The little house, a two-story frame cottage, painted dark brown, is numbered 330. (In Whitman's day it was 328.) On the pavement in front stands a white marble stepping-block with the carved initials W.W.—given to the poet, I dare say, by the same friends who bought him a horse and carriage. A small sign, in English and Italian, says: Thomas A. Skymer, Automobiles to Hire on Occasions. It was with something of a thrill that I entered the little front parlor where Walt used to sit, surrounded by his litter of papers and holding forth to faithful listeners. One may safely say that his was a happy old age, for there were those who never jibbed at protracted audience.

A description of that room as it was in the last days of Whitman's life may not be uninteresting. I quote from the article published by the Philadelphia Press of March 27, 1892, the day after the poet's death:

Below the windowsill a four-inch pine shelf is swung, on which rests a bottle of ink, two or three pens and a much-rubbed spectacle case.

(The shelf, I am sorry to say, is no longer there.)

The table—between which and the wall is the poet's rocker covered with a worsted afghan, presented to him one Christmas by a bevy of college girls who admired his work—is so thickly piled with books and magazines, letters and the raffle of a literary desk that there is scarcely an inch of room upon which he may rest his paper as he writes. A volume of Shakespeare lies on top of a heaping full waste basket that was once used to bring peaches to market, and an ancient copy of Worcester's Dictionary shares places in an adjacent chair with the poet's old and familiar soft gray hat, a newly darned blue woolen sock and a shoe-blacking brush. There is a paste bottle and brush on the table and a pair of scissors, much used by the poet, who writes, for the most part, on small bits of paper and parts of old envelopes and pastes them together in patchwork fashion.

In spite of a careful examination, I could find nothing in the parlor at all reminiscent of Whitman's tenancy, except the hole for the stovepipe under the mantel. One of Mrs. Skymer's small boys told me that "He" died in that room. Evidently small Louis Skymer didn't in the least know who "He" was, but realized that his home was in some vague way connected with a mysterious person whose memory occasionally attracts inquirers to the house.

Behind the parlor is a dark little bedroom, and then the kitchen. In a corner of the back yard is a curious thing: a large stone or terra cotta bust of a bearded man, very much like Whitman himself, but the face is battered and the nose broken so it would be hard to assert this definitely. One of the boys told me that it was in the yard when they moved in a year or so ago. The house is a little dark, standing between two taller brick neighbors. At the head of the stairs I noticed a window with colored panes, which lets in spots of red, blue and yellow light. I imagine that this patch of vivid color was a keen satisfaction to Walt's acute senses. Such is the simple cottage that one associates with America's literary declaration of independence.

The other Whitman shrine in Camden is the tomb in Harleigh Cemetery, reached by the Haddonfield trolley. Doctor Oberholtzer, in his "Literary History of Philadelphia," calls it "tawdry," to which I fear I must demur. Built into a quiet hillside in that beautiful cemetery, of enormous slabs of rough-hewn granite with a vast stone door standing symbolically ajar, it seemed to me grotesque, but greatly impressive. It is a weird pagan cromlech, with a huge triangular boulder above the door bearing only the words WALT WHITMAN. Palms and rubber plants grow in pots on the little curved path leading up to the tomb; above it is an uncombed hillside and trees flickering in the air. At this tomb, designed (it is said) by Whitman himself, was held that remarkable funeral ceremony on March 30, 1892, when a circus tent was not large enough to roof the crowd, and peanut venders did business on the outskirts of the gathering. Perhaps it is not amiss to recall what Bob Ingersoll said on that occasion:

"He walked among verbal varnishers and veneerers, among literary milliners and tailors, with the unconscious dignity of an antique god. He was the poet of that divine democracy that gives equal rights to all the sons and daughters of men. He uttered the great American voice."

And though one finds in the words of the naive Ingersoll the squeaking timber of the soapbox, yet even a soapbox does lift a man a few inches above the level of the clay.

Well, the Whitman battle is not over yet, nor ever will be. Though neither Philadelphia nor Camden has recognized 330 Mickle Street as one of the authentic shrines of our history (Lord, how trimly dight it would be if it were in New England!), Camden has made a certain amend in putting Walt into the gay mosaic that adorns the portico of the new public library in Cooper Park. There, absurdly represented in an austere black cassock, he stands in the following frieze of great figures: Dante, Whitman, Moliere, Gutenberg, Tyndale, Washington, Penn, Columbus, Moses, Raphael, Michael Angelo, Shakespeare, Longfellow and Palestrina. I believe that there was some rumpus as to whether Walt should be included; but, anyway, there he is.

You will make a great mistake if you don't ramble over to Camden some day and fleet the golden hours in an observant stroll. Himself the prince of loafers, Walt taught the town to loaf. When they built the new postoffice over there they put round it a ledge for philosophic lounging, one of the most delightful architectural features I have ever seen. And on Third Street, just around the corner from 330 Mickle Street, is the oddest plumber's shop in the world. Mr. George F. Hammond, a Civil War veteran, who knew Whitman and also Lincoln, came to Camden in '69. In 1888 he determined to build a shop that would be different from anything on earth, and well he succeeded. Perhaps it is symbolic of the shy and harassed soul of the plumber, fleeing from the unreasonable demands of his customers, for it is a kind of Gothic fortress. Leaded windows, gargoyles, masculine medusa heads, a sallyport, loopholes and a little spire. I stopped in to talk to Mr. Hammond, and he greeted me graciously. He says that people have come all the way from California to see his shop, and I can believe it. It is the work of a delightful and original spirit who does not care to live in a demure hutch like all the rest of us, and has really had some fun out of his whimsical little castle. He says he would rather live in Camden than in Philadelphia, and I daresay he's right.

III

Something in his aspect as he leaned over the railing near me drew me on to speak to him. I don't know just how to describe it except by saying that he had an understanding look. He gave me the impression of a man who had spent his life in thinking and would understand me, whatever I might say. He looked like the kind of man to whom one would find one's self saying wise and thoughtful things. There are some people, you know, to whom it is impossible to speak wisdom even if you should wish to. No spirit of kindly philosophy speaks out of their eyes. You find yourself automatically saying peevish or futile things that you do not in the least believe.

The mood and the place were irresistible for communion. The sun was warm along the river front and my pipe was trailing a thin whiff of blue vapor out over the gently fluctuating water, which clucked and sagged along the slimy pilings. Behind us the crash and banging of heavy traffic died away into a dreamy undertone in the mild golden shimmer of the noon hour.

The old man was apparently lost in revery, looking out over the river toward Camden. He was plainly dressed in coat and trousers of some coarse weave. His shirt, partly unbuttoned under the great white sweep of his beard, was of gray flannel. His boots were those of a man much accustomed to walking. A weather-stained sombrero was on his head. Beneath it his thick white hair and whiskers wavered in the soft breeze. Just then a boy came out from the near-by ferry house carrying a big crate of daffodils, perhaps on their way from some Jersey farm to an uptown florist. We watched them shining and trembling across the street, where he loaded them onto a truck. The old gentleman's eyes, which were a keen gray blue, caught mine as we both turned from admiring the flowers.

I don't know just why I said it, but they were the first words that popped into my head. "And then my heart with pleasure fills and dances with the daffodils," I quoted.

He looked at me a little quizzically.

"You imported those words on a ship," he said. "Why don't you use some of your own instead?"

I was considerably taken aback. "Why, I don't know," I hesitated. "They just came into my head."

"Well, I call that bad luck," he said, "when some one else's words come into a man's head instead of words of his own."

He looked about him, watching the scene with rich satisfaction. "It's good to see all this again," he said. "I haven't loafed around here for going on thirty years."

"You've been out of town?" I asked.

He looked at me with a steady blue eye in which there was something of humor and something of sadness.

"Yes, a long way out. I've just come back to see how the Great Idea is getting along. I thought maybe I could help a little."

"The Great Idea?" I queried, puzzled.

"The value of the individual," he said. "The necessity for every human being to be able to live, think, act, dream, pray for himself. Nowadays I believe you call it the League of Nations. It's the same thing. Are men to be free to decide their fate for themselves or are they to be in the grasp of irresponsible tyrants, the hell of war, the cruelties of creeds, executive deeds just or unjust, the power of personality just or unjust? What are your poets, your young Libertads, doing to bring About the Great Idea of perfect and free individuals?"

I was rather at a loss, but happily he did not stay for an answer. Above us an American flag was fluttering on a staff, showing its bright ribs of scarlet clear and vivid against the sky.

"You see that flag of stars," he said, "that thick-sprinkled bunting? I have seen that flag stagger in the agony of threatened dissolution, in years that trembled and reeled beneath us. You have only seen it in the days of its easy, sure triumphs. I tell you, now is the day for America to show herself, to prove her dreams for the race. But who is chanting the poem that comes from the soul of America, the carol of victory? Who strikes up the marches of Libertad that shall free this tortured ship of earth? Democracy is the destined conqueror, yet I see treacherous lip-smiles everywhere and death and infidelity at every step. I tell you, now is the time of battle, now the time of striving. I am he who tauntingly compels men, women, nations, crying, 'Leap from your seats and contend for your lives!' I tell you, produce great Persons; the rest follows."

"What do you think about the covenant of the League of Nations?" I asked. He looked out over the river for some moments before replying and then spoke slowly, with halting utterance that seemed to suffer anguish in putting itself into words.

"America will be great only if she builds for all mankind," he said. "This plan of the great Libertad leads the present with friendly hand toward the future. But to hold men together by paper and seal or by compulsion is no account. That only holds men together which aggregates all in a living principle, as the hold of the limbs of the body or the fibers of plants. Does this plan answer universal needs? Can it face the open fields and the seaside? Will it absorb into me as I absorb food, air, to appear again in my strength, gait, face? Have real employments contributed to it—original makers, not mere amanuenses? I think so, and therefore I say to you, now is the day to fight for it."

"Well," he said, checking himself, "there's the ferry coming in. I'm going over to Camden to have a look around on my way back to Harleigh."

"I'm afraid you'll find Mickle street somewhat changed," I said, for by this time I knew him.

"I love changes," he said.

"Your centennial comes on May 31," I said, "I hope you won't be annoyed if Philadelphia doesn't pay much attention to it. You know how things are around here."

"My dear boy," he said, "I am patient. The proof of a poet shall be sternly deferred till his country absorbs him as affectionately as he has absorbed it. I have sung the songs of the Great Idea and that is reward in itself. I have loved the earth, sun, animals, I have despised riches, I have given alms to every one that asked, stood up for the stupid and crazy, devoted my income and labor to others, hated tyrants, argued not concerning God, had patience and indulgence toward the people, taken off my hat to nothing known or unknown, gone freely with powerful uneducated persons and I swear I begin to see the meaning of these things—"

"All aboard!" cried the man at the gate of the ferry house.

He waved his hand with a benign patriarchal gesture and was gone.



ON DOORS

The opening and closing of doors are the most significant actions of man's life. What a mystery lies in doors!

No man knows what awaits him when he opens a door. Even the most familiar room, where the clock ticks and the hearth glows red at dusk, may harbor surprises. The plumber may actually have called (while you were out) and fixed that leaking faucet. The cook may have had a fit of the vapors and demanded her passports. The wise man opens his front door with humility and a spirit of acceptance.

Which one of us has not sat in some ante-room and watched the inscrutable panels of a door that was full of meaning? Perhaps you were waiting to apply for a job; perhaps you had some "deal" you were ambitious to put over. You watched the confidential stenographer flit in and out, carelessly turning that mystic portal which, to you, revolved on hinges of fate. And then the young woman said, "Mr. Cranberry will see you now." As you grasped the knob the thought flashed, "When I open this door again, what will have happened?"

There are many kinds of doors. Revolving doors for hotels, shops and public buildings. These are typical of the brisk, bustling ways of modern life. Can you imagine John Milton or William Penn skipping through a revolving door? Then there are the curious little slatted doors that still swing outside denatured bar-rooms and extend only from shoulder to knee. There are trapdoors, sliding doors, double doors, stage doors, prison doors, glass doors. But the symbol and mystery of a door resides in its quality of concealment. A glass door is not a door at all, but a window. The meaning of a door is to hide what lies inside; to keep the heart in suspense.

Also, there are many ways of opening doors. There is the cheery push of elbow with which the waiter shoves open the kitchen door when he bears in your tray of supper. There is the suspicious and tentative withdrawal of a door before the unhappy book agent or peddler. There is the genteel and carefully modulated recession with which footmen swing wide the oaken barriers of the great. There is the sympathetic and awful silence of the dentist's maid who opens the door into the operating room and, without speaking, implies that the doctor is ready for you. There is the brisk cataclysmic opening of a door when the nurse comes in, very early in the morning—"It's a boy!"

Doors are the symbol of privacy, of retreat, of the mind's escape into blissful quietude or sad secret struggle. A room without doors is not a room, but a hallway. No matter where he is, a man can make himself at home behind a closed door. The mind works best behind closed doors. Men are not horses to be herded together. Dogs know the meaning and anguish of doors. Have you ever noticed a puppy yearning at a shut portal? It is a symbol of human life.

The opening of doors is a mystic act: it has in it some flavor of the unknown, some sense of moving into a new moment, a new pattern of the human rigmarole. It includes the highest glimpses of mortal gladness: reunions, reconciliations, the bliss of lovers long parted. Even in sadness, the opening of a door may bring relief: it changes and redistributes human forces. But the closing of doors is far more terrible. It is a confession of finality. Every door closed brings something to an end. And there are degrees of sadness in the closing of doors. A door slammed is a confession of weakness. A door gently shut is often the most tragic gesture in life. Every one knows the seizure of anguish that comes just after the closing of a door, when the loved one is still near, within sound of voice, and yet already far away.

The opening and closing of doors is a part of the stern fluency of life. Life will not stay still and let us alone. We are continually opening doors with hope, closing them with despair. Life lasts not much longer than a pipe of tobacco, and destiny knocks us out like the ashes.

The closing of a door is irrevocable. It snaps the packthread of the heart. It is no avail to reopen, to go back. Pinero spoke nonsense when he made Paula Tanqueray say, "The future is only the past entered through another gate." Alas, there is no other gate. When the door is shut, it is shut forever. There is no other entrance to that vanished pulse of time. "The moving finger writes, and having writ"—

There is a certain kind of door-shutting that will come to us all. The kind of door-shutting that is done very quietly, with the sharp click of the latch to break the stillness. They will think then, one hopes, of our unfulfilled decencies rather than of our pluperfected misdemeanors. Then they will go out and close the door.

THE END