particular. This project was conducted with assitance in the form of a grant, stipend, and paid travel by the State Departnment. The second project, through Princeton University, focused on the impact of the cross cultural exchange program between Belgium and the United States, with the goal of understanding the opinion Belgians had of the United States after going through the program and then returning to their home country. Contents in this series include: Survey materials from both projects, information on participants in the Belgium study, publications Riegel kept from his time in Europe, his notes on the projects, and financial papers relevant to the projects.","Items in this subseries focus on the West German Cultural Exchange program and its impact on its  participants. Items of note include samples of questionaires and surveys and maps of parts of West Germany.","Riegel conducted a study surveying belgians who participated in an educational exchange program with the United States, trying to answer whether educational exchange programs affect the participant's perception of the country they visited in the long term. This subseries contains materials related to that study including questionnaires, correspondents, data on participants, and publications.","Correspondents with Riegel in regards to his Belgium study often focused on the study's contents, findings, and were curious about its implications. Riegel corresponded with approximately 70 different individuals and wrote often to his family while in Belgium.","This subseries consists of materials related to every participant in Riegel's study of Belgium's cultural exchange program. Each person's listing has some responses to questions and occasionally some correspondence.","Publications in this part of the collection focus on the effects and status of cultural exchange programs with the United States. Items of note in this subseries include a Belgian professor's analysis of Columbia University's geology courses from the 1920s, and statements by the state department about educational exchange programs.","This subseries consists of materials that were issued to spread the recognition and outreach of Riegel's study in Belgium. The majority of items are press releases informing individuals how they can participate and for participants to follow through with their questionnaires.","This subseries consists of materials that were essential to Riegel's survey. Items of note in this subseries include Riegel's project proposal, sample questionnaires and instructions to participants and project assistants.","Riegel published a monograph, Mobilizing for Chaos, in 1934. In it he examined and explored the impact and importance of the use of propaganda in the contemporary world. He effectively explored the use of propaganda in nations such as pre-War Germany and its role in the rise of National Socialism and Adolf Hitler. This series contains material related to the publishing of the book, Mobilizing for Chaos. These materials primarily consist of book reviews, advertisements, and articles about Riegel's role in its creation.","Items in this series are relevant to O. W. Riegel's involvement with propaganda materials from World War I through the Vietnam War. Within this series are correspondence between Riegel and his co-workers at the Office of War information, a variety of war leaflets, war themed news letters, foreign magazines, ephemeral propaganda materials, a few posters, Viet Cong banners, and German Newspapers. Some items and subjects of note include Hand made propaganda from the Viet Cong, A book of official japanese war leaflets, records from the Office of War Information, and pictoral records of the Spanish Civil War and the Second Sino Japanese War.","Items in this subseries are relevant to the World War I era, and include Newspapers about the war, printed in 1914 and reprinted in the 1930's, Notes by Riegel about foreign and domestic propagada agencies, Photos of war figures and events with captions, and publications about the press and propaganda during the war.","Th inter-war period subseries consists primarily of reports and publications from both the federal government and the private sector. Both of these groups focus heavily on propaganda, often comparing 1930s propaganda to propaganda during World War I. There is also some emphasis on the New Deal programs and their impact on the press and individual freedoms. Foreign Newspapers in this subseries tend to focus on Germany's shift to fascism and its implications. Also included in this subseries, are Riegel's own notes on these subjects mixed with brief personal comments related to his work.","Items in this subseries consist of foreign press publications during the inter-war period. Newpapers and clippings are in French and German, and from the early 1930s.","Goverment publications in this collection consist primarily of bills presented to congress, pages from the congressional record, and other sources oriented primarily around the use of the press prior to World War II.","Government reports in this sub-series are issued often by executive agencies and are oriented around the press, propaganda, and considered regulation thereof. Reports include a discussion by the FCC over the \"War of the Worlds Radio Broadcast\", A report on Radio Broadcasting for Senator Burton Wheeler, and an agreement of journalistic standards by the Pan-American Congress of Journalists.","Newspapers in this sub-series focus on World War I propaganda, developments on Europe prior to the second World War, and Freedom of the Press.","Riegel's notes from the Inter-war period focus on various journalism related topics, including: Telegraph cable, the politics of international press, the New Deal and Advertising, and other personal notes about his work.","Press releases in this subseries address a variety of international and foreign relations topics such as the British Palestine mandate, the self-determination of the Saar Region, both pro and anti German perspectives on the national socialist government, and those who benefit from war.","The publications in the Riegel papers from the interwar period show the shift in American focus from the economy to international relations from the early 1930s to 1939. The early publications focus on the impact of New Deal programs with only some regard to events outside the U.S. Publications from the late 1930s have a heavily international perspective with pictoral booklets of the atrocities in the second Sino-Japanese war, and threats of German fascism. Academic articles relate to the press, particularly in China, but also from a global perspective, Modern propaganda techniques, and international relations. Finally, there is a sampling of newsletters focusing on the same topics from various perspectives.","Items in this subseries related to the Spanish Civil War primarily consist of propaganda leaflets and publications on both sides of the conflict, highlighting the opposing sides' atrocities and how they will ensure the values and freedom of the Spanish people.","Items in this subseries are related to the World War II era in both of the main theaters of war. Some items of note include propaganda leaflets in a variety of languages including German and Japanese, documents from various government agencies including the Office of War Information, and some ephemeral materials used as propaganda during the war.","Riegel's corresepondence in this series primarily relates to those he worked and interacted with during his time with the Office of War information. One topic of particular interest to Riegel was the \"Strzetelski Affair\" which focused on the contested censorship of a Polish news agency and their description of troop position in the eastern front.","Riegel's collection of domestic propaganda during the second World War highlighted appeals to the working class by the Germans to stand against \"big business\" interests, and the pro-peace movement primarily through a series of drawings by Pola Clair.","European propaganda leaflets, in Riegel's collection, show the various appeals by different groups to persuade the enemy to surrender. While most of the leaflets are addressing a German audience, there are some in Hungarian, Polish, and Arabic aiming to persuade at least a tacit support for the allies. The leaflets are sorted based on their identification number often found on one of the corners of the leaflet.","O.W. \"Tom\" Riegel's copy of an official \"confidential\" binder distributed to staff of the United States Office of War Information detailing propaganda objectives for the Mediterranean region of Europe for 1944, specifically the countries of Albania, Bulgaria, Greece, Romania, Yugoslavia, Italy, and Hungary.","Includes a pamphlet titled \"Footprints of the Trojan Horse, Some methods used by foreign agents within the United States\" and \"Hitler's Words and Hitler's Deeds\" printed in England. This illustrated wartime pamphlet introduces the reader to the Nazi theory of propaganda and details Hitler and the Nazi regime's methods and examples of deceipt.","These newsletters were disseminated by allied forces to citizens of liberated countries. These newsletters, ranging from Dutch to Flemish to French often described events on the front lines and encouraged readers to support the war effort.","Riegel's collection of government reports center around the effectiveness in developing and implementing propaganda addressed to the Axis powers and neutral and liberated countries. Reports tend to focus on one aspect of propaganda ranging from understanding the target audiences culture, to forms of counterpropaganda used by enemy forces.","Reports by the Board of Economic Warfare were periodically issued detailing the economic situations of various parts of the world and their relation to the front lines. This gave allied forces an idea of available resources for themselves and their enemies looking forward.","The Board of Overseas publication analyzed published issues in other countries, aiming to understand the literary and media culture of different nations to improve propaganda efforts. Some analysis includes reports on Japanese war songs and european perspectives on American elections.","The Bureau of Public Relations focused on ensuring positive relations with neutral and liberated countries during the war effort. Some of its material, found in this sub-series include Public Relations officer guidelines and foreign censorship codes.","Segments from the congressional record found in this subseries focuses on the mobilization and deployment of troops between 1939 and 1945.","Riegel maintained a collection of documents from the Coordinator of Information office. These documents pertained to ongoing events in the second World War and their relation to propaganda. Some documents focus on the handling of news and claims by the Axis powers, the surrender of a british fleet to the Japandese, and the presence of allied forces near Singapore.","Riegel's items from the Federal Communications Commission primarily relate to its reports on radio broadcasts. Included in their reports are recommendations for foreign radio propaganda, and their prioritization of national defence in their own decisions.","Riegel's documents related to the Office of Control highlight the emphasis on censoring foreign media to ensure support of the allied troops. some items of note include breif correspondence related to the censorship of individual broadcasts due to lack of documentation, and periodic reports of the publications of various radio broadcasts.","The Office of Public Opinion Research focused on the public mood of various events during the war. Some items in this subseries include an analysis of public opinion as it relates to FDR's public talks and speeches, and public opinion of naval war policy.","Riegel worked with the Office of War Information durring the Second World War. His role was to provide guidance, analysis, and propose various forms of propaganda to use against enemy forces and to persuade potentially friendly neutrals. Items in this subseries are heavily related to these subjects and report on the successes and failures of implemented propaganda.","The Outpost Services Bureau provided support to govenrment agencies in ensuring their ability to function via connecting them with lines of communication and providing support when necessary. They created monthly progress reports of various outpost stations reporting the status of these stations and their effectiveness.","Items from the Psychological Warfare Branch focus on the impact of propaganda and counter propaganda on the target audeinces. Reports in this subseries include an analysis of propaganda upon French citizens, and a booklet on the functions of the 5th Army propaganda team.","Riegel's items from the state department primarily relate to the status of various areas in the front lines of the second World War. Some documents in this subseries inculde a description of the status of press and radio in Vichy France, and Chiang Kai Shek's perspective on the Japanese war front.","The two documents in the Radio Conference of Cairo subseries are full text copies of the radio agreements describing acceptable and unlawful use of the radio in attempts to influence populations beyond a nation's borders.","Documents in this subseries detail the efforts made by the USIS to inform foreign peoples about the United States and its values through various publications. Some examples in this subseries include the report of the effectiveness of an Italian agazine and guidelines for foreign magazine publications.","Includes a small bound illustrated pamphlet published by the United States War Department in 1944 and titled \"What is Propaganda\". It is a \"War Department Educational Manual - EM-2 of the GI Roundatable Series.\" The cover of the pamphlet shows the cartoon character Donald Duck speaking into a microphone.","Riegel's collection of Japanese leaflets consist of two aspects: US made leaflets issued to the Japanese and Japanese made leaflets issued to the U.S. Both use persuasive techniques to convince soliders to surrender or cease fighting, showing there is greater value in being at home than on the front lines. U.S. propaganda tended to appeal to the futility of the Japanese effort, showing  how U.S. progress was steady in spite of their resistance. Japanese propaganda tended to emphasize that the profits of the war were directed to a non-fighting elite, and that family members would prefer the soldier's presence at home  to their death at war. The leaflets are sorted by their identification numbers found on one of the leaflet's corners.","This folder consists of multiple published items including part one of a two part volume published by the United States Pacific Fleet on the methods of psychological warfare against Japan with a focus on propaganda leaflet usage. The Washington Post publication also includes in its title, \"the story of the secret weapon which had Japan ready to yield thirteen days before the atomic bomb struck Hiroshima.\"","This volume consists of a compilation of approximately ninety-five propaganda leaflets created for the Unites States military's Pacific Theater of Operations. Incuded with each leaflet is an accompany information form that includes purpose, text, format, general comments, and someitmes the specific location for he leaflet's use.","Riegel kept assorted notes about a variety of topics including the Camera Club at Washington and Lee, Descriptions for his future autobiography, political details in Mexican History, and information related to coworkers, staff, and events during his time at the Office of War Information.","Items in this subseries were the personal belongings of Oscar Riegel after the second World War. Some items include his material as an official air raid warden, in the event of a domestic air raid,  financial statements on purchases, war ration books, and programs from events he attended.","Press releases in this subseries give a description of headlines during the Second World War. Topics of note include Hitler's invasion of Poland, the Psychological effect of paratroopers, and the Finnish impact on the Eastern Front.","Publications in this subseries tend to focus on propaganda analysis, the warfront, and radio communications. Some items of note in this subseries include the code of the National Association of Broadcasters and commentary on the Bill of Rights.","This subseries containes unique items of the time period that distinguish it from other eras. Some interesting items of note include candy wrappers with U.S. army propaganda, an assortment of pro U.S. booklets in various languages, shoe lace packaging depicting the hanging of Hitler and Mossolini, and a hitler/Tojo pin cushion.","Materials in this subseries relate to the Cold War era. Most items focus on communication from the U.S. to its citizens and foreign countries to gain support over Russia in the Cold War. Additionally, there are a few items from foreign nations aimed at U.S. audiences. Some items of note include some Russian Magazines, Chinese Magazines, and publications related to the United States Information Agency.","This subseries consists of Riegel's correspondence related to the Cold War. It focuses mostly on specific events during the Cold War and the reach of government concerning foreign and domestic media and speech.","This subseries consists of material made by foreign govenrments, mostly with the intent to reach an American audience. Some items of note include magazines from the Polish government, Russian Magazines, and a booklet about developing countries and the Soviet Bloc.","This subseries focuses on material the U.S. and foreign governments produced for American citizens, often in the form of reports and booklets. Some items of note include a report on the U.S. international cultural program and \"Telling America's Story Abroad\" by the State Department.","This subseries consists of a small assortment of clod war era newspapers hihglighting various events related to the cold war effort. Articles include international U.S. radio presence, the US information service's efforts, and international relations.","This subseries consists of press releases of events throughout the Cold War. These press releases come from several sources, most of them being from the U.S. Information Agency. There are also press releases from the Japan Detachment of Broadcasting and Visual Activities and the State Department.","This subseies contains publications from a variety of sources. Often in the form of booklets or magazines, topics vary, but most focus on the effects of propaganda and the Cold War. Some booklets of note include one on Germany's territorial shifts after the second World War, and a booklet on  the efforts of Christian Trade Unions to combat the spread of Communism.","These radio scripts were intended to inform the American public in areas both related and unrelated to the Cold war. Script topics ranged from \"The Secret of American Prosperity\" to \"Coronary Thrombosis\".","The U.S. Information Agency sought to spread international awareness of U.S. values and culture to second and third world countries during the Cold War. Items in this subseries consist of programs, reports, briefings, newsletters, memorandums, and charts that conveyed how the agency operated internationally.","Items in this subseries relate to the Korean war, and mostly from an American perspective. Most of the items are propaganda leaflets, aiming to encourage Korean support of American troops. Some items of note include a booklet of alleged U.S. war crimes during the war, a booklet about war P.O.W.'s, and copies of anti-U.S. propaganda.","Items in this subseries are strictly Korean war propaganda that was intended for Korean citizens. Nearly all items in this subseries are in Korean and have an english description or translation attached with the goals of what the propaganda was supposed to evoke from the reader.","This folder includes Communist Chinese printed propoganda magazines for an English speaking audience : \"United Nations Prisoners in Korea,\" \"China Reconstructs,\" and two editions of \"People's China\"","A 1950 Japanese magazine, \"Silver Bell,\" for children and/or young adults - printed by the Hiroshima Publishing Company; a Second World War era Prisoner of War questionnare, and an American propoganda magazine in Chinese titled \"Free World\" magazine published for Asian coutries about the Unites States and \"Free\" Asian countries.","The Committee on Vietnam was a local organization in Lexington and Rockbridge County formed in opposition to the war effort. Riegel was a member of the Committee. This subseries consists of notes Riegel took of meetings and comments made by Committee members.","Riegel's correspondence related to the Vietnam war often focused on his hope in the ceasing of hostilities. Many letters are to congressmen, and other high ranking government officials. Included in this subseries are also a few letters from Riegel to President Johnson regarding the Vietnam War.","The government publications regarding the Vietnam War in Riegel's papers focus on the nature of war propaganda and the status of combatant strategy and techniques as the war progressed.","Items in this subseries consist of Riegel's notes about government events related to propaganda and public opinion in relation to the Vietnam War. These informal notes document events, such as National Liberation Front propaganda drives.","Items in this subseries relate to published or disseminated to the public referencing the Vietnam War. Items of note include a petition to end the war, a voter's pledge to support anti-war candidates, and booklets and magazines related to the war effort.","Items in this subseries are the oversize materials coming from other parts of the Propaganda series. Within this subseries are magazines and posters from the Cold War and the Vietnam War. Additionally, there is a 1:15000 road map of Hannover, Germany.","Items in this subseries consist of government reports related to the office of war information. they have some damaged and require creating a scan to ensure further damage is prevented.","Items in this subseries have not yet been processed into the collection. Materials range from the Inter-War period to the Cold War.","This series consists of items related to Riegel's work with the Public Opinion Quarterly, an academic journal that focuses on forms of media and their effects on the public, primarily via Radio, the Press, and Movies. The bulk of material in this series consists of correspondence between Riegel, editors for the Public Opinion Quarterly, and prospective article writers.","The Public Opinion Quarterly organized its articles into specific sections. Communications was  one of those sections. Items in this subseries consist primarily of correspondence about articles that would fall under the communications section of the journal.","This subseries consists of general correspondence between Riegel and approximately 160 correspondents on various topics relating to the Public Opinion Quarterly (POQ). Subjects include anticipated articles for the POQ, Events affecting the POQ, and the POQ's structure.","The Public Opinion Quarterly organized its articles into specific sections. Movies was  one of those sections. Items in this subseries consist primarily of correspondence about articles that would fall under the movies section of the journal.","The Public Opinion Quarterly organized its articles into specific sections. Press was  one of those sections. Items in this subseries consist primarily of correspondence about articles that would fall under the press section of the journal.","The Public Opinion Quarterly organized its articles into specific sections. Radio was  one of those sections. Items in this subseries consist primarily of correspondence about articles that would fall under the radio section of the journal.","Items in this series are relevant to the Southern Interscholastic Press Association. Within this series are correspondence between speakers for the conventions and O.W. Riegel, photographs of the annual convention, SIPA programs, Quill and Scroll Banquet artifacts, and speech excerpts from the various speakers. Some items and subjects of note include correspondence regarding the permission of black delegates during the process of desegregation, a scrapbook of events during the 1959 SIPA convention, a scroll from the 1954 Quill and Scroll Banquet, and a penant commemorating the SIPA conference. Major correspondents and speakers include: Cartoonists Ken Bald and John Mendelsohn, Congressman John Moss, James P. Warburg, Ferdinand Kuhn, and Abe Jones.","this subseries focuses on the winners of various awards over the years of the SIPA conference at Washington and Lee University. Most items consist of list of winners and press releases.","Items in the folder consist of lists of award winners in the various SIPA competitions including best Newspaper, Yearbook, Magazine, and Radio broadcast.","Items in the folder consist of lists of award winners in the various SIPA competitions including best Newspaper, Yearbook, Magazine, and Radio broadcast.","Items in the folder consist of lists of seating charts for the front table at the SIPA Awards Luncheons","Items in the folder consist of annual lists of attendies who were to receive complementary accomodations to certain SIPA events.","This box of correspondence contains the only topical correspondence folder in the series, highlighting letters written that centered around the issues of desegregation and the contested permission of black delegates to SIPA. Afterwards, correspondence is alphabetical. Several renowned figures collaborated with O.W. Riegel by hosting their own sessions at the SIPA conference. Some of these figures include cartoonists Kenneth Bald and Douglas Borgstedt. Washington and Lee presidents Fred Cole and Francis Gaines are also included in this part of the collection.","Riegel corresponded with approximately 200 individuals reagarding events and issues with SIPA. This subseries contains correspondence with all individuals with last names beginning with K or later.","The contents in this box consist of photographs of SIPA events, news publications about SIPA, a few high school newspapers submitted to the SIPA competition, financial documents, executive committee notes, the SIPA constitution and bylaws, and samples from SIPA's annual current events quiz. Some items of note include a 1937 satirical edition of Thomas Jefferson High School's student newspaper,  The Jeffster , and photographs of the SIPA Awards banquet from 1953 and 1955.","Items in this sub-series consist of speeches and speech excerpts by various  SIPA conference speakers, and programs for the SIPA conference from 1930-1968, along with a few programs from the 1980's and 1991. Some of the speeches are stored in smaller boxes because they are printed on index cards. Additionally, there is a scroll from the 1954 Quill and Scroll banquet, housed in this sub-series in order to save space.","The contents in this sub-series consist of  artifacts from the Quill and Scroll Banquets, SIPA delegate registration instructions, the lodging needs of SIPA speakers, materials given to Riegel by speakers, additional instructions to staff, and miscellaneous items in the SIPA series. Some objects of note include a SIPA penant with Washington and Lee enscribed on it, A scrapbook of the events from SIPA in 1959, and Admission tickets to the 1954 SIPA events.","Items in this subseries are materials related to Riegel's work on Communication Satellites that have not yet been processed.","Items in this series relate to Virginia Democratic Politics from the early 1970s to the early 1980s. Riegel was a member of the Rockbridge County Democratic Committee and attended the Virginia State Democratic Convention. His records include political correspondence between congressman Olin, delegate Davis, other local candidates, and party members.","Alice Rabe was a candidate for the Virginia House of Delegates seat representing Rockbridge County, Lexington, Buena Vista, Bedford County and the city of Bedford. Riegel gave advice and support for Alice in her campaign. Items in this subseries consist of correspondence between Riegel and Rabe, campaign materials, such as planned ads, and clippings relevant to the campaign.","Congressman Butler represented Virginia's 6th Congressional District. Within this subseries is a series of correspondence mostly from Riegel on various political topics. Most of Butler's correspondence consists of his periodic newsletters to his constituents.","Riegel's political correspondence within Virginia consists of over 20 correspondents, primarily on the topic of campaigns and elections. Some correspondents include former House of Delegates member Jim Davis, Delegate candidate Sprong, and democratic party officials.","Jim Olin was the congressional representative of Virginia's 6th district after Cadwell Butler. This subseries consists of correspondence between Riegel and the Congressman. The main topics discussed are funding for the \"MX Missle\" and issues over Olin's congressional fundraising operation in the mid to late 1980s.","This subseries consists of correspondence by county democratic officials to local democratic party members concerning campaign actions and fundraising. Riegel was a member of the Rockbridge County Democratic Committee.","Items in this subseries consist of materials that belong in the Journalism Department series but have not been processed into the collection yet.","After World War II, Riegel worked as a U.S. diplomat in Hungary. This subseries consists of items related to his time there. Items of note include his diplomatic ID, hungarian currency, hungarian newspapers and magazines, Monthly reports on his work in Hungary, and detailed notes on events he experienced while there.","Riegel was an avid collector of film related material, particularly from European sources. During his travels in Europe, Riegel attended numerous film festivals and kept materials from a variety of films. Additionally, he taught a course on motion picture and there are numerous items related to that course. Items of note include publications from an international film festival in Czechoslovakia, Film Festival attendance buttons, samples of film with descriptions of how film is used in the motion picture, and student work from Riegel's motion picture course he taught at Washington and Lee University.","The rest of the collection is still being processed. We anticipate additional series' to be added to the collection upon their completion. Some anticipated series include: Film, Riegel's early life, Pre-War Travel, Early Academic Work (undergrad and grad school, Mobilizing for Chaos and Crown of Glory, Communications Institutions (such as the International Association of Mass Communication Research), The Science Service, and Riegel's East-Germany Survey.","There is one small box of assorted Newspaper Clippings related to Communication Sattelites, sorted by date (1962-1974) towards the end of the collection.","This subseries consists of materials printed for the public that Riegel kept from his travels abroad. Some items of note include US embassy guides to Bucharest, Romania and Sofia, Bulgaria, and some magazines from Romania and Poland.","Some items from this subseries have been separated from the main collection of materials and have been placed into the propaganda series oversize storage.","Items in this subseries focus primarily on public opinion and propaganda related to the Vietnam war. Items of note include propaganda leaflets, notes by anti-war committees, letters written to government officials about the war, and petitions to end the war. Some items are stored separately due to their size. Some war posters and pro-Viet Cong banners are in oversize storage.","The leaflets in this subseries are targeted towards a Vietnamese audience. Each leaflet has an english description or translation of its content, reasoning for its use, and the intended reaction that should be evoked by the reader. Larger items are not stored with this subseries, but rather in oversize storage, mainly consisting of posters and pro-Viet Cong war banners.","The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections.","Washington and Lee University, University Library Special Collections and Archives","Riegel, O. W. (Oscar Wetherhold)","Riegel, Hunt","Du Pont, Jessie Ball, 1884-1970","Cole, Fred Carrington","Gaines, Francis Pendleton","Labro, Philippe","Davis, J. Paxton","Lauck, Charles Harold","Booth, Augustus Lea","Shultz Charles","Moss, John E. (John Emerson), 1913 - 1997","Kenneth Bald","McGovern, George","English \n.    "],"unitid_tesim":["WLU.Coll.0387","/repositories/5/resources/231"],"normalized_title_ssm":["O.W. Riegel Papers"],"collection_title_tesim":["O.W. Riegel Papers"],"collection_ssim":["O.W. Riegel Papers"],"repository_ssm":["Washington and Lee University, Leyburn Library"],"repository_ssim":["Washington and Lee University, Leyburn Library"],"creator_ssm":["Riegel, O. W. (Oscar Wetherhold)","Riegel, Hunt"],"creator_ssim":["Riegel, O. W. (Oscar Wetherhold)","Riegel, Hunt"],"creator_persname_ssim":["Riegel, O. W. (Oscar Wetherhold)","Riegel, Hunt"],"creators_ssim":["Riegel, O. W. (Oscar Wetherhold)","Riegel, Hunt"],"access_terms_ssm":["The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections."],"access_subjects_ssim":["Propaganda ","Journalism"],"access_subjects_ssm":["Propaganda ","Journalism"],"has_online_content_ssim":["false"],"extent_ssm":["75 Linear Feet"],"extent_tesim":["75 Linear Feet"],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to research use.\u003c/p\u003e","\u003cp\u003eThis part of the collection is not yet processed. 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Please contact the Head of Special Collections at 540-458-8649 for more information.","This part of the collection is not yet processed. Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information.","This part of the collection is not yet processed. Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information.","This part of the collection is not yet processed. Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information.","This part of the collection is not yet processed. Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information.","This part of the collection is not yet processed. Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information.","This part of the collection is not yet processed. Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information."],"arrangement_html_tesm":["\u003cp\u003eSome items have been removed from their appropriate folders and are located in oversize storage at the end of the series. Additionally, some books, magazines, and newspaper clippings are stored separately from the rest of the collection at this time. They are stored for the researcher's convenience and may be examined upon request.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Some items have been removed from their appropriate folders and are located in oversize storage at the end of the series. Additionally, some books, magazines, and newspaper clippings are stored separately from the rest of the collection at this time. They are stored for the researcher's convenience and may be examined upon request."],"bioghist_html_tesm":["\u003cp\u003eOscar Wetherhold Riegel, also known as Tom, was born in Reading, PA in 1903. Riegel's professional career began as a reporter and editor for the Chicago Tribune in the 1920s. He then shifted his focus to the information gathering and application, attaining a Bachelor's degree in the field from Dartmouth College and later attending Washington and Lee University. \u003c/p\u003e\n","\u003cp\u003eRiegel became an internationally-known expert on the topic of propaganda in the 1930s after extensive studies of its importance in modern politics. His monograph, Mobilizing for Chaos: The Story of the New Propaganda, was published in 1934 and focused on the role propaganda was playing in the rise of National Socialism in Germany.\nIn his studies he amassed an extensive collection of American, European, and Asian propaganda spanning World War I through the Cold War. Aspects of his compilation of propaganda studies are included within this collection.\nRiegel joined the Washington and Lee University Journalism Department in 1930 and was named department head in 1934. He served as department head until his retirement in 1973. During his tenure with the university, he taught various courses on film, journalism, propaganda, and information application.\nHe passed away in 1997 in Lexington, VA.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Oscar Wetherhold Riegel, also known as Tom, was born in Reading, PA in 1903. Riegel's professional career began as a reporter and editor for the Chicago Tribune in the 1920s. He then shifted his focus to the information gathering and application, attaining a Bachelor's degree in the field from Dartmouth College and later attending Washington and Lee University. ","Riegel became an internationally-known expert on the topic of propaganda in the 1930s after extensive studies of its importance in modern politics. His monograph, Mobilizing for Chaos: The Story of the New Propaganda, was published in 1934 and focused on the role propaganda was playing in the rise of National Socialism in Germany.\nIn his studies he amassed an extensive collection of American, European, and Asian propaganda spanning World War I through the Cold War. Aspects of his compilation of propaganda studies are included within this collection.\nRiegel joined the Washington and Lee University Journalism Department in 1930 and was named department head in 1934. He served as department head until his retirement in 1973. During his tenure with the university, he taught various courses on film, journalism, propaganda, and information application.\nHe passed away in 1997 in Lexington, VA."],"prefercite_html_tesm":["\u003cp\u003ePreferred citation: [Identification of item], O.W. Riegel Collection, WLU Coll. 0387, Special Collections and Archives, James G. Leyburn Library, Washington and Lee University, Lexington, VA. \u003cp\u003eIn some cases the citation format may vary. Please contact Special Collections staff to verify the appropriate format.\u003c/p\u003e\u003c/p\u003e"],"prefercite_tesim":["Preferred citation: [Identification of item], O.W. Riegel Collection, WLU Coll. 0387, Special Collections and Archives, James G. Leyburn Library, Washington and Lee University, Lexington, VA.  In some cases the citation format may vary. Please contact Special Collections staff to verify the appropriate format."],"scopecontent_html_tesm":["\u003cp\u003eHighlights of this collection include material concerning the Washington and Lee Journalism Department, including course material, student papers, and lecture notes. Supplementing this course material are published materials on the history of film, 20th century war propaganda, the Nazification of Germany, Paris in the 1920's and the \"Lost Generation.\" \nThere also includes wide selections of personal research materials for projects such as Riegel's books Mobilizing for Chaos and Crown of Glory; collections on Riegel's travels to Central and South America and Europe including Germany during the 1930s, and the typescript of his unpublished autobigraphy to 1945 titled \"Hacking It.\"\u003c/p\u003e","\u003cp\u003eItems in this series relate to news and developments in communications sattelites. Riegel wrote a short article about their impact on mass media. His manuscripts along with correspondence, reports, and publications about communications satellites make up the bulk of this series. Some items of note include reports on the progress of Canada's Telesat system, Riegel's analysis of satellite communication, and Comsat and Intelesat reports from the early 1970's\u003c/p\u003e","\u003cp\u003eRiegel discussed with over thirty correspondents over matters related to Communications Satellites and his academic article discussing the political barriers to satellite usage. Most correspondents provide suggestions to Riegel's article or explain how an academic journal they're associated with plans to use or not use his article.\u003c/p\u003e","\u003cp\u003ePress releases in this subseries mostly come from the COMSAT, INTELSAT, and TELESAT corporations. These press releases give reports on the developments in the satellite industry, and the changes in stock values for these companies' shareholders.\u003c/p\u003e","\u003cp\u003eItems in this subseries relate to pulbications from various sources refering to communications satellites. Items of note include: a Thesis titled, \"Defense Department's usage of Communications Satellites\" by Maurice Fliess from West Virginia University, annual COMSAT publications, and  a Canadian publication on the ᐊᓂᒃ (\"anik\" or little brother)satellite by TELESAT.\u003c/p\u003e","\u003cp\u003eItems in this subseries consist of reports by government and independent organizations about communication satellites. The reports vary in focus, ranging from technical data to impending impact of satellites on public life. Items of note include the 1972 Aeronautics and Space Report of the President and the operating agreement between the United States and other nations regarding INTELSAT.\u003c/p\u003e","\u003cp\u003eThis subseries consists of Riegel's communication satellite article manuscripts. These manuscripts show the revisions Riegel made to his work.\u003c/p\u003e","\u003cp\u003eItems in this subseries are materials related to Riegel's work on Communication Satellites that have not yet been processed.\u003c/p\u003e","\u003cp\u003eItems in this series are relevant to the Dupont Awards, which were given to Television stations, Radiostations, and commentators who have contributed to the field in their performance on the air. Award winners received $1,000, and most used the money to fund a journalism scholarship. Within this series are correspondence between award winners, judges, the Dupont estate, Washington and Lee University, members of the Federal Communications Commission, public relations firms, and O.W. Riegel, photographs of the award winners and annual awards dinner, publications by the Dupont Awards foundation, and published statements by various awards winners. Some items and subjects of note include a draft of a couple of the physical awards, letters discussing the conclusion of Washington and Lee's Association with the awards in 1967, and some resumes of different journalists and  Judges' comments on various radio and television stations. Three scrapbooks are contained wtithin the collection, but are not in folders. They are listed in the appropriate sub-series. Major correspondents and speakers include: O. W. Riegel, FCC Chairman Rosel Hyde, and Jessie Ball Dupont.\u003c/p\u003e","\u003cp\u003eItems in this sub-series consist of materials describing the removal of Washington and Lee University from the administration of the Dupont Awards.\u003c/p\u003e","\u003cp\u003eItems in this subseries consist of correspondence, photos and cirtificates relating to types of awards given by institutions. Items of note include a small magazine of different award designs, correspondence over the dupont awards, and photographs of different awards.\u003c/p\u003e","\u003cp\u003eItems in this subseries primarily consist of correspondence related to the design of a brochure for the Dupont Awards. As the Awards' curator, Riegel was responsible for the Awrds' presentation and outreach.\u003c/p\u003e","\u003cp\u003eItems in this subseries consist of correspondents between Riegel and and individual reviewers the Dupont Awards. These letters consist of recommended radio stations  that people felt deserved the award for 1963.\u003c/p\u003e","\u003cp\u003eItems in this sub-series consist of materials related to the Dupont Awards dinner including photographs, ivitations, and RSVP's.\u003c/p\u003e","\u003cp\u003eItems in this subseries consist of the financial documents Riegel dealt with for the Dupont Awards. Items of note include letters with the awards' finanical statements and individual bills for expenses.\u003c/p\u003e","\u003cp\u003eItems in this subseries relate to forms used by the Dupont Awards committee. Some forms of note include blank radio station judging forms and form letters to nominees and participants.\u003c/p\u003e","\u003cp\u003eRiegel's correspondence in this series is primarily between different awards administrators and judges. Riegel corresponded with approximately 320 different individauls within this subseries. Correspondents of note include Mrs. Dupont, Turner Catledge, and Sol Taishoff.\u003c/p\u003e","\u003cp\u003eItems in this subseries relate to communications between the General Federation of Women's Clubs and Riegel as curator for the Dupont Awards. Most of the correspondence consists of requests by Riegel for the leadership of the G.F.W.C. to participate on the Committee of the Dupont Awards.\u003c/p\u003e","\u003cp\u003eItems in this sub-series consist of materials related to the judging of various Television stations, radio stations, and commentators for the Dupont Awards. Included are some judges' comments on different stations and correspondence about evaluating stations.\u003c/p\u003e","\u003cp\u003eItems in this sub-series consist of materials related to the coverage of the Kennedy Assassination. The Dupont Awards foundation found it apporpriate to commemorate numerous stations for their detailed coverage of the event.\u003c/p\u003e","\u003cp\u003eItems in this subseries consist of correspondence between Riegel and various lettershops regarding the production of a mass qualtity of letters to individuals regarding the awards. Some letters focused on the errors by the lettershop businesses such as errors in the use of names, punctuation, and grammar.\u003c/p\u003e","\u003cp\u003eItems in this subseries consist of lists of individuals based on association. Some of the lists of note in this subseries include a list of CBS correspondents, Dupont Award winners, and the Dupont Award Foundation Mailing List.\u003c/p\u003e","\u003cp\u003eItems in this sub-series consist of materials published or sent by the National Association for Better Radio and Television. This organization sought to encourage quality programing for families and children. some items of note include a booklet of television programs with ratings and reviews and newsletters mentioning the Dupont Awards.\u003c/p\u003e","\u003cp\u003eItems in this subseries consist primarily of correspondence  addressing various concerns individuals had with the awards. These problems ranged from the permission of including some materials in various nominee presentations to the eligibility of certain networks in the Dupont Awards.\u003c/p\u003e","\u003cp\u003eCorrespondence in this subseries focuses primarily on the manner in which the Awards were determined and given. There is extensive discussion between Haefele, Spackman, and Riegel about the Trustee's involvment in the selection of judges and giving awards. The Dupont foundation wanted to increase its influence on the awards process, while Riegel thought that the Awards should have more liberty to act on its own.\u003c/p\u003e","\u003cp\u003eItems in this subseries consist of documents by the Dupont Awards Foundation that were issued or available to the public, including: the agreements between the Dupont Foundation and the Awards committee, annual programs and brochures, and descriptions of the awards.\u003c/p\u003e","\u003cp\u003eItems in this subseries consist of correspondence about spreading the awareness of the Dupont Awards.\u003c/p\u003e","\u003cp\u003eItems in this subseries relate to efforts by the Dupont Awards Foundation to capitalize on their public relations. A large part of correspondence is with the Public Relations office of Earle Palmer Brown.\u003c/p\u003e","\u003cp\u003eCorrespondence in this subseries consists of correspondence related to how some winners chose to use their prize money from the Dupont Awards to give a small scholarship to journalism majors at various universities.\u003c/p\u003e","\u003cp\u003eThis subseries focuses on the process determining a logo for the Dupont Awards including correspondence, images, and sketches.\u003c/p\u003e","\u003cp\u003eItems in this sub-series consist of materials related to the presentation of the Dupont Awards to their respective winners. Because of the annual nature of the award, material is sorted by year and then by content.\u003c/p\u003e","\u003cp\u003eThe items in this sub-series consist of miscellaeous materials that did not necessarily fit with the other groupings. Along with the files listed are two scrap-books of remarks made at the Dupont Awards Dinner.\u003c/p\u003e","\u003cp\u003eItems in this subseries consist of materials that belong in the Journalism Department series but have not been processed into the collection yet.\u003c/p\u003e","\u003cp\u003eItems in this series consist of and are related to O.W. Riegel's unpublished memoir \"Hacking It\". The first section of the series contains the most refined drafts of the Autobiography. Then there is correspondence between individuals who assited Riegel in drafting and editing his work. There are also several unrefined drafts of material, and a couple of artifacts and notes related to the Memoir. Housed separately from the rest of the collection, is one box of Newspaper clippings sorted by topic around different subjects Riegel's memoir addresses.\u003c/p\u003e","\u003cp\u003eThis subseries contains the most up-to-date version of Riegel's unpublished autobiography.\u003c/p\u003e","\u003cp\u003eCorrespondence in this subseries focuses on revisions of Riegel's memoirs and requests for information for Riegel to use in his writing.\u003c/p\u003e","\u003cp\u003eItems in this subseries consist of various drafts on sections considered in the development of Riegel's Memoir. Topics range from his trip to the Virgin Islands, to his view of religion, and his year in Hungary after the conclusion of World War II.\u003c/p\u003e","\u003cp\u003eItems in this subseries relate to Jane Riegel's materials that were stored with Riegel's autobiography. Oscar Riegel had Jane's journal bound and printed as a gift. These items are the scans and illustrations of her journal that were necessary to make his gift possible.\u003c/p\u003e","\u003cp\u003eItems in this subseries consist of notes that Riegel took on various subjects related to his autobiography.\u003c/p\u003e","\u003cp\u003eItems in this subseries consist of aspects of Riegel's autiobiography that have not yet been processed into the collection.\u003c/p\u003e","\u003cp\u003eItems in the Journalism Department series are based in the time period when Riegel was a member and later director of the department. sub-sections of this series include correspondence within the department, course materials, department seminars, accreditiation discussions,the Lee Memorial Journalism Foundation, the maintenance of the department's library, and publicity related to the department and its faculty. some items of note include some student work for classes, including a project by Phillipe Labro, a cartoonist awards program with signatures from various cartoonists including Charles Shultz, and various surveys related to higher education and journalism.\u003c/p\u003e","\u003cp\u003eAs the department chair of Washington and Lee University's Journalism department, Riegel was responsible for its accreditation. This subseries consists of documents related to the accreditation status of Washington and Lee's Journalism department. The main agencies that Riegel worked with were the American Council on Education for Journalism, the American Association of Educators in Journalism, and the Association for Education in Journalism. Items are organized by year within each accreditation agency. Documents of note in this subseries include evaluation forms, correspondence about accreditation agency policy and goals, and annual accreditation reports.\u003c/p\u003e","\u003cp\u003eItems in this subseries consist of letters between Riegel and over 550 correspondents related to Washington and Lee's Journalism program. Letters range in theme from inquiries about the program, job openings for journalism graudates, the Associated Press, the British Library, the American Association of Schools with Departments in Journalism, and others.\u003c/p\u003e","\u003cp\u003eItems in this subseries relate to the courses within the Journalism Department which Riegel taught while at Washington and Lee University. Courses ranged in topic from public opinion to advertising to psychological warfare and propaganda. Most courses are sorted by order of sylabbi, class handouts, lecture notes, and other relevant materials to the course. The Psychological Warfare and Propaganda course also has a few student samples of a project where students were to make their own propaganda aimed at countries behind the Iron Curtain.\u003c/p\u003e","\u003cp\u003eThe Journalism 101 course focused on the principles of Journalism. Within this subseries are documents related to the course including syllabi, class handouts, quizzes, exams, and other materials Riegel had that were relevant to the course.\u003c/p\u003e","\u003cp\u003eJournalism 102 was a course that covered the principles of Journalism, and at times was a continuation of Journalism 101 to create a year long class. Items in this subseries consist of course syllabi, class handouts, quizzes, exams, lecture notes and other material Riegel had that was relevant to the course.\u003c/p\u003e","\u003cp\u003eRiegel's public oppinion course focused on the purpose and manner of polling, specifically as a pulse of American Democracy. It elaborated on how to conduct polls and how they influence and  show the views of the public. Items in this subseries consist of course syllabi, lecutre notes, and other related materials.\u003c/p\u003e","\u003cp\u003eRiegel's Literary Critism course focused on the purpose and manner in which one critiques a written work. Riegel emphasized the different critical theories by different reviewers and had students study reviewers and conduct their own reviews using the fundamentals taught in the course. Items in this subseries consist of course syllabi, class handouts, quizzes, exams, lecture notes, and other material related to the course.\u003c/p\u003e","\u003cp\u003eThe Journalism Department's Short Story Writing Course focused on the elements of a short story and its goal of portraying life as the author sees it from their own lens. within the course, students were expected to anaylze and uncover the principles of short story writing and apply them in their own works. Items in this subseries consist of course syllabi, class handouts, quizzes, exams, and other materials related to the course.\u003c/p\u003e","\u003cp\u003eThe Principles of Advertising course covered basic elements of advertisements found in mass media sources. Items in this subseries consist of a course syllabus, quizzes, and exams.\u003c/p\u003e","\u003cp\u003eThe Journalism Department's course on communications law focused on the legal developments regarding the freedom of the press. Course topics ranged from copyright, to libel, to privacy, to climate, to the Freedom of Information Act, and courtroom procedures. Items in this subseries consist of course syllabi, class handouts, extensive lecture notes sorted by topic, and extensive relevant materials related to the course.\u003c/p\u003e","\u003cp\u003eThe Psychological Warfare and Propaganda course covered how the media has been used to sway public opinion in a variety of settings. Students examined the methods the military, governments, intelligence agencies, international U.S. broadcasts, and other sources used in an attempt to persuade others to support their goals and causes. Items in ths subseries consist of student work on a couple of projects including a mock propaganda piece by Philippe Labro, course syllabi, class handouts and project rubrics, lecutre notes, and other materials related to the course.\u003c/p\u003e","\u003cp\u003eThe Public Relations course focused on the purposes of public relations and the various attitudes people hold towards the field. Students were tasked to analyze the goals of a person in a public relations position and to understand why some view it as a means for corruption while others see it as an essential part of any business, firm, or public figure. Items in this subseries consist of course syllabi, class handouts, lecture notes, and other material related to the course.\u003c/p\u003e","\u003cp\u003eThis advertising course focused on the principles and critical analysis of advertisements. Items in this subseries consist of course syllabi, class handouts, lecture notes, and other material related to the course.\u003c/p\u003e","\u003cp\u003eThe Editorial was a journalism department course that focused on the principles and practice of newspaper editorial writing. Students in the course were members of a hypothetical editorial board and were tasked to develop articles on a variety of topics. Items in this subseries consist of course syllabi, class handouts, lecture notes, and other material related to the course.\u003c/p\u003e","\u003cp\u003eItems in this subseries consist of discussions between the Journalism Department and outside news industries about job availability and the desire for higher quality recruits. Riegel points the low quality towards a national issue of low incentives for high quality students in the Journalism field.\u003c/p\u003e","\u003cp\u003ethe Lee Editorial Award was a prize for what the award's judges thought was the best editorial in a given year based on nominations  by editors, newspapers, and publishers. Items in this subseries focus on informing the public about the award, statements by award winners, and the announcement of award winners.\u003c/p\u003e","\u003cp\u003eThe Lee Memorial Journalism Foundation was an institution that sought to share the history of Journalism at Washington and Lee through a variety of publications, news stories and events. Items of note in this subseries include a scrapbook of journalism department activites from the mid 1950s and small posters of different journalism department events on campus.\u003c/p\u003e","\u003cp\u003eDuring Riegel's tenure as a professor, the Journalism Department kept its own library for students to use. Items in this subseries consist of correspondence and materials related to the library's everyday function.\u003c/p\u003e","\u003cp\u003eMass Media Booknotes was a publication that reported new publications related to mass media and communications. Items within this series consist of monthly reports on new journalism publications.\u003c/p\u003e","\u003cp\u003ePublicity regarding the Journalism Department consists of articles in magazines, newspapers, and other media sources that highlight the department's activities. The bulk of items in this subseries consist of articles and press releases related to the Journalism department. Items of note include an article by Riegel titled \"The Muted Trumpet\" and a Spanish booklet about Nationalism and Communications.\u003c/p\u003e","\u003cp\u003eItems in this subseries focus on the establishment and early years of WLUR. some events of note include problems with the radio antenna during installation, and program listings from early WLUR broadcasts.\u003c/p\u003e","\u003cp\u003eThis subseries consists of various seminars hosted by the Journalism department including a seminar on editorial writing and one on law in relation to the media. Items of note include the speeches of seminar speakers and seminar programs.\u003c/p\u003e","\u003cp\u003eItems in this subseries are relevant to the journalism department, but do not relate to any of the other subseries. Items of note include a menu at a Sigma Delta Chi dinner, a chart comparing  faculty compensation at various universities during the 1970s and a large chart analyzing Virginia daily newspapers.\u003c/p\u003e","\u003cp\u003eItems in this subseries consist of materials that belong in the Journalism Department series but have not been processed into the collection yet.\u003c/p\u003e","\u003cp\u003eItems in this series pertain to Riegel's personal correspondence between himself and colleagues, friends, and family. Some material is related to or mentions his work, but the majority of the material is about his or other people's personal lives, opinions, and thoughts around world events.\u003c/p\u003e","\u003cp\u003eItems in this subseries consist of materials that belong in the Journalism Department series but have not been processed into the collection yet.\u003c/p\u003e","\u003cp\u003eItems in this series consist primarily of articles, bulletins, memos, and programs which are in reference to O.W. Riegel and his career achievements. The material spans the majority of his professional carreer and makes reference to his published works, acts as a staff member of Washington and Lee, and personal achievements. The publicity material is primarily newspaper clippings selected by Riegel himself.\u003c/p\u003e","\u003cp\u003eMaterials in this series consist of items Riegel acquired while traveling after World War II. Riegel went to several european nations during the Cold War including Yugoslavia, Bulgaria, Romania, Czechoslovakia, Poland, Hungary, Italy, East Germany, Germany, and Britain. Throughout his journeys, Riegel retained numerous maps, brochures, publications, and pamphlets of places and events he attended.\u003c/p\u003e","\u003cp\u003eThis subseries concerns Riegel's correspondence during his travels in Eastern Europe and focuses primarily on upcoming european film festivals and catching up with friend and acquaintences while abroad.\u003c/p\u003e","\u003cp\u003eItems in this subseries focus on the US in relation to Riegel's travel after World War II. some items of note include maps of San Francisco, CA and Madison, WI, assorted brochures from various city centers, and a couple of sketches.\u003c/p\u003e","\u003cp\u003eThis subseries consists of  iteme Riegel acquired during his international travel. Most items are from Eastern Europe, but there are a couple of items from Western Europe and a publication from Australia.\u003c/p\u003e","\u003cp\u003eItems in this subseries consist of pamphlets and brochures related to Riegel's travels throughout Europe. some publications of note include lodging brochures from Bulgaria and Romania and hungarian recreational brochures.\u003c/p\u003e","\u003cp\u003eItems in this subseries consist of the  receipts and charges Riegel kept from his travels in europe.\u003c/p\u003e","\u003cp\u003eThis subseries consists of maps of various european countries that Riegel traveled through.\u003c/p\u003e","\u003cp\u003eItems in this subseries were the personal affects of Oscar Riegel in relation to his post-war European travel. Some items of note include his travel diary and a diary by \"Dee\", and press membership identification.\u003c/p\u003e","\u003cp\u003eItems in this subseries consist of notes that Riegel prior to and during his trip to Eastern Europe. One item of note is a German quiz he took prior to his departure.\u003c/p\u003e","\u003cp\u003eItems in this subseries consist of materials that belong in the Journalism Department series but have not been processed into the collection yet.\u003c/p\u003e","\u003cp\u003eThe items in this series relate to two major projects Riegel conducted in Europe between 1950 and 1952. The first one focused on public opinion in West Germany on a variety of topics, but emphasised government and politics in particular. This project was conducted with assitance in the form of a grant, stipend, and paid travel by the State Departnment. The second project, through Princeton University, focused on the impact of the cross cultural exchange program between Belgium and the United States, with the goal of understanding the opinion Belgians had of the United States after going through the program and then returning to their home country. Contents in this series include: Survey materials from both projects, information on participants in the Belgium study, publications Riegel kept from his time in Europe, his notes on the projects, and financial papers relevant to the projects.\u003c/p\u003e","\u003cp\u003eItems in this subseries focus on the West German Cultural Exchange program and its impact on its  participants. Items of note include samples of questionaires and surveys and maps of parts of West Germany.\u003c/p\u003e","\u003cp\u003eRiegel conducted a study surveying belgians who participated in an educational exchange program with the United States, trying to answer whether educational exchange programs affect the participant's perception of the country they visited in the long term. This subseries contains materials related to that study including questionnaires, correspondents, data on participants, and publications.\u003c/p\u003e","\u003cp\u003eCorrespondents with Riegel in regards to his Belgium study often focused on the study's contents, findings, and were curious about its implications. Riegel corresponded with approximately 70 different individuals and wrote often to his family while in Belgium.\u003c/p\u003e","\u003cp\u003eThis subseries consists of materials related to every participant in Riegel's study of Belgium's cultural exchange program. Each person's listing has some responses to questions and occasionally some correspondence.\u003c/p\u003e","\u003cp\u003ePublications in this part of the collection focus on the effects and status of cultural exchange programs with the United States. Items of note in this subseries include a Belgian professor's analysis of Columbia University's geology courses from the 1920s, and statements by the state department about educational exchange programs.\u003c/p\u003e","\u003cp\u003eThis subseries consists of materials that were issued to spread the recognition and outreach of Riegel's study in Belgium. The majority of items are press releases informing individuals how they can participate and for participants to follow through with their questionnaires.\u003c/p\u003e","\u003cp\u003eThis subseries consists of materials that were essential to Riegel's survey. Items of note in this subseries include Riegel's project proposal, sample questionnaires and instructions to participants and project assistants.\u003c/p\u003e","\u003cp\u003eRiegel published a monograph, Mobilizing for Chaos, in 1934. In it he examined and explored the impact and importance of the use of propaganda in the contemporary world. He effectively explored the use of propaganda in nations such as pre-War Germany and its role in the rise of National Socialism and Adolf Hitler. This series contains material related to the publishing of the book, Mobilizing for Chaos. These materials primarily consist of book reviews, advertisements, and articles about Riegel's role in its creation.\u003c/p\u003e","\u003cp\u003eItems in this series are relevant to O. W. Riegel's involvement with propaganda materials from World War I through the Vietnam War. Within this series are correspondence between Riegel and his co-workers at the Office of War information, a variety of war leaflets, war themed news letters, foreign magazines, ephemeral propaganda materials, a few posters, Viet Cong banners, and German Newspapers. Some items and subjects of note include Hand made propaganda from the Viet Cong, A book of official japanese war leaflets, records from the Office of War Information, and pictoral records of the Spanish Civil War and the Second Sino Japanese War.\u003c/p\u003e","\u003cp\u003eItems in this subseries are relevant to the World War I era, and include Newspapers about the war, printed in 1914 and reprinted in the 1930's, Notes by Riegel about foreign and domestic propagada agencies, Photos of war figures and events with captions, and publications about the press and propaganda during the war.\u003c/p\u003e","\u003cp\u003eTh inter-war period subseries consists primarily of reports and publications from both the federal government and the private sector. Both of these groups focus heavily on propaganda, often comparing 1930s propaganda to propaganda during World War I. There is also some emphasis on the New Deal programs and their impact on the press and individual freedoms. Foreign Newspapers in this subseries tend to focus on Germany's shift to fascism and its implications. Also included in this subseries, are Riegel's own notes on these subjects mixed with brief personal comments related to his work.\u003c/p\u003e","\u003cp\u003eItems in this subseries consist of foreign press publications during the inter-war period. Newpapers and clippings are in French and German, and from the early 1930s.\u003c/p\u003e","\u003cp\u003eGoverment publications in this collection consist primarily of bills presented to congress, pages from the congressional record, and other sources oriented primarily around the use of the press prior to World War II.\u003c/p\u003e","\u003cp\u003eGovernment reports in this sub-series are issued often by executive agencies and are oriented around the press, propaganda, and considered regulation thereof. Reports include a discussion by the FCC over the \"War of the Worlds Radio Broadcast\", A report on Radio Broadcasting for Senator Burton Wheeler, and an agreement of journalistic standards by the Pan-American Congress of Journalists.\u003c/p\u003e","\u003cp\u003eNewspapers in this sub-series focus on World War I propaganda, developments on Europe prior to the second World War, and Freedom of the Press.\u003c/p\u003e","\u003cp\u003eRiegel's notes from the Inter-war period focus on various journalism related topics, including: Telegraph cable, the politics of international press, the New Deal and Advertising, and other personal notes about his work.\u003c/p\u003e","\u003cp\u003ePress releases in this subseries address a variety of international and foreign relations topics such as the British Palestine mandate, the self-determination of the Saar Region, both pro and anti German perspectives on the national socialist government, and those who benefit from war.\u003c/p\u003e","\u003cp\u003eThe publications in the Riegel papers from the interwar period show the shift in American focus from the economy to international relations from the early 1930s to 1939. The early publications focus on the impact of New Deal programs with only some regard to events outside the U.S. Publications from the late 1930s have a heavily international perspective with pictoral booklets of the atrocities in the second Sino-Japanese war, and threats of German fascism. Academic articles relate to the press, particularly in China, but also from a global perspective, Modern propaganda techniques, and international relations. Finally, there is a sampling of newsletters focusing on the same topics from various perspectives.\u003c/p\u003e","\u003cp\u003eItems in this subseries related to the Spanish Civil War primarily consist of propaganda leaflets and publications on both sides of the conflict, highlighting the opposing sides' atrocities and how they will ensure the values and freedom of the Spanish people.\u003c/p\u003e","\u003cp\u003eItems in this subseries are related to the World War II era in both of the main theaters of war. Some items of note include propaganda leaflets in a variety of languages including German and Japanese, documents from various government agencies including the Office of War Information, and some ephemeral materials used as propaganda during the war.\u003c/p\u003e","\u003cp\u003eRiegel's corresepondence in this series primarily relates to those he worked and interacted with during his time with the Office of War information. One topic of particular interest to Riegel was the \"Strzetelski Affair\" which focused on the contested censorship of a Polish news agency and their description of troop position in the eastern front.\u003c/p\u003e","\u003cp\u003eRiegel's collection of domestic propaganda during the second World War highlighted appeals to the working class by the Germans to stand against \"big business\" interests, and the pro-peace movement primarily through a series of drawings by Pola Clair.\u003c/p\u003e","\u003cp\u003eEuropean propaganda leaflets, in Riegel's collection, show the various appeals by different groups to persuade the enemy to surrender. While most of the leaflets are addressing a German audience, there are some in Hungarian, Polish, and Arabic aiming to persuade at least a tacit support for the allies. The leaflets are sorted based on their identification number often found on one of the corners of the leaflet.\u003c/p\u003e","\u003cp\u003eO.W. \"Tom\" Riegel's copy of an official \"confidential\" binder distributed to staff of the United States Office of War Information detailing propaganda objectives for the Mediterranean region of Europe for 1944, specifically the countries of Albania, Bulgaria, Greece, Romania, Yugoslavia, Italy, and Hungary.\u003c/p\u003e","\u003cp\u003eIncludes a pamphlet titled \"Footprints of the Trojan Horse, Some methods used by foreign agents within the United States\" and \"Hitler's Words and Hitler's Deeds\" printed in England. This illustrated wartime pamphlet introduces the reader to the Nazi theory of propaganda and details Hitler and the Nazi regime's methods and examples of deceipt.\u003c/p\u003e","\u003cp\u003eThese newsletters were disseminated by allied forces to citizens of liberated countries. These newsletters, ranging from Dutch to Flemish to French often described events on the front lines and encouraged readers to support the war effort.\u003c/p\u003e","\u003cp\u003eRiegel's collection of government reports center around the effectiveness in developing and implementing propaganda addressed to the Axis powers and neutral and liberated countries. Reports tend to focus on one aspect of propaganda ranging from understanding the target audiences culture, to forms of counterpropaganda used by enemy forces.\u003c/p\u003e","\u003cp\u003eReports by the Board of Economic Warfare were periodically issued detailing the economic situations of various parts of the world and their relation to the front lines. This gave allied forces an idea of available resources for themselves and their enemies looking forward.\u003c/p\u003e","\u003cp\u003eThe Board of Overseas publication analyzed published issues in other countries, aiming to understand the literary and media culture of different nations to improve propaganda efforts. Some analysis includes reports on Japanese war songs and european perspectives on American elections.\u003c/p\u003e","\u003cp\u003eThe Bureau of Public Relations focused on ensuring positive relations with neutral and liberated countries during the war effort. Some of its material, found in this sub-series include Public Relations officer guidelines and foreign censorship codes.\u003c/p\u003e","\u003cp\u003eSegments from the congressional record found in this subseries focuses on the mobilization and deployment of troops between 1939 and 1945.\u003c/p\u003e","\u003cp\u003eRiegel maintained a collection of documents from the Coordinator of Information office. These documents pertained to ongoing events in the second World War and their relation to propaganda. Some documents focus on the handling of news and claims by the Axis powers, the surrender of a british fleet to the Japandese, and the presence of allied forces near Singapore.\u003c/p\u003e","\u003cp\u003eRiegel's items from the Federal Communications Commission primarily relate to its reports on radio broadcasts. Included in their reports are recommendations for foreign radio propaganda, and their prioritization of national defence in their own decisions.\u003c/p\u003e","\u003cp\u003eRiegel's documents related to the Office of Control highlight the emphasis on censoring foreign media to ensure support of the allied troops. some items of note include breif correspondence related to the censorship of individual broadcasts due to lack of documentation, and periodic reports of the publications of various radio broadcasts.\u003c/p\u003e","\u003cp\u003eThe Office of Public Opinion Research focused on the public mood of various events during the war. Some items in this subseries include an analysis of public opinion as it relates to FDR's public talks and speeches, and public opinion of naval war policy.\u003c/p\u003e","\u003cp\u003eRiegel worked with the Office of War Information durring the Second World War. His role was to provide guidance, analysis, and propose various forms of propaganda to use against enemy forces and to persuade potentially friendly neutrals. Items in this subseries are heavily related to these subjects and report on the successes and failures of implemented propaganda.\u003c/p\u003e","\u003cp\u003eThe Outpost Services Bureau provided support to govenrment agencies in ensuring their ability to function via connecting them with lines of communication and providing support when necessary. They created monthly progress reports of various outpost stations reporting the status of these stations and their effectiveness.\u003c/p\u003e","\u003cp\u003eItems from the Psychological Warfare Branch focus on the impact of propaganda and counter propaganda on the target audeinces. Reports in this subseries include an analysis of propaganda upon French citizens, and a booklet on the functions of the 5th Army propaganda team.\u003c/p\u003e","\u003cp\u003eRiegel's items from the state department primarily relate to the status of various areas in the front lines of the second World War. Some documents in this subseries inculde a description of the status of press and radio in Vichy France, and Chiang Kai Shek's perspective on the Japanese war front.\u003c/p\u003e","\u003cp\u003eThe two documents in the Radio Conference of Cairo subseries are full text copies of the radio agreements describing acceptable and unlawful use of the radio in attempts to influence populations beyond a nation's borders.\u003c/p\u003e","\u003cp\u003eDocuments in this subseries detail the efforts made by the USIS to inform foreign peoples about the United States and its values through various publications. Some examples in this subseries include the report of the effectiveness of an Italian agazine and guidelines for foreign magazine publications.\u003c/p\u003e","\u003cp\u003eIncludes a small bound illustrated pamphlet published by the United States War Department in 1944 and titled \"What is Propaganda\". It is a \"War Department Educational Manual - EM-2 of the GI Roundatable Series.\" The cover of the pamphlet shows the cartoon character Donald Duck speaking into a microphone.\u003c/p\u003e","\u003cp\u003eRiegel's collection of Japanese leaflets consist of two aspects: US made leaflets issued to the Japanese and Japanese made leaflets issued to the U.S. Both use persuasive techniques to convince soliders to surrender or cease fighting, showing there is greater value in being at home than on the front lines. U.S. propaganda tended to appeal to the futility of the Japanese effort, showing  how U.S. progress was steady in spite of their resistance. Japanese propaganda tended to emphasize that the profits of the war were directed to a non-fighting elite, and that family members would prefer the soldier's presence at home  to their death at war. The leaflets are sorted by their identification numbers found on one of the leaflet's corners.\u003c/p\u003e","\u003cp\u003eThis folder consists of multiple published items including part one of a two part volume published by the United States Pacific Fleet on the methods of psychological warfare against Japan with a focus on propaganda leaflet usage. The Washington Post publication also includes in its title, \"the story of the secret weapon which had Japan ready to yield thirteen days before the atomic bomb struck Hiroshima.\"\u003c/p\u003e","\u003cp\u003eThis volume consists of a compilation of approximately ninety-five propaganda leaflets created for the Unites States military's Pacific Theater of Operations. Incuded with each leaflet is an accompany information form that includes purpose, text, format, general comments, and someitmes the specific location for he leaflet's use.\u003c/p\u003e","\u003cp\u003eRiegel kept assorted notes about a variety of topics including the Camera Club at Washington and Lee, Descriptions for his future autobiography, political details in Mexican History, and information related to coworkers, staff, and events during his time at the Office of War Information.\u003c/p\u003e","\u003cp\u003eItems in this subseries were the personal belongings of Oscar Riegel after the second World War. Some items include his material as an official air raid warden, in the event of a domestic air raid,  financial statements on purchases, war ration books, and programs from events he attended.\u003c/p\u003e","\u003cp\u003ePress releases in this subseries give a description of headlines during the Second World War. Topics of note include Hitler's invasion of Poland, the Psychological effect of paratroopers, and the Finnish impact on the Eastern Front.\u003c/p\u003e","\u003cp\u003ePublications in this subseries tend to focus on propaganda analysis, the warfront, and radio communications. Some items of note in this subseries include the code of the National Association of Broadcasters and commentary on the Bill of Rights.\u003c/p\u003e","\u003cp\u003eThis subseries containes unique items of the time period that distinguish it from other eras. Some interesting items of note include candy wrappers with U.S. army propaganda, an assortment of pro U.S. booklets in various languages, shoe lace packaging depicting the hanging of Hitler and Mossolini, and a hitler/Tojo pin cushion.\u003c/p\u003e","\u003cp\u003eMaterials in this subseries relate to the Cold War era. Most items focus on communication from the U.S. to its citizens and foreign countries to gain support over Russia in the Cold War. Additionally, there are a few items from foreign nations aimed at U.S. audiences. Some items of note include some Russian Magazines, Chinese Magazines, and publications related to the United States Information Agency.\u003c/p\u003e","\u003cp\u003eThis subseries consists of Riegel's correspondence related to the Cold War. It focuses mostly on specific events during the Cold War and the reach of government concerning foreign and domestic media and speech.\u003c/p\u003e","\u003cp\u003eThis subseries consists of material made by foreign govenrments, mostly with the intent to reach an American audience. Some items of note include magazines from the Polish government, Russian Magazines, and a booklet about developing countries and the Soviet Bloc.\u003c/p\u003e","\u003cp\u003eThis subseries focuses on material the U.S. and foreign governments produced for American citizens, often in the form of reports and booklets. Some items of note include a report on the U.S. international cultural program and \"Telling America's Story Abroad\" by the State Department.\u003c/p\u003e","\u003cp\u003eThis subseries consists of a small assortment of clod war era newspapers hihglighting various events related to the cold war effort. Articles include international U.S. radio presence, the US information service's efforts, and international relations.\u003c/p\u003e","\u003cp\u003eThis subseries consists of press releases of events throughout the Cold War. These press releases come from several sources, most of them being from the U.S. Information Agency. There are also press releases from the Japan Detachment of Broadcasting and Visual Activities and the State Department.\u003c/p\u003e","\u003cp\u003eThis subseies contains publications from a variety of sources. Often in the form of booklets or magazines, topics vary, but most focus on the effects of propaganda and the Cold War. Some booklets of note include one on Germany's territorial shifts after the second World War, and a booklet on  the efforts of Christian Trade Unions to combat the spread of Communism.\u003c/p\u003e","\u003cp\u003eThese radio scripts were intended to inform the American public in areas both related and unrelated to the Cold war. Script topics ranged from \"The Secret of American Prosperity\" to \"Coronary Thrombosis\".\u003c/p\u003e","\u003cp\u003eThe U.S. Information Agency sought to spread international awareness of U.S. values and culture to second and third world countries during the Cold War. Items in this subseries consist of programs, reports, briefings, newsletters, memorandums, and charts that conveyed how the agency operated internationally.\u003c/p\u003e","\u003cp\u003eItems in this subseries relate to the Korean war, and mostly from an American perspective. Most of the items are propaganda leaflets, aiming to encourage Korean support of American troops. Some items of note include a booklet of alleged U.S. war crimes during the war, a booklet about war P.O.W.'s, and copies of anti-U.S. propaganda.\u003c/p\u003e","\u003cp\u003eItems in this subseries are strictly Korean war propaganda that was intended for Korean citizens. Nearly all items in this subseries are in Korean and have an english description or translation attached with the goals of what the propaganda was supposed to evoke from the reader.\u003c/p\u003e","\u003cp\u003eThis folder includes Communist Chinese printed propoganda magazines for an English speaking audience : \"United Nations Prisoners in Korea,\" \"China Reconstructs,\" and two editions of \"People's China\"\u003c/p\u003e","\u003cp\u003eA 1950 Japanese magazine, \"Silver Bell,\" for children and/or young adults - printed by the Hiroshima Publishing Company; a Second World War era Prisoner of War questionnare, and an American propoganda magazine in Chinese titled \"Free World\" magazine published for Asian coutries about the Unites States and \"Free\" Asian countries.\u003c/p\u003e","\u003cp\u003eThe Committee on Vietnam was a local organization in Lexington and Rockbridge County formed in opposition to the war effort. Riegel was a member of the Committee. This subseries consists of notes Riegel took of meetings and comments made by Committee members.\u003c/p\u003e","\u003cp\u003eRiegel's correspondence related to the Vietnam war often focused on his hope in the ceasing of hostilities. Many letters are to congressmen, and other high ranking government officials. Included in this subseries are also a few letters from Riegel to President Johnson regarding the Vietnam War.\u003c/p\u003e","\u003cp\u003eThe government publications regarding the Vietnam War in Riegel's papers focus on the nature of war propaganda and the status of combatant strategy and techniques as the war progressed.\u003c/p\u003e","\u003cp\u003eItems in this subseries consist of Riegel's notes about government events related to propaganda and public opinion in relation to the Vietnam War. These informal notes document events, such as National Liberation Front propaganda drives.\u003c/p\u003e","\u003cp\u003eItems in this subseries relate to published or disseminated to the public referencing the Vietnam War. Items of note include a petition to end the war, a voter's pledge to support anti-war candidates, and booklets and magazines related to the war effort.\u003c/p\u003e","\u003cp\u003eItems in this subseries are the oversize materials coming from other parts of the Propaganda series. Within this subseries are magazines and posters from the Cold War and the Vietnam War. Additionally, there is a 1:15000 road map of Hannover, Germany.\u003c/p\u003e","\u003cp\u003eItems in this subseries consist of government reports related to the office of war information. they have some damaged and require creating a scan to ensure further damage is prevented.\u003c/p\u003e","\u003cp\u003eItems in this subseries have not yet been processed into the collection. Materials range from the Inter-War period to the Cold War.\u003c/p\u003e","\u003cp\u003eThis series consists of items related to Riegel's work with the Public Opinion Quarterly, an academic journal that focuses on forms of media and their effects on the public, primarily via Radio, the Press, and Movies. The bulk of material in this series consists of correspondence between Riegel, editors for the Public Opinion Quarterly, and prospective article writers.\u003c/p\u003e","\u003cp\u003eThe Public Opinion Quarterly organized its articles into specific sections. Communications was  one of those sections. Items in this subseries consist primarily of correspondence about articles that would fall under the communications section of the journal.\u003c/p\u003e","\u003cp\u003eThis subseries consists of general correspondence between Riegel and approximately 160 correspondents on various topics relating to the Public Opinion Quarterly (POQ). Subjects include anticipated articles for the POQ, Events affecting the POQ, and the POQ's structure.\u003c/p\u003e","\u003cp\u003eThe Public Opinion Quarterly organized its articles into specific sections. Movies was  one of those sections. Items in this subseries consist primarily of correspondence about articles that would fall under the movies section of the journal.\u003c/p\u003e","\u003cp\u003eThe Public Opinion Quarterly organized its articles into specific sections. Press was  one of those sections. Items in this subseries consist primarily of correspondence about articles that would fall under the press section of the journal.\u003c/p\u003e","\u003cp\u003eThe Public Opinion Quarterly organized its articles into specific sections. Radio was  one of those sections. Items in this subseries consist primarily of correspondence about articles that would fall under the radio section of the journal.\u003c/p\u003e","\u003cp\u003eItems in this series are relevant to the Southern Interscholastic Press Association. Within this series are correspondence between speakers for the conventions and O.W. Riegel, photographs of the annual convention, SIPA programs, Quill and Scroll Banquet artifacts, and speech excerpts from the various speakers. Some items and subjects of note include correspondence regarding the permission of black delegates during the process of desegregation, a scrapbook of events during the 1959 SIPA convention, a scroll from the 1954 Quill and Scroll Banquet, and a penant commemorating the SIPA conference. Major correspondents and speakers include: Cartoonists Ken Bald and John Mendelsohn, Congressman John Moss, James P. Warburg, Ferdinand Kuhn, and Abe Jones.\u003c/p\u003e","\u003cp\u003ethis subseries focuses on the winners of various awards over the years of the SIPA conference at Washington and Lee University. Most items consist of list of winners and press releases.\u003c/p\u003e","\u003cp\u003eItems in the folder consist of lists of award winners in the various SIPA competitions including best Newspaper, Yearbook, Magazine, and Radio broadcast.\u003c/p\u003e","\u003cp\u003eItems in the folder consist of lists of award winners in the various SIPA competitions including best Newspaper, Yearbook, Magazine, and Radio broadcast.\u003c/p\u003e","\u003cp\u003eItems in the folder consist of lists of seating charts for the front table at the SIPA Awards Luncheons\u003c/p\u003e","\u003cp\u003eItems in the folder consist of annual lists of attendies who were to receive complementary accomodations to certain SIPA events.\u003c/p\u003e","\u003cp\u003eThis box of correspondence contains the only topical correspondence folder in the series, highlighting letters written that centered around the issues of desegregation and the contested permission of black delegates to SIPA. Afterwards, correspondence is alphabetical. Several renowned figures collaborated with O.W. Riegel by hosting their own sessions at the SIPA conference. Some of these figures include cartoonists Kenneth Bald and Douglas Borgstedt. Washington and Lee presidents Fred Cole and Francis Gaines are also included in this part of the collection.\u003c/p\u003e","\u003cp\u003eRiegel corresponded with approximately 200 individuals reagarding events and issues with SIPA. This subseries contains correspondence with all individuals with last names beginning with K or later.\u003c/p\u003e","\u003cp\u003eThe contents in this box consist of photographs of SIPA events, news publications about SIPA, a few high school newspapers submitted to the SIPA competition, financial documents, executive committee notes, the SIPA constitution and bylaws, and samples from SIPA's annual current events quiz. Some items of note include a 1937 satirical edition of Thomas Jefferson High School's student newspaper, \u003ci\u003eThe Jeffster\u003c/i\u003e, and photographs of the SIPA Awards banquet from 1953 and 1955.\u003c/p\u003e","\u003cp\u003eItems in this sub-series consist of speeches and speech excerpts by various  SIPA conference speakers, and programs for the SIPA conference from 1930-1968, along with a few programs from the 1980's and 1991. Some of the speeches are stored in smaller boxes because they are printed on index cards. Additionally, there is a scroll from the 1954 Quill and Scroll banquet, housed in this sub-series in order to save space.\u003c/p\u003e","\u003cp\u003eThe contents in this sub-series consist of  artifacts from the Quill and Scroll Banquets, SIPA delegate registration instructions, the lodging needs of SIPA speakers, materials given to Riegel by speakers, additional instructions to staff, and miscellaneous items in the SIPA series. Some objects of note include a SIPA penant with Washington and Lee enscribed on it, A scrapbook of the events from SIPA in 1959, and Admission tickets to the 1954 SIPA events.\u003c/p\u003e","\u003cp\u003eItems in this subseries are materials related to Riegel's work on Communication Satellites that have not yet been processed.\u003c/p\u003e","\u003cp\u003eItems in this series relate to Virginia Democratic Politics from the early 1970s to the early 1980s. Riegel was a member of the Rockbridge County Democratic Committee and attended the Virginia State Democratic Convention. His records include political correspondence between congressman Olin, delegate Davis, other local candidates, and party members.\u003c/p\u003e","\u003cp\u003eAlice Rabe was a candidate for the Virginia House of Delegates seat representing Rockbridge County, Lexington, Buena Vista, Bedford County and the city of Bedford. Riegel gave advice and support for Alice in her campaign. Items in this subseries consist of correspondence between Riegel and Rabe, campaign materials, such as planned ads, and clippings relevant to the campaign.\u003c/p\u003e","\u003cp\u003eCongressman Butler represented Virginia's 6th Congressional District. Within this subseries is a series of correspondence mostly from Riegel on various political topics. Most of Butler's correspondence consists of his periodic newsletters to his constituents.\u003c/p\u003e","\u003cp\u003eRiegel's political correspondence within Virginia consists of over 20 correspondents, primarily on the topic of campaigns and elections. Some correspondents include former House of Delegates member Jim Davis, Delegate candidate Sprong, and democratic party officials.\u003c/p\u003e","\u003cp\u003eJim Olin was the congressional representative of Virginia's 6th district after Cadwell Butler. This subseries consists of correspondence between Riegel and the Congressman. The main topics discussed are funding for the \"MX Missle\" and issues over Olin's congressional fundraising operation in the mid to late 1980s.\u003c/p\u003e","\u003cp\u003eThis subseries consists of correspondence by county democratic officials to local democratic party members concerning campaign actions and fundraising. Riegel was a member of the Rockbridge County Democratic Committee.\u003c/p\u003e","\u003cp\u003eItems in this subseries consist of materials that belong in the Journalism Department series but have not been processed into the collection yet.\u003c/p\u003e","\u003cp\u003eAfter World War II, Riegel worked as a U.S. diplomat in Hungary. This subseries consists of items related to his time there. Items of note include his diplomatic ID, hungarian currency, hungarian newspapers and magazines, Monthly reports on his work in Hungary, and detailed notes on events he experienced while there.\u003c/p\u003e","\u003cp\u003eRiegel was an avid collector of film related material, particularly from European sources. During his travels in Europe, Riegel attended numerous film festivals and kept materials from a variety of films. Additionally, he taught a course on motion picture and there are numerous items related to that course. Items of note include publications from an international film festival in Czechoslovakia, Film Festival attendance buttons, samples of film with descriptions of how film is used in the motion picture, and student work from Riegel's motion picture course he taught at Washington and Lee University.\u003c/p\u003e","\u003cp\u003eThe rest of the collection is still being processed. We anticipate additional series' to be added to the collection upon their completion. Some anticipated series include: Film, Riegel's early life, Pre-War Travel, Early Academic Work (undergrad and grad school, Mobilizing for Chaos and Crown of Glory, Communications Institutions (such as the International Association of Mass Communication Research), The Science Service, and Riegel's East-Germany Survey.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["Highlights of this collection include material concerning the Washington and Lee Journalism Department, including course material, student papers, and lecture notes. Supplementing this course material are published materials on the history of film, 20th century war propaganda, the Nazification of Germany, Paris in the 1920's and the \"Lost Generation.\" \nThere also includes wide selections of personal research materials for projects such as Riegel's books Mobilizing for Chaos and Crown of Glory; collections on Riegel's travels to Central and South America and Europe including Germany during the 1930s, and the typescript of his unpublished autobigraphy to 1945 titled \"Hacking It.\"","Items in this series relate to news and developments in communications sattelites. Riegel wrote a short article about their impact on mass media. His manuscripts along with correspondence, reports, and publications about communications satellites make up the bulk of this series. Some items of note include reports on the progress of Canada's Telesat system, Riegel's analysis of satellite communication, and Comsat and Intelesat reports from the early 1970's","Riegel discussed with over thirty correspondents over matters related to Communications Satellites and his academic article discussing the political barriers to satellite usage. Most correspondents provide suggestions to Riegel's article or explain how an academic journal they're associated with plans to use or not use his article.","Press releases in this subseries mostly come from the COMSAT, INTELSAT, and TELESAT corporations. These press releases give reports on the developments in the satellite industry, and the changes in stock values for these companies' shareholders.","Items in this subseries relate to pulbications from various sources refering to communications satellites. Items of note include: a Thesis titled, \"Defense Department's usage of Communications Satellites\" by Maurice Fliess from West Virginia University, annual COMSAT publications, and  a Canadian publication on the ᐊᓂᒃ (\"anik\" or little brother)satellite by TELESAT.","Items in this subseries consist of reports by government and independent organizations about communication satellites. The reports vary in focus, ranging from technical data to impending impact of satellites on public life. Items of note include the 1972 Aeronautics and Space Report of the President and the operating agreement between the United States and other nations regarding INTELSAT.","This subseries consists of Riegel's communication satellite article manuscripts. These manuscripts show the revisions Riegel made to his work.","Items in this subseries are materials related to Riegel's work on Communication Satellites that have not yet been processed.","Items in this series are relevant to the Dupont Awards, which were given to Television stations, Radiostations, and commentators who have contributed to the field in their performance on the air. Award winners received $1,000, and most used the money to fund a journalism scholarship. Within this series are correspondence between award winners, judges, the Dupont estate, Washington and Lee University, members of the Federal Communications Commission, public relations firms, and O.W. Riegel, photographs of the award winners and annual awards dinner, publications by the Dupont Awards foundation, and published statements by various awards winners. Some items and subjects of note include a draft of a couple of the physical awards, letters discussing the conclusion of Washington and Lee's Association with the awards in 1967, and some resumes of different journalists and  Judges' comments on various radio and television stations. Three scrapbooks are contained wtithin the collection, but are not in folders. They are listed in the appropriate sub-series. Major correspondents and speakers include: O. W. Riegel, FCC Chairman Rosel Hyde, and Jessie Ball Dupont.","Items in this sub-series consist of materials describing the removal of Washington and Lee University from the administration of the Dupont Awards.","Items in this subseries consist of correspondence, photos and cirtificates relating to types of awards given by institutions. Items of note include a small magazine of different award designs, correspondence over the dupont awards, and photographs of different awards.","Items in this subseries primarily consist of correspondence related to the design of a brochure for the Dupont Awards. As the Awards' curator, Riegel was responsible for the Awrds' presentation and outreach.","Items in this subseries consist of correspondents between Riegel and and individual reviewers the Dupont Awards. These letters consist of recommended radio stations  that people felt deserved the award for 1963.","Items in this sub-series consist of materials related to the Dupont Awards dinner including photographs, ivitations, and RSVP's.","Items in this subseries consist of the financial documents Riegel dealt with for the Dupont Awards. Items of note include letters with the awards' finanical statements and individual bills for expenses.","Items in this subseries relate to forms used by the Dupont Awards committee. Some forms of note include blank radio station judging forms and form letters to nominees and participants.","Riegel's correspondence in this series is primarily between different awards administrators and judges. Riegel corresponded with approximately 320 different individauls within this subseries. Correspondents of note include Mrs. Dupont, Turner Catledge, and Sol Taishoff.","Items in this subseries relate to communications between the General Federation of Women's Clubs and Riegel as curator for the Dupont Awards. Most of the correspondence consists of requests by Riegel for the leadership of the G.F.W.C. to participate on the Committee of the Dupont Awards.","Items in this sub-series consist of materials related to the judging of various Television stations, radio stations, and commentators for the Dupont Awards. Included are some judges' comments on different stations and correspondence about evaluating stations.","Items in this sub-series consist of materials related to the coverage of the Kennedy Assassination. The Dupont Awards foundation found it apporpriate to commemorate numerous stations for their detailed coverage of the event.","Items in this subseries consist of correspondence between Riegel and various lettershops regarding the production of a mass qualtity of letters to individuals regarding the awards. Some letters focused on the errors by the lettershop businesses such as errors in the use of names, punctuation, and grammar.","Items in this subseries consist of lists of individuals based on association. Some of the lists of note in this subseries include a list of CBS correspondents, Dupont Award winners, and the Dupont Award Foundation Mailing List.","Items in this sub-series consist of materials published or sent by the National Association for Better Radio and Television. This organization sought to encourage quality programing for families and children. some items of note include a booklet of television programs with ratings and reviews and newsletters mentioning the Dupont Awards.","Items in this subseries consist primarily of correspondence  addressing various concerns individuals had with the awards. These problems ranged from the permission of including some materials in various nominee presentations to the eligibility of certain networks in the Dupont Awards.","Correspondence in this subseries focuses primarily on the manner in which the Awards were determined and given. There is extensive discussion between Haefele, Spackman, and Riegel about the Trustee's involvment in the selection of judges and giving awards. The Dupont foundation wanted to increase its influence on the awards process, while Riegel thought that the Awards should have more liberty to act on its own.","Items in this subseries consist of documents by the Dupont Awards Foundation that were issued or available to the public, including: the agreements between the Dupont Foundation and the Awards committee, annual programs and brochures, and descriptions of the awards.","Items in this subseries consist of correspondence about spreading the awareness of the Dupont Awards.","Items in this subseries relate to efforts by the Dupont Awards Foundation to capitalize on their public relations. A large part of correspondence is with the Public Relations office of Earle Palmer Brown.","Correspondence in this subseries consists of correspondence related to how some winners chose to use their prize money from the Dupont Awards to give a small scholarship to journalism majors at various universities.","This subseries focuses on the process determining a logo for the Dupont Awards including correspondence, images, and sketches.","Items in this sub-series consist of materials related to the presentation of the Dupont Awards to their respective winners. Because of the annual nature of the award, material is sorted by year and then by content.","The items in this sub-series consist of miscellaeous materials that did not necessarily fit with the other groupings. Along with the files listed are two scrap-books of remarks made at the Dupont Awards Dinner.","Items in this subseries consist of materials that belong in the Journalism Department series but have not been processed into the collection yet.","Items in this series consist of and are related to O.W. Riegel's unpublished memoir \"Hacking It\". The first section of the series contains the most refined drafts of the Autobiography. Then there is correspondence between individuals who assited Riegel in drafting and editing his work. There are also several unrefined drafts of material, and a couple of artifacts and notes related to the Memoir. Housed separately from the rest of the collection, is one box of Newspaper clippings sorted by topic around different subjects Riegel's memoir addresses.","This subseries contains the most up-to-date version of Riegel's unpublished autobiography.","Correspondence in this subseries focuses on revisions of Riegel's memoirs and requests for information for Riegel to use in his writing.","Items in this subseries consist of various drafts on sections considered in the development of Riegel's Memoir. Topics range from his trip to the Virgin Islands, to his view of religion, and his year in Hungary after the conclusion of World War II.","Items in this subseries relate to Jane Riegel's materials that were stored with Riegel's autobiography. Oscar Riegel had Jane's journal bound and printed as a gift. These items are the scans and illustrations of her journal that were necessary to make his gift possible.","Items in this subseries consist of notes that Riegel took on various subjects related to his autobiography.","Items in this subseries consist of aspects of Riegel's autiobiography that have not yet been processed into the collection.","Items in the Journalism Department series are based in the time period when Riegel was a member and later director of the department. sub-sections of this series include correspondence within the department, course materials, department seminars, accreditiation discussions,the Lee Memorial Journalism Foundation, the maintenance of the department's library, and publicity related to the department and its faculty. some items of note include some student work for classes, including a project by Phillipe Labro, a cartoonist awards program with signatures from various cartoonists including Charles Shultz, and various surveys related to higher education and journalism.","As the department chair of Washington and Lee University's Journalism department, Riegel was responsible for its accreditation. This subseries consists of documents related to the accreditation status of Washington and Lee's Journalism department. The main agencies that Riegel worked with were the American Council on Education for Journalism, the American Association of Educators in Journalism, and the Association for Education in Journalism. Items are organized by year within each accreditation agency. Documents of note in this subseries include evaluation forms, correspondence about accreditation agency policy and goals, and annual accreditation reports.","Items in this subseries consist of letters between Riegel and over 550 correspondents related to Washington and Lee's Journalism program. Letters range in theme from inquiries about the program, job openings for journalism graudates, the Associated Press, the British Library, the American Association of Schools with Departments in Journalism, and others.","Items in this subseries relate to the courses within the Journalism Department which Riegel taught while at Washington and Lee University. Courses ranged in topic from public opinion to advertising to psychological warfare and propaganda. Most courses are sorted by order of sylabbi, class handouts, lecture notes, and other relevant materials to the course. The Psychological Warfare and Propaganda course also has a few student samples of a project where students were to make their own propaganda aimed at countries behind the Iron Curtain.","The Journalism 101 course focused on the principles of Journalism. Within this subseries are documents related to the course including syllabi, class handouts, quizzes, exams, and other materials Riegel had that were relevant to the course.","Journalism 102 was a course that covered the principles of Journalism, and at times was a continuation of Journalism 101 to create a year long class. Items in this subseries consist of course syllabi, class handouts, quizzes, exams, lecture notes and other material Riegel had that was relevant to the course.","Riegel's public oppinion course focused on the purpose and manner of polling, specifically as a pulse of American Democracy. It elaborated on how to conduct polls and how they influence and  show the views of the public. Items in this subseries consist of course syllabi, lecutre notes, and other related materials.","Riegel's Literary Critism course focused on the purpose and manner in which one critiques a written work. Riegel emphasized the different critical theories by different reviewers and had students study reviewers and conduct their own reviews using the fundamentals taught in the course. Items in this subseries consist of course syllabi, class handouts, quizzes, exams, lecture notes, and other material related to the course.","The Journalism Department's Short Story Writing Course focused on the elements of a short story and its goal of portraying life as the author sees it from their own lens. within the course, students were expected to anaylze and uncover the principles of short story writing and apply them in their own works. Items in this subseries consist of course syllabi, class handouts, quizzes, exams, and other materials related to the course.","The Principles of Advertising course covered basic elements of advertisements found in mass media sources. Items in this subseries consist of a course syllabus, quizzes, and exams.","The Journalism Department's course on communications law focused on the legal developments regarding the freedom of the press. Course topics ranged from copyright, to libel, to privacy, to climate, to the Freedom of Information Act, and courtroom procedures. Items in this subseries consist of course syllabi, class handouts, extensive lecture notes sorted by topic, and extensive relevant materials related to the course.","The Psychological Warfare and Propaganda course covered how the media has been used to sway public opinion in a variety of settings. Students examined the methods the military, governments, intelligence agencies, international U.S. broadcasts, and other sources used in an attempt to persuade others to support their goals and causes. Items in ths subseries consist of student work on a couple of projects including a mock propaganda piece by Philippe Labro, course syllabi, class handouts and project rubrics, lecutre notes, and other materials related to the course.","The Public Relations course focused on the purposes of public relations and the various attitudes people hold towards the field. Students were tasked to analyze the goals of a person in a public relations position and to understand why some view it as a means for corruption while others see it as an essential part of any business, firm, or public figure. Items in this subseries consist of course syllabi, class handouts, lecture notes, and other material related to the course.","This advertising course focused on the principles and critical analysis of advertisements. Items in this subseries consist of course syllabi, class handouts, lecture notes, and other material related to the course.","The Editorial was a journalism department course that focused on the principles and practice of newspaper editorial writing. Students in the course were members of a hypothetical editorial board and were tasked to develop articles on a variety of topics. Items in this subseries consist of course syllabi, class handouts, lecture notes, and other material related to the course.","Items in this subseries consist of discussions between the Journalism Department and outside news industries about job availability and the desire for higher quality recruits. Riegel points the low quality towards a national issue of low incentives for high quality students in the Journalism field.","the Lee Editorial Award was a prize for what the award's judges thought was the best editorial in a given year based on nominations  by editors, newspapers, and publishers. Items in this subseries focus on informing the public about the award, statements by award winners, and the announcement of award winners.","The Lee Memorial Journalism Foundation was an institution that sought to share the history of Journalism at Washington and Lee through a variety of publications, news stories and events. Items of note in this subseries include a scrapbook of journalism department activites from the mid 1950s and small posters of different journalism department events on campus.","During Riegel's tenure as a professor, the Journalism Department kept its own library for students to use. Items in this subseries consist of correspondence and materials related to the library's everyday function.","Mass Media Booknotes was a publication that reported new publications related to mass media and communications. Items within this series consist of monthly reports on new journalism publications.","Publicity regarding the Journalism Department consists of articles in magazines, newspapers, and other media sources that highlight the department's activities. The bulk of items in this subseries consist of articles and press releases related to the Journalism department. Items of note include an article by Riegel titled \"The Muted Trumpet\" and a Spanish booklet about Nationalism and Communications.","Items in this subseries focus on the establishment and early years of WLUR. some events of note include problems with the radio antenna during installation, and program listings from early WLUR broadcasts.","This subseries consists of various seminars hosted by the Journalism department including a seminar on editorial writing and one on law in relation to the media. Items of note include the speeches of seminar speakers and seminar programs.","Items in this subseries are relevant to the journalism department, but do not relate to any of the other subseries. Items of note include a menu at a Sigma Delta Chi dinner, a chart comparing  faculty compensation at various universities during the 1970s and a large chart analyzing Virginia daily newspapers.","Items in this subseries consist of materials that belong in the Journalism Department series but have not been processed into the collection yet.","Items in this series pertain to Riegel's personal correspondence between himself and colleagues, friends, and family. Some material is related to or mentions his work, but the majority of the material is about his or other people's personal lives, opinions, and thoughts around world events.","Items in this subseries consist of materials that belong in the Journalism Department series but have not been processed into the collection yet.","Items in this series consist primarily of articles, bulletins, memos, and programs which are in reference to O.W. Riegel and his career achievements. The material spans the majority of his professional carreer and makes reference to his published works, acts as a staff member of Washington and Lee, and personal achievements. The publicity material is primarily newspaper clippings selected by Riegel himself.","Materials in this series consist of items Riegel acquired while traveling after World War II. Riegel went to several european nations during the Cold War including Yugoslavia, Bulgaria, Romania, Czechoslovakia, Poland, Hungary, Italy, East Germany, Germany, and Britain. Throughout his journeys, Riegel retained numerous maps, brochures, publications, and pamphlets of places and events he attended.","This subseries concerns Riegel's correspondence during his travels in Eastern Europe and focuses primarily on upcoming european film festivals and catching up with friend and acquaintences while abroad.","Items in this subseries focus on the US in relation to Riegel's travel after World War II. some items of note include maps of San Francisco, CA and Madison, WI, assorted brochures from various city centers, and a couple of sketches.","This subseries consists of  iteme Riegel acquired during his international travel. Most items are from Eastern Europe, but there are a couple of items from Western Europe and a publication from Australia.","Items in this subseries consist of pamphlets and brochures related to Riegel's travels throughout Europe. some publications of note include lodging brochures from Bulgaria and Romania and hungarian recreational brochures.","Items in this subseries consist of the  receipts and charges Riegel kept from his travels in europe.","This subseries consists of maps of various european countries that Riegel traveled through.","Items in this subseries were the personal affects of Oscar Riegel in relation to his post-war European travel. Some items of note include his travel diary and a diary by \"Dee\", and press membership identification.","Items in this subseries consist of notes that Riegel prior to and during his trip to Eastern Europe. One item of note is a German quiz he took prior to his departure.","Items in this subseries consist of materials that belong in the Journalism Department series but have not been processed into the collection yet.","The items in this series relate to two major projects Riegel conducted in Europe between 1950 and 1952. The first one focused on public opinion in West Germany on a variety of topics, but emphasised government and politics in particular. This project was conducted with assitance in the form of a grant, stipend, and paid travel by the State Departnment. The second project, through Princeton University, focused on the impact of the cross cultural exchange program between Belgium and the United States, with the goal of understanding the opinion Belgians had of the United States after going through the program and then returning to their home country. Contents in this series include: Survey materials from both projects, information on participants in the Belgium study, publications Riegel kept from his time in Europe, his notes on the projects, and financial papers relevant to the projects.","Items in this subseries focus on the West German Cultural Exchange program and its impact on its  participants. Items of note include samples of questionaires and surveys and maps of parts of West Germany.","Riegel conducted a study surveying belgians who participated in an educational exchange program with the United States, trying to answer whether educational exchange programs affect the participant's perception of the country they visited in the long term. This subseries contains materials related to that study including questionnaires, correspondents, data on participants, and publications.","Correspondents with Riegel in regards to his Belgium study often focused on the study's contents, findings, and were curious about its implications. Riegel corresponded with approximately 70 different individuals and wrote often to his family while in Belgium.","This subseries consists of materials related to every participant in Riegel's study of Belgium's cultural exchange program. Each person's listing has some responses to questions and occasionally some correspondence.","Publications in this part of the collection focus on the effects and status of cultural exchange programs with the United States. Items of note in this subseries include a Belgian professor's analysis of Columbia University's geology courses from the 1920s, and statements by the state department about educational exchange programs.","This subseries consists of materials that were issued to spread the recognition and outreach of Riegel's study in Belgium. The majority of items are press releases informing individuals how they can participate and for participants to follow through with their questionnaires.","This subseries consists of materials that were essential to Riegel's survey. Items of note in this subseries include Riegel's project proposal, sample questionnaires and instructions to participants and project assistants.","Riegel published a monograph, Mobilizing for Chaos, in 1934. In it he examined and explored the impact and importance of the use of propaganda in the contemporary world. He effectively explored the use of propaganda in nations such as pre-War Germany and its role in the rise of National Socialism and Adolf Hitler. This series contains material related to the publishing of the book, Mobilizing for Chaos. These materials primarily consist of book reviews, advertisements, and articles about Riegel's role in its creation.","Items in this series are relevant to O. W. Riegel's involvement with propaganda materials from World War I through the Vietnam War. Within this series are correspondence between Riegel and his co-workers at the Office of War information, a variety of war leaflets, war themed news letters, foreign magazines, ephemeral propaganda materials, a few posters, Viet Cong banners, and German Newspapers. Some items and subjects of note include Hand made propaganda from the Viet Cong, A book of official japanese war leaflets, records from the Office of War Information, and pictoral records of the Spanish Civil War and the Second Sino Japanese War.","Items in this subseries are relevant to the World War I era, and include Newspapers about the war, printed in 1914 and reprinted in the 1930's, Notes by Riegel about foreign and domestic propagada agencies, Photos of war figures and events with captions, and publications about the press and propaganda during the war.","Th inter-war period subseries consists primarily of reports and publications from both the federal government and the private sector. Both of these groups focus heavily on propaganda, often comparing 1930s propaganda to propaganda during World War I. There is also some emphasis on the New Deal programs and their impact on the press and individual freedoms. Foreign Newspapers in this subseries tend to focus on Germany's shift to fascism and its implications. Also included in this subseries, are Riegel's own notes on these subjects mixed with brief personal comments related to his work.","Items in this subseries consist of foreign press publications during the inter-war period. Newpapers and clippings are in French and German, and from the early 1930s.","Goverment publications in this collection consist primarily of bills presented to congress, pages from the congressional record, and other sources oriented primarily around the use of the press prior to World War II.","Government reports in this sub-series are issued often by executive agencies and are oriented around the press, propaganda, and considered regulation thereof. Reports include a discussion by the FCC over the \"War of the Worlds Radio Broadcast\", A report on Radio Broadcasting for Senator Burton Wheeler, and an agreement of journalistic standards by the Pan-American Congress of Journalists.","Newspapers in this sub-series focus on World War I propaganda, developments on Europe prior to the second World War, and Freedom of the Press.","Riegel's notes from the Inter-war period focus on various journalism related topics, including: Telegraph cable, the politics of international press, the New Deal and Advertising, and other personal notes about his work.","Press releases in this subseries address a variety of international and foreign relations topics such as the British Palestine mandate, the self-determination of the Saar Region, both pro and anti German perspectives on the national socialist government, and those who benefit from war.","The publications in the Riegel papers from the interwar period show the shift in American focus from the economy to international relations from the early 1930s to 1939. The early publications focus on the impact of New Deal programs with only some regard to events outside the U.S. Publications from the late 1930s have a heavily international perspective with pictoral booklets of the atrocities in the second Sino-Japanese war, and threats of German fascism. Academic articles relate to the press, particularly in China, but also from a global perspective, Modern propaganda techniques, and international relations. Finally, there is a sampling of newsletters focusing on the same topics from various perspectives.","Items in this subseries related to the Spanish Civil War primarily consist of propaganda leaflets and publications on both sides of the conflict, highlighting the opposing sides' atrocities and how they will ensure the values and freedom of the Spanish people.","Items in this subseries are related to the World War II era in both of the main theaters of war. Some items of note include propaganda leaflets in a variety of languages including German and Japanese, documents from various government agencies including the Office of War Information, and some ephemeral materials used as propaganda during the war.","Riegel's corresepondence in this series primarily relates to those he worked and interacted with during his time with the Office of War information. One topic of particular interest to Riegel was the \"Strzetelski Affair\" which focused on the contested censorship of a Polish news agency and their description of troop position in the eastern front.","Riegel's collection of domestic propaganda during the second World War highlighted appeals to the working class by the Germans to stand against \"big business\" interests, and the pro-peace movement primarily through a series of drawings by Pola Clair.","European propaganda leaflets, in Riegel's collection, show the various appeals by different groups to persuade the enemy to surrender. While most of the leaflets are addressing a German audience, there are some in Hungarian, Polish, and Arabic aiming to persuade at least a tacit support for the allies. The leaflets are sorted based on their identification number often found on one of the corners of the leaflet.","O.W. \"Tom\" Riegel's copy of an official \"confidential\" binder distributed to staff of the United States Office of War Information detailing propaganda objectives for the Mediterranean region of Europe for 1944, specifically the countries of Albania, Bulgaria, Greece, Romania, Yugoslavia, Italy, and Hungary.","Includes a pamphlet titled \"Footprints of the Trojan Horse, Some methods used by foreign agents within the United States\" and \"Hitler's Words and Hitler's Deeds\" printed in England. This illustrated wartime pamphlet introduces the reader to the Nazi theory of propaganda and details Hitler and the Nazi regime's methods and examples of deceipt.","These newsletters were disseminated by allied forces to citizens of liberated countries. These newsletters, ranging from Dutch to Flemish to French often described events on the front lines and encouraged readers to support the war effort.","Riegel's collection of government reports center around the effectiveness in developing and implementing propaganda addressed to the Axis powers and neutral and liberated countries. Reports tend to focus on one aspect of propaganda ranging from understanding the target audiences culture, to forms of counterpropaganda used by enemy forces.","Reports by the Board of Economic Warfare were periodically issued detailing the economic situations of various parts of the world and their relation to the front lines. This gave allied forces an idea of available resources for themselves and their enemies looking forward.","The Board of Overseas publication analyzed published issues in other countries, aiming to understand the literary and media culture of different nations to improve propaganda efforts. Some analysis includes reports on Japanese war songs and european perspectives on American elections.","The Bureau of Public Relations focused on ensuring positive relations with neutral and liberated countries during the war effort. Some of its material, found in this sub-series include Public Relations officer guidelines and foreign censorship codes.","Segments from the congressional record found in this subseries focuses on the mobilization and deployment of troops between 1939 and 1945.","Riegel maintained a collection of documents from the Coordinator of Information office. These documents pertained to ongoing events in the second World War and their relation to propaganda. Some documents focus on the handling of news and claims by the Axis powers, the surrender of a british fleet to the Japandese, and the presence of allied forces near Singapore.","Riegel's items from the Federal Communications Commission primarily relate to its reports on radio broadcasts. Included in their reports are recommendations for foreign radio propaganda, and their prioritization of national defence in their own decisions.","Riegel's documents related to the Office of Control highlight the emphasis on censoring foreign media to ensure support of the allied troops. some items of note include breif correspondence related to the censorship of individual broadcasts due to lack of documentation, and periodic reports of the publications of various radio broadcasts.","The Office of Public Opinion Research focused on the public mood of various events during the war. Some items in this subseries include an analysis of public opinion as it relates to FDR's public talks and speeches, and public opinion of naval war policy.","Riegel worked with the Office of War Information durring the Second World War. His role was to provide guidance, analysis, and propose various forms of propaganda to use against enemy forces and to persuade potentially friendly neutrals. Items in this subseries are heavily related to these subjects and report on the successes and failures of implemented propaganda.","The Outpost Services Bureau provided support to govenrment agencies in ensuring their ability to function via connecting them with lines of communication and providing support when necessary. They created monthly progress reports of various outpost stations reporting the status of these stations and their effectiveness.","Items from the Psychological Warfare Branch focus on the impact of propaganda and counter propaganda on the target audeinces. Reports in this subseries include an analysis of propaganda upon French citizens, and a booklet on the functions of the 5th Army propaganda team.","Riegel's items from the state department primarily relate to the status of various areas in the front lines of the second World War. Some documents in this subseries inculde a description of the status of press and radio in Vichy France, and Chiang Kai Shek's perspective on the Japanese war front.","The two documents in the Radio Conference of Cairo subseries are full text copies of the radio agreements describing acceptable and unlawful use of the radio in attempts to influence populations beyond a nation's borders.","Documents in this subseries detail the efforts made by the USIS to inform foreign peoples about the United States and its values through various publications. Some examples in this subseries include the report of the effectiveness of an Italian agazine and guidelines for foreign magazine publications.","Includes a small bound illustrated pamphlet published by the United States War Department in 1944 and titled \"What is Propaganda\". It is a \"War Department Educational Manual - EM-2 of the GI Roundatable Series.\" The cover of the pamphlet shows the cartoon character Donald Duck speaking into a microphone.","Riegel's collection of Japanese leaflets consist of two aspects: US made leaflets issued to the Japanese and Japanese made leaflets issued to the U.S. Both use persuasive techniques to convince soliders to surrender or cease fighting, showing there is greater value in being at home than on the front lines. U.S. propaganda tended to appeal to the futility of the Japanese effort, showing  how U.S. progress was steady in spite of their resistance. Japanese propaganda tended to emphasize that the profits of the war were directed to a non-fighting elite, and that family members would prefer the soldier's presence at home  to their death at war. The leaflets are sorted by their identification numbers found on one of the leaflet's corners.","This folder consists of multiple published items including part one of a two part volume published by the United States Pacific Fleet on the methods of psychological warfare against Japan with a focus on propaganda leaflet usage. The Washington Post publication also includes in its title, \"the story of the secret weapon which had Japan ready to yield thirteen days before the atomic bomb struck Hiroshima.\"","This volume consists of a compilation of approximately ninety-five propaganda leaflets created for the Unites States military's Pacific Theater of Operations. Incuded with each leaflet is an accompany information form that includes purpose, text, format, general comments, and someitmes the specific location for he leaflet's use.","Riegel kept assorted notes about a variety of topics including the Camera Club at Washington and Lee, Descriptions for his future autobiography, political details in Mexican History, and information related to coworkers, staff, and events during his time at the Office of War Information.","Items in this subseries were the personal belongings of Oscar Riegel after the second World War. Some items include his material as an official air raid warden, in the event of a domestic air raid,  financial statements on purchases, war ration books, and programs from events he attended.","Press releases in this subseries give a description of headlines during the Second World War. Topics of note include Hitler's invasion of Poland, the Psychological effect of paratroopers, and the Finnish impact on the Eastern Front.","Publications in this subseries tend to focus on propaganda analysis, the warfront, and radio communications. Some items of note in this subseries include the code of the National Association of Broadcasters and commentary on the Bill of Rights.","This subseries containes unique items of the time period that distinguish it from other eras. Some interesting items of note include candy wrappers with U.S. army propaganda, an assortment of pro U.S. booklets in various languages, shoe lace packaging depicting the hanging of Hitler and Mossolini, and a hitler/Tojo pin cushion.","Materials in this subseries relate to the Cold War era. Most items focus on communication from the U.S. to its citizens and foreign countries to gain support over Russia in the Cold War. Additionally, there are a few items from foreign nations aimed at U.S. audiences. Some items of note include some Russian Magazines, Chinese Magazines, and publications related to the United States Information Agency.","This subseries consists of Riegel's correspondence related to the Cold War. It focuses mostly on specific events during the Cold War and the reach of government concerning foreign and domestic media and speech.","This subseries consists of material made by foreign govenrments, mostly with the intent to reach an American audience. Some items of note include magazines from the Polish government, Russian Magazines, and a booklet about developing countries and the Soviet Bloc.","This subseries focuses on material the U.S. and foreign governments produced for American citizens, often in the form of reports and booklets. Some items of note include a report on the U.S. international cultural program and \"Telling America's Story Abroad\" by the State Department.","This subseries consists of a small assortment of clod war era newspapers hihglighting various events related to the cold war effort. Articles include international U.S. radio presence, the US information service's efforts, and international relations.","This subseries consists of press releases of events throughout the Cold War. These press releases come from several sources, most of them being from the U.S. Information Agency. There are also press releases from the Japan Detachment of Broadcasting and Visual Activities and the State Department.","This subseies contains publications from a variety of sources. Often in the form of booklets or magazines, topics vary, but most focus on the effects of propaganda and the Cold War. Some booklets of note include one on Germany's territorial shifts after the second World War, and a booklet on  the efforts of Christian Trade Unions to combat the spread of Communism.","These radio scripts were intended to inform the American public in areas both related and unrelated to the Cold war. Script topics ranged from \"The Secret of American Prosperity\" to \"Coronary Thrombosis\".","The U.S. Information Agency sought to spread international awareness of U.S. values and culture to second and third world countries during the Cold War. Items in this subseries consist of programs, reports, briefings, newsletters, memorandums, and charts that conveyed how the agency operated internationally.","Items in this subseries relate to the Korean war, and mostly from an American perspective. Most of the items are propaganda leaflets, aiming to encourage Korean support of American troops. Some items of note include a booklet of alleged U.S. war crimes during the war, a booklet about war P.O.W.'s, and copies of anti-U.S. propaganda.","Items in this subseries are strictly Korean war propaganda that was intended for Korean citizens. Nearly all items in this subseries are in Korean and have an english description or translation attached with the goals of what the propaganda was supposed to evoke from the reader.","This folder includes Communist Chinese printed propoganda magazines for an English speaking audience : \"United Nations Prisoners in Korea,\" \"China Reconstructs,\" and two editions of \"People's China\"","A 1950 Japanese magazine, \"Silver Bell,\" for children and/or young adults - printed by the Hiroshima Publishing Company; a Second World War era Prisoner of War questionnare, and an American propoganda magazine in Chinese titled \"Free World\" magazine published for Asian coutries about the Unites States and \"Free\" Asian countries.","The Committee on Vietnam was a local organization in Lexington and Rockbridge County formed in opposition to the war effort. Riegel was a member of the Committee. This subseries consists of notes Riegel took of meetings and comments made by Committee members.","Riegel's correspondence related to the Vietnam war often focused on his hope in the ceasing of hostilities. Many letters are to congressmen, and other high ranking government officials. Included in this subseries are also a few letters from Riegel to President Johnson regarding the Vietnam War.","The government publications regarding the Vietnam War in Riegel's papers focus on the nature of war propaganda and the status of combatant strategy and techniques as the war progressed.","Items in this subseries consist of Riegel's notes about government events related to propaganda and public opinion in relation to the Vietnam War. These informal notes document events, such as National Liberation Front propaganda drives.","Items in this subseries relate to published or disseminated to the public referencing the Vietnam War. Items of note include a petition to end the war, a voter's pledge to support anti-war candidates, and booklets and magazines related to the war effort.","Items in this subseries are the oversize materials coming from other parts of the Propaganda series. Within this subseries are magazines and posters from the Cold War and the Vietnam War. Additionally, there is a 1:15000 road map of Hannover, Germany.","Items in this subseries consist of government reports related to the office of war information. they have some damaged and require creating a scan to ensure further damage is prevented.","Items in this subseries have not yet been processed into the collection. Materials range from the Inter-War period to the Cold War.","This series consists of items related to Riegel's work with the Public Opinion Quarterly, an academic journal that focuses on forms of media and their effects on the public, primarily via Radio, the Press, and Movies. The bulk of material in this series consists of correspondence between Riegel, editors for the Public Opinion Quarterly, and prospective article writers.","The Public Opinion Quarterly organized its articles into specific sections. Communications was  one of those sections. Items in this subseries consist primarily of correspondence about articles that would fall under the communications section of the journal.","This subseries consists of general correspondence between Riegel and approximately 160 correspondents on various topics relating to the Public Opinion Quarterly (POQ). Subjects include anticipated articles for the POQ, Events affecting the POQ, and the POQ's structure.","The Public Opinion Quarterly organized its articles into specific sections. Movies was  one of those sections. Items in this subseries consist primarily of correspondence about articles that would fall under the movies section of the journal.","The Public Opinion Quarterly organized its articles into specific sections. Press was  one of those sections. Items in this subseries consist primarily of correspondence about articles that would fall under the press section of the journal.","The Public Opinion Quarterly organized its articles into specific sections. Radio was  one of those sections. Items in this subseries consist primarily of correspondence about articles that would fall under the radio section of the journal.","Items in this series are relevant to the Southern Interscholastic Press Association. Within this series are correspondence between speakers for the conventions and O.W. Riegel, photographs of the annual convention, SIPA programs, Quill and Scroll Banquet artifacts, and speech excerpts from the various speakers. Some items and subjects of note include correspondence regarding the permission of black delegates during the process of desegregation, a scrapbook of events during the 1959 SIPA convention, a scroll from the 1954 Quill and Scroll Banquet, and a penant commemorating the SIPA conference. Major correspondents and speakers include: Cartoonists Ken Bald and John Mendelsohn, Congressman John Moss, James P. Warburg, Ferdinand Kuhn, and Abe Jones.","this subseries focuses on the winners of various awards over the years of the SIPA conference at Washington and Lee University. Most items consist of list of winners and press releases.","Items in the folder consist of lists of award winners in the various SIPA competitions including best Newspaper, Yearbook, Magazine, and Radio broadcast.","Items in the folder consist of lists of award winners in the various SIPA competitions including best Newspaper, Yearbook, Magazine, and Radio broadcast.","Items in the folder consist of lists of seating charts for the front table at the SIPA Awards Luncheons","Items in the folder consist of annual lists of attendies who were to receive complementary accomodations to certain SIPA events.","This box of correspondence contains the only topical correspondence folder in the series, highlighting letters written that centered around the issues of desegregation and the contested permission of black delegates to SIPA. Afterwards, correspondence is alphabetical. Several renowned figures collaborated with O.W. Riegel by hosting their own sessions at the SIPA conference. Some of these figures include cartoonists Kenneth Bald and Douglas Borgstedt. Washington and Lee presidents Fred Cole and Francis Gaines are also included in this part of the collection.","Riegel corresponded with approximately 200 individuals reagarding events and issues with SIPA. This subseries contains correspondence with all individuals with last names beginning with K or later.","The contents in this box consist of photographs of SIPA events, news publications about SIPA, a few high school newspapers submitted to the SIPA competition, financial documents, executive committee notes, the SIPA constitution and bylaws, and samples from SIPA's annual current events quiz. Some items of note include a 1937 satirical edition of Thomas Jefferson High School's student newspaper,  The Jeffster , and photographs of the SIPA Awards banquet from 1953 and 1955.","Items in this sub-series consist of speeches and speech excerpts by various  SIPA conference speakers, and programs for the SIPA conference from 1930-1968, along with a few programs from the 1980's and 1991. Some of the speeches are stored in smaller boxes because they are printed on index cards. Additionally, there is a scroll from the 1954 Quill and Scroll banquet, housed in this sub-series in order to save space.","The contents in this sub-series consist of  artifacts from the Quill and Scroll Banquets, SIPA delegate registration instructions, the lodging needs of SIPA speakers, materials given to Riegel by speakers, additional instructions to staff, and miscellaneous items in the SIPA series. Some objects of note include a SIPA penant with Washington and Lee enscribed on it, A scrapbook of the events from SIPA in 1959, and Admission tickets to the 1954 SIPA events.","Items in this subseries are materials related to Riegel's work on Communication Satellites that have not yet been processed.","Items in this series relate to Virginia Democratic Politics from the early 1970s to the early 1980s. Riegel was a member of the Rockbridge County Democratic Committee and attended the Virginia State Democratic Convention. His records include political correspondence between congressman Olin, delegate Davis, other local candidates, and party members.","Alice Rabe was a candidate for the Virginia House of Delegates seat representing Rockbridge County, Lexington, Buena Vista, Bedford County and the city of Bedford. Riegel gave advice and support for Alice in her campaign. Items in this subseries consist of correspondence between Riegel and Rabe, campaign materials, such as planned ads, and clippings relevant to the campaign.","Congressman Butler represented Virginia's 6th Congressional District. Within this subseries is a series of correspondence mostly from Riegel on various political topics. Most of Butler's correspondence consists of his periodic newsletters to his constituents.","Riegel's political correspondence within Virginia consists of over 20 correspondents, primarily on the topic of campaigns and elections. Some correspondents include former House of Delegates member Jim Davis, Delegate candidate Sprong, and democratic party officials.","Jim Olin was the congressional representative of Virginia's 6th district after Cadwell Butler. This subseries consists of correspondence between Riegel and the Congressman. The main topics discussed are funding for the \"MX Missle\" and issues over Olin's congressional fundraising operation in the mid to late 1980s.","This subseries consists of correspondence by county democratic officials to local democratic party members concerning campaign actions and fundraising. Riegel was a member of the Rockbridge County Democratic Committee.","Items in this subseries consist of materials that belong in the Journalism Department series but have not been processed into the collection yet.","After World War II, Riegel worked as a U.S. diplomat in Hungary. This subseries consists of items related to his time there. Items of note include his diplomatic ID, hungarian currency, hungarian newspapers and magazines, Monthly reports on his work in Hungary, and detailed notes on events he experienced while there.","Riegel was an avid collector of film related material, particularly from European sources. During his travels in Europe, Riegel attended numerous film festivals and kept materials from a variety of films. Additionally, he taught a course on motion picture and there are numerous items related to that course. Items of note include publications from an international film festival in Czechoslovakia, Film Festival attendance buttons, samples of film with descriptions of how film is used in the motion picture, and student work from Riegel's motion picture course he taught at Washington and Lee University.","The rest of the collection is still being processed. We anticipate additional series' to be added to the collection upon their completion. Some anticipated series include: Film, Riegel's early life, Pre-War Travel, Early Academic Work (undergrad and grad school, Mobilizing for Chaos and Crown of Glory, Communications Institutions (such as the International Association of Mass Communication Research), The Science Service, and Riegel's East-Germany Survey."],"separatedmaterial_html_tesm":["\u003cp\u003eThere is one small box of assorted Newspaper Clippings related to Communication Sattelites, sorted by date (1962-1974) towards the end of the collection.\u003c/p\u003e","\u003cp\u003eThis subseries consists of materials printed for the public that Riegel kept from his travels abroad. Some items of note include US embassy guides to Bucharest, Romania and Sofia, Bulgaria, and some magazines from Romania and Poland.\u003c/p\u003e","\u003cp\u003eSome items from this subseries have been separated from the main collection of materials and have been placed into the propaganda series oversize storage.\u003c/p\u003e","\u003cp\u003eItems in this subseries focus primarily on public opinion and propaganda related to the Vietnam war. Items of note include propaganda leaflets, notes by anti-war committees, letters written to government officials about the war, and petitions to end the war. Some items are stored separately due to their size. Some war posters and pro-Viet Cong banners are in oversize storage.\u003c/p\u003e","\u003cp\u003eThe leaflets in this subseries are targeted towards a Vietnamese audience. Each leaflet has an english description or translation of its content, reasoning for its use, and the intended reaction that should be evoked by the reader. Larger items are not stored with this subseries, but rather in oversize storage, mainly consisting of posters and pro-Viet Cong war banners.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials"],"separatedmaterial_tesim":["There is one small box of assorted Newspaper Clippings related to Communication Sattelites, sorted by date (1962-1974) towards the end of the collection.","This subseries consists of materials printed for the public that Riegel kept from his travels abroad. Some items of note include US embassy guides to Bucharest, Romania and Sofia, Bulgaria, and some magazines from Romania and Poland.","Some items from this subseries have been separated from the main collection of materials and have been placed into the propaganda series oversize storage.","Items in this subseries focus primarily on public opinion and propaganda related to the Vietnam war. Items of note include propaganda leaflets, notes by anti-war committees, letters written to government officials about the war, and petitions to end the war. Some items are stored separately due to their size. Some war posters and pro-Viet Cong banners are in oversize storage.","The leaflets in this subseries are targeted towards a Vietnamese audience. Each leaflet has an english description or translation of its content, reasoning for its use, and the intended reaction that should be evoked by the reader. Larger items are not stored with this subseries, but rather in oversize storage, mainly consisting of posters and pro-Viet Cong war banners."],"userestrict_html_tesm":["\u003cp\u003eThe materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections."],"names_ssim":["Washington and Lee University, University Library Special Collections and Archives","Riegel, O. W. (Oscar Wetherhold)","Riegel, Hunt","Du Pont, Jessie Ball, 1884-1970","Cole, Fred Carrington","Gaines, Francis Pendleton","Labro, Philippe","Davis, J. Paxton","Lauck, Charles Harold","Booth, Augustus Lea","Shultz Charles","Moss, John E. (John Emerson), 1913 - 1997","Kenneth Bald","McGovern, George"],"corpname_ssim":["Washington and Lee University, University Library Special Collections and Archives"],"names_coll_ssim":["Riegel, Hunt"],"persname_ssim":["Riegel, O. W. (Oscar Wetherhold)","Riegel, Hunt","Du Pont, Jessie Ball, 1884-1970","Cole, Fred Carrington","Gaines, Francis Pendleton","Labro, Philippe","Davis, J. Paxton","Lauck, Charles Harold","Booth, Augustus Lea","Shultz Charles","Moss, John E. (John Emerson), 1913 - 1997","Kenneth Bald","McGovern, George"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2584,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-20T21:30:16.538Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vilxw_repositories_5_resources_231_c02_c12_c58"}}],"included":[{"type":"facet","id":"repository_ssim","attributes":{"label":"Repository","items":[{"attributes":{"label":"Alexandria Library","value":"Alexandria Library","hits":53},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Subseries\u0026f%5Brepository%5D%5B%5D=Alexandria+Library\u0026view=compact"}},{"attributes":{"label":"Arlington Public Library","value":"Arlington Public Library","hits":750},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Subseries\u0026f%5Brepository%5D%5B%5D=Arlington+Public+Library\u0026view=compact"}},{"attributes":{"label":"Augusta County Historical Society","value":"Augusta County 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Congressman Richard Poff Collection","hits":19},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=A+Guide+to+the+Congressman+Richard+Poff+Collection\u0026f%5Blevel%5D%5B%5D=Subseries\u0026view=compact"}},{"attributes":{"label":"A Guide to the Contents of the Huff Lane Elementary School Time Capsule","value":"A Guide to the Contents of the Huff Lane Elementary School Time Capsule","hits":19},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=A+Guide+to+the+Contents+of+the+Huff+Lane+Elementary+School+Time+Capsule\u0026f%5Blevel%5D%5B%5D=Subseries\u0026view=compact"}},{"attributes":{"label":"A Guide to the Delta Omega Chapter of\n         Alpha Kappa Alpha Sorority Inc., \n         1921,\n         1988","value":"A Guide to the Delta Omega Chapter of\n         Alpha Kappa Alpha Sorority Inc., \n         1921,\n         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