O I could sing such grandeurs and glories about you! You have not known what you are—you have slumber'd upon yourself all your life; What you have done returns already in mockeries.
But the mockeries are not you; Underneath them, and within them, I see you lurk; I pursue you where none else has pursued you; Silence, the desk, the flippant expression, the night, the accustom'd routine, if these conceal you from others, or from yourself, they do not conceal you from me; The shaved face, the unsteady eye, the impure complexion, if these balk others, they do not balk me, The pert apparel, the deform'd attitude, drunkenness, greed, premature death, all these I part aside.
There is no endowment in man or woman that is not tallied in you; There is no virtue, no beauty, in man or woman, but as good is in you; No pluck, no endurance in others, but as good is in you; No pleasure waiting for others, but an equal pleasure waits for you.
Whoever you are! claim your own at any hazard! These shows of the east and west are tame, compared to you; These immense meadows—these interminable rivers—you are immense and interminable as they; You are he or she who is master or mistress over them, Master or mistress in your own right over Nature, elements, pain, passion, dissolution.
The hopples fall from your ankles—you find an unfailing sufficiency; Old or young, male or female, rude, low, rejected by the rest, whatever you are promulges itself; Through birth, life, death, burial, the means are provided, nothing is scanted; Through angers, losses, ambition, ignorance, ennui, what you are picks its way.
Verily a fine and moving poem, in any case, but there are two ways of taking it, both useful.
One is the monistic way, the mystical way of pure cosmic emotion. The glories and grandeurs, they are yours absolutely, even in the midst of your defacements. Whatever may happen to you, whatever you may appear to be, inwardly you are safe. Look back, LIE back, on your true principle of being! This is the famous way of quietism, of indifferentism. Its enemies compare it to a spiritual opium. Yet pragmatism must respect this way, for it has massive historic vindication.
But pragmatism sees another way to be respected also, the pluralistic way of interpreting the poem. The you so glorified, to which the hymn is sung, may mean your better possibilities phenomenally taken, or the specific redemptive effects even of your failures, upon yourself or others. It may mean your loyalty to the possibilities of others whom you admire and love so, that you are willing to accept your own poor life, for it is that glory's partner. You can at least appreciate, applaud, furnish the audience, of so brave a total world. Forget the low in yourself, then, think only of the high. Identify your life therewith; then, through angers, losses, ignorance, ennui, whatever you thus make yourself, whatever you thus most deeply are, picks its way.
In either way of taking the poem, it encourages fidelity to ourselves. Both ways satisfy; both sanctify the human flux. Both paint the portrait of the YOU on a gold-background. But the background of the first way is the static One, while in the second way it means possibles in the plural, genuine possibles, and it has all the restlessness of that conception.
Noble enough is either way of reading the poem; but plainly the pluralistic way agrees with the pragmatic temper best, for it immediately suggests an infinitely larger number of the details of future experience to our mind. It sets definite activities in us at work. Altho this second way seems prosaic and earthborn in comparison with the first way, yet no one can accuse it of tough-mindedness in any brutal sense of the term. Yet if, as pragmatists, you should positively set up the second way AGAINST the first way, you would very likely be misunderstood. You would be accused of denying nobler conceptions, and of being an ally of tough-mindedness in the worst sense.