cared for by loyal friends.
Occasionally he appeared in public, a magnificent gray figure of a man. And then, at seventy-three, the “Dark mother always gliding near” enfolded him.
There are puzzling things in the physical and moral constitution of Walt Whitman
, and the obstinate questions involved in his theory of poetry and in his actual poetical performance are still far from solution.
But a few points concerning him are by this time fairly clear.
They must be swiftly summarized.
The first obstacle to the popular acceptance of Walt Whitman
is the formlessness or alleged formlessness of Leaves of Grass
This is a highly technical question, involving a more accurate notation than has thus far been made of the patterns and tunes of free verse and of emotional prose.
's “new and national declamatory expression,” as he termed it, cannot receive a final technical valuation until we have made more scientific progress in the analysis of rhythms.
As regards the contents of his verse, it is plain that he included much material unfused and untransformed by emotion.
These elements foreign to the nature of poetry clog many of his lines.
The enumerated objects in his catalogue or inventory