after day. From the highest point of rocks I can overlook a long stretch of the river and of the farming country beyond; I can hear owls hoot, hawks scream, and roosters crow. Birds of the garden and orchard meet birds of the forest upon the shaggy cedar posts that uphold my porch. At dusk the call of the whippoorwill mingles with the chorus of the pickerel frogs, and in the morning I hear through the robins' cheerful burst the sombre plaint of the mourning-dove. When I tire of my manuscript, I walk in the woods, or climb the rocks, or help the men clear up the ground, piling and burning the stumps and rubbish. This scene and situation, so primitive and secluded, yet so touched with and adapted to civilization, responding to the moods of both sides of the life of imagination of a modern man, seems, I repeat, typical in many ways of my poet, and is a veritable Whitman land. Whitman does not to me suggest the wild and unkempt as he seems to do to many; he suggests the cosmic and the elemental, and this is one of the dominant thoughts that run through my dissertation. Scenes of power and savagery in nature were more welcome to him, probably more stimulating to him, than the scenes of the pretty and placid, and he cherished the hope that he had put into his "Leaves" some of the tonic and fortifying quality of Nature in her more grand and primitive aspects.

His wildness is only the wildness of the great primary forces from which we draw our health and strength. Underneath all his unloosedness, or free

launching forth of himself, is the sanity and repose of nature.

II

"Old

I first became acquainted with Whitman's poetry through the columns of the old "Saturday Press" when I was twenty or twenty-one years old (1858 or 1859). The first things I remember to have read were "There was a child went forth, ""This Compost," ""As I ebb'd with the Ocean of Life," " Ireland," and maybe a few others. I was attracted by the new poet's work from the first. It seemed to let me into a larger, freer air than I found in the current poetry. Meeting Bayard Taylor about this time, I spoke to him about Whitman. "Yes," he said, "there is something in him, but he is a man of colossal egotism."

I

A few years later a friend sent me a copy of the Thayer & Eldridge edition of "Leaves of Grass " of 1860. It proved a fascinating but puzzling book to me. I grazed upon it like a colt upon a mountain, taking what tasted good to me, and avoiding what displeased me, but having little or no conception of the purport of the work as a whole. found passages and whole poems here and there that I never tired of reading, and that gave a strange fillip to my moral and intellectual nature, but nearly as many passages and poems puzzled or repelled me. My absorption of Emerson had prepared me in a measure for Whitman's philosophy of life, but not for the ideals of character and conduct which he held up to me, nor for the standards in art to which

the poet perpetually appealed.

Whitman was Emerson translated from the abstract into the concrete. There was no privacy with Whitman; he never sat me down in a corner with a cozy, comfortable shut-in feeling, but he set me upon a hill or started me upon an endless journey. Wordsworth had been my poet of nature, of the sequestered and the idyllic; but I saw that here was a poet of a larger, more fundamental nature, indeed of the Cosmos itself. Not a poet of dells and fells, but of the earth and the orbs. This much soon appeared to me, but I was troubled by the poet's apparent "colossal egotism," by his attitude towards evil, declaring himself "to be the poet of wickedness also; " by his seeming attraction toward the turbulent and the disorderly; and, at times, by what the critics. had called his cataloguing style of treatment.

When I came to meet the poet himself, which was in the fall of 1863, I felt less concern about these features of his work; he was so sound and sweet and gentle and attractive as a man, and withal so wise and tolerant, that I soon came to feel the same confidence in the book that I at once placed in its author, even in the parts which I did not understand. I saw that the work and the man were one, and that the former must be good as the latter was good. There was something in the manner in which both the book and its author carried themselves under the sun, and in the way they confronted America and the present time, that convinced beyond the power of logic or criticism.

The more I saw of Whitman, and the more I studied his "Leaves," the more significance I found in both, and the clearer it became to me that a new type of a man and a new departure in poetic literature were here foreshadowed. There was something forbidding, but there was something vital and grand back of it. I found to be true what the poet said of himself,

66

Bearded, sunburnt, gray-neck'd, forbidding, I have arrived, To be wrestled with as I pass for the solid prizes of the universe, For such I afford whoever can persevere to win them,”.

I have persevered in my study of the poet, though balked many times, and the effect upon my own mental and spiritual nature has been great; no such "solid prizes" in the way of a broader outlook upon life and nature, and, I may say, upon art, has any poet of my time afforded me. There are passages or whole poems in the "Leaves" which I do not yet understand ("Sleep-Chasings" is one of them), though the language is as clear as daylight; they are simply too subtle or elusive for me; but my confidence in the logical soundness of the book is so complete that I do not trouble myself at all about these things.

III

I would fain make these introductory remarks to my essay a sort of window through which the reader may get a fairly good view of what lies beyond. If he does not here get any glimpse or suggestion of what pleases him, or of what he is look

ing for, it will hardly be worth while for him to trouble himself further.

A great many readers, perhaps three fourths of the readers of current poetry, and not a few of the writers thereof, cannot stand Whitman at all, or see any reason for his being. To such my essay, if it ever comes to their notice, will be a curiosity, may be an offense. But I trust it will meet with a different reception at the hands of the smaller but rapidly growing circle of those who are beginning to turn to Whitman as the most imposing and significant figure in our literary annals.

The rapidly growing Whitman literature attests the increasing interest to which I refer. Indeed, it seems likely that by the end of the century the literature which will have grown up around the name of this man will surpass in bulk and value that which has grown up around the name of any other man of letters born within the century.

When Mr. Stedman wrote his essay upon the poet early in the eighties, he referred to the mass of this literature. It has probably more than doubled in volume in the intervening years: since Whitman's death in the spring of '92, it has been added to by William Clark's book upon the poet, Professor Trigg's study of Browning and Whitman, and the work of that accomplished critic and scholar, so lately gone to his rest, John Addington Symonds. This last is undoubtedly the most notable contribution that has yet been made, or is likely very soon to be made, to the Whitman literature. Mr.