Masters of Poetry - Walt Whitman. August Nemo
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and power? If he has not, his pretensions are soon exploded. If he has, we cannot put him down, any more than we can put down a law of nature, and we very soon find some principle of art that fits his case. Is there no room for the new man? But the new man makes room for himself, and if he be of the first order he largely makes the taste by which he is appreciated, and the rules of art by which he is to be judged.
IV
The trouble with most of us is that we found our taste for poetry upon particular authors, instead of upon literature as a whole, or, better yet, upon life and reality. Hence we form standards instead of principles. Standards are limited, rigid, uncompromising, while principles are flexible, expansive, creative. If we are wedded to the Miltonic standard of poetry, the classic standards, we shall have great difficulties with Whitman; but if we have founded our taste upon natural principles—if we have learned to approach literature through reality, instead of reality through literature—we shall not be the victims of any one style or model; we shall be made free of all. The real test of art, of any art, as Burke long ago said, and as quoted by Mr. Howells in his trenchant little volume called "Criticism and Fiction," is to be sought outside of art, namely, in nature. "I can judge but poorly of anything while I measure it by no other standard than itself. The true standard of the arts is in every man's power; and an easy observation of the most common, sometimes of the meanest, things in nature will give the truest lights." It is thought that the preëminence of the Greek standards is settled when we say they are natural. Yes, but Nature is not Greek. She is Asiatic, German, English, as well.
V
In poetry, in art, a man must sustain a certain vital relation to his work, and that work must sustain a certain vital relation to the laws of mind and of life. That is all, and that leaves the doors very wide. We are not to ask, Is it like this or like that? but, Is it vital, is it real, is it a consistent, well-organized whole?
The poet must always interpret himself and nature after his own fashion. Is his fashion adequate? Is the interpretation vivid and real? Do his lines cut to the quick, and beget heat and joy in the soul? If we cannot make the poet's ideal our own by sharing his enthusiasm for it, the trouble is as likely to be in ourselves as in him. In any case he must be a law unto himself.
The creative artist differs from the mere writer or thinker in this: he sustains a direct personal relation to his subject through emotion, intuition, will. The indirect, impersonal relation which works by reflection, comparison, and analysis is that of the critic and philosopher. The man is an artist when he gives us a concrete and immediate impression of reality: from his hands we get the thing itself; from the critic and thinker we get ideas about the thing. The poet does not merely say the world is beautiful; he shows it as beautiful: he does not describe the flower; he places it before us. What are the enemies of art? Reflection, didacticism, description, the turgid, the obscure. A poet with a thesis to sustain is more or less barred from the freedom of pure art. It is by direct and unconsidered expression, says Scherer, that art communicates with reality. The things that make for art, then, are feeling, intuition, sentiment, soul, a fresh and vigorous sense of real things,—in fact, all that makes for life, health, and wholeness. Goethe is more truly an artist in the first part of Faust than in the second; Arnold has a more truly artistic mind than Lowell.
The principles of art are always the same in the respect I have indicated, just as the principles of life are always the same, or of health and longevity are always the same. No writer is an artist who is related to his subject simply by mental or logical grip alone: he must have a certain emotional affiliation and identity with it; he does not so much convey to us ideas and principles as pictures, parables, impressions,—a lively sense of real things. When we put Whitman outside the pale of art, we must show his shortcomings here; we must show that he is not fluid and generative,—that he paints instead of interprets, that he gives us reasons instead of impulses, a stone when we ask for bread. "I do not give a little charity," he says; "when I give, I give myself." This the artist always does, not his mind merely, but his soul, his personality. "Leaves of Grass" is as direct an emanation from a central personal force as any book in literature, and always carries its own test and its own proof. It never hardens into a system, it never ceases to be penetrated with will and emotion, it never declines from the order of deeds to the order of mere thoughts. All is movement, progress, evolution, picture, parable, impulse.
It is on these grounds that Whitman, first of all, is an artist. He has the artist temperament. His whole life was that of a man who lives to ideal ends,—who lived to bestow himself upon others, to extract from life its meaning and its joy.
VI
Whitman has let himself go, and trusted himself to the informal and spontaneous, to a degree unprecedented. His course required a self-reliance of the highest order; it required an innate cohesion and homogeneity, a firmness and consistency of individual outline, that few men have. It would seem to be much easier to face the poet's problem in the old, well-worn forms—forms that are so winsome and authoritative in themselves—than, to stand upon a basis so individual and intrinsic as Whitman chose to stand upon. His course goes to the quick at once. How much of a man are you? How vital and fundamental is your poetic gift? Can it go alone? Can it face us in undress?
Never did the artist more cunningly conceal himself; never did he so completely lose himself in the man, identifying himself with the natural and spontaneous; never emerging and challenging attention on his own account, denying us when we too literally seek him, mocking us when we demand his credentials, and revealing himself only when we have come to him upon his own terms.
The form the poet chose favored this self-revelation; there is nothing, no outside conscious art, to stand between himself and his reader. "This is no book," he says: "who touches this touches a man." In one sense Whitman is without art,—the impression which he always seeks to make is that of reality itself. He aims to give us reality without the usual literary veils and illusions,—the least possible amount of the artificial, the extrinsic, the put-on, between himself and his reader. He banishes from his work, as far as possible, what others are so intent upon,—all atmosphere of books and culture, all air of literary intention and decoration,—and puts his spirit frankly and immediately to his readers. The verse does not seem to have been shaped; it might have grown: it takes no apparent heed of externals, but flows on like a brook, irregular, rhythmical, and always fluid and real. A cry will always be raised against the producer in any field who discards the authority of the models and falls back upon simple Nature, or upon himself, as Millet did in painting, and Wagner in music, and Whitman in poetry.
Whitman's working ideas, the principles that inspired him, are all directly related to life and the problems of life; they are democracy, nature, freedom, love, personality, religion: while the ideas from which our poets in the main draw their inspiration are related to art,—they are literary ideas, such as lucidity, form, beauty.
VII
Much light is thrown upon Whitman's literary methods and aims by a remark which he once made in conversation with Dr. Bucke:—
"I have aimed to make the book simple,—tasteless, or with little taste,—with very little or no perfume. The usual way is for the poet or writer to put in as much taste, perfume, piquancy, as he can; but this is not the way of nature, which I take for model. Nature presents us her productions—her air, earth, waters, even her flowers, grains, meats—with faint and delicate flavor and fragrance, but these in the long run make the deepest impression. Man, dealing with natural things, constantly aims to increase their piquancy. By crossing and selection he deepens and intensifies the scents and hues of flowers, the tastes of fruits, and so on. He pursues the same method in poetry,—that is, strives for strong light or shade, for high color, perfume, pungency, in all ways for the greatest immediate effect. In so doing he leaves the true way, the way of Nature, and, in the long run, comes far short of producing her effects."
More light of the same kind is thrown upon his methods by the following passage from the preface to the first edition of his poems in 1855.
"To speak in literature,"