Whitman Part 1

Whitman.

by John Burroughs.

"_All original art is self-regulated, and no original art can be regulated from without; it carries its own counterpoise, and does not receive it from elsewhere._"--TAINE.

"_If you want to tell good Gothic, see if it has the sort of roughness and largeness and nonchalance, mixed in places with the exquisite tenderness which seems always to be the sign manual of the broad vision and ma.s.sy power of men who can see_ past _the work they are doing, and betray here and there something like disdain for it._"--RUSKIN.

"_Formerly, during the period termed cla.s.sic, when literature was governed by recognized rules, he was considered the best poet who had composed the most perfect work, the most beautiful poem, the most intelligible, the most agreeable to read, the most complete in every respect,--the aeneid, the Gerusalemme, a fine tragedy. To-day something else is wanted. For us the greatest poet is he who in his works most stimulates the reader's imagination and reflection, who excites him the most himself to poetize.

The greatest poet is not he who has done the best, it is he who suggests the most; he, not all of whose meaning is at first obvious, and who leaves you much to desire, to explain, to study, much to complete in your turn._"--SAINTE-BEUVE.

WHITMAN

PRELIMINARY

I

The writing of this preliminary chapter, and the final survey and revision of my Whitman essay, I am making at a rustic house I have built at a wild place a mile or more from my home upon the river. I call this place Whitman Land, because in many ways it is typical of my poet,--an amphitheatre of precipitous rock, slightly veiled with a delicate growth of verdure, enclosing a few acres of prairie-like land, once the site of an ancient lake, now a garden of unknown depth and fertility. Elemental ruggedness, savageness, and grandeur, combined with wonderful tenderness, modernness, and geniality. There rise the gray scarred cliffs, crowned here and there with a dead hemlock or pine, where, morning after morning, I have seen the bald-eagle perch, and here at their feet this level area of tender humus, with three perennial springs of delicious cold water flowing in its margin; a huge granite bowl filled with the elements and potencies of life. The scene has a strange fascination for me, and holds me here day after day. From the highest point of rocks I can overlook a long stretch of the river and of the farming country beyond; I can hear owls hoot, hawks scream, and roosters crow. Birds of the garden and orchard meet birds of the forest upon the s.h.a.ggy cedar posts that uphold my porch. At dusk the call of the whippoorwill mingles with the chorus of the pickerel frogs, and in the morning I hear through the robins' cheerful burst the sombre plaint of the mourning-dove. When I tire of my ma.n.u.script, I walk in the woods, or climb the rocks, or help the men clear up the ground, piling and burning the stumps and rubbish. This scene and situation, so primitive and secluded, yet so touched with and adapted to civilization, responding to the moods of both sides of the life and imagination of a modern man, seems, I repeat, typical in many ways of my poet, and is a veritable Whitman land. Whitman does not to me suggest the wild and unkempt as he seems to do to many; he suggests the cosmic and the elemental, and this is one of the dominant thoughts that run through my dissertation. Scenes of power and savagery in nature were more welcome to him, probably more stimulating to him, than the scenes of the pretty and placid, and he cherished the hope that he had put into his "Leaves" some of the tonic and fortifying quality of Nature in her more grand and primitive aspects.

His wildness is only the wildness of the great primary forces from which we draw our health and strength. Underneath all his unloosedness, or free launching forth of himself, is the sanity and repose of nature.

II

I first became acquainted with Whitman's poetry through the columns of the old "Sat.u.r.day Press" when I was twenty or twenty-one years old (1858 or 1859). The first things I remember to have read were "There was a child went forth," "This Compost," "As I ebb'd with the Ocean of Life," "Old Ireland," and maybe a few others. I was attracted by the new poet's work from the first. It seemed to let me into a larger, freer air than I found in the current poetry. Meeting Bayard Taylor about this time, I spoke to him about Whitman. "Yes," he said, "there is something in him, but he is a man of colossal egotism."

A few years later a friend sent me a copy of the Thayer & Eldridge edition of "Leaves of Gra.s.s" of 1860. It proved a fascinating but puzzling book to me. I grazed upon it like a colt upon a mountain, taking what tasted good to me, and avoiding what displeased me, but having little or no conception of the purport of the work as a whole. I found pa.s.sages and whole poems here and there that I never tired of reading, and that gave a strange fillip to my moral and intellectual nature, but nearly as many pa.s.sages and poems puzzled or repelled me. My absorption of Emerson had prepared me in a measure for Whitman's philosophy of life, but not for the ideals of character and conduct which he held up to me, nor for the standards in art to which the poet perpetually appealed. Whitman was Emerson translated from the abstract into the concrete. There was no privacy with Whitman; he never sat me down in a corner with a cozy, comfortable shut-in feeling, but he set me upon a hill or started me upon an endless journey.

Wordsworth had been my poet of nature, of the sequestered and the idyllic; but I saw that here was a poet of a larger, more fundamental nature, indeed of the Cosmos itself. Not a poet of dells and fells, but of the earth and the orbs. This much soon appeared to me, but I was troubled by the poet's apparent "colossal egotism," by his att.i.tude towards evil, declaring himself "to be the poet of wickedness also;" by his seeming attraction toward the turbulent and the disorderly; and, at times, by what the critics had called his cataloguing style of treatment.

When I came to meet the poet himself, which was in the fall of 1863, I felt less concern about these features of his work; he was so sound and sweet and gentle and attractive as a man, and withal so wise and tolerant, that I soon came to feel the same confidence in the book that I at once placed in its author, even in the parts which I did not understand. I saw that the work and the man were one, and that the former must be good as the latter was good. There was something in the manner in which both the book and its author carried themselves under the sun, and in the way they confronted America and the present time, that convinced beyond the power of logic or criticism.

The more I saw of Whitman, and the more I studied his "Leaves," the more significance I found in both, and the clearer it became to me that a new type of a man and a new departure in poetic literature were here foreshadowed. There was something forbidding, but there was something vital and grand back of it. I found to be true what the poet said of himself,--

"Bearded, sunburnt, gray-neck'd, forbidding, I have arrived, To be wrestled with as I pa.s.s for the solid prizes of the universe, For such I afford whoever can persevere to win them,"--

I have persevered in my study of the poet, though balked many times, and the effect upon my own mental and spiritual nature has been great; no such "solid prizes" in the way of a broader outlook upon life and nature, and, I may say, upon art, has any poet of my time afforded me. There are pa.s.sages or whole poems in the "Leaves" which I do not yet understand ("Sleep-Chasings" is one of them), though the language is as clear as daylight; they are simply too subtle or elusive for me; but my confidence in the logical soundness of the book is so complete that I do not trouble myself at all about these things.

III

I would fain make these introductory remarks to my essay a sort of window through which the reader may get a fairly good view of what lies beyond.

If he does not here get any glimpse or suggestion of what pleases him, or of what he is looking for, it will hardly be worth while for him to trouble himself further.

A great many readers, perhaps three fourths of the readers of current poetry, and not a few of the writers thereof, cannot stand Whitman at all, or see any reason for his being. To such my essay, if it ever comes to their notice, will be a curiosity, may be an offense. But I trust it will meet with a different reception at the hands of the smaller but rapidly growing circle of those who are beginning to turn to Whitman as the most imposing and significant figure in our literary annals.

The rapidly growing Whitman literature attests the increasing interest to which I refer. Indeed, it seems likely that by the end of the century the literature which will have grown up around the name of this man will surpa.s.s in bulk and value that which has grown up around the name of any other man of letters born within the century.

When Mr. Stedman wrote his essay upon the poet early in the eighties, he referred to the ma.s.s of this literature. It has probably more than doubled in volume in the intervening years: since Whitman's death in the spring of '92, it has been added to by William Clark's book upon the poet, Professor Trigg's study of Browning and Whitman, and the work of that accomplished critic and scholar, so lately gone to his rest, John Addington Symonds.

This last is undoubtedly the most notable contribution that has yet been made, or is likely very soon to be made, to the Whitman literature. Mr.

Symonds declares that "Leaves of Gra.s.s," which he first read at the age of twenty-five, influenced him more than any other book has done, except the Bible,--more than Plato, more than Goethe.

When we remember that the man who made this statement was eminently a man of books, deeply read in all literatures, his testimony may well offset that of a score of our home critics who find nothing worthy or helpful in Whitman's work. One positive witness in such a matter outweighs any number of negative ones.

IV

For making another addition to the growing Whitman literature, I have no apology to offer. I know well enough that "writing and talk" cannot "prove" a poet; that he must be his own proof or be forgotten; and my main purpose in writing about Whitman, as in writing about nature, is to tell readers what I have found there, with the hope of inducing them to look for themselves. At the same time, I may say that I think no modern poet so much needs to be surrounded by an atmosphere of comment and interpretation, through which readers may approach him, as does Whitman.

His work sprang from a habit or att.i.tude of mind quite foreign to that with which current literature makes us familiar,--so germinal is it, and so little is it beholden to the formal art we so a.s.siduously cultivate.

The poet says his work "connects lovingly with precedents," but it does not connect lovingly with any body of poetry of this century. "Leaves of Gra.s.s" is bound to be a shock to the timid and pampered taste of the majority of current readers. I would fain lessen this shock by interposing my own pages of comment between the book and the public. The critic can say so many things the poet cannot. He can explain and qualify and a.n.a.lyze, whereas the creative artist can only hint or project. The poet must hasten on, he must infold and bind together, he must be direct and synthetic in every act. Reflection and qualification are not for him, but action, emotion, volition, the procreant blending and surrender. He works as Nature does, and gives us reality in every line.

Whitman says:--

"I charge you forever reject those who would expound me, for I cannot expound myself."

The type of mind of Whitman's, which seldom or never emerges as a mere mentality, an independent thinking and knowing faculty, but always as a personality, always as a complete human ent.i.ty, never can expound itself, because its operations are synthetic and not a.n.a.lytic, its mainspring is love and not mere knowledge. In his prose essay called "A Backward Glance o'er Travel'd Roads," appended to the final edition of his poems, Whitman has not so much sought to expound himself as to put his reader in possession of his point of view, and of the considerations that lie back of his work. This chapter might render much that I have written superfluous, were there not always a distinct gain in seeing an author through another medium, or in getting the equivalents of him in the thoughts and ideals of a kindred and sympathetic mind. But I have not consciously sought to expound Whitman, any more than in my other books I have sought to expound the birds or wild nature. I have written out some things that he means to me, and the pleasure and profit I have found in his pages.

There is no end to what can be drawn out of him. It has been said and repeated that he was not a thinker, and yet I find more food for thought in him than in all other poets. It has been often said and repeated that he is not a poet, and yet the readers that respond to him the most fully appear to be those in whom the poetic temperament is paramount. I believe he supplies in fuller measure that pristine element, something akin to the unbreathed air of mountain and sh.o.r.e, which makes the arterial blood of poetry and literature, than any other modern writer.

V

We can make little of Whitman unless we allow him to be a law unto himself, and seek him through the clews which he himself brings. When we try him by current modes, current taste, and demand of him formal beauty, formal art, we are disappointed. But when we try him by what we may call the scientific standard, the standard of organic nature, and demand of him the vital and the characteristic,--demand of him that he have a law of his own, and fulfill that law in the poetic sphere,--the result is quite different.

More than any other poet, Whitman is what we make him; more than any other poet, his greatest value is in what he suggests and implies, rather than in what he portrays; and more than any other poet must he wait to be understood by the growth of the taste of himself. "I make the only growth by which I can be appreciated," he truly says.

His words are like the manna that descended upon the Israelites, "in which were all manner of tastes; and every one found in it what his palate was chiefly pleased with. If he desired fat in it, he had it. In it the young men tasted bread; the old men honey; and the children oil." Many young men,--poets, artists, teachers, preachers,--have testified that they have found bread in Whitman, the veritable bread of life; others have found honey, sweet poetic morsels; and not a few report having found only gall.

VI

In considering an original work like "Leaves of Gra.s.s," the search is always for the grounds upon which it is to be justified and explained.

These grounds in this work are not easy to find; they lie deeper than the grounds upon which the popular poets rest. Because they are not at once seen, many readers have denied that there are any such grounds. But to deny a basis of reality to a work with the history of "Leaves of Gra.s.s,"

and a basis well grounded on aesthetic and artistic principles, is not to be thought of.

The more the poet eludes us, the more we know he has his hiding-place somewhere. The more he denies our standards, the more we know he has standards of his own which we must discover; the more he flouts at our literary conventions, the more we must press him for his own principles and methods. How does he justify himself to himself? Could any sane man have written the Children of Adam poems who was not sustained by deepest moral and aesthetic convictions? It is the business of the critic to search for these principles and convictions, and not shirk the task by ridicule and denial.

VII

If there was never any change in taste, if it always ran in the same channels,--indeed, if it did not at times run in precisely opposite channels,--there would be little hope that Walt Whitman's poetry would ever find any considerable number of readers. But one of the laws that dominate the progress of literature, as Edmond Sherer says, is incessant change, not only in thought and ideas, but in taste and the starting-points of art. A radical and almost violent change in these respects is indicated by Whitman,--a change which is in unison with many things in modern life and morals, but which fairly crosses the prevailing taste in poetry and in art. No such dose of realism and individualism under the guise of poetry has been administered to the reading public in this century. No such break with literary traditions--no such audacious attempt to tally, in a printed page, the living concrete man, an actual human presence, instead of the conscious, made-up poet--is to be found in modern literary records.