in libraries I lie as one dumb, a gawk, or unborn, or dead,)But just possibly with you on a high hill, first watching lest any person for miles around approach unawares,
Or possibly with you sailing at sea, or on the beach of the sea or some quiet island,
Here to put your lips upon mine I permit you,
With the comrade's long-dwelling kiss or the new husband's kiss,
For I am the new husband and I am the comrade.
"Or, if you will, thrusting me beneath your clothing,
Where I may feel the throbs of your heart or rest upon your hip,
Carry me when you go forth over land or sea;
For thus merely touching you is enough, is best,
And thus touching you would I silently sleep and be carried eternally.
"But these leaves conning you con at peril,
For these leaves and me you will not understand,
They will elude you at first and still more afterward, I will certainly elude you,
Even while you should think you had unquestionably caught me, behold!
Already you see I have escaped from you.
"For it is not for what I have put into it that I have written this book,
Nor is it by reading it you will acquire it,
Nor do those know me best who admire me and vauntingly praise me,
Nor will the candidates for my love (unless at most a very few) prove victorious,
Nor will my poems do good only, they will do just as much evil, perhaps more,
For all is useless without that for which you may guess at many times and not hit, that which I hinted at,
Therefore release me and depart on your way."
When one has fully mastered this poem he has got a pretty good hold upon Whitman's spirit and method. His open-air standards, the baffling and elusive character of his work, the extraordinary demand it makes, its radical and far-reaching effects upon life, its direct cognizance of evil as a necessary part of the good (there was a human need of sin, said Margaret Fuller) its unbookish spirit and affiliations, its indirect and suggestive method, that it can be fully read only through our acquaintance with life and real things at first hand, etc.,—all this and more is in the poem.
HIS SELF-RELIANCE
I
IT is over sixty years since Goethe said that to be a German author was to be a German martyr. I presume things have changed in Germany since those times, and that the Goethe of to-day does not encounter the jealousy and hatred the great poet and critic of Weimar seemed to have called forth. In Walt Whitman we in America have known an American author who was an American martyr in a more literal sense than any of the men named by the great German. More than Heine, or Rousseau, or Molière, or Byron, was Whitman a victim of the literary Philistinism of his country and times; but, fortunately for himself, his was a nature so large, tolerant, and self-sufficing that his martyrdom sat very lightly upon him. His unpopularity was rather a tonic to him than otherwise. It was of a kind that tries a man's mettle, and brings out his heroic traits if he has any. One almost envies him his unpopularity. It was of the kind that only the greatest ones have experienced, and that attests something extraordinary in the recipient of it. He said he was more resolute because all had denied him than he ever could have been had all accepted, and he added:—
"I heed not and have never heeded either cautions, majorities, nor ridicule."
There are no more precious and tonic pages in history than the records of men who have faced unpopularity, odium, hatred, ridicule, detraction, in obedience to an inward voice, and never lost courage or good-nature. Whitman's is the most striking case in our literary annals,—probably the most striking one in our century outside of politics and religion. The inward voice alone was the oracle he obeyed: "My commission obeying, to question it never daring."
The bitter-sweet cup of unpopularity he drained to its dregs, and drained it cheerfully, as one knowing beforehand that it is preparing for him and cannot be avoided.
"Have you learn'd lessons only of those who admired you and were tender with you? and stood aside for you?
Have you not learn'd great lessons from those who reject you, and brace themselves against you? or who
treat you with contempt, or dispute the passage with you?"
Every man is a partaker in the triumph of him who is always true to himself and makes no compromises with customs, schools, or opinions. Whitman's life, underneath its easy tolerance and cheerful good-will, was heroic. He fought his battle against great odds and he conquered; he had his own way, he yielded not a hair to the enemy.
The pressure brought to bear upon him by the press, by many of his friends, and by such a man as Emerson, whom he deeply reverenced, to change or omit certain passages from his poems, seems only to have served as the opposing hammer that clinched the nail. The louder the outcry the more deeply he felt it his duty to stand by his first convictions. The fierce and scornful opposition to his sex poems, and to his methods and aims generally, was probably more confirmatory than any approval could have been. It went to the quick. During a dark period of his life, when no publisher would touch his book and when its exclusion from the mails was threatened, and poverty and paralysis were upon him, a wealthy Philadelphian offered to furnish means for its publication if he would omit certain poems; but the poet does not seem to have been tempted for one moment by the offer. He cheerfully chose the heroic part, as he always did.
Emerson reasoned and remonstrated with him for hours, walking up and down Boston Common, and after he had finished his argument, says Whitman, which was unanswerable, "I felt down in my soul the clear and unmistakable conviction to disobey all, and pursue my own way." He told Emerson so, whereupon they went and dined together. The independence of the poet probably impressed Emerson more than his yielding would have done, for had not he preached the adamantine doctrine of self-trust? "To believe your own thought," he says, "to believe that what is true for you in your private heart is true of all men,—that is genius."
In many ways was Whitman, quite unconsciously to himself, the man Emerson invoked and prayed for,—the absolutely self-reliant man; the man who should find his own day and land sufficient; who had no desire to be Greek, or Italian, or French, or English, but only himself; who should not whine, or apologize, or go abroad; who should not duck, or deprecate, or borrow; and who could see through the many disguises and debasements of our times the lineaments of the same gods that so ravished the bards of old.
The moment a man "acts for himself," says Emerson, "tossing the laws, the books, idolatries, and customs out of the window, we pity him no more, but thank and revere him."
Whitman took the philosopher at his word. "Greatness once and forever has done with opinion," even the opinion of the good Emerson. "Heroism works in contradiction to the voice of mankind, and in contradiction, for a time, to the voice of the great and good." "Every heroic act measures itself by its contempt of some external good,"—popularity, for instance. "The characteristic of heroism is persistency." "When you have chosen your part abide by it, and do not weakly try to reconcile
