The Place of the Poet

As we move through Walt Whitman's 1855 Leaves of Grass, I wonder whether Whitman composed or revised with page layout in mind. One of the joys of this page, page 27, is the balance of "Earth" and "Sea."

Have you outstript the rest? Are you the President?
It is a trifle . . . . they will more than arrive there every one, and still pass on.

I am he that walks with the tender and growing night;
I call to the earth and sea half-held by the night.

Press close barebosomed night! Press close magnetic nourishing night!
Night of south winds! Night of the large few stars!
Still nodding night! Mad naked summer night!

Smile O voluptuous coolbreathed earth!
Earth of the slumbering and liquid trees!
Earth of departed sunset! Earth of the mountains misty-topt!
Earth of the vitreous pour of the full moon just tinged with blue!
Earth of shine and dark mottling the tide of the river!
Earth of the limpid gray of clouds brighter and clearer for my sake!
Far-swooping elbowed earth! Rich apple-blossomed earth!
Smile, for your lover comes!

Prodigal! you have given me love! . . . . therefore I to you give love!
O unspeakable passionate love!

Thruster holding me tight and that I hold tight!
We hurt each other as the bridegroom and the bride hurt each other.

You sea! I resign myself to you also . . . . I guess what you mean,
I behold from the beach your crooked inviting fingers,
I believe you refuse to go back without feeling of me;
We must have a turn together . . . . I undress . . . . hurry me out of sight of the land,
Cushion me soft . . . . rock me in billowy drowse,
Dash me with amorous wet . . . . I can repay you.

Sea of stretched ground-swells!
Sea breathing broad and convulsive breaths!
Sea of the brine of life! Sea of unshovelled and always-ready graves!
Howler and scooper of storms! Capricious and dainty sea!
I am integral with you . . . . I too am of one phase and of all phases.

Partaker of influx and efflux . . . . extoler of hate and conciliation,
Extoler of amies and those that sleep in each others' arms.

I am he attesting sympathy;
Shall I make my list of things in the house and skip the house that supports them?

I am the poet of commonsense and of the demonstrable and of immortality;
And am not the poet of goodness only . . . . I do not decline to be the poet of wick-edness also.

Between the earth and the sea is the night. Whitman's poet is lover of the night, the earth, and the sea. Whitman's poet accepts the chance to sing for and about both goodness and wickedness.

I am happy to travel up to the earth and the sea with Whitman's poet. We have climbed upward, it seems, from the grains all across America and are now lofted far above the planet. Charles Dana, a contemporary of Whitman, reviews the 1855 edition with a fair eye but perhaps a prudish taste. He judges the poet as not reaching the standard set out in the poetry:

He [the poet--the first edition was published anonymously] furnishes a severe standard for the estimate of his own productions. His Leaves of Grass are doubtless intended as an illustration of the natural poet. They are certainly original in their external form, have been shaped on no pre-existent model out of the author's own brain. Indeed, his independence often becomes coarse and defiant. His language is too frequently reckless and indecent though this appears to arise from a naive unconsciousness rather than from an impure mind. His words might have passed between Adam and Eve in Paradise, before the want of fig-leaves brought no shame; but they are quite out of place amid the decorum of modern society, and will justly prevent his volume from free circulation in scrupulous circles. With these glaring faults, the Leaves of Grass are not destitute of peculiar poetic merits, which will awaken an interest in the lovers of literary curiosities. They are full of bold, stirring thoughts—with occasional passages of effective description, betraying a genuine intimacy with Nature and a keen appreciation of beauty—often presenting a rare felicity of diction, but so disfigured with eccentric fancies as to prevent a consecutive perusal without offense, though no impartial reader can fail to be impressed with the vigor and quaint beauty of isolated portions.

Dana concludes that a perceptive reader of Leaves of Grass "will discern much of the essential spirit of poetry beneath an uncouth and grotesque embodiment."

I like to think Whitman would have embraced this sentiment, even if he himself disagreed with it.