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Summary
Background
Poem Summaries & Analyses
“I Celebrate Myself” [“Song of Myself”]
“Come Closer to Me” [“A Song for Occupations”]
“To Think of Time . . . . To Think Through” [“To Think of Time”] Summary
“I Wander All Night in My Vision” [“The Sleepers”]
“The Bodies of Men and Women Engirth” [“I Sing the Body Electric”]
“Sauntering the Pavement or Riding the Country Byroads” [“Faces”]
“A Young Man Came to Me With” [“Song of the Answerer”]
“Suddenly Out of Its Stale and Drowsy” [“Europe: The 72d and 73d Years of These States”]
“Clear the Way There Jonathan!” [“A Boston Ballad”]
“There Was a Child Went Forth”
“Who Learns My Lesson Complete?”
“Great Are the Myths . . . . I Too Delight” [“Great Are the Myths”]
Themes
Symbols & Motifs
Literary Devices
Further Reading & Resources
Tools
On a morning in Boston, a large crowd gathers to watch the return of Anthony Burns, a man fleeing enslavement in Virginia who was arrested in Boston under the Fugitive Slave Law of 1850. Federal marshals escort Burns through the Boston streets, accompanied by large numbers of troops and police. The poem does not explain the situation in detail; Whitman wrote it shortly after the event and likely thought that he did not need to, since the incident was then so well known and reported about extensively.
The speaker goes to see the procession and observes the military men as they march down the street. He then envisions the ghostly appearance of soldiers from the Revolutionary War marching alongside. These “Yankee phantoms” (Line 16) are very old, and some are on crutches or with arms in a slings. The speaker wonders why they are there. As the ghosts retreat, the speaker says they do not belong there anyway.
The speaker suggests that what does belong is a different kind of procession. He proposes getting authorization from the British government to exhume the body of King George III and transport it to Boston Bay. Then there can be another procession, with the former king’s remains as the focus, with a crown on top of his skull. George III, referred to as “old buster” (Line 39) will then have gotten his revenge, being once more among the colonial people he thought of as his own.
The “Jonathan” addressed directly in the first line and also in the last lines is a generic Bostonian: The name Jonathan was often used as a shorthand for the average American man, as during the Revolutionary war, British soldiers referred to Americans as Jonathans.
This is a protest poem. Unlike a Jonathan, the spectator who is enjoying what he sees because he supports what the narrator regards as an unjust law, the speaker only sarcastically refers to the arrest and march of the captured Anthony Burns as a “show” (Line 5) where he hopes “the fifes will play Yankee Doodle” (Line 6). The speaker believes that what is actually on display is the federal government’s corrupt abuse of power and the complicity of Boston authorities. The poem rejects what Whitman saw as the crushing of Burns’s liberty, a situation the speaker compares to the oppression of white American colonists by British monarch George III. Thus, the speaker argues, taking the king’s remains from his coffin and marching them through the city as though the crown were still in charge would accurately mirror the present oppression of Massachusetts.
The phantom revolutionary soldiers also view the Fugitive Slave Law and the federal power deployed to arrest Anthony Burns as a violation of the republican ideals for which they died. They appear to be ready to fight, but the narrator ruefully jokes that their beliefs are out of place now, since neither the populace nor the living soldiers share them: “Here gape your smart grandsons . . . . their wives gaze at them from the windows” (Line 21). The impotent revolutionaries, who have been reduced to “old limpers” (Line 25), might as well depart—this is no longer their time.



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