It is easy enough to pick holes in the grammar of this letter, but what are we to say of its profound goodness and tenderness? It is written as though he had the mother's face before his eyes, and saw her wincing in the flesh at every word. And what, again, are we to say of its sober truthfulness, not exaggerating, not running to phrases, not seeking to make a hero out of what was only an ordinary but good and brave young man? Literary reticence is not Whitman's stronghold; and this reticence is not literary, but humane; it is not that of a good artist but that of a good man. He knew that what the mother wished to hear about was Frank; and he told her about her Frank as he was. V Something should be said of Whitman's style, for style is of the essence of thinking. And where a man is so critically deliberate as our author, and goes solemnly about his poetry for an ulterior end, every indication is worth notice. He has chosen a rough, unrhymed, lyrical verse; sometimes instinct with a fine processional movement; often so rugged and careless that it can only be described by saying that he has not taken the trouble to write prose. I believe myself that it was selected principally because it was easy to write, although not without recollections of the marching measures of some of the prose in our English Old Testament. According to Whitman, on the other hand, "the time has arrived to essentially break down the barriers of form between Prose and Poetry ... for the most cogent purposes of those great inland states, and for Texas, and California, and Oregon";--a statement which is among the happiest achievements of American humour. He calls his verses "recitatives," in easily followed allusion to a musical form. "Easily written, loose-fingered chords," he cries, "I feel the thrum of your climax and close." Too often, I fear, he is the only one who can perceive the rhythm; and in spite of Mr. Swinburne, a great part of his work considered as verses is poor bald stuff. Considered, not as verse, but as speech, a great part of it is full of strange and admirable merits. The right detail is seized; the right word, bold and trenchant, is thrust into its place. Whitman has small regard to literary decencies, and is totally free from literary timidities. He is neither afraid of being slangy nor of being dull; nor, let me add, of being ridiculous. The result is a most surprising compound of plain grandeur, sentimental affectation, and downright nonsense. It would be useless to follow his detractors and give instances of how bad he can be at his worst; and perhaps it would be not much wiser to give extracted specimens of how happily he can write when he is at his best. These come in to most advantage in their own place; owing something, it may be, to the offset of their curious surroundings. And one thing is certain, that no one can appreciate Whitman's excellences until he has grown accustomed to his faults. Until you are content to pick poetry out