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 (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 of the 1871 published version of the poem; in 1881 the verse paragraphs were not numbered and this section was permanently renumbered 8.

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 pasted 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 revisions 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 the 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, this entire section, as noted above, was deleted from the poem.

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 follows: 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 of 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 section 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).

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 seems—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 verse paragraph 5 (section 3) of the 1871 published version of the poem. In 1881 section 3 became section 2.

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 starts. 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 version.

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 "—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. Leaves 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 pinhole patterns.

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 revisions 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.

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 of section 4 (verse paragraph 6) in the 1871 version of the poem; in 1881 they constituted the same part of section 3.

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 pencil 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.

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 when 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 pencil 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 section 4.

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 printed 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 number 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 "Pass and room O proud brigades/ By Walt Whitman " (deleted in pencil here), indicating, as Bowers and others have noted, that "A Carol of Harvest, for 1867 " 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 (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.

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 constitute 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.

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 paragraph 15 (section 7) of the 1871 version of the poem, and in 1881 made up the final unnumbered verse paragraph of section 5.

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 and 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 passage/ 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 verse paragraph 20 (section 9) of the 1871 version.

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!" (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 9) in the 1871 version of the poem, which became the fourth unnumbered verse paragraph in section 6 of the 1881 version.

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 the 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 verse 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 verse paragraph, and part of the sixth, in section 6.

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 ink. 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 paragraph in the section).

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 revised 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 paragraph 22 (section 10) in the 1871 version of the poem, and in 1881 they constituted the first unnumbered verse paragraph in section 7.

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 correction (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 poem, and in 1881 they comprised the second and third unnumbered verse paragraphs of section 7.

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 verse 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 in the verse paragraph following this one in the published versions.

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 2 appears to the left of a section of verses beginning "Lo! prairie, orchard,/ & the yellow grain...," from which it is separated by a diagonal pencil stroke. The verses on this leaf were condensed to form the first part of verse paragraph 26 (section 11) in the 1871 version, and in "The Return of the Heroes " 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 the deleted notes on the verso of Leaf 1 and the lines on Leaf 25.

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- black 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 paragraph of section 7.

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 in 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/ pasturage") 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 "A Carol of Harvest, for 1867, " and in 1881 they comprised the first two unnumbered verse paragraphs of section 8.

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 to 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.

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 revised verso lines, deleted with a single wavy pencil stroke, begin with three drafts of the title "Harvest Carol for 1867. " The lines were further revised on the current Leaf 20, and eventually became verse paragraphs 23 and 24 (section 10) of the "A Carol of Harvest, for 1867, " and the second and third unnumbered verse paragraphs of section 7 in "The Return of the Heroes. " 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.

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 one 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 lines constituted the unnumbered fourth and fifth verse paragraphs of section 8, along with the first two verses of the sixth paragraph.

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 pencil (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. The 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.

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 inscribed 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 in 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 note "(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. Following 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 the 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 hand.

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 verso (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/ and 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 Notes and Fragments . Whitman apparently never used the recto lines, but the deleted lines on the verso bear a strong resemblance to the opening of his 1856 "Poem of The Sayers of The Words of The Earth, " titled in successive editions (as Bradley and Blodgett note) "To the Sayers of Words " (1860 and 1867), "Carol of Words " (1871, 1876), and, finally (in the 1881 edition of Leaves ), "A Song of the Rolling Earth. " 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 Walt Whitman: An 1855-56 Notebook Toward the Second Edition of "Leaves of Grass" (1956) and reprinted in his and Bradley's Comprehensive Reader's Edition of Leaves .

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 away 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 covered 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 (combined with other verses) on p. 29 of Notes and Fragments .

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 notes, 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 "Calamus " cluster, new to the 1860 edition of Leaves of Grass. This poem was permanently retitled "City of Orgies " 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 Notebooks and Unpublished Prose Manuscripts (vol. 4).

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 of 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 of an independent poem. The closest he came to this title was "City of Walks and Joys, " the name he originally assigned to "Calamus " 18 in his "Blue Book " revisions of the 1860 edition of Leaves . This title was changed in the "Blue Book " to "City of orgies, walks and joys " and finally became "City of Orgies " 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 on p. 120 of Notes and Fragments . Bucke's transcription is republished, accompanied by the note "Manuscript not found," on p. 1292 of the Notebooks and Unpublished Prose Manuscripts (vol. 4).

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 before 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 hurriedly 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 section suggests that Whitman was sketching out a new poem for a revised edition of Leaves of Grass . 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 become "City of Orgies. " Bucke prints the lower set of notes on p. 45 of Notes and Fragments .

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 lines 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 leaf 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 "Poem of Salutation, " the new third poem in the 1856 edition of Leaves of Grass , which was permanently retitled "Salut au Monde! " 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 not 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 Leaves . These were further revised for the 1856 "Poem of Many in One, " 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 relatively unchanged through the poem's many transformations until the text was essentially fixed under the title "By Blue Ontario's Shore " 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 Notes and Fragments . On p. 1980 of the Notes and Unpublished Manuscripts (vol. 5) Grier reports that this manuscript has not been found.

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 for 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 further revised and incorporated in the new 1856 poem "Poem of Salutation, " permanently retitled "Salut au Monde! " in the 1860 edition of Leaves of Grass. The second line (beginning "And as the mountains of my land/ are to me..."), greatly expanded, would become lines 49-54 (section 4) of "Salut au Monde! " 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.

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, delimited 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. 177, 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 "Pictures " and the 1856 "Poem of Salutation " (ultimately "Salut au Monde! ").

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 transcribed 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 on p. 167 of Notes and Fragments , and Grier republishes them (with the note "Manuscript not found") on p. 383 of the Notebooks and Unpublished Prose Manuscripts (vol. 1).

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 vertical 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, always Pictorial!") represent a later draft of the beginning of the poem "Pictures " than the most complete extant version, which is contained in the pre-1855 "Pictures " notebook currently housed at Yale University. Bucke dates the lines to around 1880, when Whitman was working on a short version of "Pictures " both for magazine publication and for the 1881 edition of Leaves , where it was published as "My Picture-Gallery. " (See the entry for "My picture gallery " 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 suggest that Whitman may have inscribed this draft around the same time that he was working on the new 1856 "Poem of Salutations " (eventually "Salut au Monde! "). This draft also suggests that at one point he may have considered linking what would become "Poem of Salutations " and the formally and thematically similar "Pictures " more directly. Bucke prints the verso and recto lines, with several deleted words restored, on p. 27 of "Notes and Fragments. "

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, and 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 paragraph in section 6 of "Starting from Paumanok, " first published in 1860 as "Proto-Leaf. " Bradley and Blodgett note other relationships to the fragment "The Body—, " published on p. 37-8 of Notes and Fragments and housed at Duke University, and to the poems that would eventually become "Song of Myself " and "I Sing the Body Electric. " 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 "Pictures " 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 p. 38 of Notes and Fragments , 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 "[Divine Is the Person], " appears on p. 602 of the expanded and revised edition of the Comprehensive Reader's Edition of Leaves .

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 them 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 Notes and Fragments .

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 order. 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 stages 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. "Premonition " was published as the introductory poem to the 1860 edition of Leaves of Grass under the title "Proto-Leaf. " In the 1867 and later editions it appeared directly after the opening "Inscriptions " cluster as "Starting from Paumanok. "

The following pages are in the order in which the poems appeared, after revision, in the 1860 Leaves. These pages contain drafts of poems that would become five of the main numbered sections of the new cluster "Enfans d'Adam " in the 1860 edition of Leaves of Grass. In the 1867 and later editions these poems appeared, with individual titles, under the group title "Children of Adam. "

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 together. Originally numbered 84. This poem appeared in the 1860 Leaves as main section 7 of "Enfans d'Adam, " and was retitled "We Two—How Long We Were Fool'd " in 1867.

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 fine 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 of "Enfans d'Adam " in 1860, and was permanently retitled "Native Moments " in 1867.

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 " 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.

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. "

Pages generally follow the order in which the poems appeared, after revision, in the 1860 Leaves.

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 "Calamus " cluster, which first appeared in the 1860 edition of Leaves of Grass. 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 majority of the original poems remained in "Calamus " through all the versions of Leaves . 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 "Calamus " was apparently built. This nucleus of poems is known as "Live Oak, with Moss. "

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 and, 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 became verses 1-8 of section 4 of "Calamus. " 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,") became verses 23-28. From 1867 on the poem was titled "These I, Singing in Spring. "

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 line on the second form. The lines on the first leaf became verses 1-9 of section 7 of "Calamus " in 1860, and the second leaf's lines ("To me all these, and the/ like of these,..."] became verses 10-16. Retitled "Of the Terrible Doubt of Appearances " in 1867.

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 lower-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 "Live Oak, with Moss "; the poem number is inscribed ornamentally, as with the Roman numerals Whitman used for other "Live Oak " poems, and a wavy line appears after the last verse. The lines on the first leaf became verses 1-5 of section 8 of "Calamus " 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 further appearances of this poem during the poet's lifetime, Whitman having canceled it in his "Blue Book Copy " of the 1860 Leaves.

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 revisions 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 erased 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 the 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 eighth in the sequence "Live Oak, with Moss, " became section 9 of "Calamus " in 1860. This was its only appearance in Leaves . The first page contains what would become verses 1-3 in 1860, and the second ("Hours discouraged, distracted,") contains lines 4-12.

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 revisions 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 ornamental style, and the poem terminates with a wavy line. The seventh poem in the sequence "Live Oak, with Moss, " became section 10 of "Calamus " in 1860 and was permanently retitled "Recorders Ages Hence " 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.

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 revisions 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 "Live Oak, with Moss " (with ornamental Roman numeral), this poem became section 11 of "Calamus " in 1860 and was permanently retitled "When I Heard at the Close of the Day " in 1867. For an earlier draft of the poem numbered V please see the verso of leaves 15-16 of "Premonition " (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 those on the second page ("And when I thought how/ my friend,...") to lines 6-13.

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 new first line, became section 12 of "Calamus " in 1860; in 1867 Whitman dropped the last 2 1/2 lines and permanently retitled it "Are you the New Person Drawn Toward Me? " 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.

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 appears to have been revised from 51. After adding several verses, Whitman designated this poem section 13 of "Calamus " in the 1860 Leaves , and, after dropping the first two and last three lines of the 1860 version, permanently retitled it "Roots and Leaves Themselves Alone " in 1867.

On white wove leaf, 15 x 9 cm., in black ink, with the title "Live Oak, with Moss " stricken out and "Calamus-Leaves " 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 "Live Oak, with Moss, " this became section 14 of "Calamus " in 1860 and was permanently retitled "Not Heat Flames up and Consumes " in the 1867 Leaves .

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 "Calamus " in 1860, and, with the addition of a new first line, was retitled "Trickle, Drops " in 1867.

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 original title was "Leaflet. " 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 "Calamus " 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 Whitman's lifetime: he rejected it from his "Blue Book Copy " of Leaves in 1860.

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 "Leaf " and apparently numbered 78; Whitman inscribed its new title, "Poemet, " in light ink. It became section 17 of "Calamus " 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 "Of Him I Love Day and Night " in 1867, it was transferred to the "Whispers of Heavenly Death " cluster in Passage to India in 1871. In 1881 Whitman incorporated it, with the rest of the cluster, in the main body of Leaves .

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 larger 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 the verso of the larger piece appears an extensively revised pencil draft of the first poem in "Enfans d'Adam " (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 "Calamus " in 1860; the poem was permanently retitled "City of Orgies " in 1867.

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 numbered the pages 2 and 3 in pencil. This was originally the second section of the sequence "Live Oak, with Moss " (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 "Calamus " 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 "I saw in Louisiana a Live-Oak Growing " in 1867.

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 "Calamus " 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 "That Music Always Round Me " in 1867, it was transferred in 1871 to the "Whispers of Heavenly Death " cluster in Passage to India. In 1881 Whitman incorporated it, with the rest of the cluster, in the main body of Leaves .

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 first word was "Stranger"; Whitman penciled in a question mark, in parentheses, next to the title. It was numbered section 22 of "Calamus " 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 "To a Stranger " in the 1867 Leaves .

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 "Live Oak, with Moss " (with ornamental Roman numeral), it became section 23 of "Calamus " in 1860 and was permanently retitled "This Moment, Yearning and Thoughtful " in 1867.

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 "Calamus, " 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 "The Prairie-Grass Dividing. "

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 together clinging,/ One the other never leaving..." and attendant revisions it became section 26 of "Calamus " in 1860, and was permanently retitled "We Two Boys Together Clinging " in 1867.

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 the new first line "O love!" this became section 27 of "Calamus " in 1860. In the 1867 Leaves it was retitled "O Living Always—Always Dying! " Whitman next transferred it to the "Passage to India " supplement bound in with Leaves , where it reappeared in 1876; in the 1881 Leaves Whitman permanently added it to the cluster "Whispers of Heavenly Death. "

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 "Leaflet, " 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 "Calamus " in 1860. Whitman further revised the poem before including it, permanently retitled "A Promise to California, " in the 1867 Leaves .

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 was originally numbered 68, and its title was "Leaflet—. " In 1860 it became the second numbered verse paragraph of section 31 of "Calamus. " In 1867 Whitman split up the two paragraphs and made them separate poems; these verses were moved to a position between the "Calamus " and a "Leaves of Grass " cluster and permanently retitled "What Place Is Besieged? " In 1881 the poem was transferred to the cluster "Inscriptions. "

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 1860 the first set, with the addition of a new first line ("Here my last words, and the most baffling,") became section 44 of "Calamus "; the poem was permanently retitled "Here the Frailest Leaves of Me ", and the new first line dropped, in 1867. The second set was revised to form section 38 of "Calamus " in 1860; in 1867 it was further revised and retitled "Fast Anchor'd, Eternal, O Love. "

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 additions and revisions this evolved into section 37 of "Calamus " in 1860; after further revision it became "A Leaf for Hand in Hand " in 1867.

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 and in center. Whitman penciled in the number 15 in the lower-left corner. Originally poem XI in the sequence "Live Oak, with Moss " (with the Roman numeral ornamentally drawn), this was revised to become section 36 of "Calamus " in 1860. In 1867 Whitman retitled the poem "Earth! My Likeness! "

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 excised top portion of the leaf became the bottom section of page 2 (Vol. 1, p. 72), the poem (eighth in the sequence "Live Oak, with Moss ") beginning "Hours continuing long, sore/ and heavy-hearted..." In 1860 this poem was substantially revised to form section 34 of "Calamus "; in 1867 it was retitled "I Dreamed in a Dream. "

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, thicker 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, in the lower-left corner. Originally the sixth section of the sequence "Live Oak, with Moss, " this poem was revised to form section 32 of "Calamus " in 1860, and in 1867 was retitled "What Think You I Take My Pen in Hand? "

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 right 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 "Calamus " in 1860; in 1867 Whitman replaced the third line with a new one and permanently retitled the poem "Sometimes with One I Love. "

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. This page bears the same papermaker's mark as Vol. 1, p. 136. Twelfth in the original sequence "Live Oak, with Moss " (with ornamental Roman numeral), it became section 42 of "Calamus " 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 "To a Western Boy. "

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 "To Those Who Will Understand " and numbered 100 (then 101, then the current ?100 in the fine pen). This was revised to form section 41 of "Calamus " in 1860 and was permanently retitled "Among the Multitude " in the 1867 Leaves .

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 "Live Oak, with Moss " (with ornamental Roman numeral), this was reformatted and renumbered but otherwise left unrevised as section 43 of "Calamus " in 1860. In 1867 Whitman permanently retitled it "O You Whom I Often and Silently Come. "

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 "Calamus " in 1860; in 1867 it was retitled "That Shadow, My Likeness. "

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; this 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 leaf. 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), pasted 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 verse 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 year 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 Leaves , in which this poem constituted section 45 of "Calamus. " In 1867 Whitman retitled the poem "Full of Life, Now. "

These fourteen poems were revised to form sections 4, 7-14, and 16-20 of the new cluster "Chants Democratic and Native American " in the 1860 edition of Leaves of Grass. In 1867 Whitman disbanded the cluster, and each poem then or later on received an individual title. This grouping carries over into Volume 2.

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, finally, 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 expanded 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 the 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 Leaves Whitman published this poem as section 8 of "Chants Democratic. " In 1867, Bradley and Blodgett note, he gave it the permanent title "Song at Sunset " and moved it to the supplement "Songs Before Parting "; in 1871 it was finally transferred to the cluster "Songs of Parting " within the main body of Leaves . The leaves correspond to the verses in the 1860 "Chants Democratic " 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 water 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.

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/ in 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 and 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 "So Long! " (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. "Thought " became section 9 of "Chants Democratic " in 1860. In the 1867 Leaves Whitman combined it with the second "Thought " (Vol. 2, pp. 21 - 22) to form the poem "Thoughts " in the supplement "Songs Before Parting. " (This particular "Thought " was numbered section 1 of the composite poem.) In 1871 "Thoughts " appeared in the cluster "Songs of Parting " within the main body of Leaves , and in 1881, Bradley and Blodgett note, it achieved its final position within that cluster. The leaves correspond to the verses in the 1860 "Chants Democratic " version as follows: leaf 1 to verses 1-6, and leaf 2 ("How the great cities appear—") to verses 7-14.

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, with 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 verso of the paste-on section contains, as Bowers notes, five undeleted draft lines that would become the final verses of "Proto-Leaf " in the 1860 Leaves ; 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 "Thought " became section 11 of "Chants Democratic " in 1860; in 1867 Whitman made it section 2 of the composite poem "Thoughts ", and the two "Thought " poems were indivisible from that point on (see 2:1:3 for details). Leaf 1 corresponds to verses 9-15 in the "Chants Democratic " version and leaf 2 ("Of the new and good names—") to verses 16-22.

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 in 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 "Slavery—the Slaveholders—/ —The Constitution—the/ true America and Ameri-/cans, the laboring persons—. " 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, Notes and Index , of Edward F. Grier's edition of Whitman's Notebooks and Unpublished Prose Manuscripts in The Collected Writings of Walt Whitman (New York: New York University Press, 1984). See the verso of "To a Cantatrice.— " (Vol. 2, p. 92), inscribed on the same paper, for an additional fragment of the draft. After undergoing extensive revisions, in 1860 "To a Historian " became section 10 of "Chants Democratic. " In 1867 Whitman deleted five verses, transferred the poem to the supplement "Songs Before Parting, " and permanently retitled it "To a Historian. " It appeared as the fifth poem in the opening cluster "Inscriptions " in the 1872 and all later editions of Leaves .

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 was 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- left corners. The leaves correspond to verses in section 12 of "Chants Democratic " in the 1860 Leaves 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 orators/ 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 for the "Chants Democratic " version, Whitman next made the poem the second numbered section of the last "Leaves of Grass " cluster in the 1867 edition of Leaves . From 1872 to 1876 it bore the title "To Oratists. " Then, in 1881, Whitman deleted several lines, joining this poem with a previously unconnected poem known as "Voices " to form "Vocalism " in the cluster "Autumn Rivulets, " a position and identity the now-composite poem retained from that point on.

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 the 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 "38. Walt Whitman's Laws. " 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 were transformed into section 13 of "Chants Democratic " in the 1860 Leaves 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 corner 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 "Leaves of Grass " cluster in Leaves . In 1872 the poem was permanently retitled "Laws for Creations " Its final position was in the cluster "Autumn Rivulets " 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 "[Laws for Creations] ").

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 inscribed 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 "Chants Democratic " in the 1860 Leaves ; 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 "Leaves of Grass " cluster in Leaves . In 1872 it was permanently retitled "Poets to Come " and transferred to the cluster "The Answerer, " where it stayed until being moved to the "Inscriptions " cluster in 1881.

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 "Chants Democratic " 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 "Mediums "; in 1871, Bradley and Blodgett note, it was transferred to Passage to India , and in 1881 took its final position in the cluster "From Noon to Starry Night. "

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. Whitman penciled in a question mark, in parentheses, in the upper-right corner. This became section 17 of "Chants Democratic " in the 1860 Leaves , 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 Leaves in 1867, Whitman nonetheless used the poem, permanently retitled "On Journeys through the States, " in Passage to India in 1871. In 1872 and 1876 it appeared in the "Passage to India " annexes to Leaves and Two Rivulets , respectively, and in the 1881 Leaves it took its final position in the cluster "Inscriptions. "

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 "Chants Democratic " in 1860; in 1867 it was permanently retitled "Me Imperturbe, " and after various repositionings was finally transferred to the cluster "Inscriptions " in 1881.

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 "Leaflet " appears, deleted, in the upper-right corner. Pinholes in center and in left margin (towards center and top). This became section 19 of "Chants Democratic " in 1860; in 1867 it was permanently retitled "I Was Looking a Long While, " and in 1881 was assigned to the cluster "Autumn Rivulets. "

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 "Leaf.— "; Bowers notes that the title was next "Songs—always wanted " and then "Mouth-Songs. " Pinholes in center and upper-left corner of each leaf. This became section 20 of "Chants Democratic " 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 "I Hear America Singing "; in 1881 it achieved its final position in the cluster "Inscriptions. "

These eight poems were revised to constitute sections 13, 15-19, and 21-22 of the cluster "Leaves of Grass " in the 1860 edition of Leaves ; in later editions they were revised and transferred to different clusters.

These poems were revised for publication, with independent titles, in the cluster "Messenger Leaves " in the 1860 edition of Leaves . Between 1860 and the next edition, in 1867, Whitman disbanded the cluster and transferred the poems elsewhere in the book.

These poems were published without a group title, roughly in the following order, after the "Messenger Leaves " cluster in the 1860 edition of Leaves . In later editions they were transferred to different positions in the book.

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 separate 1871 publication "Passage to India. " In 1881 the poem "Passage to India " was transferred, ungrouped, to the main body of Leaves.

Written in pencil on lined paper. ALS on verso: [G. M.] Williamson to Walt Whitman, 1887 June 1.

Note at bottom states "Sent to H March 17." Written in pencil.

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 became section 2 of "Song of Myself, " 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 hawk swoops by...," incorporated in what would constitute the final canto of the poem in the 1867 and later editions of Leaves . This verso fragment is revised in pencil and in brown-black ink (fine pen). Bucke published both sets of verses on p. 36 of Notes and Fragments .

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 published it on p. 69, in the section (II) titled "Notes on the Meaning and Intention of 'Leaves of Grass.' " Although Whitman apparently never used it verbatim, it bears a similarity to two paragraphs on p. 10 of Whitman's 1871 publication Democratic Vistas, 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 main thing, and is enough..."

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 been 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 Leaves of Grass. 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 page 29 of Notes and Fragments .

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 around the center. Published on p. 30 of Notes and Fragments . 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" (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 lines prefigure section 6, especially beginning with the line "Here is the test of wisdom," of what would become "Song of the Open Road, " first published in 1856 as "Poem of the Road. "

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 lower (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 "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 eventually become section 2 of "Song of Myself. " Published on p. 20 of Notes and Fragments .

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- down) 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 apply to yourself..." On p. 25 of Notes and Fragments 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 what would eventually become the second verse paragraph of section 3 of "Song of Myself, " 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 "Song of Myself. " Another version became an unnumbered section (beginning "I will take an egg out of the robin's nest in the orchard,") of the poem "Debris " in the 1860 edition of Leaves . It was the only appearance of these lines in any edition, and of the poem "Debris " 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 "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 "A Song for Occupations. "

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 half 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] of 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 inscribed 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 "Calamus " in the 1860 edition of Leaves ; in the 1867 edition this section received the title "That Music Always Round Me. " (For a later draft, titled "As of Eternity, " see entry 1:3:22 under Leaves of Grass [1860] above.) Bucke presents incomplete transcriptions of both sets of verses on p. 11.

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 verso 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 inscribed, 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 list 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 sprawls on the bloody floor of the bedroom,") in what would eventually constitute section 8 of "Song of Myself. " 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 manure—") used in what would be section 48 of the "Song. " ("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 "Poem of Joys " (final title: "A Song of Joys "), which first appeared in the 1860 edition of Leaves . The deleted recto lines were revised to form what is now section 28 of "Song of Myself. " Bucke prints the poetic fragments on p. 38 and the list on p. 165.

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 Leaves . In 1856 the section was titled "Night Poem " and in 1860 it became "Sleep-Chasings, " 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 "The Sleepers " 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 Leaves in general. Bucke reprints the drafts, with several errors, on pp. 15 and 19-20 of Notes and Fragments .

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 the 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 the life car is drawn on the slip-noose") is deleted here; it became part of what would eventually form section 33 of "Song of Myself. " 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 prose notes in Library of Congress notebook #85, and seem to have led up to what would eventually become section 48 of "Song of Myself. "

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 of 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 apparently inscribed very close to the publication of the 1855 Leaves ; with a few revisions it became part of what would eventually be section 40 of "Song of Myself. " Not in Notes and Fragments . 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 version of notes on a manuscript currently housed at Rutgers University, and printed by Bucke on pp. 162-63 of Notes and Fragments , although the Leaf 14 notes, like the "Song of Myself " 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 or afterwards, when Whitman was pursuing a self-education in poetry, suggesting that the verso notes also date to that period.

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 were revised and incorporated in two separate verses of what would become "Song of Myself ": 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 prints these notes on p. 30 of Notes and Fragments .

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 salt marsh, and of the mud and sea-weed[.]" An earlier version of these lines is also associated with proto- "Song of Myself " 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 33) of "Song of Myself. " Most of the lines on Leaf 16 were incorporated, however (after further revision), into the tenth poem of the 1855 edition of Leaves . As Bradley and Blodgett note, this poem was titled "Poem of The Child That Went Forth, and Always Goes Forth, Forever and Forever " in the 1856 edition, after which it became number 9 in the 1860 group "Leaves of Grass, " number 1 of a different "Leaves of Grass " group in 1867, and, finally, "There Was a Child Went Forth " in the 1872 edition. The lines appear on p. 48 of Notes and Fragments.

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. The 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 after 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 "Leaves, " eventually titled "The Sleepers. " The lines appear on p. 46 of Notes and Fragments .

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 center. 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 "Leaves of Grass " in the 1860 Leaves , and eventually titled "You Felons on Trial in Courts. " (See 2:2:1 under Leaves of Grass [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 "Live Oak, with Moss " poems dated by Bowers to the post-1856, pre-1860 period. The undeleted notes on the back are titled "Poems " and begin with the lines "A cluster, (same style, as of sonnets li[ke]/ as 'Calamus Leaves')/ of poems, verses, thoughts &c, embodying/ religious emotions/ & thoughts." A cartoon hand in the left margin points to the phrase "religious emotions." Whitman's use of the title "Calamus Leaves " dates these notes to the same pre-1860 period as the deleted verses on the recto, since "Calamus-Leaves " was what he renamed the cluster "Live Oak, with Moss " before settling on "Calamus " 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 of Notes and Fragments . The rest of the notes appear on p. 165; related notes appear on 169 and 176.

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 revised 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 Leaves of Grass . These trial verses became part of "A Twilight Song "—subtitled, Bradley and Blodgett note, "for unknown buried soldiers, North and South"—which was first published in the May, 1890 Century and then included in the second annex "Good-Bye My Fancy " in the 1892 "deathbed" edition of Leaves . This draft does not appear in Notes and Fragments .

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 pencil. 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 the 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 "Song of Myself. " 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. 34-5 of Notes and Fragments .

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 in 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 Notes and Fragments . 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 form part of section 14 of "Chants Democratic " in the 1860 edition of Leaves , a set of verses eventually transformed into an independent poem under the title "Poets to Come. "

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. Inscribed and revised on both sides in pencil. Bucke transcribes both sets of verses on p. 39 of Notes and Fragments . 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.

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 bear some similarity to what would eventually form section 28 of "Song of Myself, " 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 edition of Leaves , a poem permanently retitled "Faces " in the 1872 edition. Bucke transcribes both sets of verses on p. 37 of Notes and Fragments .

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 Leaves of Grass (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, and 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 be a later draft of the upper set, even though Bucke prints them in reverse order and as separate fragments on p. 32 of Notes and Fragments . These lines foreshadow a number of poems new to the 1860 edition of Leaves , particularly "Proto-Leaf " (ultimately titled "Starting from Paumanok ") and "So long!, " as well as several of the poems grouped in the cluster "Chants Democratic and Native American. "

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 center. 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 be in Whitman's hand. This may indeed have been a draft of the poem "City of Ships, " which first appeared in 1865 as part of the independent publication Drum-Taps , 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 Leaves . These lines bear a strong resemblance to verses inscribed on Leaf 7 of "Premonition " as described above (under Leaves of Grass [1860] 1:1:7), verses that formed section 20 of "Proto-Leaf " in 1860 and, ultimately, part of section 6 of the poem under the title "Starting from Paumanok. " Printed on p. 30 of Notes and Fragments .

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 use 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 "A Broadway Pageant, " first published in the June 27, 1860 issue of the New York Times as "The Errand-Bearers. " Bucke prints the verses on p. 39 of Notes and Fragments .

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 pencil, 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 fair copy, but with interesting revisions nonetheless—of lines that would eventually belong in section 13 of "Song of Myself. " 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 but very early draft of the poem "To One Shortly To Die, " first published in the 1860 edition of Leaves of Grass in the cluster "Messenger Leaves. " (For a later draft see Leaf 28, and for an even later version inscribed shortly before the 1860 publication see 2:3:1 in Leaves of Grass [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 published, in Leaves , perhaps in the 1860 edition. The phrase "Ghost-seers" recalls a statement regarding Emerson in "Leaves-Droppings, " a section of correspondence and commentary Whitman appended to the 1856 edition of Leaves : "[Emerson] sees the future of truths as our Spirit-seers discern the future of man..." Bucke prints the recto verses on p. 13 of Notes and Fragments .

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 pencil. 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 Library of Congress Notebook #80 of what would eventually become part of section 28 of "Song of Myself. " The recto lines were revised to form part of the 1860 poem "To One Shortly To Die. " (See Leaf 27 for an earlier draft and entry 2:3:1 under Leaves of Grass. [1860] for a later version.) Bucke prints the recto verses on p. 47 of Notes and Fragments .

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 beneath 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 "Poem of Remembrances for A Girl or A Boy of These States, " which, as Bradley and Blodgett note, became the sixth poem in "Chants Democratic and Native American " in 1860. It was subsequently shortened by several stanzas (1867) and retitled (1872) "Think of the Soul " before being excluded from Leaves with the publication of the 1881 edition. The verses on Leaf 29 combine the meanings expressed in both the excluded and preserved sections of "Think of the Soul. " Bucke prints these verses and a related, longer set of verses on p. 27 of Notes and Fragments ; the other lines in Bucke were revised and expanded for use in sections 46-51 of the 1860 poem "Proto-Leaf, " permanently retitled "Starting from Paumanok " in 1867.

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, indicating—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 leaf 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 the same ink, in pencil, and in a darker brown ink (in that order). Bucke prints the verses on p. 26 of Notes and Fragments 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 Leaves of Grass. The verses on this leaf may represent a poetic adaptation of that section.

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 Notes and Fragments , combining them with other fragments to form a longer poem. They display some similarities to the eleventh untitled poem of the 1855 edition of Leaves , named "Lesson Poem " in 1856 and finally, beginning with 1871's Passage to India , "Who Learns My Lesson Complete? "

On the verso of an irregularly cut and cropped proof sheet (9 x 18 cm.) from the 1856 edition of Leaves of Grass. 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 that 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 page 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 "Poem of Many in One, " which eventually became "By Blue Ontario's Shore. " These unused but also undeleted lines may have been intended for that poem or a number of other poems in Leaves . Bucke prints them on p. 30 of Notes and Fragments .

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 that 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..." Although these poetic notes are difficult to date, they may represent an intermediate stage between the 1855 Preface to Leaves and the 1856 "Poem of Many in One " (eventually "By Blue Ontario's Shore "), 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 republishing Bucke's transcription (still in prose form) Grier reports, on p. 1941 of the Notebooks and Unpublished Prose Manuscripts (vol. 5) that this manuscript has not been found.

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 that 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 this fragment bears (as Bradley and Blodgett note) both to the 1856 "Poem of the Road " (later "Song of the Open Road ") and to the 1860 "Proto-Leaf " (eventually "Starting from Paumanok ") indicate that this may have been a revision of the former poem or, as seems more likely, an early draft of "Proto-Leaf " intended for the 1860 edition of Leaves . To compare this fragment with extant drafts of "Proto-Leaf, " under its original title "Premonition, " see leaves 1:1:1-1:1:33 as described under Leaves of Grass (1860) above. Printed on p. 39 of Notes and Fragments .

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 larger 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.) Although written in free verse, the rather conventional nature of this poem suggests an early date of inscription. Bucke does not transcribe it.

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, smudged 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 with 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 definitions that appear in a manuscript currently housed at Rutgers University. Bucke prints the final two sections of these notes on p. 163 of Notes and Fragments , 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 Notebooks and Unpublished Prose Manuscripts (vol. 1), as "not found."

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. & Nov. '73./ Song of the Redwood Tree./ (rough draft—mems,/ printed sketch,/ letter from Harper's Mag.)/ &c./ W. W." The other leaves are described individually as follows. Unless noted otherwise, each leaf features multiple pinholes in its center. Leaf 2 ("Song of the Redwood/ Tree/ & other pieces"): white wove paper (20.5 x 12.5 cm.), apparently a flyleaf or blank page removed from a book. The undeleted title as well as the deleted titles "Eidólons " (on both recto and verso, but upside-down relative to the undeleted title) and "Waves in the Vessel's Wake " (also upside-down) are inscribed in blue crayon, while the line "Waves, undulating/ waves—" (on verso, upside-down) is in grey-black ink. "Eidólons " was the title Whitman used for a poem first published in 1876; and "Waves in the Vessel's Wake, " according to Bradley and Blodgett, was an alternate title for a poem eventually named "After the Sea-Ship, " in which the line "Waves, undulating/ waves—" can be found. Leaf 3 ( "A California song./ Song of the Redwood/ Tree "): 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 "A California song " (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 blue 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 paper (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 (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 that became "Centennial Verses " in 1876. After heavy revision (see verso of leaf 5) the poem became the title-page epigraph to the 1876 ( "Come, said my Soul ") and several later editions of 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 in 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 4. 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"): white 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 "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, choppers, 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 second 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 of 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 form 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 expresses 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. Whitman used the verso of the second part of the letter as Leaf 3 of the second manuscript of "Song of the Redwood-Tree " (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 caduceus 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 trial 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. After 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 Leaf 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 includes 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 11 ("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 was 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. Price 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 in 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 section 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 Walt 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- black 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 14 ("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 embossed with the letters "P & 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 perpendicular 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 with 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 Express. 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, with 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 wove 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 of 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. Inscribed 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 paper (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 (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"): on 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 verses provide an outline of most of the italicized passages (representing the Redwood's voice) in the published poem.

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: on 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 inscribed 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 in 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 to 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 blue 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 these 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.) of 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 revisions 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 unruled 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 for 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 crayon: 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 should 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 brothers,"): 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 leaves 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 further 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 sections 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 of 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 crayon. 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 same 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 volitions"): 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, leaving the leaf number partially missing, but it seems clear that the number was a 7. As Bowers notes, the deleted title "You occult, deathless, deep volitions " 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 "ital" and underlinings in pencil also appear here—for inclusion as the third paragraph of section 4 in the published version of "Song of the Redwood-Tree. " 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 revisions 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 crayon. 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 (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 leaf, 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 & golden pageant of California,"): on a 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 the 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 you, 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 to 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, written 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 Two Rivulets and that also inspired the poem "Out from Behind This Mask. " 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.

This half-leaf (19.5 x 12.5 cm.) constitutes the front cover. It bears the die of Philp & Solomon in the (current) upper right corner. The title is inscribed and underlined in brown ink, and Whitman's initials appear in pencil in the center of the page, to the left of a pencil squiggle.

Inscribed on type A Philp & Solomon paper in black ink, with no revisions, on the page directly following the front cover.

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 the 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 to 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 Atlantic 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.

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 that 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 underlined 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.

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 formatted as trial verses rather than prose notes.

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 (beginning "I knew the greater idea/ of Space") are deleted with a single vertical pencil stroke. The last verse ends without a period.

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.

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 to Louis Agassiz' The Structure of Animal Life , 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.

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 black ink, occurs a set of prose notes beginning with the words "Make a succession/ of splendid gorgeous/ stately pageants or/ moving panoramas."

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 Whitman's instructions to himself, offering an outline of future verses rather than a sketch.

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," are inscribed in very large letters and underlined.

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. Different sections of the notes are separated with dashes.

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 and 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 apparently projecting on this leaf.

Pencil on white paper. Pasted on top half of archival leaf.

Ink on pink paper. Pasted on bottom half of archival leaf.

Pencil on verso of envelope. Pasted on top half of archival leaf.

Ink on blue paper. Pasted on bottom half of archival leaf. Verso has some notes for poem "[America, so young and so magnificent]. "

Written in ink. Pasted on top third of archival leaf.

Written in ink. Pasted in middle of archival leaf.

Written in pencil. Pasted on bottom third of archival leaf.

Written in ink. Pasted to own archival leaf.

Ink on lined paper. Pasted on own archival leaf.