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 which perplexes us still—the mystery of the coexistence of personal freedom with social authority. He believed in both, just as for centuries men have believed in the coexistence of free-will with foreknowledge absolute. No one has a right to call his reconciliation of the individual with society inadequate who has not taken the trouble to hear the whole of his song and its commentaries in "Democratic Vistas" and "Specimen Days"; for part supports part, and the whole is greater than the sum of them. No other poet exhibits himself so inadequately in extracts. One gets nearly all of Gray in the "Elegy"; but one can no more get all of Whitman in "O Captain! My Captain" than one can get all of a modern symphony in the sound of the flutes or oboes. Whitman is not primarily a melodist. His strength is in the rich interweaving of intricate and difficult harmonies.

In the evolution of his work, he was seeking a concord of soul and body, individual and society, state and nation, nation and the family of nations, some grand chord to unite the dominant notes of all. In his quest for this harmony he clothes himself in his country as in a garment; he becomes America feeling out her relations with the world. I seem to distinguish in his poems three great successive movements or impulses corresponding roughly to the three periods of the national life in which he had his being. The first is a movement of individualistic expansion corresponding to the