TEN CENT POCKET SERIES NO. 351
Edited by E. Haldeman-Julius
MEMORIES OF LINCOLN
WALT WHITMAN
HALDEMAN-JULIUS COMPANY
GIRARD, KANSAS
[a]CONTENTS]
[FOREWORD]
[I. WHEN LILACS LAST IN THE DOORYARD BLOOM'D]
[II. O CAPTAIN! MY CAPTAIN!]
[III. HUSH'D BE THE CAMPS TODAY]
[IV. THIS DUST WAS ONCE THE MAN]
[LYRICS OF THE WAR]
[BEAT! BEAT! DRUMS!]
[COME UP FROM THE FIELDS FATHER]
[THE WOUND-DRESSER]
[SPIRIT WHOSE WORK IS DONE]
[ASHES OF SOLDIERS]
[PENSIVE ON HER DEAD GAZING]
[CAMPS OF GREEN]
He knew to bide his time,
And can his fame abide,
Still patient in his simple faith sublime,
Till the wise years decide.
Great captains, with their guns and drums.
Disturb our judgment for the hour,
But at last silence comes;
These all are gone, and, standing like a tower,
Our children shall behold his fame.
The kindly-earnest, brave, foreseeing man,
Sagacious, patient, dreading praise, not blame,
New birth of our new soil, the first American.
JAMES RUSSELL LOWELL
[FOREWORD]
Whitman did not subject Lincoln to the literary but to the human motive. Lincoln does not become a literary figure by his touch. Does not become a man in a book. After Whitman is done with him Lincoln still remains Lincoln. No way reduced. No way aggrandized. Only better understood. His background does not become a book. His background remains what it was. Remains life. Generic life. As life is where life finds life at the root. I may let Whitman put in a word for himself. Whitman said to me of Lincoln:
"Lincoln is particularly my man—particularly belongs to me; yes, and by the same taken I am Lincoln's man: I guess I particularly belong to him: we are afloat in the same stream—we are rooted in the same ground."
To know the Lincoln of Whitman you want to know the Whitman of Whitman. Whitman was literary. But he was not first of all literary. Or last of all literary. First of all he was human. He was not the leaves of a book. He was the bone and flesh of a man. Yes, he was that something or other not bone or flesh which is also of a man—which finally is the man. Simply literary analysis can make little out of Whitman. He does not yield to the scalpel. He is not to be resurrected from an inkpot. His voice falls in with the prophet voices. He was not unlettered. He knew the alphabet. But he kept all alphabetical, arrogance well in hand. The letter was kept in hand. The spirit was left free. You cannot buy a ticket for Athens or Weimar or Paris or London or Boston and reach Whitman. He is never reached in that circle. The literary centers do not lead to him. You have got to travel to him by another route. You go East and find the Buddhistic canticles. You consult the Zoroastrian avatars. And you take the word of Jesus for a great deal. And you may hit Socrates on the way. And you keep on with your journey, touching here and there in European history certain men, certain influences. Going into port now and then. Never going where men compete for literary judgment. Never where men set out to acquit themselves immortally as artists. Keeping forever close to the careless rhythms of original causes. So you go on. And go on. And by and by you arrive at Whitman. Not by way of the university. Not by way of Shakespeare. Not by way of the literary experts and adepts. But by human ways. To try to find Whitman by way of Shakespeare or Molière would be hopeless. I do not disparage the other routes to other men. I am only describing this route to Whitman. This route, which is the only route. Whitman chants and prays and soars. He Is not pretty. He is only beautiful. He is not beautiful with the beauty of beauty. He is beautiful with the beauty of truth. The pen can easily miss Whitman. But the heart reaches him direct. Whitman is therefore the best route to Lincoln. The same process which provides Whitman for you provided Lincoln for. Whitman. Whitman said to me again about Lincoln:
"There was no reason why Lincoln should not have been a prophet rather than a politician; he was in fact a divine prophet-politician; in him for almost the first time prophecy had something to say in politics. I shouldn't wonder but that in another age of the world Lincoln would have been a chosen man to lead in some rebellion against ecclesiastical institutions and religious form and ceremony."
HORACE TRAUBEL
The main effect of this poem is of strong solemn, and varied music; and it involves in its construction a principle after which perhaps the great composers most work—namely, spiritual auricular analogy. At first it would seem to defy analysis, so rapt is it, and so indirect. No reference whatever is made to the mere fact of Lincoln's death; the poet does not even dwell upon its unprovoked atrocity, and only occasionally is the tone that of lamentation; but, with the intuitions of the grand art, which is the most complex when it seems most simple, he seizes upon three beautiful facts of nature, which he weaves into a wreath for the dead President's tomb. The central thought is of death, but around this he curiously twines, first, the early-blooming lilacs which the poet may have plucked the day the dark shadow came; next the song of the hermit thrush, the most sweet and solemn of all our songsters, heard at twilight in the dusky cedars; and with these the evening star, which, as many may remember, night after night in the early part of that eventful spring, hung low in the west with unusual and tender brightness. These are the premises whence he starts his solemn chant.
The attitude, therefore, is not that of being bowed down and weeping hopeless tears, but of singing a commemorative hymn, in which the voices of nature join, and fits that exalted condition of the soul which serious events and the presence of death induce.
JOHN BURROUGHS
[I. WHEN LILACS LAST IN THE DOORYARD BLOOM'D]
1
When lilacs last in the dooryard
bloom'd,
And the great star early droop'd in the
western sky in the night,
I mourn'd, and yet shall mourn with
ever-returning spring.
Ever-returning spring, trinity sure to
me you bring,
Lilac blooming perennial and drooping
star in the west,
And thought of him I love.