Whitman's claim to be considered a great poet, or even a poet at all, has been the subject of hot dispute. But such questions are not so settled. Only give time enough, and every writer falls by mere gravitation into his proper place, from which all the controversies in the world can never shift him. Where the evidence is largely subjective, as it must be in appraising genius, there is sure to be much in our judgment that is incommunicable. The logic of events, as we say in politics; or the proof of the pudding, as we say in the vernacular; is not so brilliant as logical sword-play, but it has the merit of being decisive. Whitman's poetry looks strange to a reader accustomed to conventional models. It positively offends his eyesight. The ear may detect a certain rhythm, but where are the set lengths of orthodox versification? Here, however, there lurks a fallacy. Poetry is not the antithesis of prose. The antithesis of prose is verse. Some of the finest and noblest poetry in the world's literature is not cast in rhyme, though rhythm--often subtler than all possible rules--is indispensable. Yet there is something precious in poetical form; ay, and something durable. Many an exquisite lyric, with no great depth of feeling or reach of thought, has come down the stream of time, and will float upon it for ever. No doubt Dr. Johnson was right in calling it a waste of time to carve cherrystones, but precious stones are the more valued and admired for the art of the lapidary. Whitman did not cultivate versification. He almost despised it. He sneered at "dulcet rhymes." Yet this may hinder his access to posterity. Mr. Meredith hints as much in his sonnet entitled "An Orson of the Muse," which surely refers to Whitman. He allows him to be the Muse's son, though he will not wear her livery. Him, whom he blows of Earth, and Man, and Fate, The Muse will hearken to with graver ear Than many of her train can waken: him Would fain have taught what fruitful things and dear Must sink beneath the tidewaves, of their weight, If in no vessel built for sea they swim. That Whitman, however, could do great things with rhythm, and without rhyme, is proved by his "Funeral Hymn of President Lincoln," which James Thomson ranked with Shelley's "Adonais," and Mr. Swinburne called "the most sublime nocturne ever chanted in the cathedral of the world." That this is a great poem, and will live, we have not the slightest doubt. Some other of Whitman's poems will doubtless live with it, but whole masses of his poetry will probably sink to the bottom--not, however, before doing their work and delivering their message.