Whitman Part 19

XI

Our critics have been fond of taunting Whitman with the fact that the common people, the workers, of whom he makes so much, and to whom he perpetually appeals, do not read him, or show any liking for his poems at all.

Whitman's appeal to the common people, to the democratic ma.s.ses, is an appeal to the future; it is an appeal to the universal human conscience and intelligence, as they exist above and beneath all special advantages of birth and culture and stand related to the total system of things. It also calls attention to the fact that the spirit in which he writes, and in which he is to be read, is the spirit of open-air life and nature.

"No school or shutter'd room commune with me, But roughs and little children, better than they,"

because the simple, unforced, unrefined elements of human nature are those out of which the poems sprang and with which they are charged. Their spirit is closer akin to unlettered humanity than to the over-intellectual and sophisticated products of the schools.

Of course "roughs and little children" can make nothing of "Leaves of Gra.s.s," but unless the trained reader has that fund of fresh, simple, wholesome nature, and the love for real things, which unlettered humanity possesses, he will make nothing of it either.

XII

It has been truly said that "the n.o.blest seer is ever over-possessed."

This has been the case with nearly all original, first-cla.s.s men. Carlyle furnished a good ill.u.s.tration of its truth in our own time. He was over-possessed with his idea of the hero and hero-wors.h.i.+p. And it may be that Whitman was over-possessed with the idea of democracy, America, nationality, and the need of a radically new departure in poetic literature. Yet none knew better than he that in the long run the conditions of life and of human happiness and progress remain about the same; that the same price must still be paid for the same things; that character alone counts; that the same problem "how to live" ever confronts us; and that democracy, America, nationality, are only way stations, and by no means the end of the route. The all-leveling tendency of democracy is certainly not in the interest of literature. The world is not saved by the average man, but by the man much above the average, the rare and extraordinary man,--by the "remnant," as Arnold called them.

No one knew this better than Whitman, and he said that "one main genesis-motive" of his "Leaves" was the conviction that the crowning growth of the United States was to be spiritual and heroic. Only "superb persons" can finally justify him.

HIS RELATION TO SCIENCE

I

The stupendous disclosures of modern science, and what they mean when translated into the language of man's ethical and aesthetic nature, have not yet furnished to any considerable extent the inspiration of poems.

That all things are alike divine, that this earth is a star in the heavens, that the celestial laws and processes are here underfoot, that size is only relative, that good and bad are only relative, that forces are convertible and interchangeable, that matter is indestructible, that death is the law of life, that man is of animal origin, that the sum of forces is constant, that the universe is a complexus of powers inconceivably subtle and vital, that motion is the law of all things,--in fact, that we have got rid of the notions of the absolute, the fixed, the arbitrary, and the notion of origins and of the dualism of the world,--to what extent will these and kindred ideas modify art and all aesthetic production? The idea of the divine right of kings and the divine authority of priests is gone; that, in some other time or some other place G.o.d was nearer man than now and here,--this idea is gone. Indeed, the whole of man's spiritual and religious belief which forms the background of literature has changed,--a change as great as if the sky were to change from blue to red or to orange. The light of day is different. But literature deals with life, and the essential conditions of life, you say, always remain the same. Yes, but the expression of their artistic values is forever changing. If we ask where is the modern imaginative work that is based upon these revelations of science, the work in which they are the blood and vital juices, I answer, "Leaves of Gra.s.s," and no other. The work is the outgrowth of science and modern ideas, just as truly as Dante is the outgrowth of mediaeval ideas and superst.i.tions; and the imagination, the creative spirit, is just as unhampered in Whitman as in Dante or in Shakespeare. The poet finds the universe just as plastic and ductile, just as obedient to his will, and just as ready to take the impress of his spirit, as did these supreme artists. Science has not hardened it at all.

The poet opposes himself to it, and masters it and rises superior. He is not balked or oppressed for a moment. He knows from the start what science can bring him, what it can give, and what it can take away; he knows the universe is not orphaned; he finds more grounds than ever for a paean of thanksgiving and praise. His conviction of the ident.i.ty of soul and body, matter and spirit, does not shake his faith in immortality in the least.

His faith arises, not from half views, but from whole views. In him the idea of the soul, of humanity, of ident.i.ty, easily balanced the idea of the material universe. Man was more than a match for nature. It was all for him, and not for itself. His enormous egotism, or hold upon the central thought or instinct of human worth and import, was an anchor that never gave way. Science sees man as the ephemeron of an hour, an iridescent bubble on a seething, whirling torrent, an accident in a world of incalculable and clas.h.i.+ng forces. Whitman sees him as inevitable and as immortal as G.o.d himself. Indeed, he is quite as egotistical and anthropomorphic, though in an entirely different way, as were the old bards and prophets before the advent of science. The whole import of the universe is directed to one man,--to you. His anthropomorphism is not a projection of himself into nature, but an absorption of nature in himself.

The tables are turned. It is not alien or superhuman beings that he sees and hears in nature, but his own that he finds everywhere. All G.o.ds are merged in himself.

Not the least fear, not the least doubt or dismay, in this book. Not one moment's hesitation or losing of the way. And it is not merely an intellectual triumph, but the triumph of soul and personality. The iron knots are not untied, they are melted. Indeed, the poet's contentment and triumph in view of the fullest recognition of all the sin and sorrow of the world, and of all that baffles and dwarfs, is not the least of the remarkable features of the book.

II

Whitman's relation to science is fundamental and vital. It is the soil under his feet. He comes into a world from which all childish fear and illusion has been expelled. He exhibits the religious and poetic faculties perfectly adjusted to a scientific, industrial, democratic age, and exhibits them more fervent and buoyant than ever before. We have gained more than we have lost. The world is anew created by science and democracy, and he p.r.o.nounces it good with the joy and fervor of the old faith.

He shared with Tennyson the glory of being one of the two poets of note in our time who have drawn inspiration from this source, or viewed the universe through the vistas which science opens. Renan thought the modern poetic or imaginative contemplation of the universe puerile and fact.i.tious compared with the scientific contemplation of it. The one, he said, was stupendous; the other childish and empty. But Whitman and Tennyson were fully abreast with science, and often afford one a sweep of vision that matches the best science can do. Tennyson drew upon science more for his images and ill.u.s.trations than Whitman did; he did not absorb and appropriate its results in the wholesale way of the latter. Science fed Whitman's imagination and made him bold; its effects were moral and spiritual. On Tennyson its effects were mainly intellectual; it enlarged his vocabulary without strengthening his faith. Indeed, one would say, from certain pa.s.sages in "In Memoriam," that it had distinctly weakened his faith. Let us note for a moment the different ways these two poets use science. In his poem to Fitzgerald, Tennyson draws upon the nebular hypothesis for an image:--

"A planet equal to the sun Which cast it, that large infidel Your Omar."

In "Despair" there crops out another bold inference of science, the vision "of an earth that is dead."

"The homeless planet at length will be wheel'd thro' the silence of s.p.a.ce, Motherless evermore of an ever-vanis.h.i.+ng race."

In the "Epilogue" he glances into the sidereal heavens:--

"The fires that arch this dusky dot-- Yon myriad-worlded way-- The vast sun-cl.u.s.ters' gather'd blaze, World-isles in lonely skies, Whole heavens within themselves, amaze Our brief humanities."

As our American poet never elaborates in the Tennysonian fas.h.i.+on, he does not use science as material, but as inspiration. His egoism and anthropomorphic tendency are as great as those of the early bards, and he makes everything tell for the individual. Let me give a page or two from the "Song of Myself," ill.u.s.trative of his att.i.tude in this respect:--

"I find I incorporate gneiss, coal, long-threaded moss, fruits, grains, esculent roots, And am stuccoed with quadrupeds and birds all over, And have distanced what is behind me for good reasons, And call anything close again, when I desire it.

"In vain the speeding or shyness, In vain the plutonic rocks send their old heat against any approach, In vain the mastodon retreats beneath its own powdered bones, In vain objects stand leagues off, and a.s.sume manifold shapes, In vain the ocean settling in hollows, and the great monsters lying low, In vain the buzzard houses herself with the sky, In vain the snake slides through the creepers and logs, In vain the elk takes to the inner pa.s.ses of the woods, In vain the razor-billed auk sails far north to Labrador, I follow quickly, I ascend to the nest in the fissure of the cliff.

"I am an acme of things accomplished, and I an endorser of things to be.

My feet strike an apex of the apices of the stairs, On every step bunches of ages, and large bunches between the steps, All below duly traveled, and still I mount and mount.

"Rise after rise bow the phantoms behind me, Afar down I see the huge first Nothing--I know I was even there, I waited unseen and always, and slept through the lethargic mist, And took my time, and took no hurt from the fetid carbon.

"Long I was hugged close--long and long.

Immense have been the preparations for me, Faithful and friendly the arms that have helped me, Cycles ferried my cradle, rowing and rowing like cheerful boatmen, For room to me stars kept aside in their own rings, They sent influences to look after what was to hold me.

"Before I was born out of my mother, generations guided me, My embryo has never been torpid--nothing could overlay it.

For it the nebula cohered to an orb, The long, slow strata piled to rest it in, Vast vegetables gave it sustenance, Monstrous sauroids transported it in their mouths, and deposited it with care.

All forces have been steadily employed to complete and delight me, Now I stand on this spot with my Soul.

"I open my scuttle at night and see the far-sprinkled systems, And all I see, multiplied as high as I can cipher, edge but the rim of the farther systems: Wider and wider they spread, expanding, always expanding, Outward, outward, and forever outward: My sun has his sun, and around him obediently wheels; He joins with his partners a group of superior circuit, And greater sets follow, making specks of the greatest inside them.

"There is no stoppage, and never can be stoppage.

If I, you, the worlds, all beneath or upon their surfaces, and all the palpable life, were this moment reduced back to a pallid float, it would not avail in the long run.

We should surely bring up again where we now stand, And as surely go as much farther--and then farther and farther.

A few quadrillions of eras, a few octillions of cubic leagues, do not hazard the span or make it impatient.

They are but parts--anything is but a part, See ever so far, there is limitless s.p.a.ce outside of that, Count ever so much, there is limitless time around that."

In all cases, Whitman's vision is as large as that of science, but it is always the vision of a man and not that of a philosopher. His report of the facts has an imaginative lift and a spiritual significance which the man of science cannot give them. In him, for the first time, a personality has appeared that cannot be dwarfed and set aside by those things. He does not have to stretch himself at all to match in the human and emotional realm the stupendous discoveries and deductions of science. In him man refuses to stand aside and acknowledge himself of no account in the presence of the cosmic laws and areas. It is all for him, it is all directed to him; without him the universe is an empty void. This is the "full-spread pride of man," the pride that refuses to own any master outside of itself.

"I know my omnivorous words, and cannot say any less, And would fetch you, whoever you are, flush with myself."

HIS RELATION TO RELIGION

Whitman, as I have elsewhere said, was swayed by two or three great pa.s.sions, and the chief of these was doubtless his religious pa.s.sion. He thrilled to the thought of the mystery and destiny of the soul.

"The soul, Forever and forever--longer than soil is brown and solid--longer than water ebbs and flows."

He urged that there could be no permanent national grandeur, and no worthy manly or womanly development, without religion.

"I specifically announce that the real and permanent grandeur of these States must be their Religion, Otherwise there is no real and permanent grandeur."