From the "Boston Globe," Aug. 24, 1881.

In a small inner room connected with the printing establishment of Rand, Avery, & Co., Walt Whitman the poet was reading by a table yesterday. Near by was a pile of corrected proof-sheets bearing the heading "Leaves of Grass." His ruddy features were almost concealed by his white hair and beard. When he laid down his book on the intrusion of the writer, his eye, still bright and keen, glowed with a genuine good nature. No, he had no objections to entering into a conversation which should be given to the public, provided there was any interest in what he might say. He was here, he said, to look over the proofs for his new "Leaves of Grass," which James R. Osgood & Co. are to issue. "It is a long time," remarked the reporter, "since the book by that name was first given to the world." "Yes," replied the poet, leaning back comfortably in his chair, and looking reflectively across the table at the writer, who had seated himself opposite, "It is now, I believe, twenty-five years since I began to work upon the structure; and this edition will complete the design which I had in my mind when I began to write."

The whole affair is like one of those old architectural edifices, some of which have been hundreds of years building, and the designer of which has the whole idea in his mind from the first. His plans are pretty ambitious, and, as means or time permits, he adds part after part, perhaps at quite wide intervals. To a casual observer it looks in the course of its construction odd enough. Only after the whole is completed, one catches the idea which inspired the designer, in whose mind the relation of each part to the whole had existed all along. That is the way it has been with my book. It has been twenty-five years building. There have been seven different hitches at it. Seven different times have parts of the edifice been constructed, — sometimes in Brooklyn, sometimes in Washington, sometimes in Boston, and at other places. The book has been built partially in every part of the United States; and this Osgood edition is the completed edifice."

Mr. Whitman was asked if his poems are to appear *entire* in the new edition of the book. He answered, "All the objectionable passages which were the cause of so much complaint at the time of their appearance will remain. Not a word is to be changed, nothing omitted, except for the sake of conscience. The great difference is, that whereas in the first issue they made a main portion, here they occupy but five or six pages out of nearly four hundred, He added with emphasis:

"Then I do not know whether it will appear to the casual reader, but to myself my whole book turns on the Secession War. I desired to make it the poem of the war, — not in a way in which the old war poems, such as the 'Hlad,' were war poems, but in entirely a new way. This came to me after the second part was composed, and has readily fused in with the other parts of my plan, and even dominated them."

From a Newspaper Notice, October, 1881.

Walt Whitman (let us brief the matter), now in his sixty-third year; born in 1819, on Long Island, N.Y. Ancestors: Holland Dutch on the mother's side, English on the father's. Brought up as a child in Brooklyn, down Long Island, along the seashore, and then in New York city; later youth and earlier manhood mostly in the latter city. Has worked as printer, carpenter, school-teacher, editor, volunteer army nurse (in the war of 1862-65), and clerk in the United States Attorney General's office. Seen most parts of the United States, especially West and South; lived in most of the cities from New Orleans to Montreal; journeyed in New England, the Rocky Mountains, and up and down the Mississippi and St. Lawrence. After the close of the Secession War (up to that time the perfection of physical health and soundness—fifty-four years without a sick day) was prostrated with paralysis, laid up four or five years physically disabled (speech, mobility, etc., not affected); of late years measurably recovered. Travels moderately; gives lectures and public readings; "designates himself now as 'a half paralytic.'"

[The portrait at page 29 is a picture of the poet at the age of thirty-seven (1856). He was at that period a carpenter, building and selling cottage houses in Brooklyn, N.Y. The picture (daguerrotype) was taken impromptu one warm June forenoon by Gabriel Harrison, and makes a characteristic and very faithful miniature from life of Walt Whitman at the time.]

CONTENTS.

INSCRIPTIONS.

<table><thead><tr><th></th><th>PAGE</th></tr></thead><tbody><tr><td>ONE'S-SELF I SING</td><td>9</td></tr><tr><td>AS I PONDER'D IN SIBENCE</td><td>9</td></tr><tr><td>IN CABIN'D SHIPS AT SEA</td><td>10</td></tr><tr><td>TO FOREIGN LANDS</td><td>11</td></tr><tr><td>TO A HISTORIAN</td><td>11</td></tr><tr><td>TO THEE OLD CAUSE</td><td>11</td></tr><tr><td>EIDOLONS</td><td>12</td></tr><tr><td>FOR HIM I SING</td><td>14</td></tr><tr><td>WHEN I READ THE BOOK</td><td>14</td></tr><tr><td>BEGINNING MY STUDIES</td><td>14</td></tr><tr><td>BEGINNERS</td><td>15</td></tr><tr><td>TO THE STATES</td><td>15</td></tr><tr><td>ON JOURNEYS THROUGH THE STATES.</td><td>15</td></tr><tr><td>TO A CERTAIN CANTATRICE</td><td>15</td></tr><tr><td>ME IMPERTURBE</td><td>16</td></tr><tr><td>SAVANTISM</td><td>16</td></tr><tr><td>THE SHIP STARTING</td><td>16</td></tr><tr><td>I HEAR AMERICA SINGING</td><td>17</td></tr><tr><td>WHAT PLACE IS BESIEGED?</td><td>17</td></tr><tr><td>STILL THROUGH THE ONE I SING</td><td>17</td></tr><tr><td>SHUT NOT YOUR DOORS</td><td>17</td></tr><tr><td>POETS TO COME</td><td>18</td></tr><tr><td>TO YOU</td><td>18</td></tr><tr><td>THOU READER</td><td>18</td></tr></tbody></table>

<table><tr><td>STARTING FROM PAUMANOK</td><td>18</td></tr><tr><td>SONG OF MYSELF</td><td>29</td></tr></table>

CHILDREN OF ADAM.

<table><tbody><tr><td>TO THE GARDEN THE WORLD</td><td>79</td></tr><tr><td>FROM PENT-UP ACHING RIVERS</td><td>79</td></tr><tr><td>I SING THE BODY ELECTRIC</td><td>81</td></tr><tr><td>A WOMAN WAITS FOR ME</td><td>88</td></tr><tr><td>SPONTANEOUS ME</td><td>89</td></tr><tr><td>ONE HOUR TO MADNESS AND JOY</td><td>91</td></tr><tr><td>OUT OF THE ROLLING OCEAN THE CROWD</td><td>92</td></tr><tr><td>AGES AND AGES RETURNING AT INTERVALS</td><td>92</td></tr><tr><td>WE TWO, HOW LONG WE WERE FOOL'D</td><td>93</td></tr><tr><td>O HYMEN! O HYMENEE!</td><td>93</td></tr><tr><td>I AM HE THAT ACHES WITH LOVE</td><td>93</td></tr><tr><td>NATIVE MOMENTS</td><td>94</td></tr><tr><td>ONCE I PASS'D THROUGH A POPULOUS CITY</td><td>94</td></tr><tr><td>I HEARD YOU SOLEMN-SWEET PIPES OF THE ORGAN</td><td>94</td></tr><tr><td>FACING WEST FROM CALIFORNIA'S SHORES</td><td>95</td></tr><tr><td>AS ADAM EARLY IN THE MORNING</td><td>95</td></tr></tbody></table>

8

CONTENTS.

<table><thead><tr><th></th><th>PAGE</th></tr></thead><tbody><tr><td>THOU MOTHER WITH THY EQUAL BROOD</td><td>346</td></tr><tr><td>A PAUMANOK PICTURE</td><td>351</td></tr><tr><td>FROM NOON TO STARRY NIGHT.</td><td></td></tr><tr><td>— THOU ORB ALOFT FULL-DAZZLING</td><td>352</td></tr><tr><td>— FACES</td><td>353</td></tr><tr><td>— THE MYSTIC TRUMPETER</td><td>356</td></tr><tr><td>— TO A LOCOMOTIVE IN WINTER</td><td>358</td></tr><tr><td>— O MAGNET-SOUTH</td><td>359</td></tr><tr><td>— MANNAHATTA</td><td>360</td></tr><tr><td>— ALL IS TRUTH</td><td>361</td></tr><tr><td>— A RIDDLE SONG</td><td>362</td></tr><tr><td>— EXCELSIOR</td><td>363</td></tr><tr><td>— AH POVERTIES, WINCINGS, AND SULKY RETREATS</td><td>364</td></tr><tr><td>— THOUGHTS</td><td>364</td></tr><tr><td>— MEDIUMS</td><td>364</td></tr><tr><td>— WEAVE IN, MY HARDY LIFE</td><td>365</td></tr><tr><td>— SPAIN, 1873-74</td><td>365</td></tr><tr><td>— BY BROAD POTOMAC'S SHORE</td><td>366</td></tr><tr><td>— FROM FAR DAKOTA'S CANONS (JUNE 25, 1876)</td><td>366</td></tr><tr><td>— OLD WAR-DREAMS.</td><td>367</td></tr><tr><td>— THICK-SPRINKLED BUNTING</td><td>367</td></tr><tr><td>— WHAT BEST I SEE IN THEE</td><td>368</td></tr><tr><td>— SPIRIT THAT FORM'D THIS SCENE</td><td>368</td></tr><tr><td>— AS I WALK THESE BROAD MAJESTIC DAYS</td><td>369</td></tr><tr><td>— A CLEAR MIDNIGHT.</td><td>369</td></tr><tr><td>SONGS OF PARTING.</td><td></td></tr><tr><td>— AS THE TIME DRAWS NIGH.</td><td>370</td></tr><tr><td>— YEARS OF THE MODERN</td><td>370</td></tr><tr><td>— ASHES OF SOLDIERS</td><td>371</td></tr><tr><td>— THOUGHTS</td><td>373</td></tr><tr><td>— SONG AT SUNSET</td><td>374</td></tr><tr><td>— AS AT THY PORTALS ALSO DEATH.</td><td>376</td></tr><tr><td>— MY LEGACY</td><td>376</td></tr><tr><td>— PENSIVE ON HER DEAD GAZING</td><td>377</td></tr><tr><td>— CAMPS OF GREEN</td><td>377</td></tr><tr><td>— THE SOBBING OF THE BELLS</td><td>378</td></tr><tr><td>— AS THEY DRAW TO A CLOSE</td><td>379</td></tr><tr><td>— JOY, SHIPMATE, JOY.</td><td>379</td></tr><tr><td>— THE UNTOLD WANT</td><td>379</td></tr><tr><td>— PORTALS</td><td>379</td></tr><tr><td>— THESE CAROLS</td><td>379</td></tr><tr><td>— NOW FINALLY TO THE SHORE</td><td>380</td></tr><tr><td>— SO LONG!</td><td>380</td></tr></tbody></table>

CONTENTS

of the new and complete (1881-82) edition of

LEAVES of GRASS.

Published by JAMES R. OSCOOD & CO.,

211 TREMONT STREET, BOSTON.

Ralph Waldo Emerson

Terms the main poems, "The most extraordinary piece of wit and wisdom America has yet contributed."

The Revue des Deux Mondes

Pronounces the war pieces—"Drum Taps"—the most fervid and profound of any expression of the sort in modern literature.

"The Rocky Mountains of America, and Saguenay's Cape Eternity, uprise among these Songs."

— Letter from Italy.

"New Social and Esthetic Theories for Democracy underlie them all."

— German Criticism.

Mrs. Gilchrist, of England,

In "A Woman's Estimate of Walt Whitman," thoroughly indorses the book from the highest feminine critical view, and distinctively as wife and mother.

"Over all, the word Modernness."

— JOHN BURROUGHS.

"The South, her dead, her memories, included with perfect love."

— Carolina Criticism.

"Physical Health, Open Air Nature, and Comradeship."

— Canada Criticism.

"Curiously, yet certainly, the poem of the War of 1861-65."

— German Criticism.

Complete in One Volume, with Portrait. Includes all the old pieces and many new ones. Over three hundred Poems (see contents following);

382 pages, compact long primer type, bound in old gold cloth. For sale

at all bookstores, or sent by mail by the publishers.

Also in half-calf, extra, price . . . $4.00
tree-calf, " " . . . 5.00

"The whole affair is like one of those old architectural edifices, some of which have been hundreds of years building, and the designer of which has the whole idea in his mind from the first. His plans are pretty ambitious, and, as means or time permits, he adds part after part, perhaps at quite wide intervals. To a casual observer it looks in the course of its construction odd enough. Only after the whole is completed, one catches the idea which inspired the designer, in whose mind the relation of each part to the whole had existed all along. That is the way it has been with my book. It has been twenty-five years building. There have been seven different hitches at it. Seven different times have parts of the edifice been constructed, —sometimes in Brooklyn, sometimes in Washington, sometimes in Boston, and at other places. The book has been built partially in every part of the United States; and this Osgood edition is the completed edifice."

Mr. Whitman was asked if his poems are to appear *entire* in the new edition of the book. He answered, "All the objectionable passages which were the cause of so much complaint at the time of their appearance will remain. Not a word is to be changed, nothing omitted, except for the sake of conciseness. The great difference is, that whereas in the first issue they made a main portion, here they occupy but five or six pages out of nearly four hundred." He added with emphasis:

"Then I do not know whether it will appear to the casual reader, but to myself my whole book turns on the Secession War. I desired to make it the poem of the war, —not in a way in which the old war poems, such as the 'Iliad,' were war poems, but in entirely a new way. This came to me after the second part was composed, and has readily fused in with the other parts of my plan, and even dominated them."

Walt Whitman (let us brief the matter), now in his sixty-third year; born in 1819, on Long Island, N.Y. Ancestors: Holland Dutch on the mother's side, English on the father's. Bright up as a child in Brooklyn, down Long Island, along the seashore, and then in New York city; later youth and earlier manhood mostly in the latter city. Has worked as printer, carpenter, school-teacher, editor, volunteer army nurse (in the war of 1862-65), and clerk in the United States Attorney General's office. Seen most parts of the United States, especially West and South; lived in most of the cities from New Orleans to Montreal; journeyed in New England, the Rocky Mountains, and up and down the Mississippi and St. Lawrence. After the close of the Secession War (up to that time the perfection of physical health and soundness — fifty-four years without a sick day) was prostrated with paralysis, laid up four or five years physically disabled (speech, mentality, etc., not affected); of late years measurably recovered. Travels moderately; gives lectures and public readings; "designates himself now as 'a half paralytic.'"

[The portrait at page 29 is a picture of the poet at the age of thirty-seven (1856). He was at that period a carpenter, building and selling cottage houses in Brooklyn, N.Y. The picture (daguerrotype) was taken impromptu one warm June forenoon by Gabriel Harrison, and makes a characteristic and very faithful miniature from h. of Walt Whitman at the time.]

CONTENTS.

INSCRIPTIONS.

<table><tr><td>ONE'S-SELF I SING</td><td>9</td></tr><tr><td>AS I PONDER'D IN SILENCE</td><td>9</td></tr><tr><td>IN CABIN'D SHIPS AT SEA</td><td>10</td></tr><tr><td>TO FOREIGN LANDS</td><td>11</td></tr><tr><td>TO A HISTORIAN</td><td>11</td></tr><tr><td>TO THEE OLD CAUSE</td><td>11</td></tr><tr><td>EIDOLONS</td><td>12</td></tr><tr><td>FOR HIM I SING</td><td>14</td></tr><tr><td>WHEN I READ THE BOOK</td><td>14</td></tr><tr><td>BEGINNING MY STUDIES</td><td>14</td></tr><tr><td>BEGINNERS</td><td>15</td></tr><tr><td>TO THE STATES.</td><td>15</td></tr><tr><td>ON JOURNEYS THROUGH THE STATES.</td><td>15</td></tr><tr><td>TO A CERTAIN CANTATRICE</td><td>16</td></tr><tr><td>ME IMPERTURBE</td><td>16</td></tr><tr><td>SAVANTISM.</td><td>16</td></tr><tr><td>THE SHIP STARTING</td><td>16</td></tr><tr><td>I HEAR AMERICA SINGING</td><td>17</td></tr><tr><td>WHAT PLACE IS BESIEGED?</td><td>17</td></tr><tr><td>STILL THROUGH THE ONE I SING</td><td>17</td></tr><tr><td>SHUT NOT YOUR DOORS</td><td>17</td></tr><tr><td>POETS TO COME.</td><td>18</td></tr><tr><td>TO YOU.</td><td>18</td></tr><tr><td>THOU READER</td><td>18</td></tr></table>

CHILDREN OF ADAM.

<table><tr><td>TO THE GARDEN THE WORLD</td><td>79</td></tr><tr><td>FROM PENT-UP ACHING RIVERS</td><td>79</td></tr><tr><td>I SING THE BODY ELECTRIC</td><td>81</td></tr><tr><td>A WOMAN WAITS FOR ME</td><td>88</td></tr><tr><td>SPONTANEOUS ME.</td><td>89</td></tr><tr><td>ONE HOUR TO MADNESS AND JOY</td><td>91</td></tr><tr><td>OUT OF THE ROLLING OCEAN THE CROWD</td><td>92</td></tr><tr><td>AGES AND AGES RETURNING AT INTERVALS</td><td>92</td></tr><tr><td>WE TWO, HOW LONG WE WERE FOOL'D.</td><td>93</td></tr><tr><td>O HYMEN! O HYMENEE!</td><td>93</td></tr><tr><td>I AM HE THAT ACHES WITH LOVE</td><td>93</td></tr><tr><td>NATIVE MOMENTS</td><td>94</td></tr><tr><td>ONCE I PASS'D THROUGH A POPULOUS CITY</td><td>94</td></tr><tr><td>I HEARD YOU SOLEMN-SWEET PIPES OF THE ORGAN</td><td>94</td></tr><tr><td>FACING WEST FROM CALIFORNIA'S SHORES</td><td>95</td></tr><tr><td>AS ADAM EARLY IN THE MORNING</td><td>95</td></tr></table>

3

4

CONTENTS.

<table><thead><tr><th></th><th>PAGE</th></tr></thead><tbody><tr><td><strong>CALAMUS.</strong></td><td></td></tr><tr><td>IN PATHS UNTRODDEN</td><td>95</td></tr><tr><td>SCENTED HERBAGE OF MY BREAST.</td><td>96</td></tr><tr><td>WHOEVER YOU ARE HOLDING ME NOW IN HAND</td><td>97</td></tr><tr><td>FOR YOU O DEMOCRACY</td><td>99</td></tr><tr><td>THESE I SINGING IN SPRING</td><td>99</td></tr><tr><td>NOT HEAVING FROM MY RIBB'D BREAST ONLY</td><td>100</td></tr><tr><td>OF THE TERRIBLE DOUBT OF APPEARANCES</td><td>101</td></tr><tr><td>THE BASE OF ALL METAPHYSICS</td><td>101</td></tr><tr><td>RECORDERS AGES HENCE</td><td>102</td></tr><tr><td>WHEN I HEARD AT THE CLOSE OF THE DAY</td><td>102</td></tr><tr><td>ARE YOU THE NEW PERSON DRAWN TOWARD ME?</td><td>103</td></tr><tr><td>ROOTS AND LEAVES THEMSELVES ALONE</td><td>103</td></tr><tr><td>NOT HEAT FLAMES UP AND CONSUMES</td><td>104</td></tr><tr><td>TRICKLE DROPS</td><td>104</td></tr><tr><td>CITY OF ORGIES</td><td>105</td></tr><tr><td>BEHOLD THIS SWARTHY FACE.</td><td>105</td></tr><tr><td>I SAW IN LOUISIANA A LIVE-OAK GROWING</td><td>105</td></tr><tr><td>TO A STRANGER.</td><td>106</td></tr><tr><td>THIS MOMENT YEARNING AND THOUGHTFUL</td><td>106</td></tr><tr><td>I HEAR IT WAS CHARGED AGAINST ME.</td><td>107</td></tr><tr><td>THE PRAIRIE-GRASS DIVIDING</td><td>107</td></tr><tr><td>WHEN I PERUSE THE CONQUER'D FAME</td><td>107</td></tr><tr><td>WE TWO BOYS TOGETHER CLINGING</td><td>108</td></tr><tr><td>A PROMISE TO CALIFORNIA</td><td>108</td></tr><tr><td>HERE THE FRAILEST LEAVES OF ME.</td><td>108</td></tr><tr><td>NO LABOR-SAVING MACHINE</td><td>108</td></tr><tr><td>A GLIMPSE</td><td>109</td></tr><tr><td>A LEAF FOR HAND IN HAND.</td><td>109</td></tr><tr><td>EARTH MY LIKENESS</td><td>109</td></tr><tr><td>I DREAM'D IN A DREAM.</td><td>109</td></tr><tr><td>WHAT THINK YOU I TAKE MY PEN IN HAND?</td><td>110</td></tr><tr><td>TO THE EAST AND TO THE WEST</td><td>110</td></tr><tr><td>SOMETIMES WITH ONE I LOVE</td><td>110</td></tr><tr><td>TO A WESTERN BOY.</td><td>110</td></tr><tr><td>FAST-ANCHOR'D ETERNAL O LOVE</td><td>111</td></tr><tr><td>AMONG THE MULTITUDE</td><td>111</td></tr><tr><td>O YOU WHOM I OFTEN AND SILENTLY COME.</td><td>111</td></tr><tr><td>THAT SHADOW MY LIKENESS</td><td>111</td></tr><tr><td>FULL OF LIFE NOW</td><td>111</td></tr><tr><td><strong>SALUT AU MONDE!</strong></td><td>112</td></tr><tr><td>SONG OF THE OPEN ROAD.</td><td>120</td></tr><tr><td>CROSSING BROOKLYN FERRY</td><td>129</td></tr><tr><td>SONG OF THE ANSWERER</td><td>134</td></tr><tr><td>OUR OLD FEUILLAGE</td><td>138</td></tr><tr><td>A SONG OF JOYS</td><td>142</td></tr><tr><td>SONG OF THE BROAD-AXE</td><td>148</td></tr><tr><td>SONG OF THE EXPOSITION</td><td>157</td></tr><tr><td>SONG OF THE REDWOOD-TREE.</td><td>165</td></tr><tr><td>A SONG FOR OCCUPATIONS</td><td>169</td></tr><tr><td>A SONG OF THE ROLLING EARTH</td><td>176</td></tr><tr><td>YOUTH, DAY, OLD AGE, AND NIGHT</td><td>180</td></tr><tr><td><strong>BIRDS OF PASSAGE.</strong></td><td></td></tr><tr><td>SONG OF THE UNIVERSAL.</td><td>181</td></tr><tr><td>PIONEERS! O PIONEERS!</td><td>183</td></tr><tr><td>TO YOU</td><td>186</td></tr></tbody></table>

CONTENTS.

5

<table><thead><tr><th></th><th>PAGE</th></tr></thead><tbody><tr><td><strong>BIRDS OF PASSAGE.</strong></td><td></td></tr><tr><td>FRANCE THE 18TH YEAR OF THESE STATES</td><td>188</td></tr><tr><td>MYSELF AND MINE</td><td>189</td></tr><tr><td>YEAR OF METEORS (1859-60)</td><td>190</td></tr><tr><td>WITH ANTECEDENTS</td><td>191</td></tr><tr><td>A BROADWAY PAGEANT</td><td>193</td></tr><tr><td><strong>SEA-DRIFT.</strong></td><td></td></tr><tr><td>OUT OF THE CRADLE ENDLESSLY ROCKING</td><td>196</td></tr><tr><td>AS I EBB'D WITH THE OCEAN OF LIFE.</td><td>202</td></tr><tr><td>TEARS</td><td>204</td></tr><tr><td>TO THE MAN-OF-WAR-BIRD</td><td>204</td></tr><tr><td>ABOARD AT A SHIP'S HELM.</td><td>205</td></tr><tr><td>ON THE BEACH AT NIGHT</td><td>205</td></tr><tr><td>THE WORLD BELOW THE BRINE.</td><td>206</td></tr><tr><td>ON THE BEACH AT NIGHT ALONE</td><td>207</td></tr><tr><td>SONG FOR ALL SEAS, ALL SHIPS</td><td>207</td></tr><tr><td>PATROLING BARNEGAT</td><td>208</td></tr><tr><td>AFTER THE SEA-SHIP</td><td>209</td></tr><tr><td><strong>BY THE ROADSIDE.</strong></td><td></td></tr><tr><td>A BOSTON BALLAD—1854</td><td>209</td></tr><tr><td>EUROPE THE 72D AND 73D YEARS OF THESE STATES</td><td>211</td></tr><tr><td>A HAND-MIRROR</td><td>213</td></tr><tr><td>Gods</td><td>213</td></tr><tr><td>GERMS.</td><td>214</td></tr><tr><td>THOUGHTS</td><td>214</td></tr><tr><td>WHEN I HEARD THE LEARN'D ASTRONOMER</td><td>214</td></tr><tr><td>PERFECTIONS</td><td>214</td></tr><tr><td>O ME! O LIFE!</td><td>215</td></tr><tr><td>TO A PRESIDENT</td><td>215</td></tr><tr><td>I SIT AND LOOK OUT</td><td>215</td></tr><tr><td>TO RICH GIVERS</td><td>216</td></tr><tr><td>THE DALLIANCE OF THE EAGLES</td><td>216</td></tr><tr><td>ROAMING IN THOUGHT.</td><td>216</td></tr><tr><td>A FARM PICTURE</td><td>216</td></tr><tr><td>A CHILD'S AMAZE.</td><td>217</td></tr><tr><td>THE RUNNER</td><td>217</td></tr><tr><td>BEAUTIFUL WOMEN</td><td>217</td></tr><tr><td>MOTHER AND BABE</td><td>217</td></tr><tr><td>THOUGHT</td><td>217</td></tr><tr><td>VISOR'D</td><td>217</td></tr><tr><td>THOUGHT</td><td>217</td></tr><tr><td>GLIDING O'ER ALL</td><td>218</td></tr><tr><td>HAST NEVER COME TO THEE AN HOUR</td><td>218</td></tr><tr><td>THOUGHT</td><td>218</td></tr><tr><td>TO OLD AGE.</td><td>218</td></tr><tr><td>LOCATIONS AND TIMES</td><td>218</td></tr><tr><td>OFFERINGS</td><td>218</td></tr><tr><td>TO IDENTIFY THE 16TH, 17TH OR 18TH PRESIDENTIAD.</td><td>218</td></tr><tr><td><strong>DRUM-TAPS.</strong></td><td></td></tr><tr><td>FIRST O SONGS FOR A PRELUDE.</td><td>219</td></tr><tr><td>EIGHTEEN SIXTY-ONE</td><td>221</td></tr><tr><td>BEAT! BEAT! DRUMS!</td><td>222</td></tr><tr><td>FROM PAUMANOK STARTING I FLY LIKE A BIRD.</td><td>222</td></tr><tr><td>SONG OF THE BANNER AT DAYBREAK</td><td>223</td></tr><tr><td>RISE O DAYS FROM YOUR FATHOMLESS DEEPS</td><td>228</td></tr></tbody></table>