[36] "I know not to what physical laws philosophers will some day refer the feelings of melancholy. For myself, I find that they are the most voluptuous of all sensations," writes Saint Pierre, and accordingly he devotes a series of sections of his work on Nature to the Plaisirs de la Ruine, Plaisirs des Tombeaux, Ruines de la Nature, Plaisirs de la Solitude--each of them more optimistic than the last.
This finding of a luxury in woe is very common during adolescence. The truth-telling Marie Bashkirtseff expresses it well:--
"In his depression and dreadful uninterrupted suffering, I don't condemn life. On the contrary, I like it and find it good. Can you believe it? I find everything good and pleasant, even my tears, my grief. I enjoy weeping, I enjoy my despair. I enjoy being exasperated and sad. I feel as if these were so many diversions, and I love life in spite of them all. I want to live on. It would be cruel to have me die when I am so accommodating.
I cry, I grieve, and at the same time I am pleased--no, not exactly that--I know not how to express it. But everything in life pleases me. I find everything agreeable, and in the very midst of my prayers for happiness, I find myself happy at being miserable. It is not I who undergo all this--my body weeps and cries; but something inside of me which is above me is glad of it all." [37]
[37] Journal de Marie Bashkirtseff, i. 67.
The supreme contemporary example of such an inability to feel evil is of course Walt Whitman.
"His favorite occupation," writes his disciple, Dr. Bucke "seemed to be strolling or sauntering about outdoors by himself, looking at the grass, the trees, the flowers, the vistas of light, the varying aspects of the sky, and listening to the birds, the crickets, the tree frogs, and all the hundreds of natural sounds.
It was evident that these things gave him a pleasure far beyond what they give to ordinary people. Until I knew the man," continues Dr. Bucke, "it had not occurred to me that any one could derive so much absolute happiness from these things as he did. He was very fond of flowers, either wild or cultivated; liked all sorts. I think he admired lilacs and sunflowers just as much as roses. Perhaps, indeed, no man who ever lived liked so many things and disliked so few as Walt Whitman. All natural objects seemed to have a charm for him. All sights and sounds seemed to please him. He appeared to like (and I believe he did like) all the men, women, and children he saw (though I never knew him to say that he liked any one), but each who knew him felt that he liked him or her, and that he liked others also. I never knew him to argue or dispute, and he never spoke about money. He always justified, sometimes playfully, sometimes quite seriously, those who spoke harshly of himself or his writings, and I often thought he even took pleasure in the opposition of enemies. When I first knew [him], I used to think that he watched himself, and would not allow his tongue to give expression to fretfulness, antipathy, complaint, and remonstrance. It did not occur to me as possible that these mental states could be absent in him. After long observation, however, I satisfied myself that such absence or unconsciousness was entirely real. He never spoke deprecatingly of any nationality or class of men, or time in the world's history, or against any trades or occupations--not even against any animals, insects, or inanimate things, nor any of the laws of nature, nor any of the results of those laws, such as illness, deformity, and death. He never complained or grumbled either at the weather, pain, illness, or anything else. He never swore. He could not very well, since he never spoke in anger and apparently never was angry. He never exhibited fear, and I do not believe he ever felt it."[38]
[38] R. M. Bucke: Cosmic consciousness, pp. 182-186, abridged.
Walt Whitman owes his importance in literature to the systematic expulsion from his writings of all contractile elements. The only sentiments he allowed himself to express were of the expansive order; and he expressed these in the first person, not as your mere monstrously conceited individual might so express them, but vicariously for all men, so that a passionate and mystic ontological emotion suffuses his words, and ends by persuading the reader that men and women, life and death, and all things are divinely good.
Thus it has come about that many persons to-day regard Walt Whitman as the restorer of the eternal natural religion. He has infected them with his own love of comrades, with his own gladness that he and they exist. Societies are actually formed for his cult; a periodical organ exists for its propagation, in which the lines of orthodoxy and heterodoxy are already beginning to be drawn;[39] hymns are written by others in his peculiar prosody; and he is even explicitly compared with the founder of the Christian religion, not altogether to the advantage of the latter.
[39] I refer to The Conservator, edited by Horace Traubel, and published monthly at Philadelphia.
Whitman is often spoken of as a "pagan." The word nowadays means sometimes the mere natural animal man without a sense of sin; sometimes it means a Greek or Roman with his own peculiar religious consciousness. In neither of these senses does it fitly define this poet. He is more than your mere animal man who has not tasted of the tree of good and evil. He is aware enough of sin for a swagger to be present in his indifference towards it, a conscious pride in his freedom from flexions and contractions, which your genuine pagan in the first sense of the word would never show.
"I could turn and live with animals, they are so placid and self-contained, I stand and look at them long and long;
They do not sweat and whine about their condition.
They do not lie awake in the dark and weep for their sins.
