Towards the end of this section, there is a little group of poems which deal with the voice.[284] Whitman recognised that the human voice is capable of expressing more than mere thoughts. For the whole man speaks in the voice; and as the soul becomes conscious, the voice gains in actual timbre, and wins besides a mystical authority over the heart of the hearer. Each word spoken by the awakened soul is freighted with fuller meaning than it carried before, and every word so spoken has a beauty which the soul gives it. He illustrates a kindred thought by dwelling upon the different meanings which his own name assumes in different mouths.[285] It would seem as though he realised that power of the name which is familiar to some uncivilised peoples and has been largely forgotten by us. The section closes with a poignant little verse[286] which declares with all the passion of conviction, that this paper is not paper, nor these words mere words; but that this is the Man Walt Whitman, who hails you here and cries farewell. The book is a sacrament; it is the wafer and wine of a Real Presence; it is a symbol pregnant with personality; it is no book, it is a man. Lift me close to your face till I whisper, What you are holding is in reality no book, nor part of a book, It is a man, flushed and full-blooded--it is I--_So long!_ We must separate--Here! take from my lips this kiss, Whoever you are, I give it especially to you; _So long_--and I hope we shall meet again. The _Salut au Monde_ carries this _Ave atque Vale_ to each and all. I have already spoken of "A Word out of The Sea"[287] in which Whitman relates an incident of his childhood on the Long Island coast. This is among the most melodious of his chants; and though Death and Love are the themes of all great poets it would be difficult to quote any passage more suggestive of the pathetic mystery of bereavement, than the song which he puts to the notes of the widowed mocking-bird. The bird's song has purposes unknown to its singer, meanings which are caught by the boy's heart, and awaken there a strange passion and wild chaos, that Death, whose voice is as the accompaniment of the sea to the cry of the bird, can alone soothe and order. It is impossible to read this poem and think of its author as ignorant of personal love and personal loss. The notes of despair and triumph blend together here and elsewhere in this edition. We turn now to the _Enfans d'Adam_, poems of sex, whose name is suggested by Whitman's outlook on life as on a garden of Eden, and by his conception of himself as it were a reincarnate Adam, begetter of a new race of happier men.[288]