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Whitman interests and disquiets us beyond all other American poets by that personality of his, so original, so indolent yet intense, so fearlessly flaunted yet so enigmatically reserved, so palpably carnal yet so illuminated with mystical ardor that at the first bewildering contact one questions whether his urgent touch is of lewdness or divinity. There is something daimonic in the effluence of the man, which visitors remark and remember months and years afterwards as an impulse unaccountably affecting the temper of their lives. It is a sign by which one recognizes native power of one sort or another quite above talent. Hawthorne and other observers were conscious of such an effluence from Whitman's master, Emerson—"a pure, intellectual gleam diffused about his presence like the garment of a shining one." But the aura of the disciple, who roved so far from the decorous circle of the Concord Platonist, was, I fancy, spiked with yellow flame, like the gold-colored nimbus that he sought to paint above the heads of his fellow countrymen—"I paint