"I used to see Whitman often when he and I were working in Washington. And he came up to see me here. When I was in Washington Whitman used to like to come up to our house for Sunday morning breakfast. Mrs. Burroughs makes capital pancakes, and Walt was very fond of them, but he was always late for breakfast. The coffee would boil over, the griddle would smoke, car after car would go jingling by, and no Walt. But a car would stop at last, and Walt would roll off it and saunter up to the door—cheery, vigorous, serene, putting every one in good humor. And how he ate! He radiated health and hopefulness. This is what made his work among the sick soldiers in Washington of such inestimable value. Every one who came into personal relations with him felt his rare, compelling charm.
"Very few young literary men of Whitman's day accepted him. Stedman did, and the fact is greatly to his credit. Howells and Aldrich were repelled by his bigness. All the Boston poets except Emerson hesitated. Emerson didn't hesitate—unlike Lowell and Holmes, he kept open house for big ideas."
I asked Mr. Burroughs what, in his opinion, had brought about the change in the world's attitude toward Whitman.
"Well," he replied, looking thoughtfully into the radiant depths of the open fire, "when Whitman first appeared we were all subservient to the conventional standards of English literature. We understood and appreciated only the pretty and exact. Whitman came in his working-man's garb, in his shirt sleeves he sauntered into the parlor of literature.
"We resented it. But the young men nowadays are more liberal. More and more Whitman is forcing on them his open-air standards. Science supplemented by the human heart gives us a bigger and freer world than our forefathers knew. And then the European acceptance of Whitman had had its effect. We take our point of view so largely from Europe. And a force like Whitman's must be felt slowly; it's a cumulative thing."
"You believe," I said, "that Whitman is our greatest poet?"
"Oh yes," he replied, "Whitman is the greatest poet America has produced. He is great with the qualities that make Homer and the classic poets great. Emerson is more precious, more intellectual. Whitman and Emerson are our two greatest poets."
While we strolled over the pleasant turf and watched a wood-thrush resting in the cool of the evening above her half-built nest among the cherry blossoms, John Burroughs returned to the subject that we had discussed on our way from the station—the city's evil effect on literature.
"Business life," he said, "is inimical to poetry. To write poetry you must get into an atmosphere utterly different from that of the city. And one of the greatest of all enemies of literature is the newspaper. The style of writing that the newspaper has brought into existence is as far as possible from art and literature. When you are writing for a daily paper, you don't try to say a thing in a poetic or artistic way, but in an efficient way, in a business-like way. There is no appeal to the imagination, no ideality. A newspaper is a noisy thing that goes out into the street and shouts its way into the attention of people.
"If you are going to write poetry you must say to certain phases of the newspapers, 'Get thee behind me, Satan!' A poet can't be developing his gossiping faculty and turning everything hot off the griddle. The daily paper is a new institution, and it has come to stay. But it has bad manners, and it is the enemy of all meditation, all privacy, all things that make for great art.