Whitman always avails himself of the poet's privilege and magnifies himself. He magnifies others in the same ratio, he magnifies all things. "Magnifying and applying come I," he says, "outbidding at the start the old cautious hucksters." Indeed, the character which speaks throughout "Leaves of Grass" is raised to the highest degree of personal exaltation. To it nothing is trivial, nothing is mean; all is good, all is divine. The usual distinctions disappear, burned up, the poet says, for religion's sake. All the human attributes are heightened and enlarged; sympathy as wide as the world; love that balks at nothing; charity as embracing as the sky; egotism like the force of gravity; religious fervor that consumes the coarsest facts like stubble; spirituality that finds God everywhere every hour of the day; faith that welcomes death as cheerfully as life; comradeship that would weld the nation into a family of brothers; sexuality that makes prudes shudder; poetic enthusiasm that scornfully dispenses with all the usual adventitious aids; and in general a largeness, coarseness, and vehemence that are quite appalling to the general reader. Lovers of poetry will of necessity be very slow in adjusting their notions to the standards of "Leaves of Grass." It is a survey of life and of the world from the cosmic rather than from the conventional standpoint. It carries the standards of the natural-universal into all fields. Some men have accepted poverty and privation with such contentment and composure as to make us almost envious of their lot; and Whitman accepts the coarser, commoner human elements which he finds in himself, and which most of us try to conceal or belittle, with such frankness and perception of their real worth that they acquire new meaning and value in our eyes. If he paraded these things unduly, and showed an overweening preference for them, as some of his critics charge, this is of course an element of weakness. His precept and his illustration, carried out in life, would fill the land with strong, native, original types of men and women animated by the most vehement comradeship, selfism and otherism going hand in hand. HIS RELATION TO CULTURE I "Leaves of Grass" is not the poetry of culture, but it is to be said in the same breath that it is not such a work as an uncultured man produces, or is capable of producing.