What Whitman Knew

Walt Whitman's "Democratic Vistas" is still the most trenchant explanation of American policies and ambitions 
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Whenever I hear people say something stupid about America, which is often these days, I want to punch them in the nose and hand them Walt Whitman's 1871 essay "Democratic Vistas." The punch would temporarily stem the flow of idiocy, and the copy of "Democratic Vistas" would give them some accurate sense of what the United States is all about.

I should make it clear from the start that "Democratic Vistas" can be an infuriating piece of writing. Whitman could not be bothered with mundane considerations like clarity, coherence, and organizational logic. But it survives as our nation's most brilliant political sermon because it embodies the exuberant energy of American society—the energy that can make other peoples so nervous—and it captures in its hodgepodge nature both the high aspirations and the sordid realities of everyday life.

Whitman grappled with a central paradox: America strives to be great and powerful as a nation so that it can bring about the full flowering of individuals. "Political democracy, as it exists and practically works in America, with all its threatening evils, supplies a training school for making first-class men," he declared. "It is life's gymnasium, not of good only, but of all." Americans, he continued, are or should be "freedom's athletes," filled with "brave delight," audacious aims, and restless hopes.

Whitman longed for democratic noblemen and noblewomen who would be "in youth, fresh, ardent, emotional, aspiring, full of adventure; at maturity, brave, perceptive, under control, neither too talkative nor too reticent, neither flippant nor somber; of the bodily figure, the movements easy, the complexion showing the best blood, somewhat flushed, breast expanded, an erect attitude, a voice whose sound outvies music, eyes of calm and steady gaze, yet capable also of flashing." These people would realize themselves amid political combat, hard work, social reform, nation building, and global causes: "So will individuality, and unimpeded branchings, flourish best under imperial republican forms."

The forces of affluence, fashion, comfort, modesty, and civility were, Whitman feared, breeding "inertness and fossilism" in his countrymen and countrywomen. He embraced, as countermeasures, spirit and vivacity in every form, no matter how vulgar. "I hail with joy the oceanic, variegated, intense practical energy, the demand for facts, even the business materialism of the current age," he wrote. And he harbored the fervent hope that in the decades and centuries to come these raw energies would fuel spiritual and intellectual breakthroughs to create largeness of soul. "Thus we presume to write, as it were, upon things that exist not, and travel by maps yet unmade, and a blank. But the throes of birth are upon us."

A cosmic optimism pervades the essay, as it does all of Whitman's works. But "Democratic Vistas" was actually written in a mood of some bleakness. Whitman had believed that the Civil War would cleanse the nation of its most serious ills. As the war approached and then commenced, he railed against business interests and war opponents—and wrote several recruiting poems ("Thunder on! stride on, Democracy! strike with vengeful stroke!"). During the conflict he nursed the wounded. Literary critics sometimes emphasize the homoerotic nature of his attraction to the soldiers, but there was more to it than that. He admired their selfless heroism and their calmness and bravery as death approached. "Grand, common stock!" he exulted in "Democratic Vistas."

Whitman worked as a government clerk during the war, climbing from post to post, admiring Grant and worshipping Lincoln. Like everyone else, he had his moments of despair. "Every once in a while I feel so horrified & disgusted," he wrote to his mother in 1863. "[The war] seems to me like a great slaughter-house & the men mutually butchering each other." But even in such a dark moment, he continued, "I feel how impossible it appears again, to retire from this contest, until we have carried our points."

After the Union victory and Lincoln's sacrificial death, Whitman hoped that grief would cement the people together and call forth each person's best self. But of course the heroic mood did not survive. Life sank back to its normal sordid pattern. Political and business corruption were rampant. The middle classes returned to their trivial enjoyments.

In April of 1867 the prophetic British historian Thomas Carlyle published an essay called "Shooting Niagara—and After?" It was a vituperative attack on democracy, equality, and the liberation of the slaves. Where the common people rule, he argued, all culture is brought low, and life becomes mediocre and vulgar. Whitman took up his pen to defend democracy and the United States. But by the time he completed his reply, "Democratic Vistas," he had to admit that Carlyle was right on many points.

Whitman's essay contains vacillations that give it a head-spinning quality. One paragraph expresses revulsion over the people he saw around him.

Never was there, perhaps, more hollowness at heart than at present, and here in the United States. Genuine belief seems to have left us ... The spectacle is appalling. We live in an atmosphere of hypocrisy throughout. The men believe not in the women, nor the women in the men. A scornful superciliousness rules in literature. The aim of all the littérateurs is to find something to make fun of. A lot of churches, sects, etc., the most dismal phantasms I know, usurp the name of religion. Conversation is a mass of badinage.

The next paragraph recounts his walking the streets of New York, amid the "assemblages of the citizens in their groups, conversations, trades and evening amusements," and finding himself overcome by "exaltation" and "absolute fulfillment." In the paragraph after that he is despondent again, unable to find around him men worthy of the name, or arts worthy of appreciation. "A sort of dry and flat Sahara appears, these cities, crowded with petty grotesques, malformations, phantoms, playing meaningless antics."

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David Brooks is a New York Times columnist.

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