The one American writer who has left the genteel tradition entirely behind is perhaps Walt Whitman. For this reason educated Americans find him rather an unpalatable person, who they sincerely protest ought not to be taken for a representative of their culture; and he certainly should not, because their culture is so genteel and traditional. But the foreigner may sometimes think otherwise, since he is looking for what may have arisen in America to express, not the polite and conventional American mind, but the spirit and the inarticulate principles that animate the community, on which its own genteel mentality seems to sit rather lightly. When the foreigner opens the pages of Walt Whitman, he thinks that he has come at last upon something representative and original. In Walt Whitman democracy is carried into psychology and morals. The various sights, moods, and emotions are given each one vote; they are declared to be all free and equal, and the innumerable commonplace moments of life are suffered to speak like the others. Those moments formerly reputed great are not excluded, but they are made to march in the ranks with their companions — plain foot-soldiers and servants of the hour. Nor does the refusal to discriminate stop there; we must carry our principle further down, to the animals, to inanimate nature, to the cosmos as a whole. Whitman became a pantheist; but his pantheism, unlike that of the Stoics and of Spinoza, was unintellectual, lazy, and self-indulgent; for he simply felt jovially that everything real was good enough, and that he was good enough himself. In him Bohemia rebelled against the genteel tradition; but the reconstruction that alone can justify revolution did not ensue. His attitude, in principle, was utterly disintegrating; his poetic genius fell back to the lowest level, perhaps, to which it is possible for poetic genius to fall. He reduced his imagination to a passive sensorium for the registering of impressions. No element of construction remained in it, and therefore no element of penetration. But his scope was wide; and his lazy, desultory apprehension was poetical. His work, for the very reason that it is so rudimentary, contains a beginning, or rather many beginnings, that might possibly grow into a noble moral imagination, a worthy filling for the human mind. An American in the nineteenth century who completely disregarded the genteel tradition could hardly have done more.