A BACKWARD GLANCE O'ER

PERHA

TRAVEL'D ROADS.

ERHAPS the best of songs heard, or of any and all true love, or life's fairest episodes, or sailors', soldiers' trying scenes on land or sea, is the résumé of them, or any of them, long afterwards, looking at the actualities away back past, with all their practical excitations gone. How the soul loves to float amid such reminiscences!

So here I sit gossiping in the early candle-light of old age - I and my book-casting backward glances over our travel'd road. After completing, as it were, the journey-(a varied jaunt of years, with many halts and gaps of intervals-or some lengthen'd ship-voyage, wherein more than once the last hour had apparently arrived, and we seem'd certainly going down-yet reaching port in a sufficient way through all discomfitures at last) - After completing my poems, I am curious to review them in the light of their own (at the time unconscious, or mostly unconscious) intentions, with certain unfoldings of the thirty years they seek to embody. These lines, therefore, will probably blend the weft of first purposes and speculations, with the warp of that experience afterwards, always bringing strange developments.

Result of seven or eight stages and struggles extending through nearly thirty years, (as I nigh my three-score-and-ten I live largely on memory,) I look upon "Leaves of Grass," now finish'd to the end of its opportunities and powers, as my definitive carte visite to the coming generations of the New World,* if I may assume to say so. That I have not gain'd the acceptance of my own time, but have fallen back on fond dreams of the future

anticipations-("still lives the song, though Regnar dies")That from a worldly and business point of view "Leaves of Grass" has been worse than a failure. that public criticism on the book and myself as author of it yet shows mark'd anger and contempt more than anything else ("I find a solid line of ene

* When Champollion, on his death-bed, handed to the printer the revised proof of his " Egyptian Grammar,” he said gayly, "Be careful of this—it is my carte de visite to posterity."

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mies to you everywhere," letter from W. S. K., Boston, M. 28, 1884)- And that solely for publishing it I have been object of two or three pretty serious special official buffetingsall probably no more than I ought to have expected. I had = choice when I commenc'd. I bid neither for soft eulogies, i. money returns, nor the approbation of existing schools and en ventions. As fulfill'd or partially fulfill'd, the best comfort a the whole business (after a small band of the dearest friends 1:4 upholders ever vouchsafed to man or cause-doubtless a more faithful and uncompromising this little phalanx ! —: being so few) is that, unstopp'd and unwarp'd by any influenz outside the soul within me, I have had my say entirely my ow way, and put it unerringly on record—the value thereof to decided by time.

In calculating that decision, William O'Connor and Dr. B are far more peremptory than I am. Behind all else that can x said, I consider "Leaves of Grass" and its theory experiment

- as, in the deepest sense, I consider our American repat. itself to be, with its theory. (I think I have at least en philosophy not to be too absolutely certain of any thing, or results.) In the second place, the volume is a sortie—whet to prove triumphant, and conquer its field of aim and escape ::< construction, nothing less than a hundred years from now fully answer. I consider the point that I have positively ga.:: a hearing, to far more than make up for any and all other la and withholdings. Essentially, that was from the first, and a remain'd throughout, the main object. Now it seems to be achiev'd, I am certainly contented to waive any otherwise no mentous drawbacks, as of little account. Candidly and passionately reviewing all my intentions, I feel that they were creditable and I accept the result, whatever it may be.

After continued personal ambition and effort, as a young fe low, to enter with the rest into competition for the usual rewards business, political, literary, &c. - to take part in the great mi both for victory's prize itself and to do some good — After year of those aims and pursuits, I found myself remaining possess 2 at the age of thirty-one to thirty-three, with a special desire 1". conviction. Or rather, to be quite exact, a desire that had been flitting through my previous life, or hovering on the fanas mostly indefinite hitherto, had steadily advanced to the froc: defined itself, and finally dominated everything else. This a feeling or ambition to articulate and faithfully express in liter ary or poetic form, and uncompromisingly, my own physica emotional, moral, intellectual, and asthetic Personality, in the midst of, and tallying, the momentous spirit and facts of its

mediate days, and of current America — and to exploit that Personality, identified with place and date, in a far more candid and comprehensive sense than any hitherto poem or book.

Perhaps this is in brief, or suggests, all I have sought to do. Given the Nineteenth Century, with the United States, and what they furnish as area and points of view, "Leaves of Grass " is, or seeks to be, simply a faithful and doubtless self-will'd record. In the midst of all, it gives one man's- the author's identity, ardors, observations, faiths, and thoughts, color'd hardly at all with any decided coloring from other faiths or other identities. Plenty of songs had been sung-beautiful, matchless songsadjusted to other lands than these another spirit and stage of evolution; but I would sing, and leave out or put in, quite solely with reference to America and to-day. Modern science and democracy seem'd to be throwing out their challenge to poetry to put them in its statements in contradistinction to the songs and myths of the past. As I see it now (perhaps too late,) I have unwittingly taken up that challenge and made an attempt at such statements-which I certainly would not assume to do now, knowing more clearly what it means.

For grounds for "Leaves of Grass," as a poem, I abandon'd the conventional themes, which do not appear in it: none of the stock ornamentation, or choice plots of love or war, or high, exceptional personages of Old-World song; nothing, as I may say, for beauty's sake-no legend, or myth, or romance, nor euphemism, nor rhyme. But the broadest average of humanity and its identities in the now ripening Nineteenth Century, and especially in each of their countless examples and practical occupations in the United States to-day.

One main contrast of the ideas behind every page of my verses, compared with establish'd poems, is their different relative attitude towards God, towards the objective universe, and still more (by reflection, confession, assumption, &c.) the quite changed attitude of the ego, the one chanting or talking, towards himself and towards his fellow-humanity. It is certainly time for America, above all, to begin this readjustment in the scope and basic point of view of verse; for everything else has changed. As I write, I see in an article on Wordsworth, in one of the current English magazines, the lines, “A few weeks ago an eminent French critic said that, owing to the special tendency to science and to its all-devouring force, poetry would cease to be read in fifty years." But I anticipate the very contrary. Only a firmer, vastly broader, new area begins to exist -nay, is already form'd-to which the poetic genius must emigrate. Whatever may have been the case in years gone by,

the true use for the imaginative faculty of modern times s give ultimate vivification to facts, to science, and to lives, endowing them with the glows and glories and fina. triousness which belong to every real thing, and to rea. only. Without that ultimate vivification—which the p other artist alone can give-reality would seem incomp and science, democracy, and life itself, finally in vain.

Few appreciate the moral revolutions, our age, which b been profounder far than the material or inventive or w duced ones. The Nineteenth Century, now well towards close (and ripening into fruit the seeds of the two pre centuries *)—the uprisings of national masses and shittingboundary-lines- the historical and other prominent facts United States - the war of attempted Secession

rush and haste of nebulous forces― never can future witness more excitement and din of action— never com change of army front along the whole line, the whole c....” world. For all these new and evolutionary facts, man purposes, new poetic messages, new forms and express, s inevitable.

My Book and I- what a period we have presumed t those thirty years from 1850 to 'So- and America in Proud, proud indeed may we be, if we have cuil'd en that period in its own spirit to worthily waft a few live of it to the future!

Let me not dare, here or anywhere, for my own purp~~ any purposes, to attempt the definition of Poetry, nor ass the question what it is. Like Religion, Love, Nature. those terms are indispensable, and we all give a su accurate meaning to them, in my opinion no definition t ever been made sufficiently encloses the name Poetry any rule or convention ever so absolutely obtain b..: great exception may arise and disregard and overt n

Also it must be carefully remember'd that first-class i.:, does not shine by any luminosity of its own; nor do its p They grow of circumstances, and are evolutionary. Teca living light is always curiously from elsewhere-fol! ws countable sources, and is lunar and relative at the best. are, I know, certain controlling themes that seem endless..

The ferment and germination even of the United States to-day, back to, and in my opinion mainly founded on, the Elizabethan age lish history, the age of Francis Bacon and Shakspere. Indeed, pursue it, what growth or advent is there that does not date back, bea lost-perhaps its most tantalizing clues lost in the receded horizons past?

propriated to the poets as war, in the past· in the Bible, religious rapture and adoration- always love, beauty, some fine plot, or pensive or other emotion. But, strange as it may sound at first, I will say there is something striking far deeper and towering far higher than those themes for the best elements of modern song.

Just as all the old imaginative works rest, after their kind, on long trains of presuppositions, often entirely unmention'd by themselves, yet supplying the most important bases of them, and without which they could have had no reason for being, so "Leaves of Grass," before a line was written, presupposed something different from any other, and, as it stands, is the result of such presupposition. I should say, indeed, it were useless to attempt reading the book without first carefully tallying that preparatory background and quality in the mind. Think of the United States to-day - the facts of these thirty-eight or forty empires solder'd in one sixty or seventy millions of equals, with their lives, their passions, their future these incalculable, modern, American, seething multitudes around us, of which we are inseparable parts! Think, in comparison, of the petty environage and limited area of the poets of past or present Europe, no matter how great their genius. Think of the absence and ignorance, in all cases hitherto, of the multitudinousness, vitality, and the unprecedented stimulants of to-day and here. It almost seems as if a poetry with cosmic and dynamic features of magnitude and limitlessness suitable to the human soul, were never possible before. It is certain that a poetry of absolute faith and equality for the use of the democratic masses never was.

In estimating first-class song, a sufficient Nationality, or, on the other hand, what may be call'd the negative and lack of it, (as in Goethe's case, it sometimes seems to me,) is often, if not always, the first element. One needs only a little penetration to see, at more or less removes, the material facts of their country and radius, with the coloring of the moods of humanity at the time, and its gloomy or hopeful prospects, behind all poets and each poet, and forming their birth-marks. I know very well that my "Leaves" could not possibly have emerged or been fashion'd or completed, from any other era than the latter half of the Nineteenth Century, nor any other land than democratic America, and from the absolute triumph of the National Union arms.

And whether my friends claim it for me or not, I know well enough, too, that in respect to pictorial talent, dramatic situations, and especially in verbal melody and all the conventional technique of poetry, not only the divine works that to-day stand