Specimen Days & Collect

by Walt Whitman

  The fatal defects our American singers labor under are subordination of spirit, an absence of the concrete and of real patriotism, and in excess that modern æsthetic contagion a queer friend of mine calls the beauty disease. “The immoderate taste for beauty and art,” says Charles Baudelaire, “leads men into monstrous excesses. In minds imbued with a frantic greed for the beautiful, all the balances of truth and justice disappear. There is a lust, a disease of the art faculties, which eats up the moral like a cancer.”

  Of course, by our plentiful verse-writers there is plenty of service perform’d, of a kind. Nor need we go far for a tally. We see, in every polite circle, a class of accomplish’d, good-natured persons, (“society,” in fact, could not get on without them,) fully eligible for certain problems, times, and duties—to mix eggnog, to mend the broken spectacles, to decide whether the stew’d eels shall precede the sherry or the sherry the stew’d eels, to eke out Mrs. A. B.’s parlor-tableaux with monk, Jew, lover, Puck, Prospero, Caliban, or what not, and to generally contribute and gracefully adapt their flexibilities and talents, in those ranges, to the world’s service. But for real crises, great needs and pulls, moral or physical, they might as well have never been born.

  Or the accepted notion of a poet would appear to be a sort of male odalisque, singing or piano-playing a kind of spiced ideas, secondhand reminiscenes, or toying late hours at entertainments, in rooms stifling with fashionable scent. I think I haven’t seen a new-publish’d, healthy, bracing, simple lyric in ten years. Not long ago, there were verses in each of three fresh monthlies, from leading authors, and in every one the whole central motif (perfectly serious) was the melancholiness of a marriageable young woman who didn’t get a rich husband, but a poor one!

  Besides its tonic and al fresco physiology, relieving such as this, the poetry of the future will take on character in a more important respect. Science, having extirpated the old stock-fables and superstitions, is clearing a field for verse, for all the arts, and even for romance, a hundred-fold ampler and more wonderful, with the new principles behind. Republicanism advances over the whole world. Liberty, with Law by her side, will one day be paramount—will at any rate be the central idea. Then only—for all the splendor and beauty of what has been, or the polish of what is—then only will the true poets appear, and the true poems. Not the satin and patchouly of to-day, not the glorification of the butcheries and wars of the past, nor any fight between Deity on one side and somebody else on the other—not Milton, not even Shakspere’s plays, grand as they are. Entirely different and hitherto unknown classes of men, being authoritatively called for in imaginative literature, will certainly appear. What is hitherto most lacking, perhaps most absolutely indicates the future. Democracy has been hurried on through time by measureless tides and winds, resistless as the revolution of the globe, and as far-reaching and rapid. But in the highest walks of art it has not yet had a single representative worthy of it anywhere upon the earth.

  Never had real bard a task more fit for sublime ardor and genius than to sing worthily the songs these States have already indicated. Their origin, Washington, ’76, the picturesqueness of old times, the war of 1812 and the sea-fights; the incredible rapidity of movement and breadth of area—to fuse and compact the South and North, the East and West, to express the native forms, situations, scenes, from Montauk to California, and from the Saguenay to the Rio Grande—the working out on such gigantic scales, and with such a swift and mighty play of changing light and shade, of the great problems of man and freedom,—how far ahead of the stereotyped plots, or gem-cutting, or tales of love, or wars of mere ambition! Our history is so full of spinal, modern, germinal subjects—one above all. What the ancient siege of Ilium, and the puissance of Hector’s and Agamemnon’s warriors proved to Hellenic art and literature, and all art and literature since, may prove the war of attempted secession of 1861–’65 to the future æsthetics, drama, romance, poems of the United States.

  Nor could utility itself provide anything more practically serviceable to the hundred millions who, a couple of generations hence, will inhabit within the limits just named, than the permeation of a sane, sweet, autochthonous national poetry—must I say of a kind that does not now exist? but which, I fully believe, will in time be supplied on scales as free as Nature’s elements. (It is acknowledged that we of the States are the most materialistic and money-making people ever known. My own theory, while fully accepting this, is that we are the most emotional, spiritualistic, and poetry-loving people also.)

  Infinite are the new and orbic traits waiting to be launch’d forth in the firmament that is, and is to be, America. Lately, I have wonder’d whether the last meaning of this cluster of thirty-eight States is not only practical fraternity among themselves—the only real union, (much nearer its accomplishment, too, than appears on the surface)—but for fraternity over the whole globe—that dazzling, pensive dream of ages! Indeed, the peculiar glory of our lands, I have come to see, or expect to see, not in their geographical or republican greatness, nor wealth or products, nor military or naval power, nor special, eminent names in any department, to shine with, or outshine, foreign special names in similar departments,—but more and more in a vaster, saner, more surrounding Comradeship, uniting closer and closer not only the American States, but all nations, and all humanity. That, O poets! is not that a theme worth chanting, striving for? Why not fix your verses henceforth to the gauge of the round globe? the whole race? Perhaps the most illustrious culmination of the modern may thus prove to be a signal growth of joyous, more exalted bards of adhesiveness, identically one in soul, but contributed by every nation, each after its distinctive kind. Let us, audacious, start it. Let the diplomats, as ever, still deeply plan, seeking advantages, proposing treaties between governments, and to bind them, on paper: what I seek is different, simpler. I would inaugurate from America, for this purpose, new formulas—international poems. I have thought that the invisible root out of which the poetry deepest in, and dearest to, humanity grows, is Friendship. I have thought that both in patriotism and song (even amid their grandest shows past) we have adhered too long to petty limits, and that the time has come to enfold the world.

  Not only is the human and artificial world we have establish’d in the West a radical departure from anything hitherto known—not only men and politics, and all that goes with them—but Nature itself, in the main sense, its construction, is different. The same old font of type, of course, but set up to a text never composed or issued before. For Nature consists not only in itself, objectively, but at least just as much in its subjective reflection from the person, spirit, age, looking at it, in the midst of it, and absorbing it—faithfully sends back the characteristic beliefs of the time or individual—takes, and readily gives again, the physiognomy of any nation or literature—falls like a great elastic veil on a face, or like the molding plaster on a statue.

  What is Nature? What were the elements, the invisible backgrounds and eidólons of it, to Homer’s heroes, voyagers, gods? What all through the wanderings of Virgil’s Æneas? Then to Shakspere’s characters—Hamlet, Lear, the English-Norman kings, the Romans? What was Nature to Rousseau, to Voltaire, to the German Goethe in his little classical court gardens? In those presentments in Tennyson (see the “Idyls of the King”—what sumptuous, perfumed, arras-and-gold Nature, inimitably described, better than any, fit for princes and knights and peerless ladies—wrathful or peaceful, just the same—Vivien and Merlin in their strange dalliance, or the death-float of Elaine, or Geraint and the long journey of his disgraced Enid and himself through the wood, and the wife all day driving the horses,) as in all the great imported art-works, treatises, systems, from Lucretius down, there is a constantly lurking, often pervading something, that will have to be eliminated, as not only unsuited to modern democracy and science in America, but insulting to them, and disproved by them.m

  Still, the rule and demesne of poetry will always be not the exterior, but interior; not the macrocosm, but
microcosm; not Nature, but Man. I haven’t said anything about the imperative need of a race of giant bards in the future, to hold up high to eyes of land and race the eternal antiseptic models, and to dauntlessly confront greed, injustice, and all forms of that wiliness and tyranny whose roots never die—(my opinion is, that after all the rest is advanced, that is what first-class poets are for; as, to their days and occasions, the Hebrew lyrists, Roman Juvenal, and doubtless the old singers of India, and the British Druids)—to counteract dangers, immensest ones, already looming in America—measureless corruption in politics—what we call religion, a mere mask of wax or lace;—for ensemble, that most cankerous, offensive of all earth’s shows—a vast and varied community, prosperous and fat with wealth of money and products and business ventures—plenty of mere intellectuality too—and then utterly without the sound, prevailing, moral and æsthetic health-action beyond all the money and mere intellect of the world.

  Is it a dream of mine that, in times to come, west, south, east, north, will silently, surely arise a race of such poets, varied, yet one in soul—nor only poets, and of the best, but newer, larger prophets—larger than Judea’s, and more passionate—to meet and penetrate those woes, as shafts of light the darkness?

  As I write, the last fifth of the nineteenth century is enter’d upon, and will soon be waning. Now, and for a long time to come, what the United States most need, to give purport, definiteness, reason why, to their unprecedented material wealth, industrial products, education by rote merely, great populousness and intellectual activity, is the central, spinal reality, (or even the idea of it,) of such a democratic band of native-born-and-bred teachers, artists, littérateurs, tolerant and receptive of importations, but entirely adjusted to the West, to ourselves, to our own days, combinations, differences, superiorities. Indeed, I am fond of thinking that the whole series of concrete and political triumphs of the Republic are mainly as bases and preparations for half a dozen future poets, ideal personalities, referring not to a special class, but to the entire people, four or five millions of square miles.

  Long, long are the processes of the development of a nationality. Only to the rapt vision does the seen become the prophecy of the unseen.n Democracy, so far attending only to the real, is not for the real only, but the grandest ideal—to justify the modern by that, and not only to equal, but to become by that superior to the past. On a comprehensive summing up of the processes and present and hitherto condition of the United States, with reference to their future, and the indispensable precedents to it, my point, below all surfaces, and subsoiling them, is, that the bases and prerequisites of a leading nationality are, first, at all hazards, freedom, worldly wealth and products on the largest and most varied scale, common education and intercommunication, and, in general, the passing through of just the stages and crudities we have passed or are passing through in the United States.

  Then, perhaps, as weightiest factor of the whole business, and of the main outgrowths of the future, it remains to be definitely avow’d that the native-born middle-class population of quite all the United States—the average of farmers and mechanics everywhere—the real, though latent and silent bulk of America, city or country, presents a magnificent mass of material, never before equaled on earth. It is this material, quite unexpress’d by literature or art, that in every respect insures the future of the republic. During the Secession War I was with the armies, and saw the rank and file, North and South, and studied them for four years. I have never had the least doubt about the country in its essential future since.

  Meantime, we can (perhaps) do no better than to saturate ourselves with, and continue to give imitations, yet awhile, of the æsthetic models, supplies, of that past and of those lands we spring from. Those wondrous stores, reminiscences, floods, currents! Let them flow on, flow hither freely. And let the sources be enlarged, to include not only the works of British origin, as now, but stately and devout Spain, courteous France, profound Germany, the manly Scandinavian lands, Italy’s art race, and always the mystic Orient. Remembering that at present, and doubtless long ahead, a certain humility would well become us. The course through time of highest civilization, does it not wait the first glimpse of our contribution to its cosmic train of poems, bibles, first-class structures, perpetuities—Egypt and Palestine and India—Greece and Rome and mediæval Europe—and so onward? The shadowy procession is not a meagre one, and the standard not a low one. All that is mighty in our kind seems to have already trod the road. Ah, never may America forget her thanks and reverence for samples, treasures such as these—that other life-blood, inspiration, sunshine, hourly in use to-day, all days, forever, through her broad demesne!

  All serves our New World progress, even the bafflers, head-winds, cross-tides. Through many perturbations and squalls, and much backing and filling, the ship, upon the whole, makes unmistakably for her destination. Shakspere has served, and serves, may-be, the best of any.

  For conclusion, a passing thought, a contrast, of him who, in my opinion, continues and stands for the Shaksperean cultus at the present day among all English-writing peoples—of Tennyson, his poetry. I find it impossible, as I taste the sweetness of those lines, to escape the flavor, the conviction, the lush-ripening culmination, and last honey of decay (I dare not call it rottenness) of that feudalism which the mighty English dramatist painted in all the splendors of its noon and afternoon. And how they are chanted—both poets! Happy those kings and nobles to be so sung, so told! To run their course—to get their deeds and shapes in lasting pigments—the very pomp and dazzle of the sunset!

  Meanwhile, democracy waits the coming of its bards in silence and in twilight—but ’tis the twilight of the dawn.

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  A MEMORANDUM AT A VENTURE.

  “All is proper to be express’d, provided our aim is only high enough.”

  —J. F. Millet.

  “The candor of science is the glory of the modern. It does not hide and repress; it confronts, turns on the light. It alone has perfect faith—faith not in a part only, but all. Does it not undermine the old religious standards? Yes, in God’s truth, by excluding the devil from the theory of the universe—by showing that evil is not a law in itself, but a sickness, a perversion of the good, and the other side of the good—that in fact all of humanity, and of everything, is divine in its bases, its eligibilities.”

  SHALL the mention of such topics as I have briefly but plainly and resolutely broach’d in the “Children of Adam” section of Leaves of Grass be admitted in poetry and literature? Ought not the innovation to be put down by opinion and criticism? and, if those fail, by the District Attorney? True, I could not construct a poem which declaredly took, as never before, the complete human identity, physical, moral, emotional, and intellectual, (giving precedence and compass in a certain sense to the first,) nor fulfil that bona fide candor and entirety of treatment which was a part of my purpose, without comprehending this section also. But I would entrench myself more deeply and widely than that. And while I do not ask any man to indorse my theory, I confess myself anxious that what I sought to write and express, and the ground I built on, shall be at least partially understood, from its own platform. The best way seems to me to confront the question with entire frankness.

  There are, generally speaking, two points of view, two conditions of the world’s attitude toward these matters; the first, the conventional one of good folks and good print everywhere, repressing any direct statement of them, and making allusions only at second or third hand—(as the Greeks did of death, which, in Hellenic social culture, was not mention’d point-blank, but by euphemisms.) In the civilization of to-day, this condition—without stopping to elaborate the arguments and facts, which are many and varied and perplexing—has led to states of ignorance, repressal, and cover’d over disease and depletion, forming certainly a main factor in the world’s woe. A non-scientific, non-æsthetic, and eminently non-religious condition, bequeath’d to us from the past,
(its origins diverse, one of them the far-back lessons of benevolent and wise men to restrain the prevalent coarseness and animality of the tribal ages—with Puritanism, or perhaps Protestantism itself for another, and still another specified in the latter part of this memorandum)—to it is probably due most of the ill births, inefficient maturity, snickering pruriency, and of that human pathologic evil and morbidity which is, in my opinion, the keel and reason-why of every evil and morbidity. Its scent, as of something sneaking, furtive, mephitic, seems to lingeringly pervade all modern literature, conversation, and manners.

  The second point of view, and by far the largest—as the world in working-day dress vastly exceeds the world in parlor toilette—is the one of common life, from the oldest times down, and especially in England, (see the earlier chapters of “Taine’s English Literature,” and see Shakspere almost anywhere,) and which our age to-day inherits from riant stock, in the wit, or what passes for wit, of masculine circles, and in erotic stories and talk, to excite, express, and dwell on, that merely sensual voluptuousness which, according to Victor Hugo, is the most universal trait of all ages, all lands. This second condition, however bad, is at any rate like a disease which comes to the surface, and therefore less dangerous than a conceal’d one.

  The time seems to me to have arrived, and America to be the place, for a new departure—a third point of view. The same freedom and faith and earnestness which, after centuries of denial, struggle, repression, and martyrdom, the present day brings to the treatment of politics and religion, must work out a plan and standard on this subject, not so much for what is call’d society, as for thoughtfulest men and women, and thoughtfulest literature. The same spirit that marks the physiological author and demonstrator on these topics in his important field, I have thought necessary to be exemplified, for once, in another certainly not less important field.