The Walt Whitman MEGAPACK

by Walt Whitman

  Nor pardon finds, nor balm of rest.

  Ceaseless she paces to and fro,

  O heart-sick days! O nights of woe! Nor hand of friend, nor loving face,

  Nor favor comes, nor word of grace.

  It was not I that sinn’d the sin,

  The ruthless body dragg’d me in;

  Though long I strove courageously,

  The body was too much for me.

  Dear prison’d soul bear up a space,

  For soon or late the certain grace;

  To set thee free and bear thee home,

  The heavenly pardoner death shall come.

  Convict no more, nor shame, nor dole! Depart—a God-enfranchis’d soul!

  3

  The singer ceas’d,

  One glance swept from her clear calm eyes o’er all those upturn’d faces,

  Strange sea of prison faces, a thousand varied, crafty, brutal, seam’d and beauteous faces,

  Then rising, passing back along the narrow aisle between them,

  While her gown touch’d them rustling in the silence,

  She vanish’d with her children in the dusk.

  While upon all, convicts and armed keepers ere they stirr’d,

  (Convict forgetting prison, keeper his loaded pistol,)

  A hush and pause fell down a wondrous minute,

  With deep half-stifled sobs and sound of bad men bow’d and moved to weeping,

  And youth’s convulsive breathings, memories of home,

  The mother’s voice in lullaby, the sister’s care, the happy childhood,

  The long-pent spirit rous’d to reminiscence;

  A wondrous minute then—but after in the solitary night, to many, many there,

  Years after, even in the hour of death, the sad refrain, the tune, the voice, the words,

  Resumed, the large calm lady walks the narrow aisle,

  The wailing melody again, the singer in the prison sings,

  O sight of pity, shame and dole! O fearful thought—a convict soul.

  Warble for Lilac-Time

  Warble me now for joy of lilac-time, (returning in reminiscence,)

  Sort me O tongue and lips for Nature’s sake, souvenirs of earliest summer,

  Gather the welcome signs, (as children with pebbles or stringing shells,)

  Put in April and May, the hylas croaking in the ponds, the elastic air,

  Bees, butterflies, the sparrow with its simple notes,

  Blue-bird and darting swallow, nor forget the high-hole flashing his golden wings,

  The tranquil sunny haze, the clinging smoke, the vapor,

  Shimmer of waters with fish in them, the cerulean above,

  All that is jocund and sparkling, the brooks running,

  The maple woods, the crisp February days and the sugar-making,

  The robin where he hops, bright-eyed, brown-breasted,

  With musical clear call at sunrise, and again at sunset,

  Or flitting among the trees of the apple-orchard, building the nest of his mate,

  The melted snow of March, the willow sending forth its yellow-green sprouts,

  For spring-time is here! the summer is here! and what is this in it and from it?

  Thou, soul, unloosen’d—the restlessness after I know not what;

  Come, let us lag here no longer, let us be up and away!

  O if one could but fly like a bird!

  O to escape, to sail forth as in a ship!

  To glide with thee O soul, o’er all, in all, as a ship o’er the waters;

  Gathering these hints, the preludes, the blue sky, the grass, the morning drops of dew,

  The lilac-scent, the bushes with dark green heart-shaped leaves,

  Wood-violets, the little delicate pale blossoms called innocence,

  Samples and sorts not for themselves alone, but for their atmosphere,

  To grace the bush I love—to sing with the birds,

  A warble for joy of returning in reminiscence.

  Outlines for a Tomb

  [G. P., Buried 1870]

  1

  What may we chant, O thou within this tomb?

  What tablets, outlines, hang for thee, O millionnaire?

  The life thou lived’st we know not,

  But that thou walk’dst thy years in barter, ’mid the haunts of brokers,

  Nor heroism thine, nor war, nor glory.

  2

  Silent, my soul,

  With drooping lids, as waiting, ponder’d,

  Turning from all the samples, monuments of heroes.

  While through the interior vistas,

  Noiseless uprose, phantasmic, (as by night Auroras of the north,)

  Lambent tableaus, prophetic, bodiless scenes,

  Spiritual projections.

  In one, among the city streets a laborer’s home appear’d,

  After his day’s work done, cleanly, sweet-air’d, the gaslight burning,

  The carpet swept and a fire in the cheerful stove.

  In one, the sacred parturition scene,

  A happy painless mother birth’d a perfect child.

  In one, at a bounteous morning meal,

  Sat peaceful parents with contented sons.

  In one, by twos and threes, young people,

  Hundreds concentring, walk’d the paths and streets and roads,

  Toward a tall-domed school.

  In one a trio beautiful,

  Grandmother, loving daughter, loving daughter’s daughter, sat,

  Chatting and sewing.

  In one, along a suite of noble rooms,

  ’Mid plenteous books and journals, paintings on the walls, fine statuettes,

  Were groups of friendly journeymen, mechanics young and old,

  Reading, conversing.

  All, all the shows of laboring life,

  City and country, women’s, men’s and children’s,

  Their wants provided for, hued in the sun and tinged for once with joy,

  Marriage, the street, the factory, farm, the house-room, lodging-room,

  Labor and toll, the bath, gymnasium, playground, library, college,

  The student, boy or girl, led forward to be taught,

  The sick cared for, the shoeless shod, the orphan father’d and mother’d,

  The hungry fed, the houseless housed;

  (The intentions perfect and divine,

  The workings, details, haply human.)

  3

  O thou within this tomb,

  From thee such scenes, thou stintless, lavish giver,

  Tallying the gifts of earth, large as the earth,

  Thy name an earth, with mountains, fields and tides.

  Nor by your streams alone, you rivers,

  By you, your banks Connecticut,

  By you and all your teeming life old Thames,

  By you Potomac laving the ground Washington trod, by you Patapsco,

  You Hudson, you endless Mississippi—nor you alone,

  But to the high seas launch, my thought, his memory.

  Out from Behind This Mask

  [To Confront a Portrait]

  1

  Out from behind this bending rough-cut mask,

  These lights and shades, this drama of the whole,

  This common curtain of the face contain’d in me for me, in you for you, in each for each,

  (Tragedies, sorrows, laughter, tears—O heaven!

  The passionate teeming plays this curtain hid!)

  This glaze of God’s serenest purest sky,

  This film of Satan’s seething pit,

  This heart’s geography’s map, this limitless small continent, this soundless sea;

  Out from the convolutions of this globe,

  This subtler astronomic orb than sun or moon, than Jupiter, Venus, Mars,

  This condensation of the universe, (nay here the only universe,

  Here the idea, all in this mystic handful wrapt;)

  These burin’d eyes, flashing to you to pass to future time,

/>   To launch and spin through space revolving sideling, from these to emanate,

  To you whoe’er you are—a look.

  2

  A traveler of thoughts and years, of peace and war,

  Of youth long sped and middle age declining,

  (As the first volume of a tale perused and laid away, and this the second,

  Songs, ventures, speculations, presently to close,)

  Lingering a moment here and now, to you I opposite turn,

  As on the road or at some crevice door by chance, or open’d window,

  Pausing, inclining, baring my head, you specially I greet,

  To draw and clinch your soul for once inseparably with mine,

  Then travel travel on.

  Vocalism

  1

  Vocalism, measure, concentration, determination, and the divine power to speak words;

  Are you full-lung’d and limber-lipp’d from long trial? from vigorous practice? from physique?

  Do you move in these broad lands as broad as they?

  Come duly to the divine power to speak words?

  For only at last after many years, after chastity, friendship, procreation, prudence, and nakedness,

  After treading ground and breasting river and lake,

  After a loosen’d throat, after absorbing eras, temperaments, races, after knowledge, freedom, crimes,

  After complete faith, after clarifyings, elevations, and removing obstructions,

  After these and more, it is just possible there comes to a man, woman, the divine power to speak words;

  Then toward that man or that woman swiftly hasten all—none refuse, all attend,

  Armies, ships, antiquities, libraries, paintings, machines, cities, hate, despair, amity, pain, theft, murder, aspiration, form in close ranks,

  They debouch as they are wanted to march obediently through the mouth of that man or that woman.

  2

  O what is it in me that makes me tremble so at voices?

  Surely whoever speaks to me in the right voice, him or her I shall follow,

  As the water follows the moon, silently, with fluid steps, anywhere around the globe.

  All waits for the right voices;

  Where is the practis’d and perfect organ? where is the develop’d soul?

  For I see every word utter’d thence has deeper, sweeter, new sounds, impossible on less terms.

  I see brains and lips closed, tympans and temples unstruck,

  Until that comes which has the quality to strike and to unclose,

  Until that comes which has the quality to bring forth what lies slumbering forever ready in all words.

  To Him That Was Crucified

  My spirit to yours dear brother,

  Do not mind because many sounding your name do not understand you,

  I do not sound your name, but I understand you,

  I specify you with joy O my comrade to salute you, and to salute those who are with you, before and since, and those to come also,

  That we all labor together transmitting the same charge and succession,

  We few equals indifferent of lands, indifferent of times,

  We, enclosers of all continents, all castes, allowers of all theologies,

  Compassionaters, perceivers, rapport of men,

  We walk silent among disputes and assertions, but reject not the disputers nor any thing that is asserted,

  We hear the bawling and din, we are reach’d at by divisions, jealousies, recriminations on every side,

  They close peremptorily upon us to surround us, my comrade,

  Yet we walk unheld, free, the whole earth over, journeying up and down till we make our ineffaceable mark upon time and the diverse eras,

  Till we saturate time and eras, that the men and women of races, ages to come, may prove brethren and lovers as we are.

  You Felons on Trial in Courts

  You felons on trial in courts,

  You convicts in prison-cells, you sentenced assassins chain’d and handcuff’d with iron,

  Who am I too that I am not on trial or in prison?

  Me ruthless and devilish as any, that my wrists are not chain’d with iron, or my ankles with iron?

  You prostitutes flaunting over the trottoirs or obscene in your rooms,

  Who am I that I should call you more obscene than myself?

  O culpable! I acknowledge—I expose!

  (O admirers, praise not me—compliment not me—you make me wince,

  I see what you do not—I know what you do not.)

  Inside these breast-bones I lie smutch’d and choked,

  Beneath this face that appears so impassive hell’s tides continually run,

  Lusts and wickedness are acceptable to me,

  I walk with delinquents with passionate love,

  I feel I am of them—I belong to those convicts and prostitutes myself,

  And henceforth I will not deny them—for how can I deny myself?

  Laws for Creations

  Laws for creations,

  For strong artists and leaders, for fresh broods of teachers and perfect literats for America,

  For noble savans and coming musicians.

  All must have reference to the ensemble of the world, and the compact truth of the world,

  There shall be no subject too pronounced—all works shall illustrate the divine law of indirections.

  What do you suppose creation is?

  What do you suppose will satisfy the soul, except to walk free and own no superior?

  What do you suppose I would intimate to you in a hundred ways, but that man or woman is as good as God?

  And that there is no God any more divine than Yourself?

  And that that is what the oldest and newest myths finally mean?

  And that you or any one must approach creations through such laws?

  To a Common Prostitute

  Be composed—be at ease with me—I am Walt Whitman, liberal and lusty as Nature,

  Not till the sun excludes you do I exclude you,

  Not till the waters refuse to glisten for you and the leaves to rustle for you, do my words refuse to glisten and rustle for you.

  My girl I appoint with you an appointment, and I charge you that you make preparation to be worthy to meet me,

  And I charge you that you be patient and perfect till I come.

  Till then I salute you with a significant look that you do not forget me.

  I Was Looking a Long While

  I was looking a long while for Intentions,

  For a clew to the history of the past for myself, and for these chants—and now I have found it,

  It is not in those paged fables in the libraries, (them I neither accept nor reject,)

  It is no more in the legends than in all else,

  It is in the present—it is this earth to-day,

  It is in Democracy—(the purport and aim of all the past,)

  It is the life of one man or one woman to-day—the average man of to-day,

  It is in languages, social customs, literatures, arts,

  It is in the broad show of artificial things, ships, machinery, politics, creeds, modern improvements, and the interchange of nations,

  All for the modern—all for the average man of to-day.

  Thought

  Of persons arrived at high positions, ceremonies, wealth, scholarships, and the like;

  (To me all that those persons have arrived at sinks away from them, except as it results to their bodies and souls,

  So that often to me they appear gaunt and naked,

  And often to me each one mocks the others, and mocks himself or herself,

  And of each one the core of life, namely happiness, is full of the rotten excrement of maggots,

  And often to me those men and women pass unwittingly the true realities of life, and go toward false realities,

  And often to me they are alive after what custom has served them, but nothing more,

  And often to me
they are sad, hasty, unwaked sonnambules walking the dusk.)

  Miracles

  Why, who makes much of a miracle?

  As to me I know of nothing else but miracles,

  Whether I walk the streets of Manhattan,

  Or dart my sight over the roofs of houses toward the sky,

  Or wade with naked feet along the beach just in the edge of the water,

  Or stand under trees in the woods,

  Or talk by day with any one I love, or sleep in the bed at night with any one I love,

  Or sit at table at dinner with the rest,

  Or look at strangers opposite me riding in the car,

  Or watch honey-bees busy around the hive of a summer forenoon,

  Or animals feeding in the fields,

  Or birds, or the wonderfulness of insects in the air,

  Or the wonderfulness of the sundown, or of stars shining so quiet and bright,

  Or the exquisite delicate thin curve of the new moon in spring;

  These with the rest, one and all, are to me miracles,

  The whole referring, yet each distinct and in its place.

  To me every hour of the light and dark is a miracle,

  Every cubic inch of space is a miracle,

  Every square yard of the surface of the earth is spread with the same,

  Every foot of the interior swarms with the same.

  To me the sea is a continual miracle,

  The fishes that swim—the rocks—the motion of the waves—the ships with men in them,

  What stranger miracles are there?

  Sparkles from the Wheel

  Where the city’s ceaseless crowd moves on the livelong day,

  Withdrawn I join a group of children watching, I pause aside with them.

  By the curb toward the edge of the flagging,

  A knife-grinder works at his wheel sharpening a great knife,

  Bending over he carefully holds it to the stone, by foot and knee,

  With measur’d tread he turns rapidly, as he presses with light but firm hand,

  Forth issue then in copious golden jets,

  Sparkles from the wheel.

  The scene and all its belongings, how they seize and affect me,

  The sad sharp-chinn’d old man with worn clothes and broad shoulder-band of leather,