Specimen Days & Collect

by Walt Whitman

  It must still be reiterated, as, for the purpose of these memoranda, the deep lesson of history and time, that all else in the contributions of a nation or age, through its politics, materials, heroic personalities, military éclat, &c., remains crude, and defers, in any close and thorough-going estimate, until vitalized by national, original archetypes in literature. They only put the nation in form, finally tell anything—prove, complete anything—perpetuate anything. Without doubt, some of the richest and most powerful and populous communities of the antique world, and some of the grandest personalities and events, have, to after and present times, left themselves entirely unbequeath’d. Doubtless, greater than any that have come down to us, were among those lands, heroisms, persons, that have not come down to us at all, even by name, date, or location. Others have arrived safely, as from voyages over wide, century-stretching seas. The little ships, the miracles that have buoy’d them, and by incredible chances safely convey’d them, (or the best of them, their meaning and essence,) over long wastes, darkness, lethargy, ignorance, &c., have been a few inscriptions—a few immortal compositions, small in size, yet compassing what measureless values of reminiscence, contemporary portraitures, manners, idioms and beliefs, with deepest inference, hint and thought, to tie and touch forever the old, new body, and the old, new soul! These! and still these! bearing the freight so dear—dearer than pride—dearer than love. All the best experience of humanity, folded, saved, freighted to us here. Some of these tiny ships we call Old and New Testament, Homer, Æschylus, Plato, Juvenal, &c. Precious minims! I think, if we’re forced to choose, rather than have you, and the likes of you, and what belongs to, and has grown of you, blotted out and gone, we could better afford, appalling as that would be, to lose all actual ships, this day fasten’d by wharf, or floating on wave, and see them, with all their cargoes, scuttled and sent to the bottom.

  Gather’d by geniuses of city, race or age, and put by them in highest of art’s forms, namely, the literary form, the peculiar combinations and the outshows of that city, age, or race, its particular modes of the universal attributes and passions, its faiths, heroes, lovers and gods, wars, traditions, struggles, crimes, emotions, joys, (or the subtle spirit of these,) having been pass’d on to us to illumine our own selfhood, and its experiences—what they supply, indispensable and highest, if taken away, nothing else in all the world’s boundless storehouses could make up to us, or ever again return.

  For us, along the great highways of time, those monuments stand—those forms of majesty and beauty. For us those beacons burn through all the nights. Unknown Egyptians, graving hieroglyphs; Hindus, with hymn and apothegm and endless epic; Hebrew prophet, with spirituality, as in flashes of lightning, conscience like red-hot iron, plaintive songs and screams of vengeance for tyrannies and enslavement; Christ, with bent head, brooding love and peace, like a dove; Greek, creating eternal shapes of physical and esthetic proportion; Roman, lord of satire, the sword, and the codex;—of the figures, some far off and veil’d, others nearer and visible; Dante, stalking with lean form, nothing but fibre, not a grain of superfluous flesh; Angelo, and the great painters, architects, musicians; rich Shakspere, luxuriant as the sun, artist and singer of feudalism in its sunset, with all the gorgeous colors, owner thereof, and using them at will; and so to such as German Kant and Hegel, where they, though near us, leaping over the ages, sit again, impassive, imperturbable, like the Egyptian gods. Of these, and the like of these, is it too much, indeed, to return to our favorite figure, and view them as orbs and systems of orbs, moving in free paths in the spaces of that other heaven, the kosmic intellect, the soul?

  Ye powerful and resplendent ones! ye were, in your atmospheres, grown not for America, but rather for her foes, the feudal and the old—while our genius is democratic and modern. Yet could ye, indeed, but breathe your breath of life into our New World’s nostrils—not to enslave us, as now, but, for our needs, to breed a spirit like your own—perhaps, (dare we to say it?) to dominate, even destroy, what you yourselves have left! On your plane, and no less, but even higher and wider, must we mete and measure for to-day and here. I demand races of orbic bards, with unconditional uncompromising sway. Come forth, sweet democratic despots of the west!

  By points like these we, in reflection, token what we mean by any land’s or people’s genuine literature. And thus compared and tested, judging amid the influence of loftiest products only, what do our current copious fields of print, covering in manifold forms, the United States, better, for an analogy, present, than, as in certain regions of the sea, those spreading, undulating masses of squid, through which the whale swimming, with head half out, feeds?

  Not but that doubtless our current so-called literature, (like an endless supply of small coin,) performs a certain service, and may-be, too, the service needed for the time, (the preparation-service, as children learn to spell.) Everybody reads, and truly nearly everybody writes, either books, or for the magazines or journals. The matter has magnitude, too, after a sort. But is it really advancing? or, has it advanced for a long while? There is something impressive about the huge editions of the dailies and weeklies, the mountain-stacks of white paper piled in the press-vaults, and the proud, crashing, ten-cylinder presses, which I can stand and watch any time by the half hour. Then, (though the States in the field of imagination present not a single first-class work, not a single great literatus,) the main objects, to amuse, to titillate, to pass away time, to circulate the news, and rumors of news, to rhyme and read rhyme, are yet attain’d, and on a scale of infinity. To-day, in books, in the rivalry of writers, especially novelists, success, (so call’d,) is for him or her who strikes the mean flat average, the sensational appetite for stimulus, incident, persiflage, &c., and depicts, to the common calibre, sensual, exterior life. To such, or the luckiest of them, as we see, the audiences are limitless and profitable; but they cease presently. While this day, or any day, to workmen portraying interior or spiritual life, the audiences were limited, and often laggard—but they last forever.

  Compared with the past, our modern science soars, and our journals serve—but ideal and even ordinary romantic literature, does not, I think, substantially advance. Behold the prolific brood of the contemporary novel, magazine-tale, theatre-play, &c. The same endless thread of tangled and superlative love-story, inherited, apparently from the Amadises and Palmerins of the 13th, 14th, and 15th centuries over there in Europe. The costumes and associations brought down to date, the seasoning hotter and more varied, the dragons and ogres left out—but the thing, I should say, has not advanced—is just as sensational, just as strain’d—remains about the same, nor more, nor less.

  What is the reason our time, our lands, that we see no fresh local courage, sanity, of our own—the Mississippi, stalwart Western men, real mental and physical facts, Southerners, &c., in the body of our literature? especially the poetic part of it. But always, instead, a parcel of dandies and ennuyées, dapper little gentlemen from abroad, who flood us with their thin sentiment of parlors, parasols, pianosongs, tinkling rhymes, the five-hundredth importation—or whimpering and crying about something, chasing one aborted conceit after another, and forever occupied in dyspeptic amours with dyspeptic women. While, current and novel, the grandest events and revolutions, and stormiest passions of history, are crossing to-day with unparallel’d rapidity and magnificence over the stages of our own and all the continents, offering new materials, opening new vistas, with largest needs, inviting the daring launching forth of conceptions in literature, inspired by them, soaring in highest regions, serving art in its highest, (which is only the other name for serving God, and serving humanity,) where is the man of letters, where is the book, with any nobler aim than to follow in the old track, repeat what has been said before—and, as its utmost triumph, sell well, and be erudite or elegant?

  Mark the roads, the processes, through which these States have arrived, standing easy, henceforth ever-equal, ever-compact, in their range to-day. European adventures
? the most antique? Asiatic or African? old history—miracles—romances? Rather, our own unquestion’d facts. They hasten, incredible, blazing bright as fire. From the deeds and days of Columbus down to the present, and including the present—and especially the late Secession war—when I con them, I feel, every leaf, like stopping to see if I have not made a mistake, and fall’n on the splendid figments of some dream. But it is no dream. We stand, live, move, in the huge flow of our age’s materialism—in its spirituality. We have had founded for us the most positive of lands. The founders have pass’d to other spheres—but what are these terrible duties they have left us?

  Their politics the United States have, in my opinion, with all their faults, already substantially establish’d, for good, on their own native, sound, long-vista’d principles, never to be overturn’d, offering a sure basis for all the rest. With that, their future religious forms, sociology, literature, teachers, schools, costumes, &c., are of course to make a compact whole, uniform, on tallying principles. For how can we remain, divided, contradicting ourselves, this way?d I say we can only attain harmony and stability by consulting ensemble and the ethic purports, and faithfully building upon them. For the New World, indeed, after two grand stages of preparation-strata, I perceive that now a third stage, being ready for, (and without which the other two were useless,) with unmistakable signs appears. The First stage was the planning and putting on record the political foundation rights of immense masses of people—indeed all people—in the organization of republican National, State, and municipal governments, all constructed with reference to each, and each to all. This is the American programme, not for classes, but for universal man, and is embodied in the compacts of the Declaration of Independence, and, as it began and has now grown, with its amendments, the Federal Constitution—and in the State governments, with all their interiors, and with general suffrage; those having the sense not only of what is in themselves, but that their certain several things started, planted, hundreds of others in the same direction duly arise and follow. The Second stage relates to material prosperity, wealth, produce, labor-saving machines, iron, cotton, local, State and continental railways, intercommunication and trade with all lands, steamships, mining, general employment, organization of great cities, cheap appliances for comfort, numberless technical schools, books, newspapers, a currency for money circulation, &c. The Third stage, rising out of the previous ones, to make them and all illustrious, I, now, for one, promulge, announcing a native expression-spirit, getting into form, adult, and through mentality, for these States, self-contain’d, different from others, more expansive, more rich and free, to be evidenced by original authors and poets to come, by American personalities, plenty of them, male and female, traversing the States, none excepted—and by native superber tableaux and growths of language, songs, operas, orations, lectures, architecture—and by a sublime and serious Religious Democracy sternly taking command, dissolving the old, sloughing off surfaces, and from its own interior and vital principles, reconstructing, democratizing society.

  For America, type of progress, and of essential faith in man, above all his errors and wickedness—few suspect how deep, how deep it really strikes. The world evidently supposes, and we have evidently supposed so too, that the States are merely to achieve the equal franchise, an elective government—to inaugurate the respectability of labor, and become a nation of practical operatives, law-abiding, orderly and well-off. Yes, those are indeed parts of the task of America; but they not only do not exhaust the progressive conception, but rather arise, teeming with it, as the mediums of deeper, higher progress. Daughter of a physical revolution—mother of the true revolutions, which are of the interior life, and of the arts. For so long as the spirit is not changed, any change of appearance is of no avail.

  The old men, I remember as a boy, were always talking of American independence. What is independence? Freedom from all laws or bonds except those of one’s own being, control’d by the universal ones. To lands, to man, to woman, what is there at last to each, but the inherent soul, nativity, idiocrasy, free, highest-poised, soaring its own flight, following out itself?

  At present, these States, in their theology and social standards, (of greater importance than their political institutions,) are entirely held possession of by foreign lands. We see the sons and daughters of the New World, ignorant of its genius, not yet inaugurating the native, the universal, and the near, still importing the distant, the partial, and the dead. We see London, Paris, Italy—not original, superb, as where they belong—but secondhand here, where they do not belong. We see the shreds of Hebrews, Romans, Greeks; but where, on her own soil, do we see, in any faithful, highest, proud expression, America herself? I sometimes question whether she has a corner in her own house.

  Not but that in one sense, and a very grand one, good theology, good art, or good literature, has certain features shared in common. The combination fraternizes, ties the races—is, in many particulars, under laws applicable indifferently to all, irrespective of climate or date, and, from whatever source, appeals to emotions, pride, love, spirituality, common to humankind. Nevertheless, they touch a man closest, (perhaps only actually touch him,) even in these, in their expression through autochthonic lights and shades, flavors, fondnesses, aversions, specific incidents, illustrations, out of his own nationality, geography, surroundings, antecedents, &c. The spirit and the form are one, and depend far more on association, identity and place, than is supposed. Subtly interwoven with the materiality and personality of a land, a race—Teuton, Turk, Californian, or what not—there is always something—I can hardly tell what it is—history but describes the results of it—it is the same as the untellable look of some human faces. Nature, too, in her stolid forms, is full of it—but to most it is there a secret. This something is rooted in the invisible roots, the profoundest meanings of that place, race, or nationality; and to absorb and again effuse it, uttering words and products as from its midst, and carrying it into highest regions, is the work, or a main part of the work, of any country’s true author, poet, historian, lecturer, and perhaps even priest and philosoph. Here, and here only, are the foundations for our really valuable and permanent verse, drama, &c.

  But at present, (judged by any higher scale than that which finds the chief ends of existence to be to feverishly make money during one-half of it, and by some “amusement,” or perhaps foreign travel, flippantly kill time, the other half,) and consider’d with reference to purposes of patriotism, health, a noble personality, religion, and the democratic adjustments, all these swarms of poems, literary magazines, dramatic plays, resultant so far from American intellect, and the formation of our best ideas, are useless and a mockery. They strengthen and nourish no one, express nothing characteristic, give decision and purpose to no one, and suffice only the lowest level of vacant minds.

  Of what is called the drama, or dramatic presentation in the United States, as now put forth at the theatres, I should say it deserves to be treated with the same gravity, and on a par with the questions of ornamental confectionery at public dinners, or the arrangement of curtains and hangings in a ball room—nor more, nor less. Of the other, I will not insult the reader’s intelligence, (once really entering into the atmosphere of these Vistas,) by supposing it necessary to show, in detail, why the copious dribble, either of our little or well-known rhymesters, does not fulfil, in any respect, the needs and august occasions of this land. America demands a poetry that is bold, modern, and all-surrounding and kosmical, as she is herself. It must in no respect ignore science or the modern, but inspire itself with science and the modern. It must bend its vision toward the future, more than the past. Like America, it must extricate itself from even the greatest models of the past, and, while courteous to them, must have entire faith in itself, and the products of its own democratic spirit only. Like her, it must place in the van, and hold up at all hazards, the banner of the divine pride of man in himself, (the radical foundation of the new religion.) Long enough h
ave the People been listening to poems in which common humanity, deferential, bends low, humiliated, acknowledging superiors. But America listens to no such poems. Erect, inflated, and fully self-esteeming be the chant; and then America will listen with pleased ears.

  Nor may the genuine gold, the gems, when brought to light at last, be probably usher’d forth from any of the quarters currently counted on. To-day, doubtless, the infant genius of American poetic expression, (eluding those highly-refined imported and gilt-edged themes, and sentimental and butterfly flights, pleasant to orthodox publishers—causing tender spasms in the coteries, and warranted not to chafe the sensitive cuticle of the most exquisitely artificial gossamer delicacy,) lies sleeping far away, happily unrecognized and uninjur’d by the coteries, the art-writers, the talkers and critics of the saloons, or the lecturers in the colleges—lies sleeping, aside, unrecking itself, in some western idiom, or native Michigan or Tennessee repartee, or stump-speech—or in Kentucky or Georgia, or the Carolinas—or in some slang or local song or allusion of the Manhattan, Boston, Philadelphia or Baltimore mechanic—or up in the Maine woods—or off in the hut of the California miner, or crossing the Rocky mountains, or along the Pacific railroad—or on the breasts of the young farmers of the northwest, or Canada, or boatmen of the lakes. Rude and coarse nursing-beds, these; but only from such beginnings and stocks, indigenous here, may haply arrive, be grafted, and sprout, in time, flowers of genuine American aroma, and fruits truly and fully our own.

  I say it were a standing disgrace to these States—I say it were a disgrace to any nation, distinguish’d above others by the variety and vastness of its territories, its materials, its inventive activity, and the splendid practicality of its people, not to rise and soar above others also in its original styles in literature and art, and its own supply of intellectual and esthetic masterpieces, archetypal, and consistent with itself. I know not a land except ours that has not, to some extent, however small, made its title clear. The Scotch have their born ballads, subtly expressing their past and present, and expressing character. The Irish have theirs. England, Italy, France, Spain, theirs. What has America? With exhaustless mines of the richest ore of epic, lyric, tale, tune, picture, &c., in the Four Years’ War; with, indeed, I sometimes think, the richest masses of material ever afforded a nation, more variegated, and on a larger scale—the first sign of proportionate, native, imaginative Soul, and first-class works to match, is, (I cannot too often repeat,) so far wanting.