The Works of Robert Louis Stevenson – Swanston Edition. Volume 3

Meanwhile, the farm did not prosper; he had to join to it the salary of an exciseman; at last he had to give it up, and rely altogether on the latter resource. He was an active officer; and, though he sometimes tempered severity with mercy, we have local testimony, oddly representing the public feeling of the period, that, while “in everything else he was a perfect gentleman, when he met with anything seizable he was no better than any other gauger.”

There is but one manifestation of the man in these last years which need delay us: and that was the sudden interest in politics which arose from his sympathy with the great French Revolution. His only political feeling had been hitherto a sentimental Jacobitism, not more or less respectable than that of Scott, Aytoun, and the rest of what George Borrow has nicknamed the “Charlie over the water” Scotsmen. It was a sentiment almost entirely literary and picturesque in its origin, built on ballads and the adventures of the Young Chevalier; and in Burns it is the more excusable, because he lay out of the way of active politics in his youth. With the great French Revolution, something living, practical, and feasible appeared to him for the first time in this realm of human action. The young ploughman who had desired so earnestly to rise, now reached out his sympathies to a whole nation animated with the same desire. Already in 1788 we find the old Jacobitism hand in hand with the new popular doctrine, when, in a letter of indignation against the zeal of a Whig clergyman, he writes: “I daresay the American Congress in 1776 will be allowed to be as able and as enlightened as the English Convention was in 1688; and that their posterity will celebrate the centenary of their deliverance from us, as duly and sincerely as we do ours from the oppressive measures of the wrong-headed house of Stuart.” As time wore on, his sentiments grew more pronounced and even violent; but there was a basis of sense and generous feeling to his hottest excess. What he asked was a fair chance for the individual in life; an open road to success and distinction for all classes of men. It was in the same spirit that he had helped to found a public library in the parish where his farm was situated, and that he sang his fervent snatches against tyranny and tyrants. Witness, were it alone, this verse:

“Here’s freedom to him that wad read,
Here’s freedom to him that wad write;
There’s nane ever feared that the truth should be heard
But them wham the truth wad indite.”

Yet his enthusiasm for the cause was scarce guided by wisdom. Many stories are preserved of the bitter and unwise words he used in country coteries; how he proposed Washington’s health as an amendment to Pitt’s, gave as a toast “the last verse of the last chapter of Kings,” and celebrated Dumouriez in a doggerel impromptu full of ridicule and hate. Now his sympathies would inspire him with “Scots wha hae“; now involve him in a drunken broil with a loyal officer, and consequent apologies and explanations, hard to offer for a man of Burns’s stomach. Nor was this the front of his offending. On February 27, 1792, he took part in the capture of an armed smuggler, bought at the subsequent sale four carronades, and despatched them with a letter to the French Assembly. Letter and guns were stopped at Dover by the English officials; there was trouble for Burns with his superiors; he was reminded firmly, however delicately, that, as a paid official, it was his duty to obey and to be silent; and all the blood of this poor, proud, and falling man must have rushed to his head at the humiliation. His letter to Mr. Erskine, subsequently Earl of Mar, testifies, in its turgid, turbulent phrases, to a perfect passion of alarmed self-respect and vanity. He had been muzzled, and muzzled, when all was said, by his paltry salary as an exciseman; alas! had he not a family to keep? Already, he wrote, he looked forward to some such judgment from a hackney scribbler as this: “Burns, notwithstanding the fanfaronnade of independence to be found in his works, and after having been held forth to public view and to public estimation as a man of some genius, yet, quite destitute of resources within himself to support his borrowed dignity, he dwindled into a paltry exciseman, and slunk out the rest of his insignificant existence in the meanest of pursuits, and among the vilest of mankind.” And then on he goes, in a style of rhodomontade, but filled with living indignation, to declare his right to a political opinion, and his willingness to shed his blood for the political birthright of his sons. Poor, perturbed spirit! he was indeed exercised in vain; those who share and those who differ from his sentiments about the Revolution, alike understand and sympathise with him in this painful strait; for poetry and human manhood are lasting like the race, and politics, which are but a wrongful striving after right, pass and change from year to year and age to age. “The Twa Dogs” has already outlasted the constitution of Siéyès and the policy of the Whigs; and Burns is better known among English-speaking races than either Pitt or Fox.

Meanwhile, whether as a man, a husband, or a poet, his steps led downward. He knew, knew bitterly, that the best was out of him: he refused to make another volume, for he felt it would be a disappointment; he grew petulantly alive to criticism, unless he was sure it reached him from a friend. For his songs, he would take nothing; they were all that he could do; the proposed Scots play, the proposed series of Scots tales in verse, all had gone to water; and in a fling of pain and disappointment, which is surely noble with the nobility of a viking, he would rather stoop to borrow than to accept money for these last and inadequate efforts of his muse. And this desperate abnegation rises at times near to the height of madness; as when he pretended that he had not written, but only found and published, his immortal “Auld Lang Syne.” In the same spirit he became more scrupulous as an artist; he was doing so little, he would fain do that little well; and about two months before his death, he asked Thomson to send back all his manuscripts for revisal, saying that he would rather write five songs to his taste than twice that number otherwise. The battle of his life was lost; in forlorn efforts to do well, in desperate submissions to evil, the last years flew by. His temper is dark and explosive, launching epigrams, quarrelling with his friends, jealous of young puppy officers. He tries to be a good father; he boasts himself a libertine. Sick, sad, and jaded, he can refuse no occasion of temporary pleasure, no opportunity to shine; and he who had once refused the invitations of lords and ladies is now whistled to the inn by any curious stranger. His death (July 21, 1796), in his thirty-seventh year, was indeed a kindly dispensation. It is the fashion to say he died of drink; many a man has drunk more and yet lived with reputation, and reached a good age. That drink and debauchery helped to destroy his constitution, and were the means of his unconscious suicide, is doubtless true; but he had failed in life, had lost his power of work, and was already married to the poor, unworthy, patient Jean, before he had shown his inclination to convivial nights, or at least before that inclination had become dangerous either to his health or his self-respect. He had trifled with life, and must pay the penalty. He had chosen to be Don Juan, he had grasped at temporary pleasures, and substantial happiness and solid industry had passed him by. He died of being Robert Burns, and there is no levity in such a statement of the case; for shall we not, one and all, deserve a similar epitaph?

WORKS

The somewhat cruel necessity which has lain upon me throughout this paper only to touch upon those points in the life of Burns where correction or amplification seemed desirable, leaves me little opportunity to speak of the works which have made his name so famous. Yet, even here, a few observations seem necessary.

At the time when the poet made his appearance and great first success, his work was remarkable in two ways. For, first, in an age when poetry had become abstract and conventional, instead of continuing to deal with shepherds, thunderstorms, and personifications, he dealt with the actual circumstances of his life, however matter-of-fact and sordid these might be. And, second, in a time when English versification was particularly stiff, lame, and feeble, and words were used with ultra-academical timidity, he wrote verses that were easy, racy, graphic, and forcible, and used language with absolute tact and courage as it seemed most fit to give a clear impression. If you take even those English authors whom we know Burns to have most admired and studied, you will see at once that he owed them nothing but a warning. Take Shenstone, for instance, and watch that elegant author as he tries to grapple with the facts of life. He has a description, I remember, of a gentleman engaged in sliding or walking on thin ice, which is a little miracle of incompetence. You see my memory fails me, and I positively cannot recollect whether his hero was sliding or walking; as though a writer should describe a skirmish, and the reader, at the end, be still uncertain whether it were a charge of cavalry or a slow and stubborn advance of foot. There could be no such ambiguity in Burns; his work is at the opposite pole from such indefinite and stammering performances; and a whole lifetime passed in the study of Shenstone would only lead a man further and further from writing the “Address to a Louse.” Yet Burns, like most great artists, proceeded from a school and continued a tradition; only the school and tradition were Scottish, and not English. While the English language was becoming daily more pedantic and inflexible, and English letters more colourless and slack, there was another dialect in the sister country, and a different school of poetry, tracing its descent, through King James I., from Chaucer. The dialect alone accounts for much; for it was then written colloquially, which kept it fresh and supple; and, although not shaped for heroic flights, it was a direct and vivid medium for all that had to do with social life. Hence, whenever Scottish poets left their laborious imitations of bad English verses, and fell back on their own dialect, their style would kindle, and they would write of their convivial and somewhat gross existences with pith and point. In Ramsay, and far more in the poor lad Fergusson, there was mettle, humour, literary courage, and a power of saying what they wished to say definitely and brightly, which in the latter case should have justified great anticipations. Had Burns died at the same age as Fergusson, he would have left us literally nothing worth remark. To Ramsay and to Fergusson, then, he was indebted in a very uncommon degree, not only following their tradition and using their measures, but directly and avowedly imitating their pieces. The same tendency to borrow a hint, to work on some one else’s foundation, is notable in Burns from first to last, in the period of song-writing as well as in that of the early poems; and strikes one oddly in a man of such deep originality, who left so strong a print on all he touched, and whose work is so greatly distinguished by that character of “inevitability” which Wordsworth denied to Goethe.

When we remember Burns’s obligations to his predecessors, we must never forget his immense advances on them. They had already “discovered” nature; but Burns discovered poetry – a higher and more intense way of thinking of the things that go to make up nature, a higher and more ideal key of words in which to speak of them. Ramsay and Fergusson excelled at making a popular – or shall we say vulgar? – sort of society verses, comical and prosaic, written, you would say, in taverns while a supper-party waited for its laureate’s word; but on the appearance of Burns, this coarse and laughing literature was touched to finer issues, and learned gravity of thought and natural pathos.

What he had gained from his predecessors was a direct, speaking style, and to walk on his own feet instead of on academical stilts. There was never a man of letters with more absolute command of his means; and we may say of him, without excess, that his style was his slave. Hence that energy of epithet, so concise and telling, that a foreigner is tempted to explain it by some special richness or aptitude in the dialect he wrote. Hence that Homeric justice and completeness of description which gives us the very physiognomy of nature, in body and detail, as nature is. Hence, too, the unbroken literary quality of his best pieces, which keeps him from any slip into the weariful trade of word-painting, and presents everything, as everything should be presented by the art of words, in a clear, continuous medium of thought. Principal Shairp, for instance, gives us a paraphrase of one tough verse of the original; and for those who know the Greek poets only by paraphrase, this has the very quality they are accustomed to look for and admire in Greek. The contemporaries of Burns were surprised that he should visit so many celebrated mountains and waterfalls, and not seize the opportunity to make a poem. Indeed, it is not for those who have a true command of the art of words, but for peddling, professional amateurs, that these pointed occasions are most useful and inspiring. As those who speak French imperfectly are glad to dwell on any topic they may have talked upon or heard others talk upon before, because they know appropriate words for it in French, so the dabbler in verse rejoices to behold a waterfall, because he has learned the sentiment and knows appropriate words for it in poetry. But the dialect of Burns was fitted to deal with any subject; and whether it was a stormy night, a shepherd’s collie, a sheep struggling in the snow, the conduct of cowardly soldiers in the field, the gait and cogitations of a drunken man, or only a village cock-crow in the morning, he could find language to give it freshness, body, and relief. He was always ready to borrow the hint of a design, as though he had a difficulty in commencing – a difficulty, let us say, in choosing a subject out of a world which seemed all equally living and significant to him; but once he had the subject chosen, he could cope with nature single-handed, and make every stroke a triumph. Again, his absolute mastery in his art enabled him to express each and all of his different humours, and to pass smoothly and congruously from one to another. Many men invent a dialect for only one side of their nature – perhaps their pathos or their humour, or the delicacy of their senses – and, for lack of a medium, leave all the others unexpressed. You meet such an one, and find him in conversation full of thought, feeling, and experience, which he has lacked the art to employ in his writings. But Burns was not thus hampered in the practice of the literary art; he could throw the whole weight of his nature into his work, and impregnate it from end to end. If Doctor Johnson, that stilted and accomplished stylist, had lacked the sacred Boswell, what should we have known of him? and how should we have delighted in his acquaintance as we do? Those who spoke with Burns tell us how much we have lost who did not. But I think they exaggerate their privilege: I think we have the whole Burns in our possession set forth in his consummate verses.

It was by his style, and not by his matter, that he affected Wordsworth and the world. There is, indeed, only one merit worth considering in a man of letters – that he should write well; and only one damning fault – that he should write ill. We are little the better for the reflections of the sailor’s parrot in the story. And so, if Burns helped to change the course of literary history, it was by his frank, direct, and masterly utterance, and not by his homely choice of subjects. That was imposed upon him, not chosen upon a principle. He wrote from his own experience, because it was his nature so to do, and the tradition of the school from which he proceeded was fortunately not opposed to homely subjects. But to these homely subjects he communicated the rich commentary of his nature; they were all steeped in Burns; and they interest us not in themselves, but because they have been passed through the spirit of so genuine and vigorous a man. Such is the stamp of living literature; and there was never any more alive than that of Burns.

What a gust of sympathy there is in him sometimes flowing out in byways hitherto unused, upon mice, and flowers, and the devil himself; sometimes speaking plainly between human hearts; sometimes ringing out in exultation like a peal of bells! When we compare the “Farmer’s Salutation to his Auld Mare Maggie,” with the clever and inhumane production of half a century earlier, “The Auld Man’s Mare’s dead,” we see in a nut-shell the spirit of the change introduced by Burns. And as to its manner, who that has read it can forget how the collie, Luath, in the “Twa Dogs,” describes and enters into the merry-making in the cottage?

“The luntin’ pipe an’ sneeshin’ mill
Are handed round wi’ richt guid will;
The canty auld folks crackin’ crouse,
The young anes rantin’ through the house —
My heart has been sae fain to see them,
That I for joy hae barkit wi’ them.”

It was this ardent power of sympathy that was fatal to so many women, and, through Jean Armour, to himself at last. His humour comes from him in a stream so deep and easy that I will venture to call him the best of humorous poets. He turns about in the midst to utter a noble sentiment or a trenchant remark on human life, and the style changes and rises to the occasion. I think it is Principal Shairp who says, happily, that Burns would have been no Scotsman if he had not loved to moralise; neither, may we add, would he have been his father’s son; but (what is worthy of note) his moralisings are to a large extent the moral of his own career. He was among the least impersonal of artists. Except in the “Jolly Beggars,” he shows no gleam of dramatic instinct. Mr. Carlyle has complained that “Tam o’ Shanter” is, from the absence of this quality, only a picturesque and external piece of work; and I may add that in the “Twa Dogs” it is precisely in the infringement of dramatic propriety that a great deal of the humour of the speeches depends for its existence and effect. Indeed, Burns was so full of his identity that it breaks forth on every page; and there is scarce an appropriate remark either in praise or blame of his own conduct but he has put it himself into verse. Alas for the tenor of these remarks! They are, indeed, his own pitiful apology for such a marred existence and talents so misused and stunted; and they seem to prove for ever how small a part is played by reason in the conduct of man’s affairs. Here was one, at least, who with unfailing judgment predicted his own fate; yet his knowledge could not avail him, and with open eyes he must fulfil his tragic destiny. Ten years before the end he had written his epitaph; and neither subsequent events, nor the critical eyes of posterity, have shown us a word in it to alter. And, lastly, has he not put in for himself the last unanswerable plea? —

“Then gently scan your brother man,
Still gentler sister woman;
Though they may gang a kennin’ wrang,
To step aside is human:
One point must still be greatly dark – ”

One? Alas! I fear every man and woman of us is “greatly dark” to all their neighbours, from the day of birth until death removes them, in their greatest virtues as well as in their saddest faults; and we, who have been trying to read the character of Burns, may take home the lesson and be gentle in our thoughts.

III

WALT WHITMAN

Of late years the name of Walt Whitman has been a good deal bandied about in books and magazines. It has become familiar both in good and ill repute. His works have been largely bespattered with praise by his admirers, and cruelly mauled and mangled by irreverent enemies. Now, whether his poetry is good or bad as poetry, is a matter that may admit of a difference of opinion without alienating those who differ. We could not keep the peace with a man who should put forward claims to taste and yet depreciate the choruses in “Samson Agonistes“; but, I think, we may shake hands with one who sees no more in Walt Whitman’s volume, from a literary point of view, than a farrago of incompetent essays in a wrong direction. That may not be at all our own opinion. We may think that, when a work contains many unforgettable phrases, it cannot be altogether devoid of literary merit. We may even see passages of a high poetry here and there among its eccentric contents. But when all is said, Walt Whitman is neither a Milton nor a Shakespeare; to appreciate his works is not a condition necessary to salvation; and I would not disinherit a son upon the question, nor even think much the worse of a critic, for I should always have an idea what he meant.

What Whitman has to say is another affair from how he says it. It is not possible to acquit any one of defective intelligence, or else stiff prejudice, who is not interested by Whitman’s matter and the spirit it represents. Not as a poet, but as what we must call (for lack of a more exact expression) a prophet, he occupies a curious and prominent position. Whether he may greatly influence the future or not, he is a notable symptom of the present. As a sign of the times, it would be hard to find his parallel. I should hazard a large wager, for instance, that he was not unacquainted with the works of Herbert Spencer; and yet where, in all the history books, shall we lay our hands on two more incongruous contemporaries? Mr. Spencer so decorous – I had almost said, so dandy – in dissent; and Whitman, like a large shaggy dog, just unchained, scouring the beaches of the world and baying at the moon. And when was an echo more curiously like a satire, than when Mr. Spencer found his Synthetic Philosophy reverberated from the other shores of the Atlantic in the “barbaric yawp” of Whitman?

I

Whitman, it cannot be too soon explained, writes up to a system. He was a theoriser about society before he was a poet. He first perceived something wanting, and then sat down squarely to supply the want. The reader, running over his works, will find that he takes nearly as much pleasure in critically expounding his theory of poetry as in making poems. This is as far as it can be from the case of the spontaneous village minstrel dear to elegy, who has no theory whatever, although sometimes he may have fully as much poetry as Whitman. The whole of Whitman’s work is deliberate and preconceived. A man born into a society comparatively new, full of conflicting elements and interests, could not fail, if he had any thoughts at all, to reflect upon the tendencies around him. He saw much good and evil on all sides, not yet settled down into some more or less unjust compromise as in older nations, but still in the act of settlement. And he could not but wonder what it would turn out; whether the compromise would be very just or very much the reverse, and give great or little scope for healthy human energies. From idle wonder to active speculation is but a step; and he seems to have been early struck with the inefficacy of literature and its extreme unsuitability to the conditions. What he calls “Feudal Literature” could have little living action on the tumult of American democracy; what he calls the “Literature of Woe,” meaning the whole tribe of “Werther” and Byron, could have no action for good in any time or place. Both propositions, if art had none but a direct moral influence, would be true enough; and as this seems to be Whitman’s view, they were true enough for him. He conceived the idea of a Literature which was to inhere in the life of the present; which was to be, first, human, and next, American; which was to be brave and cheerful as per contract; to give culture in a popular and poetical presentment; and, in so doing, catch and stereotype some democratic ideal of humanity which should be equally natural to all grades of wealth and education, and suited, in one of his favourite phrases, to “the average man.” To the formation of some such literature as this his poems are to be regarded as so many contributions, one sometimes explaining, sometimes superseding, the other: and the whole together not so much a finished work as a body of suggestive hints. He does not profess to have built the castle, but he pretends he has traced the lines of the foundation. He has not made the poetry, but he flatters himself he has done something towards making the poets.

His notion of the poetic function is ambitious, and coincides roughly with what Schopenhauer has laid down as the province of the metaphysician. The poet is to gather together for men, and set in order, the materials of their existence. He is “The Answerer“; he is to find some way of speaking about life that shall satisfy, if only for the moment, man’s enduring astonishment at his own position. And besides having an answer ready, it is he who shall provoke the question. He must shake people out of their indifference, and force them to make some election in this world, instead of sliding dully forward in a dream. Life is a business we are all apt to mismanage; either living recklessly from day to day, or suffering ourselves to be gulled out of our moments by the inanities of custom. We should despise a man who gave as little activity and forethought to the conduct of any other business. But in this, which is the one thing of all others, since it contains them all, we cannot see the forest for the trees. One brief impression obliterates another. There is something stupefying in the recurrence of unimportant things. And it is only on rare provocations that we can rise to take an outlook beyond daily concerns, and comprehend the narrow limits and great possibilities of our existence. It is the duty of the poet to induce such moments of clear sight. He is the declared enemy of all living by reflex action, of all that is done betwixt sleep and waking, of all the pleasureless pleasurings and imaginary duties in which we coin away our hearts and fritter invaluable years. He has to electrify his readers into an instant unflagging activity, founded on a wide and eager observation of the world, and make them direct their ways by a superior prudence, which has little or nothing in common with the maxims of the copy-book. That many of us lead such lives as they would heartily disown after two hours’ serious reflection on the subject is, I am afraid, a true, and, I am sure, a very galling thought. The Enchanted Ground of dead-alive respectability is next, upon the map, to the Beulah of considerate virtue. But there they all slumber and take their rest in the middle of God’s beautiful and wonderful universe; the drowsy heads have nodded together in the same position since first their fathers fell asleep; and not even the sound of the last trumpet can wake them to a single active thought. The poet has a hard task before him to stir up such fellows to a sense of their own and other people’s principles in life.

And it happens that literature is, in some ways, but an indifferent means to such an end. Language is but a poor bull’s-eye lantern wherewith to show off the vast cathedral of the world; and yet a particular thing once said in words is so definite and memorable, that it makes us forget the absence of the many which remain unexpressed; like a bright window in a distant view, which dazzles and confuses our sight of its surroundings. There are not words enough in all Shakespeare to express the merest fraction of a man’s experience in an hour. The speed of the eyesight and the hearing, and the continual industry of the mind, produce, in ten minutes, what it would require a laborious volume to shadow forth by comparisons and roundabout approaches. If verbal logic were sufficient, life would be as plain sailing as a piece of Euclid. But, as a matter of fact, we make a travesty of the simplest process of thought when we put it into words; for the words are all coloured and forsworn, apply inaccurately, and bring with them, from former uses, ideas of praise and blame that have nothing to do with the question in hand. So we must always see to it nearly, that we judge by the realities of life and not by the partial terms that represent them in man’s speech; and at times of choice, we must leave words upon one side, and act upon those brute convictions, unexpressed and perhaps inexpressible, which cannot be flourished in an argument, but which are truly the sum and fruit of our experience. Words are for communication, not for judgment. This is what every thoughtful man knows for himself, for only fools and silly schoolmasters push definitions over far into the domain of conduct; and the majority of women, not learned in these scholastic refinements, live all-of-a-piece and unconsciously, as a tree grows, without caring to put a name upon their acts or motives. Hence, a new difficulty for Whitman’s scrupulous and argumentative poet: he must do more than waken up the sleepers to his words; he must persuade them to look over the book and at life with their own eyes.

This side of truth is very present to Whitman; it is this that he means when he tells us that “To glance with an eye confounds the learning of all times.” But he is not unready. He is never weary of descanting on the undebatable conviction that is forced upon our minds by the presence of other men, of animals, or of inanimate things. To glance with an eye, were it only at a chair or a park railing, is by far a more persuasive process, and brings us to a far more exact conclusion than to read the works of all the logicians extant. If both, by a large allowance, may be said to end in certainty, the certainty in the one case transcends the other to an incalculable degree. If people see a lion, they run away; if they only apprehend a deduction, they keep wandering around in an experimental humour. Now, how is the poet to convince like nature, and not like books? Is there no actual piece of nature that he can show the man to his face, as he might show him a tree if they were walking together? Yes, there is one: the man’s own thoughts. In fact, if the poet is to speak efficaciously, he must say what is already in his hearer’s mind. That, alone, the hearer will believe; that, alone, he will be able to apply intelligently to the facts of life. Any conviction, even if it be a whole system or a whole religion, must pass into the condition of commonplace, or postulate, before it becomes fully operative. Strange excursions and high-flying theories may interest, but they cannot rule behaviour. Our faith is not the highest truth that we perceive, but the highest that we have been able to assimilate into the very texture and method of our thinking. It is not, therefore, by flashing before a man’s eyes the weapons of dialectic; it is not by induction, deduction, or construction; it is not by forcing him on from one stage of reasoning to another, that the man will be effectually renewed. He cannot be made to believe anything; but he can be made to see that he has always believed it. And this is the practical canon. It is when the reader cries, “Oh, I know!” and is, perhaps, half irritated to see how nearly the author has forestalled his own thoughts, that he is on the way to what is called in theology a Saving Faith.

Here we have the key to Whitman’s attitude. To give a certain unity of ideal to the average population of America – to gather their activities about some conception of humanity that shall be central and normal, if only for the moment – the poet must portray that population as it is. Like human law, human poetry is simply declaratory. If any ideal is possible, it must be already in the thoughts of the people; and, by the same reason, in the thoughts of the poet, who is one of them. And hence Whitman’s own formula: “The poet is individual – he is complete in himself: the others are as good as he; only he sees it, and they do not.” To show them how good they are, the poet must study his fellow-countrymen and himself somewhat like a traveller on the hunt for his book of travels. There is a sense, of course, in which all true books are books of travel; and all genuine poets must run the risk of being charged with the traveller’s exaggeration; for to whom are such books more surprising than to those whose own life is faithfully and smartly pictured? But this danger is all upon one side; and you may judiciously flatter the portrait without any likelihood of the sitter’s disowning it for a faithful likeness. And so Whitman has reasoned: that by drawing at first-hand from himself and his neighbours, accepting without shame the inconsistencies and brutalities that go to make up man, and yet treating the whole in a high, magnanimous spirit, he would make sure of belief, and at the same time encourage people forward by the means of praise.

II

We are accustomed nowadays to a great deal of puling over the circumstances in which we are placed. The great refinement of many poetical gentlemen has rendered them practically unfit for the jostling and ugliness of life, and they record their unfitness at considerable length. The bold and awful poetry of Job’s complaint produces too many flimsy imitators; for there is always something consolatory in grandeur, but the symphony transposed for the piano becomes hysterically sad. This literature of woe, as Whitman calls it, this Maladie de René, as we like to call it in Europe, is in many ways a most humiliating and sickly phenomenon. Young gentlemen with three or four hundred a year of private means look down from a pinnacle of doleful experience on all the grown and hearty men who have dared to say a good word for life since the beginning of the world. There is no prophet but the melancholy Jacques, and the blue devils dance on all our literary wires.

It would be a poor service to spread culture, if this be its result, among the comparatively innocent and cheerful ranks of men. When our little poets have to be sent to look at the ploughman and learn wisdom, we must be careful how we tamper with our ploughmen. Where a man in not the best of circumstances preserves composure of mind, and relishes ale and tobacco, and his wife and children, in the intervals of dull and unremunerative labour; where a man in this predicament can afford a lesson by the way to what are called his intellectual superiors, there is plainly something to be lost, as well as something to be gained, by teaching him to think differently. It is better to leave him as he is than to teach him whining. It is better that he should go without the cheerful lights of culture, if cheerless doubt and paralysing sentimentalism are to be the consequence. Let us, by all means, fight against that hidebound stolidity of sensation and sluggishness of mind which blurs and decolorises for poor natures the wonderful pageant of consciousness; let us teach people, as much as we can, to enjoy, and they will learn for themselves to sympathise; but let us see to it, above all, that we give these lessons in a brave, vivacious note, and build the man up in courage while we demolish its substitute, indifference.

Whitman is alive to all this. He sees that, if the poet is to be of any help, he must testify to the livableness of life. His poems, he tells us, are to be “hymns of the praise of things.” They are to make for a certain high joy in living, or what he calls himself “a brave delight fit for freedom’s athletes.” And he has had no difficulty in introducing his optimism: it fitted readily enough with his system; for the average man is truly a courageous person and truly fond of living. One of Whitman’s remarks upon this head is worth quotation, as he is there perfectly successful, and does precisely what he designs to do throughout: Takes ordinary and even commonplace circumstances; throws them out, by a happy turn of thinking, into significance and something like beauty; and tacks a hopeful moral lesson to the end.

“The passionate tenacity of hunters, woodmen, early risers, cultivators of gardens and orchards and fields, he says, 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 unvaried sign of the unfailing perception of beauty, and of a residence of the poetic in outdoor people.”

There seems to me something truly original in this choice of trite examples. You will remark how adroitly Whitman begins, hunters and woodmen being confessedly romantic. And one thing more. If he had said “the love of healthy men for the female form,” he would have said almost a silliness; for the thing has never been dissembled out of delicacy, and is so obvious as to be a public nuisance. But by reversing it, he tells us something not unlike news; something that sounds quite freshly in words; and, if the reader be a man, gives him a moment of great self-satisfaction and spiritual aggrandisement. In many different authors you may find passages more remarkable for grammar, but few of a more ingenious turn, and none that could be more to the point in our connection. The tenacity of many ordinary people in ordinary pursuits is a sort of standing challenge to everybody else. If one man can grow absorbed in delving his garden, others may grow absorbed and happy over something else. Not to be upsides in this with any groom or gardener is to be very meanly organised. A man should be ashamed to take his food if he has not alchemy enough in his stomach to turn some of it into intense and enjoyable occupation.

Whitman tries to reinforce this cheerfulness by keeping up a sort of outdoor atmosphere of sentiment. His book, he tells us, should be read; “among the cooling influences of external nature“; and this recommendation, like that other famous one which Hawthorne prefixed to his collected tales, is in itself a character of the work. Every one who has been upon a walking or a boating tour, living in the open air, with the body in constant exercise and the mind in fallow, knows true ease and quiet. The irritating action of the brain is set at rest; we think in a plain, unfeverish temper; little things seem big enough, and great things no longer portentous; and the world is smilingly accepted as it is. This is the spirit that Whitman inculcates and parades. He thinks very ill of the atmosphere of parlours or libraries. Wisdom keeps school outdoors. And he has the art to recommend this attitude of mind by simply pluming himself upon it as a virtue; so that the reader, to keep the advantage over his author which most readers enjoy, is tricked into professing the same view. And this spirit, as it is his chief lesson, is the greatest charm of his work. Thence, in spite of an uneven and emphatic key of expression, something trenchant and straightforward, something simple and surprising, distinguishes his poems. He has sayings that come home to one like the Bible. We fall upon Whitman, after the works of so many men who write better, with a sense of relief from strain, with a sense of touching nature, as when one passes out of the flaring, noisy thoroughfares of a great city, into what he himself has called, with unexcelled imaginative justice of language, “the huge and thoughtful night.” And his book in consequence, whatever may be the final judgment of its merit, whatever may be its influence on the future, should be in the hands of all parents and guardians as a specific for the distressing malady of being seventeen years old. Green-sickness yields to his treatment as to a charm of magic; and the youth, after a short course of reading, ceases to carry the universe upon his shoulders.

III

Whitman is not one of those who can be deceived by familiarity. He considers it just as wonderful that there are myriads of stars as that one man should rise from the dead. He declares “a hair on the back of his hand just as curious as any special revelation.” His whole life is to him what it was to Sir Thomas Browne, – one perpetual miracle. Everything is strange, everything unaccountable, everything beautiful; from a bug to the moon, from the sight of the eyes to the appetite for food. He makes it his business to see things as if he saw them for the first time, and professes astonishment on principle. But he has no leaning towards mythology; avows his contempt for what he calls “unregenerate poetry“; and does not mean by nature

“the smooth walks, trimmed edges, butterflies, posies, and nightingales of the English poets, but the whole orb, with its geologic history, the Kosmos, carrying fire and snow, that rolls through the illimitable areas, light as a feather though weighing billions of tons.”

Nor is this exhaustive; for in his character of idealist all impressions, all thoughts, trees and people, love and faith, astronomy, history, and religion, enter upon equal terms into his notion of the universe. He is not against religion; not, indeed, against any religion. He wishes to drag with a larger net, to make a more comprehensive synthesis, than any or than all of them put together. In feeling after the central type of man, he must embrace all eccentricities; his cosmology must subsume all cosmologies, and the feelings that gave birth to them; his statement of facts must include all religion and all irreligion, Christ and Boodha, God and the devil. The world as it is, and the whole world as it is, physical, and spiritual, and historical, with its good and bad, with its manifold inconsistencies, is what he wishes to set forth, in strong, picturesque, and popular lineaments, for the understanding of the average man. One of his favourite endeavours is to get the whole matter into a nutshell; to knock the four corners of the universe, one after another, about his readers’ ears; to hurry him, in breathless phrases, hither and thither, back and forward, in time and space; to focus all this about his own momentary personality; and then, drawing the ground from under his feet, as if by some cataclysm of nature, to plunge him into the unfathomable abyss sown with enormous suns and systems, and among the inconceivable numbers and magnitudes and velocities of the heavenly bodies. So that he concludes by striking into us some sense of that disproportion of things which Shelley has illuminated by the ironical flash of these eight words: The desire of the moth for the star.

The same truth, but to what a different purpose! Whitman’s moth is mightily at his ease about all the planets in heaven, and cannot think too highly of our sublunary tapers. The universe is so large that imagination flags in the effort to conceive it; but here, in the meantime, is the world under our feet, a very warm and habitable corner. “The earth, that is sufficient; I do not want the constellations any nearer,” he remarks. And again: “Let your soul stand cool and composed,” says he, “before a million universes.” It is the language of a transcendental common sense, such as Thoreau held and sometimes uttered. But Whitman, who has a somewhat vulgar inclination for technical talk and the jargon of philosophy, is not content with a few pregnant hints; he must put the dots upon his i’s; he must corroborate the songs of Apollo by some of the darkest talk of human metaphysic. He tells his disciples that they must be ready “to confront the growing arrogance of Realism.” Each person is, for himself, the keystone and the occasion of this universal edifice. “Nothing, not God,” he says, “is greater to one than oneself is“; a statement with an irreligious smack at the first sight; but like most startling sayings, a manifest truism on a second. He will give effect to his own character without apology; he sees “that the elementary laws never apologise.” “I reckon,” he adds, with quaint colloquial arrogance, “I reckon I behave no prouder than the level I plant my house by, after all.” The level follows the law of its being; so, unrelentingly, will he; everything, every person, is good in his own place and way; God is the maker of all, and all are in one design. For he believes in God, and that with a sort of blasphemous security. “No array of terms,” quoth he, “no array of terms can say how much at peace I am about God and about death.” There certainly never was a prophet who carried things with a higher hand; he gives us less a body of dogmas than a series of proclamations by the grace of God; and language, you will observe, positively fails him to express how far he stands above the highest human doubts and trepidations.

But next in order of truths to a person’s sublime conviction of himself, comes the attraction of one person for another, and all that we mean by the word love: —

“The dear love of man for his comrade – the attraction of friend for friend,
Of the-well-married husband and wife, of children and parents,
Of city for city and land for land.”

The solitude of the most sublime idealist is broken in upon by other people’s faces; he sees a look in their eyes that corresponds to something in his own heart; there comes a tone in their voices which convicts him of a startling weakness for his fellow-creatures. While he is hymning the ego and commercing with God and the universe, a woman goes below his window; and at the turn of her skirt, or the colour of her eyes, Icarus is recalled from heaven by the run. Love is so startlingly real that it takes rank upon an equal footing of reality with the consciousness of personal existence. We are as heartily persuaded of the identity of those we love as of our own identity. And so sympathy pairs with self-assertion, the two gerents of human life on earth; and Whitman’s ideal man must not only be strong, free, and self-reliant in himself, but his freedom must be bounded and his strength perfected by the most intimate, eager, and long-suffering love for others. To some extent this is taking away with the left hand what has been so generously given with the right. Morality has been ceremoniously extruded from the door only to be brought in again by the window. We are told, on one page, to do as we please; and on the next we are sharply upbraided for not having done as the author pleases. We are first assured that we are the finest fellows in the world in our own right; and then it appears that we are only fine fellows in so far as we practise a most quixotic code of morals. The disciple who saw himself in clear ether a moment before is plunged down again among the fogs and complications of duty. And this is all the more overwhelming because Whitman insists not only on love between sex and sex, and between friends of the same sex, but in the field of the less intense political sympathies; and his ideal man must not only be a generous friend but a conscientious voter into the bargain.

His method somewhat lessens the difficulty. He is not, the reader will remember, to tell us how good we ought to be, but to remind us how good we are. He is to encourage us to be free and kind by proving that we are free and kind already. He passes our corporate life under review, to show that it is upheld by the very virtues of which he makes himself the advocate. “There is no object so soft,” he says somewhere in his big, plain way, “there is no object so soft but it makes a hub for the wheel’d universe.” Rightly understood, it is on the softest of all objects, the sympathetic heart, that the wheel of society turns easily and securely as on a perfect axle. There is no room, of course, for doubt or discussion, about conduct, where every one is to follow the law of his being with exact compliance. Whitman hates doubt, deprecates discussion, and discourages to his utmost the craving, carping sensibilities of the conscience. We are to imitate, to use one of his absurd and happy phrases, “the satisfaction and aplomb of animals.” If he preaches a sort of ranting Christianity in morals, a fit consequent to the ranting optimism of his cosmology, it is because he declares it to be the original deliverance of the human heart; or at least, for he would be honestly historical in method, of the human heart as at present Christianised. His is a morality without a prohibition; his policy is one of encouragement all round. A man must be a born hero to come up to Whitman’s standard in the practice of any of the positive virtues; but of a negative virtue, such as temperance or chastity, he has so little to say, that the reader need not be surprised if he drops a word or two upon the other side. He would lay down nothing that would be a clog; he would prescribe nothing that cannot be done ruddily, in a heat. The great point is to get people under way. To the faithful Whitmanite this would be justified by the belief that God made all, and that all was good; the prophet, in this doctrine, has only to cry “Tally-ho,” and mankind will break into a gallop on the road to El Dorado. Perhaps, to another class of minds, it may look like the result of the somewhat cynical reflection that you will not make a kind man out of one who is unkind by any precepts under heaven; tempered by the belief that, in natural circumstances, the large majority is well disposed. Thence it would follow, that if you can only get every one to feel more warmly and act more courageously, the balance of results will be for good.

So far, you see, the doctrine is pretty coherent as a doctrine; as a picture of man’s life it is incomplete and misleading, although eminently cheerful. This he is himself the first to acknowledge; for if he is prophetic in anything, it is in his noble disregard of consistency. “Do I contradict myself?” he asks somewhere; and then pat comes the answer, the best answer ever given in print, worthy of a sage, or rather of a woman: “Very well, then, I contradict myself!” with this addition, not so feminine and perhaps not altogether so satisfactory: “I am large – I contain multitudes.” Life, as a matter of fact, partakes largely of the nature of tragedy. The gospel according to Whitman, even if it be not so logical, has this advantage over the gospel according to Pangloss, that it does not utterly disregard the existence of temporal evil. Whitman accepts the fact of disease and wretchedness like an honest man; and instead of trying to qualify it in the interest of his optimism, sets himself to spur people up to be helpful. He expresses a conviction, indeed, that all will be made up to the victims in the end; that “what is untried and afterward” will fail no one, not even “the old man who has lived without purpose and feels it with bitterness worse than gall.” But this is not to palliate our sense of what is hard or melancholy in the present. Pangloss, smarting under one of the worst things that ever was supposed to come from America, consoled himself with the reflection that it was the price we have to pay for cochineal. And with that murderous parody, logical optimism and the praises of the best of possible worlds went irrevocably out of season, and have been no more heard of in the mouths of reasonable men. Whitman spares us all allusions to the cochineal; he treats evil and sorrow in a spirit almost as of welcome; as an old sea-dog might have welcomed the sight of the enemy’s topsails off the Spanish Main. There, at least, he seems to say, is something obvious to be done. I do not know many better things in literature than the brief pictures – brief and vivid like things seen by lightning, – with which he tries to stir up the world’s heart upon the side of mercy. He braces us, on the one hand, with examples of heroic duty and helpfulness; on the other, he touches us with pitiful instances of people needing help. He knows how to make the heart beat at a brave story; to inflame us with just resentment over the hunted slave; to stop our mouths for shame when he tells of the drunken prostitute. For all the afflicted, all the weak, all the wicked, a good word is said in a spirit which I can only call one of ultra Christianity; and however wild, however contradictory, it may be in parts, this at least may be said for his book, as it may be said of the Christian Gospels, that no one will read it, however respectable, but he gets a knock upon his conscience; no one however fallen, but he finds a kindly and supporting welcome.