Monday, April 30, 2012

Common Themes of Transcendentalism

enotes:

Self-Wisdom
Quite simply, Transcendentalism is based on the belief that human beings have self-wisdom and may gain this knowledge or wisdom by tuning in to the ebb and flow of nature. Transcendentalism revolves around the self, specifically the betterment of the self. Where Emerson and his followers differed from earlier philosophical and religious beliefs was in the idea that human beings had innate knowledge and could connect with God directly rather than through an institution such as organized religion. Transcendentalism celebrated the self, an important step in the construction of American identity, better understood as the notion of American individualism—one of the cornerstones of American democracy.

Different writers conceived of the search for self-knowledge in different ways. Whitman’s response was a grand celebration of the self in all its complexity and beauty and contradictions. He begins the poem “Song of Myself” with the bold line, “I celebrate myself.” He offers up to his readers, “I loafe and invite my Soul, / I lean and loafe at my ease . . . observing a spear of summer grass.” Leaves of Grass is filled with such celebration.
Thoreau took a slightly different path toward self-knowledge. Walden is a study of solitude. He says, “I find it wholesome to be alone the greater part of the time. . . . I never found the companion that was so companionable as solitude.” For him, self-discovery comes as the result of intense reflection. Self-knowledge has political implications as well. Once the individual has established a moral code, it becomes his or her duty to peacefully protest and engage in civil disobedience against the government should governmental policies violate that code. Thoreau’s opposition to slavery led to his refusal to pay a poll tax supporting the Mexican War, an act that landed him in jail for a night. For Thoreau, self-discovery was not simply an intangible concept, it was a way of living.
Nature and Its Meaning
Nature is the focal point for much transcendentalist thought and writing. As a theme, it is so central to the movement that Emerson’s cornerstone essay is entitled Nature and serves as an investigation into nature and its relationship to the soul. For transcendentalists, nature and the soul were inextricably linked. In the rhythms and seasons of the natural world, transcendentalists found comfort and divinity. In the increasingly industrialized and fragmented world in which they lived, the search for meaning in nature was of great importance. Emerson, Thoreau, Whitman, Hawthorne, Fuller, Melville, and others saw possibility, liberation, and beauty in nature.

Emerson writes in Nature, “Let us interrogate the great apparition, that shines so peacefully around us. Let us inquire, to what end is nature?” For Emerson, nature is a direct line to God, and its “meaning” is directly linked to God’s “meaning.” His definition of God and meaning is clearly different than that of the conservative Unitarian Church from which he split.
A follower of Emerson, Thoreau took ideas from Emerson’s work and put them into practice. He saw nature as not just an awe-inspiring force but a way of life. Thoreau offers up the following advice in Walden: “Let us spend one day as deliberately as Nature, and not be thrown off the track by every nutshell and mosquito’s wing that falls on the rails.” For Thoreau, nature is pure because it is free from commercialization and industrialization. It is both a respite and a teacher. The transcendentalists were not reactionary or opposed to the modernization of the world; they were, however, concerned that such modernization could lead to alienation. Nature provided a way to keep humans in touch with their souls and with their spiritual foundations.
Social Reform
Regarding social issues, transcendentalists were considered visionaries in their attitudes toward such issues as social protest, elimination of slavery, women’s rights, creative and participatory education for children, and labor reform. Transcendentalism became a venue for social reform because it revolved around the idea of liberation. Transcendentalist writers may have had as their immediate goal the liberation of the soul, but that goal expanded to social liberation as more and more thinkers joined the transcendentalist school of thought.

Founded as an alternative to conservative, organized religion, Transcendentalism had countercultural tendencies from its inception. From the free flowing, free verse of Whitman to the civil disobedience of Thoreau to Fuller’s radical notion that men and women were social and intellectual equals, the movement was engaged in many controversial social arenas.
As the editor of the transcendentalist publication The Dial, Fuller often published controversial pieces. As the author of Woman in the Nineteenth Century, she invited debate and controversy. Her essay is a call to action for women and men to change society. She laments:
The lot of Woman is sad. She is constituted to expect and need happiness that cannot exist on earth. She must stifle such aspirations within her secret heart, and fit herself, as well as she can, for a life of resignations and consolations.
Clearly this is not an acceptable life to Fuller, just as slavery is unacceptable to Thoreau. In “Resistance to Civil Government,” Thoreau states, “Unjust laws exist: shall we be content to obey them, or shall we endeavor to amend them, and obey them until we have succeeded, or shall we transgress them at once?” Thoreau’s answer was to transgress, and go to jail if necessary, for as he says, “Under a government which imprisons any unjustly, the true place for a just man is also a prison.” Along with slavery and gender issues, class issues also came to the forefront in the nineteenth century, revealing a new kind of slavery—wage slavery. Transcendentalists experimented with socialist communes, such as George Ripley’s Brook Farm and Alcott’s Fruitlands. These experiments were short lived. The legacy of civil disobedience served America and the world well, as it went on to inspire Gandhi and Martin Luther King, Jr., to lead peaceful social protests. In addition, Fuller is often read as a precursor to modern feminism and is seen as a woman ahead of her time.

Friday, April 27, 2012

Transcendentalism Paper

Today in class, begin working on your paper.  Try to plan out what you will write and aim to create a strong introduction.

Here is the TASK:

"Re-examine All You Have Been Told":  Emerson, Whitman and Thoreau

TASK: What are the central themes of American Transcendentalism?  After reading the writings of Emerson, Whitman, and Thoreau, write a synthesis essay 5-7 pages that defines and explains the central themes of American Transcendentalism.  Support your discussion with evidence from the texts you have read.  What implications can you draw from these readings that pertain to contemporary society?  (i.e. What relevance do these ideas have for the world today?)

1. So, what are the central themes of Transcendentalism? How would you DEFINE the themes of Emerson, Whitman and Thoreau?  Include this in your intro.

2. Which theme or possibly two themes can you relate to contemporary society?  FOCUS on this and make a CONNECTION between these writers, their ideas, and today's society.  Let this become your THESIS STATEMENT.

3. Now, for SUPPORT (and the majority of what you write in the paper), find appropriate QUOTES and EXAMPLES from the works you have studied that relate to your THESIS (and your thesis should be along the lines that these ideas are still RELEVANT today!)  Work YOUR OWN IDEAS around the supporting examples from the texts.  Remember to consider when these works were written and what America was like at the time (apply your American History here as well).  Are there any contemporary writers who echo the thoughts of the Transcendentalists?  You could include these contemporary writers as being influenced by the Transcendentalists as well.

4. Use the hand-outs you have received these past weeks (and hopefully, annotated or highlighted).  Also,
know that all of these essays, "Song of Myself," and Walden are online.  You can cut and paste and make a quote sheet from the internet!  Just be sure to also copy the weblink  for your MLA citations.  YES, this paper needs MLA citation and a Works Cited page.

5. For additional support and ideas, go to Shmoop.com or Spark notes or eNotes or Gradesaver.  All
of these Study Guide websites have information about the texts you have studied and may also provide you with more ideas for your paper.

6. Finally, print out your outline, notes, intro (whatever you have written this period)--OR send it to yourself.
Over the weekend, try to make more progress on your paper (yes I know many of you are performing or working on the production, but try!). Monday we will continue writing and conferring in class.

Oh, and break a leg, Hairspray cast! Have a great weekend...


Wednesday, April 4, 2012

Emerson's "The Poet"


from Cliff notes


Emerson’s “The Poet”

Paragraphs 1–9 - The Poet as Interpreter

Emerson considers the nature and the functions of the poet, "the man of Beauty," to whom he ascribes a superior calling. Unlike the intellectual, who sees no dependence between the material world and the world of thoughts and ideas, or the theologian, who relies exclusively on historical evidence for truth, the poet acknowledges an interdependence between the spiritual and the material worlds. This relationship between the ideal — that which we aspire to be — and the real — that which is — is a central issue in the discussion. Continuing the image of the child from the epigraph, Emerson states that we are "children of the fire," and the energy and brilliance of this fire is similar to the spirit in each of us.

Following this introductory paragraph, Emerson defines the poet as representing all humanity. The poet is "the complete man" whom Americans can look to as an ideal. Isolated from society, the poet has a spiritual affinity with nature. We need interpreters of what nature expresses, Emerson reasons, because too many of us have distanced ourselves from nature's life-affirming spirit: "Too feeble fall the impressions of nature on us to make us artists. Every touch should thrill." The best interpreter of nature is the poet, who sees what most of us only dream about. The poet must act as a conduit, exposing nature's hidden secrets to us.
Likening the poet to one of three "children" of the universe, Emerson constructs a system of threes: cause, operation, and effect. Instances of this three-fold structure include Christianity's Father, Spirit, and Son, and the Knower, the Doer, and the Sayer. These triads stand for the love of truth, the love of good, and the love of beauty, respectively, with the poet representing the last element in each set: He is both the "sayer" and the lover of beauty. Emerson creates an argument formally known as a syllogism: If, as he maintains, "Beauty is the creator of the universe"; and if the poet is "the man of Beauty"; then the poet is the creator of the universe.
Emerson continues his discussion of the poet as the creator of the universe by arguing that "poetry was all written before time was . . ." He is not suggesting that every poem was written long ago, but that the recurring subject matter of poems — namely, our lives and the reasons for our being — existed since the beginning of time. Because our basic concerns of survival and our questioning why we exist influence each age, he can legitimately characterize the poet's writings as "primal warblings," present at time's beginning and shared by all of humanity. The person who mines this spiritualism is "the true poet," true in the sense of being fundamental and essential to our lives and our living.
Contrasting the true poet with the mere versifier, Emerson joins the age-old fray about which is more important, how a poem is written or what a poem is about, by arguing that content is only slightly more important than a poem's form for two reasons. If the thought that the poet is writing about "adorns nature with a new thing," then the form of the poem will naturally follow the content and will not feel contrived. Also, a poem's subject matter occurs prior to the form that a poem eventually takes: We cannot write poetry without first having a subject to write about. A person may be proficient in meter and rhyme but lack the inspiration and vision of the true poet, who is not tied to a single age or format, but who writes about nature's inner truths.

Paragraphs 10–18 - The Poet, Language, and Nature


In this second part of the essay, Emerson discusses the poet's medium — language — and its relationship to nature. Central to his thinking is the concept of language as a natural phenomenon. Original, primitive languages tended to be highly image-based, and Emerson believes that this characteristic can still be verified through etymologies, which trace the history of words back to their original meanings, usually constructed from concrete nouns. For instance, recalling the examples presented in Nature, the word heart is used today to express emotion, and we use the term head to characterize thought. This is all part of what Emerson understands as the symbolic function of language, which should not surprise us if we recall his saying, "Things admit of being used as symbols because nature is a symbol, in the whole, and in every part."

This symbolic language is universal, but it is obscure to most people. One of the poet's main tasks is to interpret nature for us. Hence, Emerson calls the poet "Namer" and "Language-maker." He is not suggesting that a person who is not connected with nature is wholly oblivious to its wonders, for such a person is "commanded in nature by the living power which he feels to be there present." However, the "living power" remains illusive and inexplicable to such a person, and especially to the city dweller.
In this section, Emerson spends much of his time reemphasizing his beliefs concerning the language of nature and the nature of language, and the poet as the intermediary between the two. He also develops two themes that are interrelated to each other: Every individual object in nature is a microcosm of the whole, and these microcosms establish order in nature. For example, most of us take a landscape's objects for granted, ". . . but the poet sees them fall within the great Order not less than the beehive or the spider's geometrical web." By interpreting a landscape for society, the poet infuses each object with a power that makes it new: An object is re-created into something new that the public has never seen before. Emerson also touches on a favorite theme — evolution when he assures us that the poet notes every object's spirit, which compels each object to ascend into a higher form. Later in the essay, he will expand this theme to include the passage of the soul into a higher form.
Through a highly elaborate comparison, Emerson reflects on the relationship between the poet and the poet's work. The poet is under the care of nature, just as a mushroom is. A mushroom grows wild, with no one to ensure that it propagates and survives; nature, however, sees to it that the fungus drops spores, which become new mushrooms. These spores are comparable to poems leaving the poet's control and going out into the world like immortal descendants, a process much like the Olympian bards' eternally young songs from the epigraph. This notion of immortality is furthered by the image of wings, which allow the true poet's poems to escape the censure of small-minded critics, whose words are wingless and plodding. These poems, winged with spiritual beauty, are able to escape mortality.
The poet, who uses nature's language to interpret the world for society, benefits greatly from imagination, "a very high sort of seeing." Emerson begins his inquiry into the nature of imagination by telling the story of a local sculptor. This man was inarticulate and inexpressive in words, but his statues conveyed a beauty and a meaning beyond words. In similar fashion, the poet perceives the spiritual essences of things: Whereas the sculptor shapes marble, the poet patterns language to create art. A poem may not always have realistic details, but, by using imagination, the poet depicts an inner reality, a poetic expression that often seems wild and irrational.

From this idea Emerson moves to the frequent association of poets with overindulgence, especially with alcohol or narcotics, which is to be understood, he says, because the poet always seeks contact with what is below the surface of things, what he terms "the true nectar." Furthermore, the poet, because he deals in images of physical beauty, is more attuned to the life of the senses, to appetites and sensations. However, the true poet, who reaches the highest understanding, takes the greatest care to ingest only what is pure and most unsullied: "The sublime vision comes to the pure and simple soul in a clean and chaste body." This true poet realizes that imagination itself is the most satisfying and effective intoxicant.
Emerson now returns to the importance of the poet to humanity, and this time he stresses that the poet is not only an interpreter of nature: He is akin to "liberating gods." The poet releases the liberating power of our imaginations, and those of us whose imaginations struggle to make sense of the world can find our inspiration in his words. The image of children signifies the unrestrained and refreshing joy Emerson says touches those whose imaginations are free from everyday, urban worries. Note the uncharacteristic buoyancy in this reference: "We seem to be touched by a wand which makes us dance and run about happily, like children." Later in this passage, Emerson uses the terms "liberation" and "emancipation" as equivalents for "transcendence." Liberation, he says, is similar to the transcendence he describes in other essays. Here, the transcendent state is presented in such phrases as "a new sense" and "within their world another world, or nest of worlds."
If the poet is humanity's liberating god, what is it that humanity needs liberating of? Emerson answers this question by using the image of a shepherd lost only a few feet from his cottage door. This shepherd, who perishes in a snowstorm because he is unable to find the security of home, is emblematic of the floundering state of humanity, which is "on the brink of the waters of life and truth . . . miserably dying." We are so locked into our private thoughts and our selfish actions, Emerson says, that the greater truths that bind us together have been lost; we are at the edge of the water that is universal truth, but we do not realize our thirst and are slowly wasting away in our personal prisons. The poet is the key to unlock these prisons, the cup that can quench our thirsts, because he creates new thoughts that liberate us of our own selfish wants.
In discussing this liberating aspect of poetry, Emerson invokes the name of Emanuel Swedenborg, a Swedish mystic and philosopher who is mentioned in many of his essays. Swedenborg is an example of the visionary who sees what others do not, and whose strange and original images allow us to view our world in a new light. Note Swedenborg's nationality, and recall Emerson's invocation in "The American Scholar" for an American literature free from the confines of the European tradition. At first glance, Emerson seems to be contradicting his own proclamations concerning this new American vision when he admiringly discusses Swedenborg. However, Swedenborg represents an ideal that Emerson hopes Americans will achieve for themselves, which is why Emerson, in the next section, will launch his characteristic summons for an American literature and an American poet whose voice celebrates America's rich character — not Europe's.

Paragraphs 19-29 - The Poet and Imagination


The poet, who uses nature's language to interpret the world for society, benefits greatly from imagination, "a very high sort of seeing." Emerson begins his inquiry into the nature of imagination by telling the story of a local sculptor. This man was inarticulate and inexpressive in words, but his statues conveyed a beauty and a meaning beyond words. In similar fashion, the poet perceives the spiritual essences of things: Whereas the sculptor shapes marble, the poet patterns language to create art. A poem may not always have realistic details, but, by using imagination, the poet depicts an inner reality, a poetic expression that often seems wild and irrational.

From this idea Emerson moves to the frequent association of poets with overindulgence, especially with alcohol or narcotics, which is to be understood, he says, because the poet always seeks contact with what is below the surface of things, what he terms "the true nectar." Furthermore, the poet, because he deals in images of physical beauty, is more attuned to the life of the senses, to appetites and sensations. However, the true poet, who reaches the highest understanding, takes the greatest care to ingest only what is pure and most unsullied: "The sublime vision comes to the pure and simple soul in a clean and chaste body." This true poet realizes that imagination itself is the most satisfying and effective intoxicant.
Emerson now returns to the importance of the poet to humanity, and this time he stresses that the poet is not only an interpreter of nature: He is akin to "liberating gods." The poet releases the liberating power of our imaginations, and those of us whose imaginations struggle to make sense of the world can find our inspiration in his words. The image of children signifies the unrestrained and refreshing joy Emerson says touches those whose imaginations are free from everyday, urban worries. Note the uncharacteristic buoyancy in this reference: "We seem to be touched by a wand which makes us dance and run about happily, like children." Later in this passage, Emerson uses the terms "liberation" and "emancipation" as equivalents for "transcendence." Liberation, he says, is similar to the transcendence he describes in other essays. Here, the transcendent state is presented in such phrases as "a new sense" and "within their world another world, or nest of worlds."
If the poet is humanity's liberating god, what is it that humanity needs liberating of? Emerson answers this question by using the image of a shepherd lost only a few feet from his cottage door. This shepherd, who perishes in a snowstorm because he is unable to find the security of home, is emblematic of the floundering state of humanity, which is "on the brink of the waters of life and truth . . . miserably dying." We are so locked into our private thoughts and our selfish actions, Emerson says, that the greater truths that bind us together have been lost; we are at the edge of the water that is universal truth, but we do not realize our thirst and are slowly wasting away in our personal prisons. The poet is the key to unlock these prisons, the cup that can quench our thirsts, because he creates new thoughts that liberate us of our own selfish wants.

In discussing this liberating aspect of poetry, Emerson invokes the name of Emanuel Swedenborg, a Swedish mystic and philosopher who is mentioned in many of his essays. Swedenborg is an example of the visionary who sees what others do not, and whose strange and original images allow us to view our world in a new light. Note Swedenborg's nationality, and recall Emerson's invocation in "The American Scholar" for an American literature free from the confines of the European tradition. At first glance, Emerson seems to be contradicting his own proclamations concerning this new American vision when he admiringly discusses Swedenborg. However, Swedenborg represents an ideal that Emerson hopes Americans will achieve for themselves, which is why Emerson, in the next section, will launch his characteristic summons for an American literature and an American poet whose voice celebrates America's rich character — not Europe's.

Paragraphs 30–33 - The Poet and America


In this final section, Emerson reflects on the need for a true poet of the American experience who can be to Americans what Shakespeare is to the British, and what Dante is to Italians. Such a poet has not yet emerged. ("The Poet" was published eleven years before the publication of Leaves of Grass by Walt Whitman, who is generally recognized as an answer to Emerson's call for an American poet, just as Robert Frost might be considered a contemporary example of what Emerson is seeking.) Emerson calls for a new American poetics that reveals the nature of this new continent, just as in "The American Scholar" he calls for a new philosophy commensurate with the new world.

The last two paragraphs express an almost ecstatic invocation of the poet: Always the diligent craftsman, Emerson's invoking the muse reminds us of Greek mythology and returns us to the essay's epigraphs. He bids his idealized American poet to rise to new heights of expressiveness and insight.

Tuesday, April 3, 2012

Transcendentalism

From Sugg's essay:

"What then is transcendentalism? What is this force of ideology that shaped America? It begins as a period in history that expressed itself vividly in New England roughly between 1830-1860 (Wilson 2) with revolutionary changes and debates in attitudes towards individualism, nature, religion, philosophy, education, politics, society and culture. Nothing is left untouched and America itself is not left unchanged. There is no specific definition of transcendentalism. It is not limited to the literature or the time, but instead penetrates the American psyche up until today, and is reflected in current writers, poets, and films, like the one being evaluated here, Dead Poets Society, released in 1989, roughly 130 years after the transcendental movement gave way to a new literary period of realism. The transcendentalist writers were rebels who expressed new ideas and new ways of writing on a whole spectrum of principles. It was and remains integral to the energy of being American: rebellious and individualistic. It has also taken on new forms from the original identification of nature and spirituality to political forces of environmentalism, for example or the scientific reasoning of ecology" 

the major principles of transcendentalism: freethinking, self reliance and non conformity, growth and renewal of the individual, revolt against tradition and established institutions, civil disobedience, brotherhood of man, nature and spiritual unity, and educational reform. 


www.transcendentalists.com/what.htm

Monday, April 2, 2012

Whitman's Preface to Leaves of Grass 1855

Preface to Leaves of Grass
 
Walt Whitman (1855)
 
 
 1 AMERICA does not repel the past or what it has produced under its forms or amid other politics or the idea of castes or the old religions … accepts the lesson with calmness … is not so impatient as has been supposed that the slough still sticks to opinions and manners and literature while the life which served its requirements has passed into the new life of the new forms … perceives that the corpse is slowly borne from the eating and sleeping rooms of the house … perceives that it waits a little while in the door … that it was fittest for its days … that its action has descended to the stalwart and well shaped heir who approaches … and that he shall be fittest for his days.  1
  The Americans of all nations at any time upon the earth, have probably the fullest poetical nature. The United States themselves are essentially the greatest poem. In the history of the earth hitherto the largest and most stirring appear tame and orderly to their ampler largeness and stir. Here at last is something in the doings of man that corresponds with the broadcast doings of the day and night. Here is not merely a nation but a teeming nation of nations. Here is action untied from strings necessarily blind to particulars and details magnificently moving in vast masses. Here is the hospitality which forever indicates heroes… . Here are the roughs and beards and space and ruggedness and nonchalance that the soul loves. Here the performance disdaining the trivial unapproached in the tremendous audacity of its crowds and groupings and the push of its perspective spreads with crampless and flowing breadth and showers its proflic and splendid extravagance. One sees it must indeed own the riches of the summer and winter, and need never be bankrupt while corn grows from the ground or the orchards drop apples or the bays contain fish or men beget children upon women.  2
  Other states indicate themselves in their deputies … but the genius of the United States is not best or most in its executives or legislatures, nor in its ambassadors or authors or colleges or churches or parlors, nor even in its newspapers or inventors … but always most in the common people. Their manners, speech, dress, friendship—the freshness and candor of their physiognomy—the picturesque looseness of their carriage … their deathless attachment to freedom—their aversion to anything indecorous or soft or mean—the practical acknowledgment of the citizens of one state by the citizens of all other states—the fierceness of their roused resentment—their curiosity and welcome of novelty—their self-esteem and wonderful sympathy—their susceptibility to a slight—the air they have of persons who never knew how it felt to stand in the presence of superiors—the fluency of their speech—their delight in music, the sure symptom of manly tenderness and native elegance of soul … their good temper and open handedness—the terrible significance of their elections—the President’s taking off his hat to them, not they to him—these too are unrhymed poetry. It awaits the gigantic and generous treatment worthy of it.  3
  The largeness of nature or the nation were monstrous without a corresponding largeness and generosity of the spirit of the citizen. Not nature nor swarming states nor streets and steamships nor prosperous business nor farms nor capital nor learning may suffice for the ideal of man … nor suffice the poet. No reminiscences may suffice either. A live nation can always cut a deep mark and can have the best authority the cheapest … namely from its own soul. This is the sum of the profitable uses of individuals or states and of present action and grandeur and of the subjects of poets.—As if it were necessary to trot back generation after generation to the eastern records! As if the beauty and sacredness of the demonstrable must fall behind that of the mythical! As if men do not make their mark out of any times! As if the opening of the western continent by discovery and what has transpired since in North and South America were less than the small theatre of the antique or the aimless sleep-walking of the middle ages! The pride of the United States leaves the wealth and finesse of the cities and all returns of commerce and agriculture and all the magnitude of geography or shows of exterior victory to enjoy the breed of full sized men or one full sized man unconquerable and simple.  4
  The American poets are to enclose old and new for America is the race of races. of them a bard is to be commensurate with a people. to him the other continents arrive as contributions … he gives them reception for their sake and his own sake. His spirit responds to his country’s spirit … he incarnates its geography and natural life and rivers and lakes. Mississippi with annual freshets and changing chutes, Missouri and Columbia and Ohio and St. Lawrence with the Falls and beautiful masculine Hudson, do not embouchure where they spend themselves more than they embouchure into him. The blue breadth over the inland sea of Virginia and Maryland and the sea off Massachusetts and Maine and over Manhattan Bay and over Champlain and Erie and over Ontario and Huron and Michigan and Superior, and over the Texan and Mexican and Floridian and Cuban seas, and over the seas off California and Oregon, is not tallied by the blue breadth of the waters below more than the breadth of above and below is tallied by him. When the long Atlantic coast stretches longer and the Pacific coast stretches longer he easily stretches with them north or south. He spans between them also from east to west and reflects what is between them. On him rise solid growths that offset the growths of pine and cedar and hemlock and live oak and locust and chestnut and cypress and hickory and limetree and cottonwood and tuliptree and caotus and wildvine and tamarind and persimmon … and tangles as tangled as any canebrake or swamp … and forests coated with transparent ice, and icicles hanging from boughs and crackling in the wind … and sides and peaks of mountains … and pasturage sweet and free as savannah or upland or prairie … with flights and songs and screams that answer those of the wild pigeon and high-hold and orchard-oriole and coot and surf-duck and red-shouldered-hawk and fish-hawk and white ibis and Indian-hen and cat-owl and water-pheasant and qua-bird and pied-sheldrake and blackbird and mockingbird and buzzard and condor and nightheron and eagle. to him the hereditary countenance descends both mother’s and father’s. to him enter the essences of the real things and past and present events—of the enormous diversity of temperature and agriculture and mines—the tribes of red aborigines—the weather-beaten vessels entering new ports or making landings on rocky coasts—the first settlements north or south—the rapid stature and muscle—the haughty defiance of ’76, and the war and peace and formation of the constitution … the Union always surrounded by blatherers and always calm and impregnable—the perpetual coming of immigrants—the wharf-hem’d cities and superior marine—the unsurveyed interior—the loghouses and clearings and wild animals and hunters and trappers … the free commerce—the fisheries and whaling and gold-digging—the endless gestation of new states—the convening of Congress every December, the members duly coming up from all climates and the uttermost parts … the noble character of the young mechanics and of all free American workmen and workwomen … the general ardor and friendliness and enterprise—the perfect equality of the female with the male … the large amativeness—the fluid movement of the population—the factories and mercantile life and laborsaving machinery—the Yankee swap—the New York firemen and the target excursion—the Southern plantation life—the character of the northeast and of the northwest and southwest—slavery and the tremulous spreading of hands to protect it, and the stern opposition to it which shall never cease till it ceases or the speaking of tongues and the moving of lips cease. For such the expression of the American poet is to be transcendent and new. It is to be indirect and not direct or descriptive or epic. Its quality goes through these to much more. Let the age and wars of other nations be chanted and their eras and characters be illustrated and that finish the verse. Not so the great psalm of the republic. Here the theme is creative and has vista. Here comes one among the well beloved stonecutters and plans with decision and science and sees the solid and beautiful forms of the future where there are now no solid forms.  5
  of all nations the United States with veins full of poetical stuff most need poets and will doubtless have the greatest and use them the greatest. Their Presidents shall not be their common referee so much as their poets shall. of all mankind the great poet is the equable man. Not in him but off from him things are grotesque or eccentric or fail of their sanity. Nothing out of its place is good and nothing in its place is bad. He bestows on every object or quality its fit proportions neither more nor less. He is the arbiter of the diverse and he is the key. He is the equalizer of his age and land … he supplies what wants supplying and checks what wants checking. If peace is the routine out of him speaks the spirit of peace, large, rich, thrifty, building vast and populous cities, encouraging agriculture and the arts and commerce—lighting the study of man, the soul, immortality—federal, state or municipal government, marriage, health, freetrade, intertravel by land and sea … nothing too close, nothing too far off … the stars not too far off. In war he is the most deadly force of the war. Who recruits him recruits horse and foot … he fetches parks of artillery the best that engineer ever knew. If the time becomes slothful and heavy he knows how to arouse it … he can make every word he speaks draw blood. Whatever stagnates in the flat of custom or obedience or legislation he never stagnates. Obedience does not master him, he masters it. High up out of reach he stands turning a concentrated light … he turns the pivot with his finger … he baffles the swiftest runners as he stands and easily overtakes and envelopes them. The time straying towards infidelity and confections and persiflage he withholds by his steady faith … he spreads out his dishes … he offers the sweet firmfibred meat that grows men and women. His brain is the ultimate brain. He is no arguer … he is judgment. He judges not as the judge judges but as the sun falling around a helpless thing. As he sees the farthest he has the most faith. His thoughts are the hymns of the praise of things. In the talk on the soul and eternity and God off of his equal plane he is silent. He sees eternity less like a play with a prologue and denouement … he sees eternity in men and women … he does not see men or women as dreams or dots. Faith is the antiseptic of the soul … it pervades the common people and preserves them … they never give up believing and expecting and trusting. There is that indescribable freshness and unconsciousness about an illiterate person that humbles and mocks the power of the noblest expressive genius. The poet sees for a certainty how one not a great artist may be just as sacred and perfect as the greatest artist… . The power to destroy or remould is freely used by him, but never the power of attack. What is past is past. If he does not expose superior models and prove himself by every step he takes he is not what is wanted. The presence of the greatest poet conquers … not parleying or struggling or any prepared attempts. Now he has passed that way see after him! There is not left any vestige of despair or misanthropy or cunning or exclusiveness or the ignominy of a nativity or color or delusion of hell or the necessity of hell … and no man thenceforward shall be degraded for ignorance or weakness or sin.  6
  The greatest poet hardly knows pettiness or triviality. If he breathes into anything that was before thought small it dilates with the grandeur and life of the universe. He is a seer … he is individual … he is complete in himself … the others are as good as he, only he sees it and they do not. He is not one of the chorus … he does not stop for any regulation … he is the president of regulation. What the eyesight does to the rest he does to the rest. Who knows the curious mystery of the eyesight? The other senses corroborate themselves, but this is removed from any proof but its own and foreruns the identities of the spiritual world. A single glance of it mocks all the investigations of man and all the instruments and books of the earth and all reasoning. What is marvellous? what is unlikely? what is impossible or baseless or vague? after you have once just opened the space of a peachpit and given audience to far and near and to the sunset and had all things enter with electric swiftness softly and duly without confusion or jostling or jam.  7
  The land and sea, the animals, fishes, and birds, the sky of heaven and the orbs, the forests, mountains, and rivers, are not small themes … but folks expect of the poet to indicate more than the beauty and dignity which always attach to dumb real objects … they expect him to indicate the path between reality and their souls. Men and women perceive the beauty well enough … probably as well as he. The passionate tenacity of hunters, woodmen, early risers, cultivators of gardens and orchards and fields, the love of healthy women for the manly form, seafaring persons, drivers of horses, the passion for light and the open air, all is an old varied sign of the unfailing perception of beauty and of a residence of the poetic in outdoor people. They can never be assisted by poets to perceive … some may but they never can. The poetic quality is not marshalled in rhyme or uniformity or abstract addresses to things nor in melancholy complaints or good precepts, but is the life of these and much else and is in the soul. The profit of rhyme is that it drops seeds of a sweeter and more luxuriant rhyme, and of uniformity that it conveys itself into its own roots in the ground out of sight. The rhyme and uniformity of perfect poems show the free growth of metrical laws and bud from them as unerringly and loosely as lilacs and roses on a bush, and take shapes as compact as the shapes of chestnuts and oranges and melons and pears, and shed the perfume impalpable to form. The fluency and ornaments of the finest poems or music or orations or recitations are not independent but dependent. All beauty comes from beautiful blood and a beautiful brain. If the greatnesses are in conjunction in a man or woman it is enough … the fact will prevail through the universe … but the gaggery and gilt of a million years will not prevail. Who troubles himself about his ornaments or fluency is lost. This is what you shall do: Love the earth and sun and the animals, despise riches, give alms to every one that asks, stand up for the stupid and crazy, devote your income and labor to others, hate tyrants, argue not concerning God, have patience and indulgence toward the people, take off your hat to nothing known or unknown or to any man or number of men, go freely with powerful uneducated persons and with the young and with the mothers of families, read these leaves in the open air every season of every year of your life, re-examine all you have been told at school or church or in any book, dismiss whatever insults your own soul; and your very flesh shall be a great poem and have the richest fluency not only in its words but in the silent lines of its lips and face and between the lashes of your eyes and in every motion and joint of your body… . The poet shall not spend his time in unneeded work. He shall know that the ground is always ready ploughed and manured … others may not know it but he shall. He shall go directly to the creation. His trust shall master the trust of everything he touches … and shall master all attachment.  8
  The known universe has one complete lover and that is the greatest poet. He consumes an eternal passion and is indifferent which chance happens and which possible contingency of fortune or misfortune and persuades daily and hourly his delicious pay. What baulks or breaks others is fuel for his burning progress to contact and amorous joy. Other proportions of the reception of pleasure dwindle to nothing to his proportions. All expected from heaven or from the highest he is rapport with in the sight of the daybreak or a scene of the winter woods or the presence of children playing or with his arm round the neck of a man or woman. His love above all love has leisure and expanse … he leaves room ahead of himself. He is no irresolute or suspicious lover … he is sure … he scorns intervals. His experience and the showers and thrills are not for nothing. Nothing can jar him … suffering and darkness cannot—death and fear cannot. to him complaint and jealousy and envy are corpses buried and rotten in the earth … he saw them buried. The sea is not surer of the shore or the shore of the sea than he is of the fruition of his love and of all perfection and beauty.  9
  The fruition of beauty is no chance of hit or miss … it is inevitable as life … it is as exact and plumb as gravitation. From the eyesight proceeds another eyesight and from the hearing proceeds another hearing and from the voice proceeds another voice eternally curious of the harmony of things with man. to these respond perfections not only in the committees that were supposed to stand for the rest but in the rest themselves just the same. These understand the law of perfection in masses and floods … that its finish is to each for itself and onward from itself … that it is profuse and impartial … that there is not a minute of the light or dark nor an acre of the earth and sea without it—nor any direction of the sky nor any trade or employment nor any turn of events. This is the reason that about the proper expression of beauty there is precision and balance … one part does not need to be thrust above another. The best singer is not the one who has the most lithe and powerful organ … the pleasure of poems is not in them that take the hand-somest measure and similes and sound.  10
  Without effort and without exposing in the least how it is done the greatest poet brings the spirit of any or all events and passions and scenes and persons some more and some less to bear on your individual character as you hear or read. to do this well is to compete with the laws that pursue and follow time. What is the purpose must surely be there and the clue of it must be there … and the faintest indication is the indication of the best and then becomes the clearest indication. Past and present and future are not disjoined but joined. The greatest poet forms the consistence of what is to be from what has been and is. He drags the dead out of their coffins and stands them again on their feet … he says to the past, Rise and walk before me that I may realize you. He learns the lesson … he places himself where the future becomes present. The greatest poet does not only dazzle his rays over character and scenes and passions … he finally ascends and finishes all … he exhibits the pinnacles that no man can tell what they are for or what is beyond … he glows a moment on the extremest verge. He is most wonderful in his last half-hidden smile or frown … by that flash of the moment of parting the one that sees it shall be encouraged or terrified afterward for many years. The greatest poet does not moralize or make applications of morals … he knows the soul. The soul has that measureless pride which consists in never acknowledging any lessons but its own. But it has sympathy as measureless as its pride and the one balances the other and neither can stretch too far while it stretches in company with the other. The inmost secrets of art sleep with the twain. The greatest poet has lain close betwixt both and they are vital in his style and thoughts.  11
  The art of art, the glory of expression and the sunshine of the light of letters is simplicity. Nothing is better than simplicity … nothing can make up for excess or for the lack of definiteness. to carry on the heave of impulse and pierce intellectual depths and give all subjects their articulations are powers neither common nor very uncommon. But to speak in literature with the perfect rectitude and insouciance of the movements of animals and the unimpeachableness of the sentiment of trees in the woods and grass by the roadside is the flawless triumph of art. If you have looked on him who has achieved it you have looked on one of the masters of the artists of all nations and times. You shall not contemplate the flight of the gray gull over the bay or the mettlesome action of the blood horse or the tall leaning of sunflowers on their stalk or the appearance of the sun journeying through heaven or the appearance of the moon afterward with any more satisfaction than you shall contemplate him. The greatest poet has less a marked style and is more the channel of thoughts and things without increase or diminution and is the free channel of himself. He swears to his art, I will not be meddlesome, I will not have in my writing any elegance or effect or originality to hang in the way between me and the rest like curtains. I will have nothing hang in the way not the richest curtains. What I tell I tell for precisely what it is. Let who may exalt or startle or fascinate or soothe I will have purposes as health or heat or snow has and be as regardless of observation. What I experience or portray shall go from my composition without a shred of my composition. You shall stand by my side and look in the mirror with me.  12
  The old red blood and stainless gentility of great poets will be proved by their unconstraint. A heroic person walks at his ease through and out of that custom or precedent or authority that suits him not. of the traits of the brotherhood of writers savans musicians inventors and artists, nothing is finer than silent defiance advancing from new free forms. In the need of poems, philosophy, politics, mechanism, science, behavior, the craft of art, an appropriate native grand-opera, shipcraft, or any craft, he is greatest for ever and for ever who contributes the greatest original practical example. The cleanest expression is that which finds no sphere worthy of itself and makes one. The messages of great poets to each man and woman are, Come to us on equal terms, Only then can you understand us, We are no better than you, What we enclose you enclose, What we enjoy you may enjoy. Did you suppose there could be only one Supreme? We affirm there can be unnumbered Supremes, and that one does not countervail another any more than one eyesight countervails another … and that men can be good or grand only of the consciousness of their supremacy within them. What do you think is the grandeur of storms and dismemberments and the deadliest battles and wrecks and the wildest fury of the elements and the power of the sea and the motion of nature and the throes of human desires and dignity and hate and love? It is that something in the soul which says, Rage on, Whirl on, I tread master here and everywhere, Master of the spasms of the sky and of the shatter of the sea, Master of nature and passion and death, and of all terror and all pain.  13
  The American bards shall be marked for generosity and affection and for encouraging competitors… . They shall be kosmos … without monopoly or secrecy … glad to pass anything to any one … hungry for equals night and day. They shall not be careful of riches and privilege … they shall be riches and privilege … they shall perceive who the most affluent man is. The most affluent man is he that confronts all the shows he sees by equivalents out of the stronger wealth of himself. The American bard shall delineate no class of persons nor one or two out of the strata of interests nor love most nor truth most nor the soul most nor the body most … and not be for the eastern states more than the western or the northern states more than the southern.  14
  Exact science and its practical movements are no checks on the greatest poet but always his encouragement and support. The outset and remembrance are there … there the arms that lifted him first and brace him best … there he returns after all his goings and comings. The sailor and traveller … the anatomist, chemist, astronomer, geologist, phrenologist, spiritualist, mathematician, historian, and lexicographer, are not poets, but they are the lawgivers of poets and their construction underlies the structure of every perfect poem. No matter what rises or is uttered they sent the seed of the conception of it … of them and by them stand the visible proofs of souls … always of their fatherstuff must be begotten the sinewy races of bards. If there shall be love and content between the father and the son and if the greatness of the son is the exuding of the greatness of the father there shall be love between the poet and the man of demonstrable science. In the beauty of poems are the tuft and final applause of science.  15
  Great is the faith of the flush of knowledge and of the investigation of the depths of qualities and things. Cleaving and circling here swells the soul of the poet yet is president of itself always. The depths are fathomless and therefore calm. The innocence and nakedness are resumed … they are neither modest nor immodest. The whole theory of the special and supernatural and all that was twined with it or educed out of it departs as a dream. What has ever happened … what happens and whatever may or shall happen, the vital laws enclose all … they are sufficient for any case and for all cases … none to be hurried or retarded … any miracle of affairs or persons inadmissible in the vast clear scheme where every motion and every spear of grass and the frames and spirits of men and women and all that concerns them are unspeakably perfect miracles all referring to all and each distinct and in its place. It is also not consistent with the reality of the soul to admit that there is anything in the known universe more divine than men and women.  16
  Men and women and the earth and all upon it are simply to be taken as they are, and the investigation of their past and present and future shall be unintermitted and shall be done with perfect candor. Upon this basis philosophy speculates ever looking towards the poet, ever regarding the eternal tendencies of all toward happiness never inconsistent with what is clear to the senses and to the soul. For the eternal tendencies of all toward happiness make the only point of sane philosophy. Whatever comprehends less than that … whatever is less than the laws of light and of astronomical motion … or less than the laws that follow the thief the liar the glutton and the drunkard through this life and doubtless afterward … or less than vast stretches of time or the slow formation of density or the patient upheaving of strata—is of no account. Whatever would put God in a poem or system of philosophy as contending against some being or influence is also of no account. Sanity and ensemble characterize the great master … spoilt in one principle all is spoilt. The great master has nothing to do with miracles. He sees health for himself in being one of the mass … he sees the hiatus in singular eminence. to the perfect shape comes common ground. to be under the general law is great, for that is to correspond with it. The master knows that he is unspeakably great and that all are unspeakably great … that nothing for instance is greater than to conceive children and bring them up well … that to be is just as great as to perceive or tell.  17
  In the make of the great masters the idea of political liberty is indispensable. Liberty takes the adherence of heroes wherever men and women exist … but never takes any adherence or welcome from the rest more than from poets. They are the voice and exposition of liberty. They out of ages are worthy the grand idea … to them it is confided and they must sustain it. Nothing has precedence of it and nothing can warp or degrade it. The attitude of great poets is to cheer up slaves and horrify despots. The turn of their necks, the sound of their feet, the motions of their wrists, are full of hazard to the one and hope to the other. Come nigh them awhile and though they neither speak nor advise you shall learn the faithful American lesson. Liberty is poorly served by men whose good intent is quelled from one failure or two failures or any number of failures, or from the casual indifference or ingratitude of the people, or from the sharp show of the tushes of power, or the bringing to bear soldiers and cannon or any penal statutes. Liberty relies upon itself, invites no one, promises nothing, sits in calmness and light, is positive and composed, and knows no discouragement. The battle rages with many a loud alarm and frequent advance and retreat … the enemy triumphs … the prison, the handcuffs, the iron necklace and anklet, the scaffold, garrote and leadballs do their work … the cause is asleep … the strong throats are choked with their own blood … the young men drop their eyelashes toward the ground when they pass each other … and is liberty gone out of that place? No never. When liberty goes it is not the first to go nor the second or third to go … it awaits for all the rest to go … it is the last… . When the memories of the old martyrs are faded utterly away … when the large names of patriots are laughed at in the public halls from the lips of the orators … when the boys are no more christened after the same but christened after tyrants and traitors instead … when the laws of the free are grudgingly permitted and the laws for informers and bloodmoney are sweet to the taste of the people … when I and you walk abroad upon the earth stung with compassion at the sight of numberless brothers answering our equal friendship and calling no man master—and when we are elated with noble joy at the sight of slaves … when the soul retires in the cool communion of the night and surveys its experience and has much extasy over the word and deed that put back a helpless innocent person into the gripe of the gripers or into any cruel inferiority … when those in all parts of these states who could easier realize the true American character but do not yet—when the swarms of cringers, suckers, doughfaces, lice of politics, planners of sly involutions for their own preferment to city offices or state legislatures or the judiciary or congress or the presidency, obtain a response of love and natural deference from the people whether they get the offices or no … when it is better to be a bound booby and rogue in office at a high salary than the poorest free mechanic or farmer with his hat unmoved from his head and firm eyes and a candid and generous heart … and when servility by town or state or the federal government or any oppression on a large scale or small scale can be tried on without its own punishment following duly after in exact proportion against the smallest chance of escape … or rather when all life and all the souls of men and women are discharged from any part of the earth—then only shall the instinct of liberty be discharged from that part of the earth.  18
  As the attributes of the poets of the kosmos concentre in the real body and soul and in the pleasure of things they possess the superiority of genuineness over all fiction and romance. As they emit themselves facts are showered over with light … the daylight is lit with more volatile light … also the deep between the setting and rising sun goes deeper many fold. Each precise object or condition or combination or process exhibits a beauty … the multiplication table its—old age its—the carpenter’s trade its—the grand opera its—the hugehulled cleanshaped New-York clipper at sea under steam or full sail gleams with unmatched beauty … the American circles and large harmonies of government gleam with theirs … and the commonest definite intentions and actions with theirs. The poets of the kosmos advance through all interpositions and coverings and turmoils and stratagems to first principles. They are of use … they dissolve poverty from its need and riches from its conceit. You large proprietor, they say, shall not realize or perceive more than any one else. The owner of the library is not he who holds a legal title to it having bought and paid for it. Any one and every one is owner of the library who can read the same through all the varieties of tongues and subjects and styles, and in whom they enter with ease and take residence and force toward paternity and maternity, and make supple and powerful and rich and large.  19
  These American states strong and healthy and accomplished shall receive no pleasure from violations of natural models and must not permit them. In paintings or mouldings or carvings in mineral or wood, or in the illustrations of books and newspapers, or in any comic or tragic prints, or in the patterns of woven stuffs or anything to beautify rooms or furniture or costumes, or to put upon cornices or monuments or on the prows or sterns of ships, or to put anywhere before the human eye indoors or out, that which distorts honest shapes or which creates unearthly beings or places or contingencies, is a nuisance and revolt. of the human form especially, it is so great it must never be made ridiculous. of ornaments to a work nothing outré can be allowed … but those ornaments can be allowed that conform to the perfect facts of the open air, and that flow out of the nature of the work and come irrepressibly from it and are necessary to the completion of the work. Most works are most beautiful without ornament … Exaggerations will be revenged in human physiology. Clean and vigorous children are jetted and conceived only in those communities where the models of natural forms are public every day … Great genius and the people of these states must never be demeaned to romances. As soon as histories are properly told there is no more need of romances.  20
  The great poets are also to be known by the absence in them of tricks and by the justification of perfect personal candor. Then folks echo a new cheap joy and a divine voice leaping from their brains: How beautiful is candor! All faults may be forgiven of him who has perfect candor. Henceforth let no man of us lie, for we have seen that openness wins the inner and outer world and that there is no single exception, and that never since our earth gathered itself in a mass have deceit or subterfuge or prevarication attracted its smallest particle or the faintest tinge of a shade—and that through the enveloping wealth and rank of a state or the whole republic of states a sneak or sly person shall be discovered and despised … and that the soul has never once been fooled and never can be fooled … and thrift without the loving nod of the soul is only a fœtid puff … and there never grew up in any of the continents of the globe nor upon any planet or satellite or star, nor upon the asteroids, nor in any part of ethereal space, nor in the midst of density, nor under the fluid wet of the sea, nor in that condition which precedes the birth of babes, nor at any time during the changes of life, nor in that condition that follows what we term death, nor in any stretch of abeyance or action afterward of vitality, nor in any process of formation or reformation anywhere, a being whose instinct hated the truth.  21
  Extreme caution or prudence, the soundest organic health, large hope and comparison and fondness for women and children, large alimentiveness and destructiveness and causality, with a perfect sense of the oneness of nature and the propriety of the same spirit applied to human affairs … these are called up of the float of the brain of the world to be parts of the greatest poet from his birth out of his mother’s womb and from her birth out of her mother’s. Caution seldom goes far enough. It has been thought that the prudent citizen was the citizen who applied himself to solid gains and did well for himself and for his family and completed a lawful life without debt or crime. The greatest poet sees and admits these economies as he sees the economies of food and sleep, but has higher notions of prudence than to think he gives much when he gives a few slight attentions at the latch of the gate. The premises of the prudence of life are not the hospitality of it or the ripeness and harvest of it. Beyond the independence of a little sum laid aside for burial-money, and of a few clapboards around and shingles overhead on a lot of American soil owned, and the easy dollars that supply the year’s plain clothing and meals, the melancholy prudence of the abandonment of such a great being as a man is to the toss and pallor of years of money-making with all their scorching days and icy nights and all their stifling deceits and underhanded dodgings, or infinitesimals of parlors, or shameless stuffing while others starve … and all the loss of the bloom and odor of the earth and of the flowers and atmosphere and of the sea, and of the true taste of the women and men you pass or have to do with in youth or middle age, and the issuing sickness and desperate revolt at the close of a life without elevation or naivete, and the ghastly chatter of a death without serenity or majesty, is the great fraud upon modern civilization and forethought, blotching the surface and system which civilization undeniably drafts, and moistening with tears the immense features it spreads and spreads with such velocity before the reached kisses of the soul.  22
  Still the right explanation remains to be made about prudence. The prudence of the mere wealth and respectability of the most esteemed life appears too faint for the eye to observe at all when little and large alike drop quietly aside at the thought of the prudence suitable for immortality. What is wisdom that fills the thinness of a year or seventy or eighty years to wisdom spaced out by ages and coming back at a certain time with strong reinforcements and rich presents and the clear faces of wedding-guests as far as you can look in every direction, running gaily toward you? Only the soul is of itself … all else has reference to what ensues. All that a person does or thinks is of consequence. Not a move can a man or woman make that effects him or her in a day or a month or any part of the direct lifetime or the hour of death but the same affects him or her onward afterward through the indirect lifetime. The indirect is always as great and real as the direct. The spirit receives from the body just as much as it gives to the body. Not one name of word or deed … not of venereal sores or discolorations … not the privacy of the onanist … not of the putrid veins of gluttons or rumdrinkers … not peculation or cunning or betrayal or murder … no serpentine poison of those that seduce women … not the foolish yielding of women … not prostitution … not of any depravity of young men … not of the attainment of gain by discreditable means … not any nastiness of appetite … not any harshness of officers to men or judges to prisoners or fathers to sons or sons to fathers or of husbands to wives or bosses to their boys … not of greedy looks or malignant wishes … nor any of the wiles practised by people upon themselves … ever is or ever can be stamped on the programme but it is duly realized and returned, and that returned in further performances … and they returned again. Nor can the push of charity or personal force ever be anything else than the profoundest reason, whether it bring argument to hand or no. No specification is necessary … to add or subtract or divide is in vain. Little or big, learned or unlearned, white or black, legal or illegal, sick or well, from the first inspiration down the windpipe to the last expiration out of it, all that a male or female does that is vigorous and benevolent and clean is so much sure profit to him or her in the unshakable order of the universe and through the whole scope of it for ever. If the savage or felon is wise it is well … if the greatest poet or savan is wise it is simply the same … if the President or chief justice is wise it is the same … if the young mechanic or farmer is wise it is no more or less … if the prostitute is wise it is no more nor less. The interest will come round … all will come round. All the best actions of war and peace … all help given to relatives and strangers and the poor and old and sorrowful and young children and widows and the sick, and to all shunned persons … all furtherance of fugitives and of the escape of slaves … all the self-denial that stood steady and aloof on wrecks and saw others take the seats of the boats … all offering of substance or life for the good old cause, or for a friend’s sake or opinion’s sake … all pains of enthusiasts scoffed at by their neighbors … all the vast sweet love and precious sufferings of mothers … all honest men baffled in strifes recorded or unrecorded … all the grandeur and good of the few ancient nations whose fragments of annals we inherit … and all the good of the hundreds of far mightier and more ancient nations unknown to us by name or date or location … all that was ever manfully begun, whether it succeeded or no … all that has at any time been well suggested out of the divine heart of man or by the divinity of his mouth or by the shaping of his great hands … and all that is well thought or done this day on any part of the surface of the globe … or on any of the wandering stars or fixed stars by those there as we are here … or that is henceforth to be well thought or done by you whoever you are, or by any one—these singly and wholly inured at their time and inure now and will inure always to the identities from which they sprung or shall spring… . Did you guess any of them lived only its moment? The world does not so exist … no parts palpable or impalpable so exist … no result exists now without being from its long antecedent result, and that from its antecedent, and so backward without the farthest mentionable spot coming a bit nearer the beginning than any other spot… . Whatever satisfies the soul is truth. The prudence of the greatest poet answers at last the craving and glut of the soul, is not contemptuous of less ways of prudence if they conform to its ways, puts off nothing, permits no let-up for its own case or any case, has no particular sabbath or judgment-day, divides not the living from the dead or the righteous from the unrighteous, is satisfied with the present, matches every thought or act by its correlative, knows no possible forgiveness or deputed atonement … knows that the young man who composedly perilled his life and lost it has done exceeding well for himself, while the man who has not perilled his life and retains to old age in riches and ease has perhaps achieved nothing for himself worth mentioning … and that only that person has no great prudence to learn who has learnt to prefer real longlived things, and favors body and soul the same, and perceives the indirect assuredly following the direct, and what evil or good he does leaping onward and waiting to meet him again—and who in his spirit in any emergency whatever neither hurries or avoids death.  23
  The direct trial of him who would be the greatest poet is to-day. If he does not flood himself with the immediate age as with vast oceanic tides … and if he does not attract his own land body and soul to himself, and hang on its neck with incomparable love and plunge his semitic muscle into its merits and demerits … and if he be not himself the age transfigured … and if to him is not opened the eternity which gives similitude to all periods and locations and processes and animate and inanimate forms, and which is the bond of time, and rises up from its inconceivable vagueness and infiniteness in the swimming shape of to-day, and is held by the ductile anchors of life, and makes the present spot the passage from what was to what shall be, and commits itself to the representation of this wave of an hour and this one of the sixty beautiful children of the wave—let him merge in the general run and wait his development.  24
  Still the final test of poems or any character or work remains. The prescient poet projects himself centuries ahead and judges performer or performance after the changes of time. Does it live through them? Does it still hold on untired? Will the same style and the direction of genius to similar points be satisfactory now? Has no new discovery in science or arrival at superior planes of thought and judgment and behavior fixed him or his so that either can be looked down upon? Have the marches of tens and hundreds and thousands of years made willing detours to the right hand and the left hand for his sake? Is he beloved long and long after he is buried? Does the young man think often of him? and the young woman think often of him? and do the middle aged and the old think of him?  25
  A great poem is for ages and ages in common, and for all degrees and complexions, and all departments and sects, and for a woman as much as a man and a man as much as a woman. A great poem is no finish to a man or woman but rather a beginning. Has any one fancied he could sit at last under some due authority and rest satisfied with explanations and realize and be content and full? to no such terminus does the greatest poet bring … he brings neither cessation or sheltered fatness and ease. The touch of him tells in action. Whom he takes he takes with firm sure grasp into live regions previously unattained … thenceforward is no rest … they see the space and ineffable sheen that turn the old spots and lights into dead vacuums. The companion of him beholds the birth and progress of stars and learns one of the meanings. Now there shall be a man cohered out of tumult and chaos … the elder encourages the younger and shows him how … they too shall launch off fearlessly together till the new world fits an orbit for itself and looks unabashed on the lesser orbits of the stars and sweeps through the ceaseless rings and shall never be quiet again.  26
  There will soon be no more priests. Their work is done. They may wait awhile … perhaps a generation or two … dropping off by degrees. A superior breed shall take their place … the gangs of kosmos and prophets en masse shall take their place. A new order shall arise and they shall be the priests of man, and every man shall be his own priest. The churches built under their umbrage shall be the churches of men and women. Through the divinity of themselves shall the kosmos and the new breed of poets be interpreters of men and women and of all events and things. They shall find their inspiration in real objects to-day, symptoms of the past and future… . They shall not deign to defend immortality or God or the perfection of things or liberty or the exquisite beauty and reality of the soul. They shall arise in America and be responded to from the remainder of the earth.  27
  The English language befriends the grand American expression … it is brawny enough and limber and full enough … on the tough stock of a race who through all change of circumstance was never without the idea of political liberty, which is the animus of all liberty, it has attracted the terms of daintier and gayer and subtler and more elegant tongues. It is the powerful language of resistance … it is the dialect of common sense. It is the speech of the proud and melancholy races and of all who aspire. It is the chosen tongue to express growth faith self-esteem freedom justice equality friendliness amplitude prudence decision and courage. It is the medium that shall well nigh express the inexpressible.  28
  No great literature nor any like style of behavior or oratory or social intercourse or household arrangements or public institutions or the treatment of bosses of employed people, nor executive detail or detail of the army and navy, nor spirit of legislation or courts or police or tuition or architecture or songs or amusements or the costumes of young men, can long elude the jealous and passionate instinct of American standards. Whether or no the sign appears from the mouths of the people, it throbs a live interrogation in every freeman’s and freewoman’s heart after that which passes by or this built to remain. Is it uniform with my country? Are its disposals without ignominious distinctions? Is it for the ever growing communes of brothers and lovers, large, well-united, proud beyond the old models, generous beyond all models? Is it something grown fresh out of the fields or drawn from the sea for use to me today here? I know that what answers for me an American must answer for any individual or nation that serves for a part of my materials. Does this answer? or is it without reference to universal needs? or sprung of the needs of the less developed society of special ranks? or old needs of pleasure overlaid by modern science or forms? Does this acknowledge liberty with audible and absolute acknowledgment, and set slavery at nought for life and death? Will it help breed one goodshaped and wellhung man, and a woman to be his perfect and independent mate? Does it improve manners? Is it for the nursing of the young of the republic? Does it solve readily with the sweet milk of the nipples of the breasts of the mother of many children? Has it too the old ever-fresh forbearance and impartiality? Does it look for the same love on the last born and on those hardening toward stature, and on the errant, and on those who disdain all strength of assault outside their own?  29
  The poems distilled from other poems will probably pass away. The coward will surely pass away. The expectation of the vital and great can only be satisfied by the demeanor of the vital and great. The swarms of the polished deprecating and reflectors and the polite float off and leave no remembrance. America prepares with composure and goodwill for the visitors that have sent word. It is not intellect that is to be their warrant and welcome. The talented, the artist, the ingenious, the editor, the statesman, the erudite … they are not unappreciated … they fall in their place and do their work. The soul of the nation also does its work. No disguise can pass on it … no disguise can conceal from it. It rejects none, it permits all. Only towards as good as itself and toward the like of itself will it advance half-way. An individual is as superb as a nation when he has the qualities which make a superb nation. The soul of the largest and wealthiest and proudest nation may well go half-way to meet that of its poets. The signs are effectual. There is no fear of mistake. If the one is true the other is true. The proof of a poet is that his country absorbs him as affectionately as he has absorbed it.  30
 
Note 1. Walt Whitman (1819–1892), the most original of American poets, was born in West Hills, Long Island, educated in the Brooklyn Public Schools, and apprenticed to a printer. As a youth he taught in a country school, and later went into journalism in New York, Brooklyn, and New Orleans. The first edition of “Leaves of Grass” appeared in 1855, with the remarkable preface here printed. During the war he acted as a volunteer nurse in the army hospitals, and, when it closed, he became a clerk in the government service at Washington. He continued to write almost till his death. [back]