From Anxiety to Power: Grammar and Crisis in Crossing Brooklyn Ferry

In the condition From Anxiety to Power Grammar and Crisis in Crossing Brooklyn Ferry, by Roger Gilbert, he talks ab step to the fore Walt Whitmans verse Crossing Brooklyn Ferry. Gilbert feels that this verse form is odd for Whitman because he never speaks without delay of goal (339). He says that Whitmans tone up remains resolutely ebullient (341), change sur search though death is also usher throughout the poem. Whitmans struggle with death is figured in the poem to be a struggle with opus and to wrap up out of writing and into speech. He wants to scoop out writing about life and power, not death and absence. Whitman really thought out the title of the poem.Crossing Brooklyn Ferry is a crisis poem because of his need to overcome the deathliness of writing and to return to the spoken idiom that is Whitmans truest mode (342). Gilbert feels that the crossing carries the poet from the look of death to a renewed guts of his own power. In the poem, Whitman uses a second perso n pronoun, which is rare to gain. The article asks why Whitman uses the phrase face to face. Gilbert says the answer is because objects incur compose people, people in turn have become objects (343). This allows them to be mastered by Whitman, but also the passengers let him crawl in that he isnt impervious to death.When Whitman says the volume you in his poem, he in the give the sack talks about the future commuters (344). As you read more into the poem, you see that the poet is metamorphosed from a me to a scheme that no womb-to-tomb goes with the object-world. Towards the end of the poem, Whitman becomes more passive, which is very untypical of him. When he says The current rushing so swiftly and swimming with me far forward, he hints that he is disappearing from the scene. excessively after Whitman talks about the sundown and falling back to sea, you can see how prominent death is in the poem. In my opinion, Gilbert does a good chisel of interpreting Whitmans poem.