Kitabı oku: «Flowers of Freethought (First Series)», sayfa 14

WALT WHITMAN.⁶

Walt Whitman's death can have taken no one by surprise. For years he had been at the brink of the grave, and the end comes as a relief. A great soul may be cheerful, or at least serene, in all circumstances; but there is neither pleasure nor dignity in living on as the ghost of one's self.

Few superber specimens of physical manhood than Walt Whitman's have appeared on this planet. "He looks like a man," said Abraham Lincoln, as his gaze followed the poet past a window of the White House. Whitman stood six feet two, his limbs and torso were splendid, and his head was magnificently proportioned. His vitality must have been wonderful, and his health was absolutely perfect until after the War, during which he too assiduously nursed the sick and wounded, to the lasting detriment of his phenomenal constitution. The flame of his life burnt on for another thirty years, but his strength was seriously undermined, and he is far better entitled to be called a martyr than many who have more cheaply earned the distinction.

Walt Whitman's great personality can hardly be disputed. He impressed himself as something colossal on all who came into close contact with him. The magnetism of his presence in the military hospitals was more sanative than the doctors' physic. Men, women, and children felt glad and satisfied in his company. His large, frank, healthy nature radiated a perpetual benediction. One who knew him intimately has said that he never saw upon Whitman's features any trace of mean or evil passions. The man was thoroughly wholesome. Even his occasionally free utterances on sexuality are only sins against decorum. They do not violate nature. He never spoke on this subject with the slobbery grin of the voluptuary, or the leer of prurience. He was at such moments simply unreticent. Meaning no harm, he suspected none. In this respect he belonged to a less self-conscious antiquity, when nothing pertaining to man was common or unclean, and even the worship of the powers of generation was not without dignity and solemnity.

Some of the foremost Englishmen of our time have acknowledged Whitman's greatness and sanity – notably Carlyle, Ruskin, and Tennyson. Mr. Swinburne is the only one who has unsaid his praise.

Tennyson's intimacy with Whitman – always through correspondence – was simply beautiful. A superficial reader of human nature might have inquired what they had in common – the rough, amorphous American poet, and the exquisite English poet, a flower of millenniums of culture. But there is something deeper than form. It is substance. There is something deeper than language. It is manhood. And on the common ground of the deeper things of life, the American and English poets – otherwise so diverse – clasped hands, as it were, across the sundering ocean.

Whitman's claim to be considered a great poet, or even a poet at all, has been the subject of hot dispute. But such questions are not so settled. Only give time enough, and every writer falls by mere gravitation into his proper place, from which all the controversies in the world can never shift him. Where the evidence is largely subjective, as it must be in appraising genius, there is sure to be much in our judgment that is incommunicable. The logic of events, as we say in politics; or the proof of the pudding, as we say in the vernacular; is not so brilliant as logical sword-play, but it has the merit of being decisive.

Whitman's poetry looks strange to a reader accustomed to conventional models. It positively offends his eyesight. The ear may detect a certain rhythm, but where are the set lengths of orthodox versification? Here, however, there lurks a fallacy. Poetry is not the antithesis of prose. The antithesis of prose is verse. Some of the finest and noblest poetry in the world's literature is not cast in rhyme, though rhythm – often subtler than all possible rules – is indispensable. Yet there is something precious in poetical form; ay, and something durable. Many an exquisite lyric, with no great depth of feeling or reach of thought, has come down the stream of time, and will float upon it for ever. No doubt Dr. Johnson was right in calling it a waste of time to carve cherrystones, but precious stones are the more valued and admired for the art of the lapidary. Whitman did not cultivate versification. He almost despised it. He sneered at "dulcet rhymes." Yet this may hinder his access to posterity. Mr. Meredith hints as much in his sonnet entitled "An Orson of the Muse," which surely refers to Whitman. He allows him to be the Muse's son, though he will not wear her livery.

 
Him, whom he blows of Earth, and Man, and Fate,
The Muse will hearken to with graver ear
Than many of her train can waken: him
Would fain have taught what fruitful things and dear
Must sink beneath the tidewaves, of their weight,
If in no vessel built for sea they swim.
 

That Whitman, however, could do great things with rhythm, and without rhyme, is proved by his "Funeral Hymn of President Lincoln," which James Thomson ranked with Shelley's "Adonais," and Mr. Swinburne called "the most sublime nocturne ever chanted in the cathedral of the world." That this is a great poem, and will live, we have not the slightest doubt. Some other of Whitman's poems will doubtless live with it, but whole masses of his poetry will probably sink to the bottom – not, however, before doing their work and delivering their message.

Because of his want of form, Whitman suffers more than other poets in extracts. We shall make none, but refer the reader to the whole body of his poetry, Some of it is almost wearisome; the rest will repay study. It contains the utterance of a great soul, full of love and friendship, patriotism and humanity, brooding over the everlasting problems of life and death. Untrammelled by schools and systems, Whitman was a true Freethinker. Cosmopolitan as he was, he preached the gospel of individuality.

"This is what you shall do: love the earth and the sun and the animals, despise riches, give alms to everyone that asks, stand up for the stupid and the crazy, devote your income and labor to others, hate tyrants, argue not concerning God, have patience and indulgence towards 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 mothers of families, 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."

Whitman appealed to the brotherhood of all and the dignity of each. He declared he would have nothing which every other man might not have on equal terms. The business of the great poet was "to cheer up slaves and horrify despots." Men, too, should keep in close communion with Nature, yet always feel that they could "be good or grand only of the consciousness of the 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, of all terror and all pain."

America, perhaps even more than England, has need of Whitman's teaching as the poet of Democracy. He derided "the mania of owning things," he scorned distinctions of caste and class, he sang the divineness of comradeship – and, what is more, he practised it. Full-blooded, strong-limbed, rich-brained, large-hearted men and women are a nation's best products, and if a nation does not yield them, its wealth will only hasten its doom and pollute its grave.

TENNYSON AND THE BIBLE.⁷

We owe no apology for speaking of the dead poet as "Tennyson." This is how he will be known by posterity. The rank is but the guinea's stamp, and in this case it was not requisite. A true poet's gold can neither be made more precious nor more current by empty titles. In our opinion, it is a degradation, instead of an honor, for one of nature's aristocrats to herd with the artificial nobility of an hereditary peerage. We also take the opportunity of regretting that Tennyson ever became Poet Laureate. The court poet should not survive the court dwarf and the court jester. It is painful to see a great writer grinding out professional odes, and bestowing the excrements of his genius on royal nonentities. The preposterous office of Poet Laureate should now be abolished. No poet should write for a clique or a coterie; he should appeal directly to the heart of the nation.

Tennyson's funeral took place at Westminster Abbey. The heads of that establishment, following the example set by Dean Stanley, now act as body-snatchers. They appropriate the corpses of distinguished men, whether they believed or disbelieved the doctrines of the service read over their coffins. Charles Darwin's body is buried there – the great Agnostic, who repudiated Christianity; Robert Browning's too – the poet who said "I am no Christian" to Robert Buchanan. Carlyle took care that his corpse should not join the museum. Tennyson's, however, is now in the catalogue; and, it must be admitted, with more plausibility than in the case of Browning – with far more than in the case of Darwin.

Christian pulpiteers, all over the country, have been shouting their praises of Tennyson as a Christian poet. They are justified in making the most of a man of genius when they possess one. We do not quarrel with them. We only beg to remark that they have overdone it. The Christianity of Tennyson is a very different thing from the Christianity they vend to the credulous multitude.

There is no real evidence that Tennyson accepted the legendary part of Christianity. Even in "In Memoriam," which was published forty-three years ago, the thought is often extremely Pantheistic. It is nearly always so in the later poems. God, not Christ, became more and more the object of the poet's adoration, "Strong Son of God, immortal Love" – the first line of tne earlier poem – does not necessarily mean Christ; while the exclamation, "Ring in the Christ that is to be," is more symbolic than personal. There is also a strong hope, rather than the certitude, of a future life. No thoroughly convinced Christian could have written of

 
The Shadow cloaked from head to foot,
Who keeps the keys of all the creeds.
 

Nay, the very deity of Christ is held loosely, if at all, in the thirty-third section, where he

 
Whose faith has centre everywhere,
Nor cares to fix itself to form.
 

is bidden to leave his sister undisturbed when she prays; the poet exclaiming

 
Oh, sacred be the flesh and blood
To which she links a truth divine!
 

In the last line of the next stanza this "sacred flesh and blood" of Christ (it is to be presumed) is called "a type" – which is a wide departure from orthodox Christianity. And what shall we say of the final lines of the whole poem?

 
One God, one law, one element,
And one far-off divine event,
To which the whole creation moves.
 

Like other passages of "In Memoriam," it is a distinct anticipation of the thought of "The Higher Pantheism," "Flower in the Crannied Wall," "De Profundus," and "The Ancient Sage."

Much has been made of the "Pilot" in one of Tennyson's last poems, "Crossing the Bar."

 
I hope to see my Pilot face to face
When I have crossed the bar.
 

This has been treated as a reference to Christ; but a friend of Tennyson's, writing in the Athenæum, says that the reference was really to the poet's son, Lionel Tennyson, who "crossed the bar" of death some years previously. How much more natural and human is the reference in the light of this explanation! Yet it appears, after all, from a later letter to the press by Tennyson's surviving son, that he did mean Christ. This is not, however, a confession of orthodoxy. The sentiment might be shared by men like the venerable Dr. Martineau, who deny the deity of Christ and strongly dissent from many time-honored Christian teachings.

Tennyson most assuredly revolted against the brutalities of Christianity; which, by the way, are countenanced by very explicit texts in the New Testament. He did not approve the text, "Great is your reward in heaven." He was above such huckstering. He sang of Virtue —

 
She desires no isles of the blest, no quiet seats of the just,
To rest in a golden grove, or to bask in a summer sky.
Give her the wages of going on, and not to die.
 

A noble petition! though in the teeth of a too patent destiny.

The doctrine of eternal Hell he first turned from, then denounced, and finally despised. It was for wavering as to this hideous dogma that the Rev. F. D. Maurice got into trouble with his College. He was godfather to Tennyson's little boy, and the poet invited him, in exquisitely charming verse, to share his hospitality.

 
For, being of that honest few,
Who give the Fiend himself his due,
Should eighty-thousand college-councils
Thunder "Anathema," friend, at you;
 
 
Should all our churchmen foam in spite
At you, so careful of the right,
Yet one lay-hearth would give you welcome
(Take it and come) to the Isle of Wight.
 

Tennyson had already, in "In Memoriam," proclaimed himself a Universalist, as Browning did afterwards in his powerful lines on the old Morgue at Paris. He had expressed the hope

 
That nothing walks with aimless feet;
That not one life should be destroyed,
Or cast as rubbish to the void,
When God hath made the pile complete;
That not a worm is cloven in vain;
That not a moth with vain desire
Is shrivelled in a fruitless fire,
Or but subserves another's gain.
 

Such, a poet could never see the divinity of the wicked, awful words, "Depart from me, ye cursed, into everlasting fire." He denounced it in "Despair," a poem of his old age. Well does he make the Agnostic cry out to the minister —

 
What! I should call on that
Infinite Love that has served us so well?
Infinite cruelty rather that made everlasting Hell,
Made us, foreknew us, foredoomed us, and does what he will with his own;
Better our dead brute mother who never has heard us groan!
 

This is fierce denunciation, but it pales before the attack on Hell in "Rizpah"; that splendid poem, which is perhaps the very noblest effort of Tennyson's genius; outweighing hundreds of Balaclava charges and sea-fights; outshining the flawless perfection of "Maud": – a poem written in heart's blood and immortal tears, with a wondrously potent and subtle imagination, and a fire of humanity to burn up whole mountains of brutal superstitions.

The passionate words of the poor old dying mother, full of a deathless love for her boy who was hung, go straight as an arrow to its mark, through all the conventions of society and all the teachings of the Church.

 
Election, Election and Reprobation – it's all very well,
But I go to-night to my boy, and I shall not find him in Hell.
And if he be lost – but to save my soul, that is all your desire;
Do you think that I care for my soul if my boy be gone to the fire?
 

Tennyson gives the very essence of the moral revolt against Hell. Human nature has so developed in sympathy that the sufferings of others, though out of sight, afflict our imaginations. We loathe the spectacle of Abraham and Lazarus gazing complacently on the torture of Dives. Once it was not so. Those who were "saved" had little or no care for the "damned." But the best men and women of to-day do not want to be saved alone. They want a common salvation or none. And the mother's heart, which the creeds have trampled upon, hates the thought of any happiness in Heaven while son or daughter is agonising in Hell.

It is perfectly clear that Tennyson was far from an orthodox Christian. Quite as certainly he was not a Bibliolator. He read the Bible, of course; and so did Shelley. There are fine things in it, amidst its falsehoods and barbarities; and the English version is a monument of our literature. We regard as apocryphal, however, the story of Tennyson's telling a boy, "Read the Bible and Shakespeare; the one will teach you how to speak to God, and the other how to speak to your fellow-men." Anyhow, when the poet came to die, he did not ask for the Bible and he did ask for Shakespeare. The copy he habitually used was handed to him; he opened it at "Cymbeline," one of the most pagan of Shakespeare's plays; he read a little, and then held the book until Death came with the fall of "tired eyelids upon tired eyes."

It was a poetic death, and a pagan death. There lay the aged, world-weary poet; artificial light was withdrawn, and the moonlight streamed through the window upon his noble figure. Wife and son, doctors and nurses, were silent around him. And as Death put the last cold touch on the once passionate heart, it found him still clasping the book of the mighty magician.⁸ Let it be also noted that no Christian priest was at his bedside. He needed not the mum-lings of a smaller soul to aid him in his last extremity. Hope he may have had, but no fear. His life ended like a long summer day, slowly dying into night.

CHRIST'S OLD COAT

The little town of Trier (Treves) will soon wear a festive appearance. Pilgrims will be flocking to it from all parts of Germany, and God knows from where besides. Its handful of inhabitants have obtained licenses to open hotels and restaurants; every inch of available space has been let, so that whirligigs, panoramas, and menageries have to be refused the sites they apply for; every room in the town is to be let, more or less furnished; and not only is the tram company doubling its line, but the railway company is constructing special stations for special trains.

All this excitement springs from a superstitious source. After an interval of several years the Church will once more exhibit an old rag, which it calls the Holy Coat, and which it pretends is the very garment we read of in the Gospels. Such a precious relic is, of course, endowed with supernatural qualities. It will heal the sick, cure cripples, and, let us hope, put brains into idiotic heads. Hence the contemplated rush to Trier, where more people will congregate to see Christ's coat than ever assembled to hear him preach or see him crucified.

The pilgrims will not be allowed to examine the Holy Coat. Few of them, perhaps, would be inclined to do so. Thev have the faith which removes mountains, and swallowing a coat is but a trifle. Nor would the Church allow a close inspection of this curious relic, any more than it would allow a chemist to examine the bottle in which the blood of St. Januarius annually liquefies. The Holy Coat will be held up by priests at a discreet and convenient distance; the multitude of fools will fall before it in ecstatic adoration; and the result will be the usual one in such cases, a lightening of the devotees' pockets to the profit of Holy Mother Church.

According to the Gospels, the Prophet of Nazareth had a seamless overcoat. Perhaps it was presented to him by one of the rich women who ministered unto him of their substance. Perhaps it was a birthday gift from Joseph of Arimathaea. Anyhow he had it, unless the Gospels lie; and, with the rest of his clothes, it became the property of his executioners. Those gentlemen raffled for it. Which of them won it we are not informed. Nor are we told what he did with it. It would be a useless garment to a Roman soldier, and perhaps the warrior who won the raffle sold it to a second-hand clothes-dealer. This, however, is merely a conjecture. Nothing is known with certainty. The seamless overcoat disappeared from view as decisively as the person who wore it.

For many hundreds of years it was supposed to have gone the way of other coats. No one thought it would ever be preserved in a Church museum. But somehow it turned up again, and the Church got possession of it, though the Church could not tell now and when it was found, or where it had been while it was lost. One coat disappeared; hundreds of years afterwards another coat was found; and it suited the Church to declare them the same.

At that time the Church was "discovering" relics with extraordinary success and rapidity. Almost everything Christ ever used (or didn't use) came to light. His baby linen, samples of his hair and teeth, and the milk he drew from Mary's breast, the shoes he wore into Jerusalem, fragments of the twelve baskets' full of food after the miracle of the loaves and fishes, the dish from which he ate the last supper, the thorns that crowned his brow, the sponge put to his lips on the cross, pieces of the cross itself – these and a host of other relics were treasured at varions churches in Europe, and exhibited with unblushing effrontery. Even the prepuce of Jesus, amputated at his circumcision, was kept at Rome.

Several churches boasted the same articles. John the Baptist's body was in dozens of different places, and the finger with which he pointed to Jesus as his successor was shown, in a fine state of preservation, at Besancon, Toulouse, Lyons, Bourges, Macon, and many other towns.

John Calvin pointed out, in his grim Treatise on Relics, that the Holy Coat of Christ was kept in several churches. In our own time, a book on this subject has been written by H. von Sybel, who proves that the Trier coat is only one of twenty that were exhibited. All were authentic, and all were guaranteed by the same authority. Holy Mother Church lied and cheated without a twinge of compunction.

Nineteen Holy Coats have gone. The twentieth is the last of the tribe. While it pays it will be exhibited. When it ceases to pay, the Church will quietly drop it. By and bye the Church will swear it never kept such an article in stock.

Superstition dies hard, and it always dies viciously. The ruling passion is strong in death. A journalist has just been sent to prison for casting a doubt on the authenticity of this Holy Coat. Give the Catholic Church its old power again, and all who laughed at its wretched humbug would be choked with blood.

Protestants, as well as Freethinkers, laugh at Catholic relics. Were we to quote from some of the old English "Reformers," who carried on a vigorous polemic against Catholic "idolatry," we should be reproached for soiling our pages unnecessarily. John Calvin himself, the Genevan pope, declared that so many samples of the Virgin Mary's milk were exhibited in Europe that "one might suppose she was a wet nurse or a cow."

Freethinkers, however, laugh at the miracles of Protestantism, as well as those of the Catholic Church. They are all of a piece, in the ultimate analysis. It is just as credible that Christ's Coat would work miracles, as that Elisha's bones restored a corpse to life, or that Paul's handkerchiefs cured the sick and diseased. All such things belong to the same realm of pious imagination. Thus, while the Protestant laughs at the Catholic, the Freethinker laughs at both.