Leaves of Grass First and Death-Bed Editions (10 page)

The greatest poet hardly knows pettiness or triviality. If he breathes into any thing 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 regulations . . . 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.

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 or 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:
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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.

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 balks 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 day break 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.

The fruition of beauty is no chance of hit or miss... it is inevitable as life . . . it is 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 or 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.

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 dis joined 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 afterwards 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.

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 unim peachableness 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 graygull 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.

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 behaviour, the craft of art, an appropriate native grand-opera, shipcraft, or any craft, he is greatest forever and forever 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 of 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.

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 any thing 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.

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 traveler... 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.

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.

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 toward 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 characterise 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.