Walt Whitman's birthplace, New York, is where the poet spent much of his life and became the inspiration for much of Whitman's poetry. Living in a time when industrialization and mass modernization were beginning to change and shape New York, Whitman wrote “Mannahatta” in recognition and acceptance of this shift to an urban society. By first drawing attention to the Aboriginal name, Whitman references the city's pure, natural origins and how the formation of Manhattan from the ground makes it seem alive. Next, Whitman looks at the cityscape, the detached but beautiful aesthetics of the city, but does not condemn it for taking over the surrounding environment, because the city and the land were formed together into a single system. Ultimately, Whitman focuses on the lives of people in the city, treasuring each of them and appreciating them as human beings who add to the individuality and vibrancy of Manhattan. “Mannahatta” is Walt Whitman's homage to New York City; it is a celebration of the union of the urbanized metropolis and the organic natural world, as well as a recognition of the humanity that brings its beloved city to life. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Whitman's search for a name that describes New York and his love for his city leads him to the original name, Mannahatta, and subsequently draws attention to the organic and fundamental parts of the city; shows that the city is natural and alive, from its creation to its current development. Referring to the island's original name, Whitman writes: I was asking for something specific and perfect for my town, so, here! the Aboriginal name arose! Now I see what there is: a name, a word, liquid, healthy, undisciplined, musical, self-sufficient; I see that the word of my city is that word up there (1-4). Whitman sees the original name, Mannahatta, as the "perfect" name for his city, suggesting that life in New York is as organic and free as it had been hundreds of years ago. Mannahatta, meaning "land of many hills," was the name the Lenni Lenape Indians gave the city when they first arrived on its shores. The fact that the name still fits the city, even though it has now become an industrial metropolis, shows that at its roots the city is still primitive. By using the native name, Whitman references the nomadic tendencies of the native Indians, which makes the city appear restless and longing. In the next lines of the poem, Whitman draws attention to the name as “liquid, healthy, undisciplined, musical, self-sufficient” (3). Using words like “liquid” and “unruly,” Whitman makes the city appear as a fluid object, which can form and merge without breaking or breaking. He sees New York as an autonomous being, a place where things turn freely and are subject to change, seeing the city as a living, breathing being, chaotic in its existence. By returning to its original name, Whitman seems to suggest that Manhattan is not an unnatural system and not just an industrial structure; it is as primitive and animated as it was when it was discovered. Despite being called "aboriginal" in the first part of the poem, Whitman still draws attention to the industrial aspects of the city, showing that he accepts the urbanization of Manhattan and that the fusion of nature and technology is welcome and appreciated. First, Whitman draws attention to the skyscrapers: “Innumerable crowded streets – tall growths of iron, slender, strong, light, beautifully turned towards clear skies; / Swift and wide tide, much loved by me, towards the sunset” (6-8). Whitman creates the iron image of skyscrapersthat meet the sky; the use of “light” and “clear sky” is preceded by mention of “countless crowded streets – tall iron growths” (6). This seems to demonstrate that the city is “strong” and stable enough to triumphantly reach the sky and join the natural world. From its natural roots, New York has risen higher and higher until it reconnects with the sky, an ideal union between metal and the environment. However, Whitman not only talks about the sky as meeting the city, but also mentions the water as another point to which the city connects. For example, Whitman writes: The countless trees, the white steamers, the lighters, the ferries, the well-shaped black steamers, the downtown streets, the business houses of the workers, the business houses of the ship merchants and agents of exchange, theRiver-streets (10-11). Whitman uses enjambement to allow the poem to flow fluidly, as if the words are cascading into each other. In fact, with the exception of the first two lines and the last two lines, there are no complete ending points in the entire poem. Even lines where there appears to be an ending are marked with a comma or hyphen, making the poem seem like one long, flowing, incessant thought. This structure reinforces the image of the city that meets and becomes the river, cascading from one point to another. Through imagery and poetic device, Whitman describes the city's union with the sea and sky to show his appreciation for this combination of modernity and Earth that New York has become. However, what Whitman seems to love most about Manhattan is the variety of people who live there; he seems to want to search for the lives of each of these people, imagining the possibilities within them. Whitman emphasizes the importance of humanity in the poem by using repetition throughout most of the poem, following a list-like form: "The wagons that carry goods, the manly rush of horse drivers, the brown-faced sailors, / L 'summer air, the sun shining and the clouds sailing overhead' (14-15). This repetitive form brings attention to the homogeneity of these objects, from the texture of the sun and clouds, to the mechanical chariots, to the 'uniformity of the groups of sailors and drivers. The repetition ends with the line that says: "The mechanics of the city, the masters, well trained, with beautiful faces, who look you straight in the eye" (16). allows the reader to pay more attention to the joke, just as they prepare to pay more attention to the lives of these individuals. In the case of the citizens, there are no limitations regarding intimacy, which Whitman seems to marvel at: “A million people - free and proud ways - open voices - hospitality - the bravest and friendliest young people. ..The city of such women, I'm crazy to be with them! I will return after death to be with them! / The city of such young people, I swear I cannot live happily, without going often to talk, walk, eat, drink, sleep with them!" (19-24). What distinguishes humans from the rest of the city is the difference in their structure: the city is made of concrete and steel, and no matter how much one tries to understand it, its pure industrial character prevents anyone from becoming too close to it. However, the people are generous and hospitable, "courageous and friendly ", exuding a warmth that the fantastic mechanisms of the city cannot have. Despite the beauty of the city, Whitman seems to suggest that without the men and women of the city, he could not live there happily, demonstrating that even in the brightest and most promising of cities, it is humanity and life that define its value and therefore the crowds of people who mingle in Manhattan are what give value to the city. Keep in mind: this is just an example. Get a personalized document now.