It is for these and kindred reasons that Walt Whitman is more read abroad than in his own country.  It is on the rank, human, and emotional side—­ sex, magnetism, health, physique,—­that he is so full.  Then his receptivity and assimilative powers are enormous, and he demands these in his reader.  In fact, his poems are physiological as much as they are intellectual.  They radiate from his entire being, and are charged to repletion with that blended quality of mind and body—­psychic and physiologic—­which the living form and presence send forth.  Never before in poetry has the body received such ennoblement.  The great theme is IDENTITY, and identity comes through the body; and all that pertains to the body, the poet teaches, is entailed upon the spirit.  In his rapt gaze, the body and the soul are one, and what debases the one debases the other.  Hence he glorifies the body.  Not more ardently and purely did the great sculptors of antiquity carve it in the enduring marble than this poet has celebrated it in his masculine and flowing lines.  The bearing of his work in this direction is invaluable.  Well has it been said that the man or the woman who has “Leaves of Grass” for a daily companion will be under the constant, invisible influence of sanity, cleanliness, strength, and a gradual severance from all that corrupts and makes morbid and mean.

In regard to the unity and construction of the poems, the reader sooner or later discovers the true solution to be, that the dependence, cohesion, and final reconciliation of the whole are in the Personality of the poet himself.  As in Shakespeare everything is strung upon the plot, the play, and loses when separated from it, so in this poet every line and sentence refers to and necessitates the Personality behind it, and derives its chief significance therefrom.  In other words, “Leaves of Grass” is essentially a dramatic poem, a free representation of man in his relation to the outward world,—­the play, the interchanges between him and it, apart from social and artificial considerations,—­in which we discern the central purpose or thought to be for every man and woman his or her Individuality, and around that, Nationality.  To show rather than to tell,—­to body forth as in a play how these arise and blend; how the man is developed and recruited, his spirit’s descent; how he walks through materials absorbing and conquering them; how he confronts the immensities of time and space; where are the true sources of his power, the soul’s real riches,—­that which “adheres and goes forward and is not dropped by death;” how he is all defined and published and made certain through his body; the value of health and physique; the great solvent, Sympathy,—­to show the need of larger and fresher types in art and in life, and then how the state is compacted, and how the democratic idea is ample and composite, and cannot fail us,—­to show all this, I say, not as in a lecture or a critique, but suggestively and inferentially,—­to work it out freely and picturesquely, with endless variations, with person and picture and parable and adventure, is the lesson and object of “Leaves of Grass.”  From the first line, where the poet says,