Walt Whitman Part 1

Walt Whitman.

by Robert G. Ingersoll.

TESTIMONIAL

TO

WALT WHITMAN.

Of all the placid hours in his peaceful life, those that Walt Whitman spent on the stage of Horticultural Hall last night must have been among the most gratifying, says the Philadelphia Press of October 22, 1890. To a testimonial, intended to cheer his declining years, not only in a complimentary sense, came some eighteen hundred or more people to listen to a tribute to the aged poet by Col. Robert G.

Ingersoll, such as seldom falls to the lot of living man to hear about himself.

On the stage sat many admirers of the venerable torch-bearer of modern poetic thought, as Colonel Ingersoll described him, young and old, men and women. There were white beards, but none were so white as that of the author of "Leaves of Gra.s.s." He sat calm and sedate in his easy wheeled chair, with his usual garb of gray, with his cloudy white hair falling over his white, turned-down collar that must have been three inches wide. No burst of eloquence from the orator's lips disturbed that equanimity; no tribute of applause moved him from his habitual calm.

And when the lecturer, having concluded, said, "We have met to-night to honor ourselves by honoring the author of 'Leaves of Gra.s.s,'" and the audience started to leave the hall, the man they had honored reached forward with his cane and attracted Colonel Ingersoll's attention.

"Do not leave yet," said Colonel Ingersoll, "Mr. Whitman has a word to say."

This is what he said, and no more characteristic thing ever fell from the poet's lips or flowed from his pen:

"After all, my friends, the main factors being the curious testimony called personal presence and face to face meeting, I have come here to be among you and show myself, and thank you with my living voice for coming, and Robert Ingersoll for speaking. And so with such brief testimony of showing myself, and such good will and grat.i.tude, I bid you hail and farewell."

THE ADDRESS.

_Let us Put Wreaths on the Brows of the Living._

I.

In the year 1855 the American people knew but little of books. Their ideals, their models, were English. Young and Pollok, Addison and Watts were regarded as great poets. Some of the more reckless read Thomson's "Seasons" and the poems and novels of Sir Walter Scott. A few, not quite orthodox, delighted in the mechanical monotony of Pope, and the really wicked--those lost to all religious shame--were wors.h.i.+pers of Shakespeare. The really orthodox Protestant, untroubled by doubts, considered Milton the greatest poet of them all. Byron and Sh.e.l.ley were hardly respectable--not to be read by young persons. It was admitted on all hands that Burns was a child of nature of whom his mother was ashamed and proud.

In the blessed year aforesaid, candor, free and sincere speech, were under the ban. Creeds at that time were entrenched behind statutes, prejudice, custom, ignorance, stupidity, Puritanism and slavery; that is to say, slavery of mind and body.

Of course it always has been, and forever will be, impossible for slavery, or any kind or form of injustice, to produce a great poet.

There are hundreds of verse makers and writers on the side of wrong--enemies of progress--but they are not poets, they are not men of genius.

At this time a young man--he to whom this testimonial is given--he upon whose head have fallen the snows of more than seventy winters--this man, born within the sound of the sea, gave to the world a book, "Leaves of Gra.s.s." This book was, and is, the true transcript of a soul. The man is unmasked. No drapery of hypocrisy, no pretense, no fear. The book was as original in form as in thought. All customs were forgotten or disregarded, all rules broken--nothing mechanical--no imitation--spontaneous, running and winding like a river, mult.i.tudinous in its thoughts as the waves of the sea--nothing mathematical or measured. In everything a touch of chaos--lacking what is called form as clouds lack form, but not lacking the splendor of sunrise or the glory of sunset. It was a marvelous collection and aggregation of fragments, hints, suggestions, memories, and prophecies, weeds and flowers, clouds and clods, sights and sounds, emotions and pa.s.sions, waves, shadows and constellations.

His book was received by many with disdain, with horror, with indignation and protest--by the few as a marvelous, almost miraculous, message to the world--full of thought, philosophy, poetry and music.

In the republic of mediocrity genius is dangerous. A great soul appears and fills the world with new and marvelous harmonies. In his words is the old Promethean flame. The heart of nature beats and throbs in his line. The respectable prudes and pedagogues sound the alarm, and cry, or rather screech: "Is this a book for a young person?"

A poem true to life as a Greek statue--candid as nature--fills these barren souls with fear.

They forget that drapery about the perfect was suggested by immodesty.

The provincial prudes, and others of like mold, pretend that love is a duty rather than a pa.s.sion--a kind of self-denial--not an overmastering joy. They preach the gospel of pretense and pantalettes. In the presence of sincerity, of truth, they cast down their eyes and endeavor to feel immodest. To them, the most beautiful thing is hypocrisy adorned with a blush.

They have no idea of an honest, pure pa.s.sion, glorying in its strength--intense, intoxicated with the beautiful, giving even to inanimate things pulse and motion, and that transfigures, enn.o.bles, and idealizes the object of its adoration.

They do not walk the streets of the city of life--they explore the sewers; they stand in the gutters and cry "Unclean!" They pretend that beauty is a snare; that love is a Delilah; that the highway of joy is the broad road, lined with flowers and filled with perfume, leading to the city of eternal sorrow.

Since the year 1855 the American people have developed; they are somewhat acquainted with the literature of the world. They have witnessed the most tremendous of revolutions, not only upon the fields of battle, but in the world of thought. The American citizen has concluded that it is hardly worth while being a sovereign unless he has the right to think for himself.

And now, from this hight, with the vantage-ground of to-day, I propose to examine this book and to state, in a general way, what Walt Whitman has done, what he has accomplished, and the place he has won in the world of thought.

II.

THE RELIGION OF THE BODY.

Walt Whitman stood, when he published his book, where all stand to-night--on the perpetually moving line where history ends and prophecy begins. He was full of life to the very tips of his fingers--brave, eager, candid, joyous with health. He was acquainted with the past. He knew something of song and story, of philosophy and art--much of the heroic dead, of brave suffering, of the thoughts of men, the habits of the people--rich as well as poor--familiar with labor, a friend of wind and wave, touched by love and friends.h.i.+p--liking the open road, enjoying the fields and paths, the crags--friend of the forest--feeling that he was free--neither master nor slave--willing that all should know his thoughts--open as the sky, candid as nature--and he gave his thoughts, his dreams, his conclusions, his hopes, and his mental portrait to his fellow-men.

Walt Whitman announced the gospel of the body. He confronted the people. He denied the depravity of man. He insisted that love is not a crime; that men and women should be proudly natural; that they need not grovel on the earth and cover their faces for shame. He taught the dignity and glory of the father and mother; the sacredness of maternity.

Maternity, tender and pure as the tear of pity, holy as suffering--the crown, the flower, the ecstasy of love.

People had been taught from bibles and from creeds that maternity was a kind of crime; that the woman should be purified by some ceremony in some temple built in honor of some G.o.d. This barbarism was attacked in "Leaves of Gra.s.s."

The glory of simple life was sung; a declaration of independence was made for each and all.

And yet this appeal to manhood and to womanhood was misunderstood. It was denounced simply because it was in harmony with the great trend of nature. To me, the most obscene word in our language is celibacy.

It was not the fas.h.i.+on for people to speak or write their thoughts. We were flooded with the literature of hypocrisy. The writers did not faithfully describe the worlds in which they lived. They endeavored to make a fas.h.i.+onable world. They pretended that the cottage or the hut in which they dwelt was a palace, and they called the little area in which they threw their slops their domain, their realm, their empire.

They were ashamed of the real, of what their world actually was. They imitated; that is to say, they told lies, and these lies filled the literature of most lands.

Walt Whitman defended the sacredness of love, the purity of pa.s.sion--the pa.s.sion that builds every home and fills the world with art and song.

They cried out: "He is a defender of pa.s.sion--he is a libertine! He lives in the mire. He lacks spirituality!"

Whoever differs with the mult.i.tude, especially with a led mult.i.tude--that is to say, with a mult.i.tude of taggers--will find out from their leaders that he has committed an unpardonable sin. It is a crime to travel a road of your own, especially if you put up guide-boards for the information of others.

Many, many centuries ago Epicurus, the greatest man of his century, and of many centuries before and after, said: "Happiness is the only good; happiness is the supreme end." This man was temperate, frugal, generous, n.o.ble--and yet through all these years he has been denounced by the hypocrites of the world as a mere eater and drinker.

It was said that Whitman had exaggerated the importance of love--that he had made too much of this pa.s.sion. Let me say that no poet--not excepting Shakespeare--has had imagination enough to exaggerate the importance of human love--a pa.s.sion that contains all hights and all depths--ample as s.p.a.ce, with a sky in which glitter all constellations, and that has within it all storms, all lightnings, all wrecks and ruins, all griefs, all sorrows, all shadows, and all the joy and suns.h.i.+ne of which the heart and brain are capable.

No writer must be measured by a word or paragraph. He is to be measured by his work--by the tendency, not of one line, but by the tendency of all.

Which way does the great stream tend? Is it for good or evil? Are the motives high and n.o.ble, or low and infamous?

We cannot measure Shakespeare by a few lines, neither can we measure the Bible by a few chapters, nor "Leaves of Gra.s.s" by a few paragraphs.