The chief trait of any given poet is always the spirit he brings to the observation of Humanity and Nature—the mood out of which he contemplates his subjects. What kind of temper and what amount of faith report these things? Up to how recent a date is the song carried? What the equipment, and special raciness of the singer—what his tinge of coloring? The last value of artistic expressers, past and present—Greek aesthetes, Shakespeare—or in our own day Tennyson, Victor Hugo, Carlyle, Emerson—is certainly involv’d in such questions. I say the profoundest service that poems or any other writings can do for their reader is not merely to satisfy the intellect, or supply something polish’d and interesting, nor even to depict great passions, or persons or events, but to fill him with vigorous and clean manliness, religiousness, and give him good heart as a radical possession and habit. The educated world seems to have been growing more and more ennuyed for ages, leaving to our time the inheritance of it all. Fortunately there is the original inexhaustible fund of buoyancy, normally resident in the race, forever eligible to be appeal’d to and relied on.
As for native American individuality, though certain to come, and on a large scale, the distinctive and ideal type of Western character (as consistent with the operative political and even moneymaking features of United States’ humanity in the nineteenth century as chosen knights, gentlemen and warriors were the ideals of the centuries of European feudalism) it has not yet appear’d. I have allow’d the stress of my poems from beginning to end to bear upon American individuality and assist it—not only because that is a great lesson in Nature, amid all her generalizing laws, but as counterpoise to the leveling tendencies of Democracy—and for other reasons. Defiant of ostensible literary and other conventions, I avowedly chant “the great pride of man in himself,” and permit it to be more or less a motif of nearly all my verse. I think this pride indispensable to an American. I think it not inconsistent with obedience, humility, deference, and self-questioning.
Democracy has been so retarded and jeopardized by powerful personalities, that its first instincts are fain to clip, conform, bring in stragglers, and reduce everything to a dead level. While the ambitious thought of my song is to help the forming of a great aggregate Nation, it is, perhaps, altogether through the forming of myriads of fully develop’d and enclosing individuals. Welcome as are equality’s and fraternity’s doctrines and popular education, a certain liability accompanies them all, as we see. That primal and interior something in man, in his soul’s abysms, coloring all, and, by exceptional fruitions, giving the last majesty to him—something continually touch’d upon and attain’d by the old poems and ballads of feudalism, and often the principal foundation of them—modern science and Democracy appear to be endangering, perhaps eliminating. But that forms an appearance only; the reality is quite different. The new influences, upon the whole, are surely preparing the way for grander individualities than ever. Today and here personal force is behind everything, just the same. The times and depictions from the Iliad to Shakespeare inclusive can happily never again be realized—but the elements of courageous and lofty manhood are unchanged.
Without yielding an inch the workingman and working-woman were to be in my pages from first to last. The ranges of heroism and loftiness with which Greek and feudal poets endow’d their godlike or lordly born characters—indeed prouder and better based and with fuller ranges than those—I was to endow the democratic averages of America. I was to show that we, here and today, are eligible to the grandest and the best—more eligible now than any times of old were. I will also want my utterances (I said to myself before beginning) to be in spirit the poems of the morning. (They have been founded and mainly written in the sunny forenoon and early midday of my life.) I will want them to be the poems of women entirely as much as men. I have wish’d to put the complete Union of the States in my songs without any preference or partiality whatever. Henceforth, if they live and are read, it must be just as much South as North—just as much along the Pacific as Atlantic—in the valley of the Mississippi, in Canada, up in Maine, down in Texas, and on the shores of Puget Sound.
From another point of view Leaves of Grass is avowedly the song of Sex and Amativeness, and even Animality—though meanings that do not usually go along with those words are behind all, and will duly emerge; and all are sought to be lifted into a different light and atmosphere. Of this feature, intentionally palpable in a few lines, I shall only say the espousing principle of those lines so gives breath of life to my whole scheme that the bulk of the pieces might as well have been left unwritten were those lines omitted. Difficult as it will be, it has become, in my opinion, imperative to achieve a shifted attitude from superior men and women towards the thought and fact of sexuality, as an element in character, personality, the emotions, and a theme in literature. I am not going to argue the question by itself; it does not stand by itself. The vitality of it is altogether in its relations, bearings, significance—like the clef of a symphony. At last analogy the lines I allude to, and the spirit in which they are spoken, permeate all Leaves of Grass, and the work must stand or fall with them, as the human body and soul must remain as an entirety.
Universal as
