"I Saw in Louisiana a Live-Oak Growing" (p. 118). An early draft of this poem is published in Complete Writings, III, p. 140.

"Here the Frailest Leaves of Me" (p. 121). This poem was set to music as a song (unpublished) by Nicolas Dority. (Henry S. Saunders in his privately published Whitman Music List, 1926. To this I am indebted for most of the notes on Whitman music.)

"Sometimes with One I Love" (p. 124). Set to music in an unpublished song by Nicolas Dority.

"That Shadow My Likeness" (p. 125). An early manuscript version of this poem is to be found in U.P.P., II, p.91.

"Salut au Monde!" (p. 126). Cf. "Excelsior" (p. 430), also "Sun-Down Papers — No. 8" (p. 542), and Pictures, An Unpublished Poem of Walt Whitman, New York and London, 1927. For a description of this poem as presented in a musical festival at the Neighborhood Playhouse in New York in April, 1922, with pantomime and choral music by Charles T. Griffes and Edmund Rickett, see New York Sun, April 24, 1922. There was a revival
of this festival in 1936 under the direction of Blanche Yurka, as a Federal Theater Project.

p. 130, l. 12: "the full limb'd Bacchus". Moncure Conway reports seeing a picture of Bacchus in Whitman's room when he visited him in Brooklyn. (Fortnightly Review, October 1866.)

"Song of the Open Road" (p. 136). William Sloane Kennedy is probably right in suggesting (Conservator, February 1907) that a hint for this poem may have been found by Whitman in George Sand's Consuelo, Chapter III: "What is more beautiful than a road? It is the symbol and the image of an active and varied life," etc. Whitman's unbounded enthusiasm for George Sand, and for this novel in particular, is well known. John Burroughs suggested that the idea of the poem might have come from Thoreau's essay on "Walking". (Life and Letters of John Burroughs, vol. II, p. 102.)

p. 140, ll. 21 ff.: "Why are there trees", etc. Cf. "I Saw in Louisiana a Live-Oak Growing" (p. 118).

p. 144, ll. 11-14: "To see no possession", etc. Cf. Emerson's Monadnoc".

p. 146, ll. 13-16: "Let the paper remain on the desk", etc. Cf. "Beat! Beat! Drums!" (p. 259).

"Crossing Brooklyn Ferry" (p. 147). Cf. "To Think of Time" (p. 392).

p. 148, ll. 11 ff.: "I too many and many a time". For a contemporary description of one of the many experiences out of which this poem confessedly grew see "Letters from Paumanok — No. 3", U.P.P., I, pp. 255-256.

p. 150, ll. 11-26: "I am he who knew", etc. Cf. "Of Many a Smutch'd Deed Reminiscent" (p. 499).

"Song of the Answerer" (p. 153). Cf. Emerson's essay, "The Poet".

p. 156, l. 13: "The singers do not beget", etc. Cf. "To the Garden the World" (p. 86).

"Our Old Feuillage" (p. 158). This poem, though substituting thumbnail descriptions of "catalogues", is a sort of "Salut au Monde" limited to the national horizon.

"A Song of Joys" (p. 163). Edward Hungerford seeks to trace each of the joys celebrated in this poem to a phrenological attribute. ("Walt Whitman and His Chart of Bumps", American Literature, January 1931.)

p. 166, ll. 16 ff.: "O the whaleman's joys", etc. This passage may well have been suggested by Moby Dick (1851).