Without a certain self-surrender there is no greatness possible in literature, any more than in religion, or in anything else. It is always a trait of the master that he is not afraid of being compromised by the company he keeps. He is the central and main fact in any company. Nothing so lowly but he will do it reverence; nothing so high but he can stand in its presence. His theme is the river, and he the ample and willing channel. Little natures love to disparage and take down; they do it in self-defense; but the master gives you all, and more than your due. Whitman does not stand aloof, superior, a priest or a critic: he abandons himself to all the strong human currents; he enters into and affiliates with every phase of life; he bestows himself royally upon whoever and whatever will receive him. There is no competition between himself and his subject; he is not afraid of over-praising, or making too much of the commonest individual. What exalts others exalts him.
We have had great help in Emerson in certain ways,—first-class service. He probes the conscience and the moral purpose as few men have done, and gives much needed stimulus there. But, after him, the need is all the more pressing for a broad, powerful, opulent, human personality to absorb these ideals, and to make something more of them than fine sayings. With Emerson alone we are rich in sunlight, but poor in rain and dew,—poor, too, in soil, and in the moist, gestating earth principle. Emerson's tendency is not to broaden and enrich, but to concentrate and refine.
Then, is there not an excessive modesty, without warrant in philosophy or nature, dwindling us in this country, drying us up in the viscera? Is there not a decay—a deliberate, strange abnegation and dread—of sane sexuality, of maternity and paternity, among us, and in our literary ideals and social types of men and women? For myself, I welcome any evidence to the contrary, or any evidence that deeper and counteracting agencies are at work, as unspeakably precious. I do not know where this evidence is furnished in such ample measure as in the pages of Walt Whitman. The great lesson of nature, I take it, is that a sane sensuality must be preserved at all hazards, and this, it seems to me, is also the great lesson of his writings. The point is fully settled in him that, however they may have been held in abeyance or restricted to other channels, there is still sap and fecundity, and depth of virgin soil in the race, sufficient to produce a man of the largest mould and the most audacious and unconquerable egotism, and on a plane the last to be reached by these qualities; a man of antique stature, of Greek fibre and gripe, with science and the modern added, without abating one jot or tittle of his native force, adhesiveness, Americanism, and democracy.
As I have already hinted, Whitman has met with by far his amplest acceptance and appreciation in Europe. There is good reason for this, though it is not what has been generally claimed, namely, that the cultivated classes of Europe are surfeited with respectability, half dead with ennui and routine, and find an agreeable change in the daring unconventionality of the new poet. For the fact is, it is not the old and jaded minds of London, or Paris, or Dublin, or Copenhagen, that have acknowledged him, but the fresh, eager, young minds. Nine tenths of his admirers there are the sturdiest men in the fields of art, science, and literature.
In many respects, as a race, we Americans have been pampered and spoiled; we have been brought up on sweets. I suppose that, speaking literally, no people under the sun consume so much confectionery, so much pastry and cake, or indulge in so many gassy and sugared drinks. The soda-fountain, with its syrups, has got into literature, and furnishes the popular standard of poetry. The old heroic stamina of our ancestors, that craved the bitter but nourishing home-brewed, has died out, and in its place there is a sickly cadaverousness that must be pampered and cosseted. Among educated people here there is a mania for the bleached, the double-refined,—white houses, white china, white marble, and white skins. We take the bone and sinew out of the flour in order to have white bread, and are bolting our literature as fast as possible.
It is for these and kindred reasons that Walt Whitman is more read abroad than in his own country. It is on the rank, human, and emotional side—sex, magnetism, health, physique,—that he is so full. Then his receptivity and assimilative powers are enormous, and he demands these in his reader. In fact, his poems are physiological as much as they are intellectual. They radiate from his entire being, and are charged to repletion with that blended quality of mind and body—psychic and physiologic—which the living form and presence send forth. Never before in poetry has the body received such ennoblement. The great theme is IDENTITY, and identity comes through the body; and all that pertains to the body, the poet teaches, is entailed upon the spirit. In his rapt gaze, the body and the soul are one, and what debases the one debases the other. Hence he glorifies the body. Not more ardently and purely did the great sculptors of antiquity carve it in the enduring marble than this poet has celebrated it in his masculine and flowing lines. The bearing of his work in this direction is invaluable. Well has it been said that the man or the woman who has "Leaves of Grass" for a daily companion will be under the constant, invisible influence of sanity, cleanliness, strength, and a gradual severance from all that corrupts and makes morbid and mean.
In regard to the unity and construction of the poems, the reader sooner or later discovers the true solution to be, that the dependence, cohesion, and final reconciliation of the whole are in the Personality of the poet himself. As in Shakespeare everything is strung upon the plot, the play, and loses when separated from it, so in this poet every line and sentence refers to and necessitates the Personality behind it, and derives its chief significance therefrom. In other words, "Leaves of Grass" is essentially a dramatic poem, a free representation of man in his relation to the outward world,—the play, the interchanges between him and it, apart from social and artificial considerations,—in which we discern the central purpose or thought to be for every man and woman his or her Individuality, and around that, Nationality. To show rather than to tell,—to body forth as in a play how these arise and blend; how the man is developed and recruited, his spirit's descent; how he walks through materials absorbing and conquering them; how he confronts the immensities of time and space; where are the true sources of his power, the soul's real riches,—that which "adheres and goes forward and is not dropped by death;" how he is all defined and published and made certain through his body; the value of health and physique; the great solvent, Sympathy,—to show the need of larger and fresher types in art and in life, and then how the state is compacted, and how the democratic idea is ample and composite, and cannot fail us,—to show all this, I say, not as in a lecture or a critique, but suggestively and inferentially,—to work it out freely and picturesquely, with endless variations, with person and picture and parable and adventure, is the lesson and object of "Leaves of Grass." From the first line, where the poet says,
"I loafe and invite my Soul,"
to the last, all is movement and fusion,—all is clothed in flesh and blood. The scene changes, the curtain rises and falls, but the theme is still Man,—his opportunities, his relations, his past, his future, his sex, his pride in himself, his omnivorousness, his "great hands," his yearning heart, his seething brain, the abysmal depths that underlie him and open from him, all illustrated in the poet's own character,—he the chief actor always. His personality directly facing you, and with its eye steadily upon you, runs through every page, spans all the details, and rounds and completes them, and compactly holds them. This gives the form and the art conception, and gives homogeneousness.
When Tennyson sends out a poem, it is perfect, like an apple or a peach; slowly wrought out and dismissed, it drops from his boughs holding a conception or an idea that spheres it and makes it whole. It is completed, distinct, and separate,—might be his, or might be any man's. It carries his quality, but it is a thing of itself, and centres and depends upon itself. Whether or not the world will hereafter consent, as in the past, to call only beautiful creations of this sort poems, remains to be seen. But this is certainly not what Walt Whitman does, or aims to do, except in a few cases. He completes no poems apart and separate from himself, and his pages abound in hints to that effect:—