book, then, taken as a whole, is the poem both of Personality and of Democracy; and, it may be added, of American nationalism. It is par excellence the modern poem. It is distinguished also by this peculiarity—that in it the most literal view of things is continually merging into the most rhapsodic or passionately abstract. Picturesqueness it has, but mostly of a somewhat patriarchal kind, not deriving from the "word-painting" of the littérateur; a certain echo of the old Hebrew poetry may even be caught in it, extra-modern though it is. Another most prominent and pervading quality of the book is the exuberant physique of the author. The conceptions are throughout those of a man in robust health, and might alter much under different conditions.
Further, there is a strong tone of paradox in Whitman's writings. He is both a realist and an optimist in extreme measure: he contemplates evil as in some sense not existing, or, if existing, then as being of as much importance as anything else. Not that he is a materialist; on the contrary, he is a most strenuous assertor of the soul, and, with the soul, of the body as its infallible associate and vehicle in the present frame of things. Neither does he drift into fatalism or indifferentism; the energy of his temperament, and ever-fresh sympathy with national and other developments, being an effectual bar to this. The paradoxical element of the poems is such that one may sometimes find them in conflict with what has preceded, and would not be much surprised if they said at any moment the reverse of whatever they do say. This is mainly due to the multiplicity of the aspects of things, and to the immense width of relation in which Whitman stands to all sorts and all aspects of them.
But the greatest of this poet's distinctions is his absolute and entire originality. He may be termed formless by those who, not without much reason to show for themselves, are wedded to the established forms and ratified refinements of poetic art; but it seems reasonable to enlarge the canon till it includes so great and startling a genius, rather than to draw it close and exclude him. His work is practically certain to stand as archetypal for many future poetic efforts—so great is his power as an originator, so fervid his initiative. It forms incomparably the largest performance of our period in poetry. Victor Hugo's Légende des Siècles alone might be named with it for largeness, and even that with much less of a new starting-point in conception and treatment. Whitman breaks with all precedent. To what he himself perceives and knows he has a personal relation of the intensest kind: to anything in the way of prescription, no relation at all. But he is saved from isolation by the depth of his Americanism; with the movement of his predominant nation he is moved. His comprehension, energy, and tenderness are all extreme, and all inspired by actualities. And, as for poetic genius, those who, without being ready to concede that faculty to Whitman, confess his iconoclastic boldness and his Titanic power of temperament, working in the sphere of poetry, do in effect confess his genius as well.
Such, still further condensed, was the critical summary which I gave of Whitman's position among poets. It remains to say something a little more precise of the particular qualities of his works. And first, not to slur over defects, I shall extract some sentences from a letter which a friend, most highly entitled to form and express an opinion on any poetic question—one, too, who abundantly upholds the greatness of Whitman as a poet—has addressed to me with regard to the criticism above condensed. His observations, though severe on this individual point, appear to me not other than correct. "I don't think that you quite put strength enough into your blame on one side, while you make at least enough of minor faults or eccentricities. To me it seems always that Whitman's great flaw is a fault of debility, not an excess of strength—I mean his bluster. His own personal and national self-reliance and arrogance, I need not tell you, I applaud, and sympathise and rejoice in; but the blatant ebullience of feeling and speech, at times, is feeble for so great a poet of so great a people. He is in part certainly the poet of democracy; but not wholly, because he tries so openly to be, and asserts so violently that he is—always as if he was fighting the case out on a platform. This is the only thing I really or greatly dislike or revolt from. On the whole" (adds my correspondent), "my admiration and enjoyment of his greatness grow keener and warmer every time I think of him"—a feeling, I may be permitted to observe, which is fully shared by myself, and, I suppose, by all who consent in any adequate measure to recognise Whitman, and to yield themselves to his influence.
To continue. Besides originality and daring, which have been already insisted upon, width and intensity are leading characteristics of his writings—width both of subject-matter and of comprehension, intensity of self-absorption into what the poet contemplates and expresses. He scans and presents an enormous panorama, unrolled before him as from a mountain-top; and yet, whatever most large or most minute or casual thing his eye glances upon, that he enters into with a depth of affection which identifies him with it for a time, be the object what it may. There is a singular interchange also of actuality and of ideal substratum and suggestion. While he sees men, with even abnormal exactness and sympathy, as men, he sees them also "as trees walking," and admits us to perceive that the whole show is in a measure spectral and unsubstantial, and the mask of a larger and profounder reality beneath it, of which it is giving perpetual intimations and auguries. He is the poet indeed of literality, but of passionate and significant literality, full of indirections as well as directness, and of readings between the lines. If he is the 'cutest of Yankees, he is also as truly an enthusiast as any the most typical poet. All his faculties and performance glow into a white heat of brotherliness; and there is a poignancy both of tenderness and of beauty about his finer works which discriminates them quite as much as their modernness, audacity, or any other exceptional point. If the reader wishes to see the great and more intimate powers of Whitman in their fullest expression, he may consult the Nocturn for the Death of Lincoln; than which it would be difficult to find anywhere a purer, more elevated, more poetic, more ideally abstract, or at the same time more pathetically personal, threnody—uniting the thrilling chords of grief, of beauty, of triumph, and of final unfathomed satisfaction. With all his singularities, Whitman is a master of words and of sounds: he has them at his command—made for, and instinct with, his purpose—messengers of unsurpassable sympathy and intelligence between himself and his readers. The entire book may be called the paean of the natural man—not of the merely physical, still less of the disjunctively intellectual or spiritual man, but of him who, being a man first and foremost, is therein also a spirit and an intellect.
There is a singular and impressive intuition or revelation of Swedenborg's: that the whole of heaven is in the form of one man, and the separate societies of heaven in the forms of the several parts of man. In a large sense, the general drift of Whitman's writings, even down to the passages which read as most bluntly physical, bear a striking correspondence or analogy to this dogma. He takes man, and every organism and faculty of man, as the unit—the datum—from which all that we know, discern, and speculate, of abstract and supersensual, as well as of concrete and sensual, has to be computed. He knows of nothing nobler than that unit man; but, knowing that, he can use it for any multiple, and for any dynamical extension or recast.
Let us next obtain some idea of what this most remarkable poet—the founder of American poetry rightly to be so called, and the most sonorous poetic voice of the tangibilities of actual and prospective democracy—is in his proper life and person.
Walt Whitman was born at the farm-village of West Hills, Long Island, in the State of New York, and about thirty miles distant from the capital, on the 31st of May 1819. His father's family, English by origin, had already been settled in this locality for five generations. His mother, named Louisa van Velsor, was of Dutch extraction, and came from Cold Spring, Queen's County, about three miles from West Hills. "A fine-looking old lady" she has been termed in her advanced age. A large family ensued from the marriage. The father was a farmer, and afterwards a carpenter and builder; both parents adhered in religion to "the great Quaker iconoclast, Elias Hicks." Walt was schooled at Brooklyn, a suburb of New York, and began life at the age of thirteen, working as a printer, later on as a country teacher, and then as a miscellaneous press-writer in New York. From 1837 to 1848 he had, as Mr. Burroughs too promiscuously expresses it, "sounded all experiences of life, with all their passions, pleasures, and abandonments." In 1849 he began travelling, and became at New Orleans a newspaper editor, and at Brooklyn, two years afterwards, a printer. He next followed his father's business of carpenter and builder. In 1862, after the breaking-out of the great Civil War, in which his