Whitman, Walt

Exhibition in New York with a Chinese junk.
Brookyln daily eagle ; July 14.
Walt Whitman first dismissed it as a hoax, 'a humbug from stem to stern'. Then on August 6, accepting the Chinese crew as authentic, he reported the visit of two of them to Greenport, Long Island, by train, and he wrote of their impressions of American railways ; 'Hesing and Sum Teen…, for the first time since their arrival, exhibited astonishment and delight… The speed of the train absolutely brought their queues to a complete perpendicular with fright'.

Whitman, Walt. Leaves of Grass [ID D29773].
BOOK V. Calamus.
In paths untrodden
This moment yearning and thoughtful
This moment yearning and thoughtful, sitting alone,
It seems to me there are other men in other lands, yearning and thoughtful;
It seems to me I can look over and behold them, in Germany, Italy, France, Spain—or far, far away, in China, or in Russia or India—talking other dialects;
And it seems to me if I could know those men, I should become attached to them, as I do to men in my own lands;
O I know we should be brethren and lovers,
I know I should be happy with them.

BOOK VI
Salut au Monde!
2
Within me latitude widens, longitude lengthens;
Asia, Africa, Europe, are to the east—America is provided for in the west; 15
Banding the bulge of the earth winds the hot equator,
Curiously north and south turn the axis-ends;
Within me is the longest day—the sun wheels in slanting rings—it does not set for months;
Stretch’d in due time within me the midnight sun just rises above the horizon, and sinks again;
Within me zones, seas, cataracts, plants, volcanoes, groups,
Malaysia, Polynesia, and the great West Indian islands.
4
I see the Lybian, Arabian, and Asiatic deserts;
I see huge dreadful Arctic and Antarctic icebergs;
I see the superior oceans and the inferior ones—the Atlantic and Pacific, the sea of Mexico, the Brazilian sea, and the sea of Peru,
The Japan waters, those of Hindostan, the China Sea, and the Gulf of Guinea, 70
The spread of the Baltic, Caspian, Bothnia, the British shores, and the Bay of Biscay,
The clear-sunn’d Mediterranean, and from one to another of its islands,
The inland fresh-tasted seas of North America,
The White Sea, and the sea around Greenland.
5
I see the tracks of the railroads of the earth,
I see them in Great Britain, I see them in Europe,
I see them in Asia and in Africa.
I see the electric telegraphs of the earth,
I see the filaments of the news of the wars, deaths, losses, gains,passions, of my race.
I see the long river-stripes of the earth,
I see the Amazon and the Paraguay,
I see the four great rivers of China, the Amour, the Yellow River,
the Yiang-tse, and the Pearl,
I see where the Seine flows, and where the Danube, the Loire, the Rhone, and the Guadalquiver flow,
I see the windings of the Volga, the Dnieper, the Oder,
I see the Tuscan going down the Arno, and the Venetian along the Po,
I see the Greek seaman sailing out of Egina bay.
7
I see the steppes of Asia; 130
I see the tumuli of Mongolia—I see the tents of Kalmucks and Baskirs;
I see the nomadic tribes, with herds of oxen and cows;
I see the table-lands notch’d with ravines—I see the jungles and deserts;
I see the camel, the wild steed, the bustard, the fat-tail’d sheep, the antelope, and the burrowing wolf.
10
I see the swarms of Pekin, Canton, Benares, Delhi, Calcutta, Tokio…
11
You Chinaman and Chinawoman of China! you Tartar of Tartary!
You Thibet trader on the wide inland, or bargaining in the shops of Lassa!

BOOO XIII
Song of the Exposition
3
Ended for aye the epics of Asia's, Europe's helmeted warriors, ended
the primitive call of the muses,

BOOK XIV
Song of the Redwood-Tree
2
Ships coming in from the whole round world, and going out to the
whole world,
To India and China and Australia and the thousand island paradises
of the Pacific,

BOOK XVII. Birds of passage
With antecedents.
2
I respect Assyria, China, Teutonia, and the Hebrews,

BOOK XVIII
A Broadway Pageant
2
Geography, the world, is in it,
The Great Sea, the brood of islands, Polynesia, the coast beyond,
The coast you henceforth are facing—you Libertad! from your Western
golden shores,
The countries there with their populations, the millions en-masse are curiously here,
The swarming market-places, the temples with idols ranged along the
sides or at the end, bonze, brahmin, and llama, Mandarin, farmer, merchant, mechanic, and fisherman,
The singing-girl and the dancing-girl, the ecstatic persons, the secluded emperors,
Confucius himself, the great poets and heroes, the warriors, the castes,
all,
Trooping up, crowding from all directions, from the Altay mountains,
From Thibet, from the four winding and far-flowing rivers of China,
From the southern peninsulas and the demi-continental islands, from
Malaysia,
These and whatever belongs to them palpable show forth to me, and
are seiz'd by me,
And I am seiz'd by them, and friendlily held by them,
Till as here them all I chant, Libertad! for themselves and for you.
3
And you Libertad of the world!
You shall sit in the middle well-pois'd thousands and thousands of years,
As to-day from one side the nobles of Asia come to you,

BOOKI XXV
Proud music of the storm
4
I hear the Egyptian harp of many strings,
The primitive chants of the Nile boatmen,
The sacred imperial hymns of China,
To the delicate sounds of the king, (the stricken wood and stone,)
Or to Hindu flutes and the fretting twang of the vina,
A band of bayaderes.

BOOK XXVI
Passage to India
6
The traders, rulers, explorers, Moslems, Venetians, Byzantium, the
Arabs, Portuguese,
The first travelers famous yet, Marco Polo, Batouta the Moor,
Doubts to be solv'd, the map incognita, blanks to be fill'd,
The foot of man unstay'd, the hands never at rest,
Thyself O soul that will not brook a challenge.

BOOK XXXV. Good-by my fancy
Sail out for Good, Eidolon Yacht !
Old chants
Ever so far back, preluding thee, America,
Old chants, Egyptian priests, and those of Ethiopia,
The Hindu epics, the Grecian, Chinese, Persian,

BOOK XXXVIII
The Sleepers
8
The Asiatic and African are hand in hand, the European and American
are hand in hand.

Letter from Walt Whitman to Ralph Waldo Emerson. Brooklyn, August, 1856.
With Ohio, Illinois, Missouri, Oregon—with the states around the Mexican sea—with cheerfully welcomed immigrants from Europe, Asia, Africa—with Connecticut, Vermont, New Hampshire, Rhode Island—with all varied interests, facts, beliefs, parties, genesis—there is being fused a determined character, fit for the broadest use for the freewomen and freemen of Tho States, accomplished and to be accomplished, without any exception whatever—each indeed free, each idiomatic, as becomes live states and men, but each adhering to one enclosing general form of politics, manners, talk, personal style, as the plenteous varieties of the race adhere to one physical form.

Whitman, Walt. Specimen days : hours for the soul. July 23, 1878.
bartleby.com EAST.—What a subject for a poem! Indeed, where else a more pregnant, more splendid one? Where one more idealistic-real, more subtle, more sensuous-delicate? The East, answering all lands, all ages, peoples; touching all senses, here, immediate, now—and yet so indescribably far off—such retrospect! The East—long-stretching—so losing itself—the orient, the gardens of Asia, the womb of history and song—forth-issuing all those strange, dim cavalcades—
Florid with blood, pensive, rapt with musings, hot with passion, Sultry with perfume, with ample and flowing garments,
With sunburnt visage, intense soul and glittering eyes.
Always the East—old, how incalculably old! And yet here the same—ours yet, fresh as a rose, to every morning, every life, to-day—and always will be.

Quotations by Walt Whitman about Chinese in America.
May 7
"Give them a chance—give them a chance—they will be as good as the rest. All that man needs to be good is the chance. History has so far been busy—institutions, rulers, have been busy—denying him of that chance." W. said again: "In that narrow sense I am no American—count me out." Bonsall argued in favor of restricting emigration. W. took him up: "Restrict nothing—keep everything open : to Italy, to China, to anybody. I love America, I believe in America, because her belly can hold and digest all—anarchist, socialist, peacemakers, fighters, disturbers or degenerates of whatever sort—hold and digest all. If I felt that America could not do this I would be indifferent as between our institutions and any others."
June 7
"Well for you, Tom, that you do not say it. I have no fears of America—not the slightest. America is for one thing only—and if not for that for what? America must welcome all—Chinese, Irish, German, pauper or not, criminal or not—all, all, without exceptions: become an asylum for all who choose to come."
[James G. Blaine, Senator of Maine : "The Asiatic cannot go on with our population and make a homogeneous element."]
June 20
Walt Whitman : "I hate Blaine's protectionism and anti-Chinese principles."
July 24
"America must welcome all – Chinese, Irish, German, pauper or not, criminal or not – all, all, without exceptions."
July 28
"The poor Italian immigrants! The popular fury now seems to be applied to them—and what have they done, indeed? I wonder if our people really believe the Chinese menace our institutions—the industrious, quiet, inoffensive Chinese? Maybe our institutions ain't no good if they're as thin-skinned as that."
Aug. 3
"The great country, in fact, is the country of free labor—of free laborers: negro, white, Chinese, or other."
Sept. 18
Harry Fritzinger talked some with W[hitman] while I was there. W. was asking him questions about the Chinese in California.

Guo Moruo studiert Medizin und ab 1915 Englisch, Deutsch und Lateinisch in Tokyo.
1913 liest er The arrow and the song von H.W. Longfellow.
1916 beginnt er sich für Literatur zu interessieren und liest Rabindranath Tagore, Dichtung und Wahrheit von Johann Wolfgang von Goethe, William Shakespeare, Walt Whitman, Mozart auf der Reise nach Prag von Eduard Mörike, Ibsen, Dostoyevsky, Nietzsche und Spinoza.
1919 liest er Hangyakusha von Arishima Takeo. Darin enthalten sind August Rodin, Jean-François Millet und Walt Whitman.

Tian, Han. Ping min shi ren Huiteman bai nian ji [ID D29796].
Li Xilao : Arguing that the greatness of Walt Whiman lay in the fact that he was 'but an ordinary man, an American of the new world and a child of Adam', Tian equates Whitman's Americanism with democracy and humanism. He was equally impressed by Whitman's originality in creating free verse : 'He never knows what art poetique is nor diction for the sake of rhyme'. Thus, from the spirit to the form of expression, Whitman offered what the iconoclastic noew poets had been looking for. Tian went so far as to liken the Chinese new poetry to Leaves of grass, claiming both to be a 'barbaric yawp', a 'drunk's songs'. He concluded his article : "Once Whitman's ship of democracy navigated into the Pacific, she startled the so-called dragon king of the East sea, stirring up countless demons and stormy waves alike. Now the Pacific knows no peace any more. Can the ship ever reach our East Asian continent ? That's a question. However, fellows ! Fellows of the Young china ! This ship is bound to carry us Asian people – let alone Chinese compatriots – with her. Those of us already aboard should 'steer then with good strong hand and wary eye, O! ' Long live Walt Whitman ! Long live the Young China !"
Wang Ning : Tian not only introduced Whitman's life and work but places particular emphasis on his democratic thought and aesthetic ideals. Obviously, for Tian and other Chinese intellectuals and writers at the time, the greatest significance of Whitman to modern China as well as its literature lies not merely in his forman innovations, necessary as they are, but, more important, in the democratic thought inherent in his poetry, which becomes one of the two most stimulating factors.
Huang Guiyou : Tian's analysis spread throughout China. Guo Moruo worte, that he had read and admired the article. Tian and Guo read and translated Whitman and began to greatly value his work.

Walt Whitman and China : general.
1955
Achilles Fang : The Imagism-inspired literary revolution of 1917 tolled the bell for the traditional poetry of China ; but it failed to ring in its substitute, probably because it was not even Imagistic. Whitmanism, which propelled literary malcontents toward revolutionary literature, has not succeeded in producing great poetry in China, in spite of the fact that it has been the dominant trait of the new poetry. The search for a workable poetics, a poetics that honestly and earnestly faces the problem of the artist versus society, must go on.
1980
Mark Cohen : Whitman reflected the rise of American capitalism as well as the spirit of democracy. Although Whitman was politically somewhat progressive, as a poet he was often not economical in his diction, too abstract in his ideas, and too confused in his thinking.
1986
Li Xilao : The May Fourth student movement in 1919 is the starting point of modern Chinese literature. Walt Whiman's poetry seemed to be especially commensurate with the spirit of the time. Since Chinese new poets considered themselves to be part of the world new poetry movement pioneered by Whitman, they, and a great number of their readers, turned to him for inspiration. In the 1920s and the first half of the 1930s, Whitman seemed to be enjoying a warm welcome by all the major societies : he was held in great esteem by the Creation Society, appreciated by the Crescent Society, and introduced favorably by the Literary Study Society.
1995
Huang Guiyou : Whitman's reception has reached three peaks : the first was during the 1920s and 1930s when China was undergoing a literary revolution characterized by vernacular literature.
The second was during the 1940s and mid-1950s, a period notable for the founding of the People's Republic ; Whitman became a source of inspiration and a symbol of freedom as China was plundered by Japan ; translators concentrated on Whitman's poems that displayed a militant spirit, and the sole purpose of these translations was to call on the Chinese people to stand up heroically against Japanese invaders.
The third was during the open door policy since the late 1970s, and important phase in modern Chinese history, when a great demand for democracy and freedom and an increasing desire to know the outside world burst open the heavy Chinese door.
1995
Li Yeguang : In the thirty years before the founding of the People's Republic, those who appreciated and introduced Whitman to China were mainly poets, and most of them advocated and persisted in writing free verse, while some worked for the creation of new metrical patterns for many years and still others became famous for their classical poetic compositions. Their perspectives on Whitman varied, but they all respected him and benefited from his works in differing ways. Since the May Fourth movement, the task confronting the Chinese literature revolution has been one of opposing imperialistic and traditional feudalistic cultures with democratic and scientific spirit in order to build a new national democratic literature. Whitman's completely new democratic ideas and his urgent demand for an independent national literature for the New World aim in the same direction. The advocates of Chinese new poetry eagerly aspire to create a free verse or a new metrical poetry to keep pace with the new era, and Whitman, as the radical revolutionist in poetic patterns and the true creator of free verse in the world history, meets the needs of all schools of new poetry in China. Throughout the democratic revolution in China, under the new condition when writers were exploring and creating in the field of poetic art, Whitman became all the more valuable to them. Whitman's influence is felt in the spirit, in the force, and in the style.
In socialist China, the study of Whitman has been more and more widely undertaken by younger translators and scholars. Nevertheless, Whitman's influence on Chinese poets continues to grow, and his poetry – which sings of democracy, freedom, modern civilization, and love of mankind – along with his incessant exploration in the ideological field and his bold creation and experience in poetic art are still gaining popularity and depth, still inspiring and encouraging.
2002
Wang Ning : If we read Whitman's poetry next to some contemporary American experimentalist poets, we can undoubtedly find the inherent connections between him and postmodernism. That is perhaps one of the reasons why he is still read and discussed today not only in the West but in China. Another obvious reason Why Chinese scholars discuss Whitman in regard to modern Chinese literature is the unique role he played in the process of China's political and cultural modernity as well as in the Chinese literary modernist movement. During the May 4th period Whitman was one of the very few American poets who had a strong influence on revolutionary Chinese poets. Because the critical and creative reception of Whitman's poetry was absolutely relevant to the Chinese social revolution and to Chinese literary innovation, he as for a long time classified in the tradition of nineteenth-century romanticism. Whitman is now viewed more as a pioneering figure of literary modernism than merely as a romantic poet, for his appearance in the nineteenth century actually anticipated the rise of modernist poetry in the twentieth century, and many of his prophetic and insightful ideas paved the way for the process of modernism in Western culture and Western thought. Compared with what has been achieved in the Western academic circles, Whitman studies in China have a very different orientation : in China, he has always been introduced and studied as a merely romanticist or, as a revolutionary romanticist with his poems of social change highlighted and his symbolic poems virtually neglected. Although the mysterious and symbolic elements in his poems are sometimes mentioned, they are usually dealt with in a cursory way.

Guo, Moruo. Fei tu. [Hymne an die Banditen].
Among the 'bandits' just alluded to, he also ranked Cromwell, Washington and José Rizal as political revolutionaries. Buddha, Mozi and Luther as religious revolutionaires. Copernicus, Darwin and Nietzsche as revolutionaries in the realm of science and scholarship. Rodin, Whitman and Tolstoy as revolutionaries in the field of art and literature. Rousseau, Pestalozzi and Tagore as revolutionaries in the domain of pedagogy.

Tian, Han ; Zong, Baihua ; Guo, Moruo. San ye ji [ID D11262].
Enthält : Letter from Guo Moruo to Zong Baihua ; March 30 (1920).
Guo Moruo translated the first eight lines of The song of the open road von Walt Whitman aus Leaves of grass.
Guo Moruo schreibt : "Heine's poems are beautiful but not vigorous ; while Whitman's poems are vigorous but not beautiful."
The poem was translated by Guo to describe his strong feeling of freedom gained during a train journey in Japan.

Guo Moruo. Nü shen = The goddesses [ID D11264].
Guo Moruo : "It was Whitman who made me crazy about writing poems. It was in the year when the May 4th Movement broke out that I first touched his Leaves of grass. Reading his poems, I came to see what to write and how to voice my personal troubles and the nation's sufferings. His poems almost made me mad. Thus, it was possible for me to have the first poetry collection The goddesses published."
[Enthält] : Guo, Moruo. Chen an. [Good morning].
I greet you with a Good Morning, Atlantic Ocean
Flanked to the new World,
Graves of Washington, of Lincoln and of Whitman.
Whitman, Whitman ! Whitman who was similar to Pacific !
Pacific Ocean !...

Sekundärliteratur
1929 Caochuan, Weiyu [Zhang, Xiuzhong]. Zhongguo xin shi tan di zuo ri jin ri he ming ri. (Beijing : Hai yin shu ju, 1929). [China's new poetry]. 中國新詩壇的昨日今日和明日
Caochuan denigrates Guo Moruo's Whitmanesque poems, claiming the The goddesses [ID D11264] is a failure for two main reasons : abstractness and verbosity.
2002
Liu Rongqiang : To Guo Moruo, Whitman believed that all things that exist are equally divine, and all are God's self-expressions. Such ideas became significant for Guo when his concerns turned to China's movement toward becoming a nation building up a democratic system. Reading Leaves of grass, he was inspired by Whitman's embrace of democracy, individualism, and science. He found that what Whitman exalted was identical to the ideals in China in his day, and he came to believe that Whitman's poetic techniques were the best way to express those ideals. Under Whitman's influence, Guo became a pioneer in writing Chinese vernacular poems. He exalted democracy, individual emancipation, and science in many of his poems, and he also made creative use of Whitman's dynamic techniques, including repetition, parallelism, enumeration, and even foreign words.
2006
Yang Liping : Guo Moruo was intoxicated for a time by Walt Whitman's stormy poems in Leaves of grass. These poems offered him an ideal form for expressing his strong sentiments about himself and China, and directly inspired him to pen such 'masculine and violent poems'. Guo was fascinated with Whitman's poetry : Whitman's style, which has broken with all conventional rules, is by and large in tune with the spirit of 'Sturm und Drang' sweeping across China during the May fourth and New Culture movements. Under the influence of Whitman, Guo paid little attention to rhyming and broke away from the metrical stricture of traditional Chinese poetics. Both Whitman and Guo attached great importance to spontaneity in emotional expression in their poetry and believed that the spirit of a poem always takes precedence over the letter.

Zheng, Zhenduo. Wen xue da gang [ID D11275].
Erwähnung von Johann Wolfgang von Goethe, Friedrich Hölderlin, Henrik Ibsen, Walt Whitman, Jane Austen, Edgar Allan Poe, Mark Twain, James Fenimore Cooper, Washington Irving, Nathaniel Hawthorne, Harriet Beecher Stowe.
Darin enthalten ist eine Abhandlung über Faust von Johann Wolfgang von Goethe.
Zheng alluded to William Dean Howells' famous appellation for Mark Twain as 'the Lincoln of American literature'. He asserts that Huckleberry Finn is Twain's most important representative work.
He described Georg Brandes as 'the most important critic of Europe'.
Zheng mentioned Jane Austen, but said very briefly that her works have calm irony, delicate characterization, and pleasing style.
Washington Irving made American literature first recognized in Europe, while it is Edgar Allan Poe who first made American literature greatly influence European literature. In 1909, the year of Poe's centennial, the whole of Europe, from London to Moscow, and from Christiania to Rome, claimed its indebtedness to Poe and praised his great success.
Zheng Zhenduo regarded Nathaniel Hawthorne as "the first person who wrote tragedy in America". It was Hawthorne's emphasis upon psychological description that led to Zheng's high praise. According to Zheng's theory, the American tradition in literature exerted a strong influence upon Hawthorne's exploration of the depth of the human soul. "Hawthorne's psychological description could be traced back to Charles Brown."

Zeng, Xubai. Meiguo wen xue ABC [ID D29706].
Zeng regarded the birth of Walt Whitman as 'one of the glorious pages in the history of American literature' and believed the poet 'wove his whole life into an excellent poem'.
Zeng devoted a whole chapter to Henry David Thoreau and noticed the author's protest against American politics of his day and his act of resistance to civil authority but he did not call him 'an absolute anarchist'. According to Zeng, Thoreau is essentially as self-restrained man of individualism. What he practiced in life are no less than exercises in a political art of self-formation in which we can observe fully Thoreau's pursuit of self-culture and aims of life.
"American critics usually hold that Hawthorne represents Puritanism in his works. Personally, I do not agree with this idea because Puritanism cannot produce but destroy arts. The reason that arts came into being in New England is nothing but the fact that Puritanism began to decline there. We can find after a thorough examination of Nathaniel Hawthorne's works that he has completely broken away from Puritanism. His works are purely artistic, immune from social problems such as Abolition and reform movements at the time. His purpose is not to elucidate morality, but artistically represent souls."

Guo, Moruo. Chuang zao shi nian [ID D11361].
"Ich habe unter Johann Wolfgang von Goethes Einfluss begonnen, Versdramen zu schreiben. Nachdem ich den ersten Teil des Faust übersetzt habe, ging ich anschliessend daran, Tang di zhi hua (Geschwister Nie Ying und Nie Zheng) zu schaffen... Dann noch Die Wiedergeburt der Göttinnen, Xianglei und Die zwei Prinzen des Herrn Guzu. Alle diese Stücke sind unter Goethes Einfluss gestanden."
"During the first period I followed Tagore. This was before the May Fourth Movement, and I strove for brevity and tranquility in my poetry, with rather little success. During the second period I followed Whitman. This was during the high tide of the May Fourth Movement, and I strove to make my poems vigorous and robust. This must be counted my most memorable period. During the third period I followed Goethe, the passion of the second period was lost and I became one who played the game of versification. It was under the impact of Goethe that I began to write poetic dramas."
Er schreibt über Baruch Spinoza, dass er Ethica, Tractatus theologico-politicus und Tractatus de intellectus emendatione gelesen hat.
He admired most Die Wandlung by Ernst Toller and Die Bürger von Calais by Georg Kaiser and he states that in reading Spinoza and Goethe he discoverd for himelf 'pantheist' traditions in ancient Chinese philosophy of Zhuangzi.

Mu, Mutian. [I stand for more learning]. In : Literature and I. (Shanghai : Shanghai Life Bookstore, 1934).
"Shame on poets playing upon wind, flowers, snow and moon, in such a critical moment for the nation !... Poets should raise their voices to call forth the people to embark on the national salvation… Aren't we now in need of poets such as Du Fu, Milton, Whitman, Hugo and Shelley ?"

Guo Moruo shi zuo tan. [Guo Moruo on poetic creation]. (1936). 郭沫若詩作談
Guo admitted the impact of Heinrich Heine which allegedly temporally followed that of Tagore, further the impact of Percy Bysshe Shelley who allegedly temporally followed that of Walt Whitman.

Ai, Qing. Shi de san wen mei. In : Ding dian ; vol. 1, no 1 (1939). [Prose-style beauty in poetry].
"The one important reason why I like Whitman, Verhaeren, and many other modern poets, including Mayakovsky, is because they ushered poetry into a newer realm and raised it to a higher plane, and because prose is intrinsically more beautiful than verse. We must make all efforts to carry on the revolution started by Whitman, Verhaeren, and Mayakovsky, and we must mold poetry into something that adequately meets the needs of the new era – meet them with new forms."

Whitman, Walt. Leaves of grass. (Brooklyn, New York : Walt Whitman ; Printed by Andrew and James Rome, 1855). 3rd ed. (Boston : Thayer and Eldridge, 1860). = Leaves of grass : comprising all the poems written by Walt Whitman, following the arrangement of the edition of 1891-2. (New York, N.Y. : Modern Library, Random House, 1891). (Modern library giants ; G50). = (Philadelphia : David McKay, 1900).
gutenberg.org. (2012)

[Whitman, Walt]. [Out of the rolling ocean the crowd]. Guo Moruo yi. In : Xue deng ; Dec. 3 (1919). Übersetzung von Whitman, Walt. Out of the rolling ocean the crowd. In : Whitman, Walt. Leaves of grass. (Brooklyn, New York : Walt Whitman, Printed by Andrew and James Rome, 1855).

Tian, Han ; Zong, Baihua ; Guo, Moruo. San ye ji. (Shanghai : Ya dong tu shu guan, 1920).
三葉集
Enthält : Letter from Guo Moruo to Zong Baihua ; March 3 (1920).
[Whitman, Walt]. Cao ye ji. Guo Moruo translated the first eight lines of Whitman, Walt. The song of the open road. In : Whitman, Walt. Leaves of grass. (Brooklyn, New York : Walt Whitman, Printed by Andrew and James Rome, 1855).

[Whitman, Walt]. Lei. Dong Lai yi. In : Wen xue zhou bao ; no 30 (1923). Übersetzung von Whitman, Walt. Tears. In : Whitman, Walt. Leaves of grass. (Brooklyn, New York : Walt Whitman, Printed by Andrew and James Rome, 1855).

[Whitman, Walt]. Wo zi ji di ge. Xu Zhimo yi. In : Xiao shuo yue bao ; vol. 15, no 3 (1924). Übersetzung von Whitman, Walt. Song of myself. In : Whitman, Walt. Leaves of grass. (Brooklyn, New York : Walt Whitman, Printed by Andrew and James Rome, 1855).

[Whitman, Walt]. Lei. Qiu Lang yi. In : Cheng bao ; vol. 5 (Dec. 1934). Übersetzung von Whitman, Walt. Tears. In : Whitman, Walt. Leaves of grass. (Brooklyn, New York : Walt Whitman, Printed by Andrew and James Rome, 1855).

[Whitman, Walt]. Linken ji qi ta. Liu Yanling yi. In : Du shu gu wen ; vol. 1, no 1 (1934). [Lincoln and others]. Enthält Übersetzung von Whitman, Walt. O Captain ! My Captain ! In : Whitman, Walt. Drum taps. (New York, N.Y. ; Washington : W. Whitman, 1865-1866).

[Whitman, Walt]. Kuang ye zhi ge. Wu Lifu yi. In : Shi jie wen xue ; vol. 1, no 4 (1935). Übersetzung von Whitman, Walt. Song of the open road. In : Whitman, Walt. Leaves of grass. (Brooklyn, New York : Walt Whitman, Printed by Andrew and James Rome, 1855).

[Whitman, Walt]. Da lu zhi ge. Gao Han [Chu Tunan] yi. In : Wen xue ; vol. 8, no 4 (1937). = (Shanghai : Du shu chu ban she, 1944). Übersetzung von Whitman, Walt. Song of the open road. In : Whitman, Walt. Leaves of grass. (Brooklyn, New York : Walt Whitman, Printed by Andrew and James Rome, 1855).
大路之歌

[Whitman, Walt]. Jin dai de nian dai. Gao Han [Chu Tunan] yi. In : Zhan ge ; vol. 1, no 4 (1938). Übersetzung von Whitman, Walt. Years of the modern. In : Whitman, Walt. Leaves of grass. (Brooklyn, New York : Walt Whitman, Printed by Andrew and James Rome, 1855).

[Whitman, Walt]. Wo de fu qin de wei chang. Gao Han [Chu Tunan] yi. In : Zhan ge ; vol. 1, no 6 (1939). Übersetzung von Whitman, Walt. Come up from the fields father. In : Whitman, Walt. Leaves of grass. (Brooklyn, New York : Walt Whitman, Printed by Andrew and James Rome, 1855).

[Whitman, Walt]. Li ming de qui zhi. Chun Jiang yi. In : Wen xue yue bao ; vol. 3, no 1 (1941). Übersetzung von Whitman, Walt. Song of the banner at daybreak. In : Whitman, Walt. Leaves of grass. (Brooklyn, New York : Walt Whitman, Printed by Andrew and James Rome, 1855).

[Whitman, Walt]. Lu di zhi ge. Xu Chi yi. In : Wen yi zhen di ; vol. 6, no 1 (1941). Übersetzung von Whitman, Walt. Songs from Calamus. In : Whitman, Walt. Leaves of grass. (Brooklyn, New York : Walt Whitman, Printed by Andrew and James Rome, 1855).

[Whitman, Walt]. Wo zan mei yi ge ren. Chun Jiang yi. In : Jiu wang ri bao fu kan ; 18 Jan (1941). Übersetzung von Whitman, Walt. For him I sing. In : Whitman, Walt. Leaves of grass. (Brooklyn, New York : Walt Whitman, Printed by Andrew and James Rome, 1855).

[Whitman, Walt]. Chuan de cheng. Wu Boxiao yi. In : Jie fang ri bao ; 11 Febr. (1942). Übersetzung von Whitman, Walt. City of ships. In : Whitman, Walt. Leaves of grass. (Brooklyn, New York : Walt Whitman, Printed by Andrew and James Rome, 1855).
草叶集选

[Whitman, Walt]. Fan pan zhi ge. Tian Lan yi. In : Shi chuang zhuo ; no 10 (April 1942). [Commemoration of the fiftieth anniversary of Walt Whitman's death]. Übersetzung von Whitman, Walt. Europe ; To a foil'd European revolutionaire. In : Whitman, Walt. Leaves of grass. (Brooklyn, New York : Walt Whitman, Printed by Andrew and James Rome, 1855).

Zeng, Xubai. Meiguo wen xue ABC. (Shanghai : ABC cong chu she, 1929). (ABC cong shu). [Geschichte der amerikanischen Literatur]. [Enthält Mark Twain, Henry David Thoreau, Walt Whitman, James Fenimore Cooper].
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