Uploaded April 2014 | Updated September 2026, 2 weeks ago
Here's's a virtual movie of the great Walt Whitman reading another of his extraordinary philosophical poems "A Child Said, What is the Grass" first published in 1855 edition of his lifelong masterpiece of Philosophical thoughts and poems "Leaves of Grass". The title "Leaves of Grass" is a play on words. The word "leaves" meant "pages" in his poems, and "grass" represented his life's observations from life to death.
WALT WHITMAN'S mission differed from that of other poets. The expression of lyrical beauty was not his aim, for his poetry lacks the background of legend, myth, euphemism or rhyme. He made no attempt to clarify ideas, but sought to bring the reader into the atmosphere of thought, leaving him there to pursue his own flight.
He dissected the mind of his race with the delicate fingers of a surgeon of souls. Fearlessly he attacked the cancerous growth of materialism, the worship of false idols, the superstitions of the churches, the separative tendency of creeds and sects, the despairing hold of the people on departed models of obedience and compulsion. He visioned the future in terms of solidarity, and it was to these prophetic years that he sang his songs. He penned his words for future minds and dedicated them to the Culminating Man, to the new Empire of Spiritual Manhood, built upon the foundation of Universal Brotherhood, without distinction of race, creed, caste or color.
Walt Whitman's poetry is a declaration of the principles which he felt would revolutionize the world if they were accepted and put into practice
Walt Whitman (1819-1892 was born in Long Island, New York, the son of a Quaker carpenter. Whitman's mother was descended from Dutch farmers. In Whitman's childhood there were slaves employed on the farm. Whitman was early on filled with a love of nature.
PLEASE NOTE - The image used in this animation is not actually Walt Whitman it is a lookalike of Walt Whitman and is not to my knowledge a copyrighted image please write to me if you have bonafide information to the contrary. at my email address of hyperbolelad@hotmail.com
Walt Whitman (1819-1892 was born in Long Island, New York, the son of a Quaker carpenter. Whitman's mother was descended from Dutch farmers. In Whitman's childhood there were slaves employed on the farm. Whitman was early on filled with a love of nature. He read classics in his youth and was inspired by writers such as Goethe, Hegel, Carlyle and Emerson he is best remembered for his long rambling collections of verse "Leaves of grass
Here is an example from his poem:
"A child said what is grass?
Fetching it to me with full hands;
How could I answer the child?
I do not know what it is
any more than he.
Whitman comes to this thoughtful conclusion:
"I guess the grass is itself a child,
the produced babe of vegetation."
As Whitman grows older, he perceives the grass in this way:
"And now it seems to me the beautiful uncut hair of graves.
The grass is very dark to me from the white heads of old mothers,
darker than the colorless beards of old men."
What do you think, has become of the young and old men?
And what do you think has become of the women and children?"
They are alive and well somewhere, the smallest sprout (grass)
shows there is really no death."
Because it is hard for Whitman to accept that all life ends up under the grass, or common grave, he answers his own questions from his own inner child.
Kind Regards
Jim Clark
All rights are reserved on this video recording copyright Jim Clark 2014
Here's's a virtual movie of the great Walt Whitman reading another of his extraordinary philosophical poems "A Child Said, What is the Grass" first published in 1855 edition of his lifelong masterpiece of Philosophical thoughts and poems "Leaves of Grass". The title "Leaves of Grass" is a play on words. The word "leaves" meant "pages" in his poems, and "grass" represented his life's observations from life to death.
WALT WHITMAN'S mission differed from that of other poets. The expression of lyrical beauty was not his aim, for his poetry lacks the background of legend, myth, euphemism or rhyme. He made no attempt to clarify ideas, but sought to bring the reader into the atmosphere of thought, leaving him there to pursue his own flight.
He dissected the mind of his race with the delicate fingers of a surgeon of souls. Fearlessly he attacked the cancerous growth of materialism, the worship of false idols, the superstitions of the churches, the separative tendency of creeds and sects, the despairing hold of the people on departed models of obedience and compulsion. He visioned the future in terms of solidarity, and it was to these prophetic years that he sang his songs. He penned his words for future minds and dedicated them to the Culminating Man, to the new Empire of Spiritual Manhood, built upon the foundation of Universal Brotherhood, without distinction of race, creed, caste or color.
Walt Whitman's poetry is a declaration of the principles which he felt would revolutionize the world if they were accepted and put into practice
Walt Whitman (1819-1892 was born in Long Island, New York, the son of a Quaker carpenter. Whitman's mother was descended from Dutch farmers. In Whitman's childhood there were slaves employed on the farm. Whitman was early on filled with a love of nature.
PLEASE NOTE - The image used in this animation is not actually Walt Whitman it is a lookalike of Walt Whitman and is not to my knowledge a copyrighted image please write to me if you have bonafide information to the contrary. at my email address of hyperbolelad@hotmail.com
Walt Whitman (1819-1892 was born in Long Island, New York, the son of a Quaker carpenter. Whitman's mother was descended from Dutch farmers. In Whitman's childhood there were slaves employed on the farm. Whitman was early on filled with a love of nature. He read classics in his youth and was inspired by writers such as Goethe, Hegel, Carlyle and Emerson he is best remembered for his long rambling collections of verse "Leaves of grass
Here is an example from his poem:
"A child said what is grass?
Fetching it to me with full hands;
How could I answer the child?
I do not know what it is
any more than he.
Whitman comes to this thoughtful conclusion:
"I guess the grass is itself a child,
the produced babe of vegetation."
As Whitman grows older, he perceives the grass in this way:
"And now it seems to me the beautiful uncut hair of graves.
The grass is very dark to me from the white heads of old mothers,
darker than the colorless beards of old men."
What do you think, has become of the young and old men?
And what do you think has become of the women and children?"
They are alive and well somewhere, the smallest sprout (grass)
shows there is really no death."
Because it is hard for Whitman to accept that all life ends up under the grass, or common grave, he answers his own questions from his own inner child.
Kind Regards
Jim Clark
All rights are reserved on this video recording copyright Jim Clark 2014

![Walter de la Mare - Nod - Poem Animation
Heres a virtual movie of the English poet Walter de la Mare reading his poem Nod This actual sound recording of De La Mare comes from a rare 1930s 78 rpm shellac record in my collection which you can see playing on my beloved HMV 109 Wind up Gramophone at my videcurios channel here.
https://www.youtube.com/watch?v=sYuxIUeP9_M
Walter John de la Mare OM CH (/ˈdɛləˌmɛər/;[1] 25 April 1873 – 22 June 1956) was an English poet, short story writer and novelist. He is probably best remembered for his works for children, for his poem The Listeners, and for subtle psychological horror stories, amongst them Seatons Aunt and Out of the Deep..
Kind Regards
Jim Clark
All rights are reserved on this video recording copyright Jim Clark 2016 Walter de la Mare - Nod - Poem Animation](https://i.ytimg.com/vi/qN8-fzpP97s/mqdefault.jpg)
![The Sea Limits by Dante Gabriel Rossetti Poem animation
Heres a virtual movie of the great Dante Gabriel Rossetti Poet and artist reading his beautiful poem The Sea Limits The poem proclaimsus the connection between the sea, earth and mankind. He shows us how each has a voice if we listen. And he offers as proof the simple yet profound sound haunting a seashell when its placed at ones ear.
Dante Gabriel Rossetti (/ˈdænti ˈɡeɪbriəl rəˈzɛti/;[1] 12 May 1828 9 April 1882) was an English poet, illustrator, painter and translator. He founded the Pre-Raphaelite Brotherhood in 1848 with William Holman Hunt and John Everett Millais, and was later to be the main inspiration for a second generation of artists and writers influenced by the movement, most notably William Morris and Edward Burne-Jones. His work also influenced the European Symbolists and was a major precursor of the Aesthetic movement. The Sea Limits by Dante Gabriel Rossetti Poem animation](https://i.ytimg.com/vi/r-MgL6qjlzs/mqdefault.jpg)
![Ode to Psyche By John Keats Poem - Animation
Heres a virtual movie of the great John Keats reading his Ode to Psyche
Ode to Psyche is a poem by John Keats written in spring 1819. The poem is the first of his 1819 odes, which include Ode on a Grecian Urn and Ode to a Nightingale. Ode to Psyche is an experiment in the ode genre, and Keatss attempt at an expanded version of the sonnet format that describes a dramatic scene. The poem serves as an important departure from Keatss early poems, which frequently describe an escape into the pleasant realms of ones imagination. Keats uses the imagination to show the narrators intent to resurrect Psyche and reincarnate himself into Eros(love). Keats attempts this by dedicating an untrodden region of his mind to the worship of the neglected goddess.
The poem does not describe the plot of the original Cupid and Psyche myth: according to Harold Bloom, the poem has little to do with the accepted myth.[10] In the original myth, Aphrodite punishes Psyche, a well admired girl, by having Cupid use his power to make her fall in love. Cupid, instead, falls in love with her, but he could only be with her in the cover of darkness in order to disguise his identity. Curious, she uses a light to reveal Cupids identity, but he flees from her presence. Psyche begins to search after Cupid, and Aphrodite forces her to perform various tasks before she could be united with her love. After nearly dying from one of the tasks, Cupid asks Zeus to transform Psyche into a goddess so the two can be together.[10]
The action of Ode to Psyche begins with a narrator witnessing two individuals embracing. The narrator immediately recognizes Cupid and is astonished when he recognizes Psyche:
Kind Regards
All rights are reserved on this video recording copyright Jim Clark 2014 Ode to Psyche By John Keats Poem - Animation](https://i.ytimg.com/vi/rAKktL6OPo4/mqdefault.jpg)

![Loves Sweet Effects - WW1 - Poem - animation
Heres a virtual movie of a recitation of the beautiful World War 1 Poem Loves Sweet Effects The Poem dates from the early part of World War 1,The author is unknown,The Poem was found in a Royal Medical Corp magazine issue in 1917 at the height of the Great War it is thought to have been written by a nurse at a base hospital.
What was a Base Hospital?
The Base Hospital was part of the casualty evacuation chain, further back from the front line than the Casualty Clearing Stations. They were manned by troops of the Royal Army Medical Corps, with attached Royal Engineers and men of the Army Service Corps. In the theatre of war in France and Flanders, the British hospitals were generally located near the coast. They needed to be close to a railway line, in order for casualties to arrive (although some also came by canal barge); they also needed to be near a port where men could be evacuated for longer-term treatment in Britain.
There were two types of Base Hospital, known as Stationary and General Hospitals. They were large facilities, often centred on some pre-war buildings such as seaside hotels. The hospitals grew hugely in number and scale throughout the war. Most of the hospitals moved very rarely until the larger movements of the armies in 1918. Some hospitals moved into the Rhine bridgehead in Germany and many were operating in France well into 1919. Most hospitals were assisted by voluntary organisations, most notably the British Red Cross
The Female poets of the Great War is a neglected area of poetry,yet their are many outstanding poems by women poets of the era as in the case of the anonymous author of this poem who is believed to have been a nurse. Women did see the horrors firsthand at the front treating the terrible casualties and and were exposed to the dangers of attack being so close to the action. On the home front they were to suffer the terrible psychological trauma of losing their loved ones. Women were also to take on the heavy industrial work in the civilian and and arms factories with all the hazards.Their were many reasons why women were inspired to express their emotions through poetry. There are numerous female poets that remain popular today. Dissimilar to the idea that their writings would be overshadowed by war stories told by men, these poets have many publications. Vera Brittain has written poems and stories about the Great War.[14] Not only was Brittain a writer, she was a nurse in the Voluntary Aid Detachment.[14] This shows the support women had for the war and the importance they played in a non-combative manner. In addition, Lady Margaret Sackville refers to the women during the Great War as life-savers.[31] More specifically, Sackville believes that women are supporting a war that is unnecessary in her poem The Pageant of War.[32] Rupert Brooke attributed women with more credit than had previously been given in his poem There’s Wisdom in Women which he published in 1914 & Other Poems.[33]
The bombing of England during World War One by the zeppelin raids provided citizens at home to see first-hand the devastation of war. Rose MaCaulay explains this in her poem The Shadow.[34] There was an attempt to show the relationship between the sufferings of soldiers on the battlefield with the suffering of British citizens at home. The Shadow was not MaCaulay’s only poem on the Great War. Many Sisters to Many Brothers expresses her distaste to the fact that the societal norm was to determine that women were more disabled than men in the war effort.[35] More specifically, there was an idea that the war was specifically fought and won by soldiers on the battlefield. Women played an important role in supporting the war, both at home and abroad. Vera Brittain’s poem The Sisters Buries at Lemnos is a poem about the heroics displayed by women during the war.[36] The role that women played in supporting the war must be remembered because many women were killed during the conflict. Brittain’s poem expresses disappointment that there is no memorial to remember the women that fell alongside the soldiers.[37]
The following is a list of a few popular female British poets writing about or during the Great War:
Vera Brittain
May Wedderburn Cannan
Margaret Postaget Cole
Rose MaCaulay
Alice Meynell
Jessie Pope
Margaret Sackville
Kind Regards
Jim Clark
All rights are reserved on this video recording copyright Jim Clark 2014 Loves Sweet Effects - WW1 - Poem - animation](https://i.ytimg.com/vi/rzldIlgpMXs/mqdefault.jpg)
![The Ballad of Reading Gaol - Oscar Wilde - Poem - animation
Heres a virtual movie of the great Oscar Wilde reading his bittersweet poem The Ballad of Reading Gaol.
he Ballad of Reading Gaol is a poem by Oscar Wilde, written in exile either in Berneval-le-Grand or in Dieppe, France, after his release from Reading Gaol (pronounced redding jail) on 19 May 1897. Wilde had been incarcerated in Reading, after being convicted of homosexual offences in 1895 and sentenced to two years hard labour in prison.
During his imprisonment, on Tuesday, 7 July 1896, a hanging took place. Charles Thomas Wooldridge had been a trooper in the Royal Horse Guards. He was convicted of cutting the throat of his wife, Laura Ellen,[1] earlier that year at Clewer, near Windsor. He was aged 30 when executed.[2][3]
Wilde spent mid-1897 with Robert Ross in Berneval-le-Grand, where he wrote The Ballad of Reading Gaol. The poem narrates the execution of Wooldridge; it moves from an objective story-telling to symbolic identification with the prisoners as a whole.[4] No attempt is made to assess the justice of the laws which convicted them, but rather the poem highlights the brutalisation of the punishment that all convicts share. Wilde juxtaposes the executed man and himself with the line Yet each man kills the thing he loves.[5] Wilde too was separated from his wife and sons. He adopted the proletarian ballad form, and suggested it be published in Reynolds Magazine, because it circulates widely among the criminal classes – to which I now belong – for once I will be read by my peers – a new experience for me.[6]
The finished poem was published by Leonard Smithers on February 13, 1898 [7] under the name C.3.3., which stood for cell block C, landing 3, cell 3. This ensured that Wildes name – by then notorious – did not appear on the poems front cover. small income in his remaining lifetime.
Wilde entered prison on 25 March 1895, sentenced to two years hard labor - a punishment that was considered more severe than mere penal servitude. He was first sent, briefly, to Newgate Prison for initial processing, the next week moved to Petonville prison, where hard labor consisted of many hours of pointless effort in walking a treadmill or picking oakum (separating the fibers in scraps of old navy ropes), and allowed to read only the Bible and Pilgrims Progress. Prisoners were not allowed to speak to each other, and, out of their solitary cells, were required to wear a cap with a sort of thick veil so they would not be recognized by other prisoners. A few months later he was moved to Wandsworth Prison, which had a similar regimen. While he was there, he was required to declare bankruptcy, by which he lost virtually all his possessions including his books and manuscripts. On November 23, 1895 he was again moved, to the prison at Reading, which also had similar rules, where he spent the remainder of his sentence, and was assigned the third cell on the third floor of C ward - and thereafter addressed and identified only as C.3.3 and not by name. Prisoners were identified only by their cell numbers and not by name.[11] About five months after Wilde arrived at Reading Gaol, Charles Thomas Wooldridge, a trooper in the Royal Horse Guards, was brought to Reading to await his trial for murdering his common-law wife (and promptly presenting himself and confessing to a policeman) on March 29, 1896; on June 17th, Wooldridge was sentenced to death and returned to Reading for his execution, which took place on Tuesday, July 7th, 1896 - the first hanging at Reading in 18 years. Wilde was released from prison on May 18th, 1897 and he promptly went to France, never returning to Britain. He died in Paris, at the age of 46, on 30 November 1900.
Kind Regards
Jim Clark
All rights are reserved on this video recording copyright Jim Clark 2015 The Ballad of Reading Gaol - Oscar Wilde - Poem - animation](https://i.ytimg.com/vi/sAsFCGP0QjU/mqdefault.jpg)



![Ode to Shelley - Thomas Lovell Beddoes - Poem - Animation
Heres a virtual movie of the English poet Thomas Lovell Beddoes reading his Poem which I have called Ode to Shelley The Poem is usually referred to as Lines Written in a Blank Leaf of the Prometheus Unbound Dated 1822. As this exquisite poem would suggest Beddoes greatly admired the work of felllow poet Percy Bysshe Shelley.
This beautiful definitive recital of this great poem is by Alan Halsey
Kind Regards
Jim Clark
All rights are reserved on this video recording copyright Jim Clark 2014
Thomas Lovell Beddoes (30 June 1803[1] – 26 January 1849) was an English poet, dramatist and physician.
Born in Clifton, Bristol, England, he was the son of Dr. Thomas Beddoes, a friend of Samuel Taylor Coleridge, and Anna, sister of Maria Edgeworth. He was educated at Charterhouse and Pembroke College, Oxford. He published in 1821 The Improvisatore, which he afterwards endeavoured to suppress. His next venture, a blank-verse drama called The Brides Tragedy (1822), was published and well reviewed, and won for him the friendship of Barry Cornwall.
Beddoes work shows a constant preoccupation with death. In 1824, he went to Göttingen to study medicine, motivated by his hope of discovering physical evidence of a human spirit which survives the death of the body.[2] He was expelled, and then went to Würzburg to complete his training. He then wandered about practising his profession, and expounding democratic theories which got him into trouble. He was deported from Bavaria in 1833, and had to leave Zürich, where he had settled, in 1840.
He continued to write, but published nothing.
He led an itinerant life after leaving Switzerland, returning to England only in 1846, before going back to Germany. He became increasingly disturbed, and committed suicide by poison at Basel, in 1849, at the age of 45.[3]
For some time before his death he had been engaged on a drama, Deaths Jest Book, which was published in 1850 with a memoir by his friend, T. F. Kelsall. His Collected Poems were published in 1851. Ode to Shelley - Thomas Lovell Beddoes - Poem - Animation](https://i.ytimg.com/vi/uRBBFWKkMCg/mqdefault.jpg)