Leaves of Grass. Walt Whitman

you,

      The gist of histories and statistics as far back as the records reach is in you this hour -- and myths and tales the same;

       If you were not breathing and walking here where would they all be?

       The most renowned poems would be ashes . . . . orations and plays would be vacuums.

      All architecture is what you do to it when you look upon it;

       Did you think it was in the white or gray stone? or the lines of the arches and cornices?

      All music is what awakens from you when you are reminded by the instruments,

       It is not the violins and the cornets . . . . it is not the oboe nor the beating drums -- nor the notes of the baritone singer singing his sweet romanza . . . . nor those of the men’s chorus, nor those of the women’s chorus,

       It is nearer and farther than they.

      Will the whole come back then?

       Can each see the signs of the best by a look in the lookingglass? Is there nothing greater or more?

       Does all sit there with you and here with me?

      The old forever new things . . . . you foolish child! . . . . the closest simplest things -- this moment with you,

       Your person and every particle that relates to your person,

       The pulses of your brain waiting their chance and encouragement at every deed or sight;

       Anything you do in public by day, and anything you do in secret betweendays,

       What is called right and what is called wrong . . . . what you behold or touch . . . . what causes your anger or wonder,

       The anklechain of the slave, the bed of the bedhouse, the cards of the gambler, the plates of the forger;

       What is seen or learned in the street, or intuitively learned,

       What is learned in the public school -- spelling, reading, writing and ciphering . . . . the blackboard and the teacher’s diagrams:

      The panes of the windows and all that appears through them . . . . the going forth in the morning and the aimless spending of the day;

       (What is it that you made money? what is it that you got what you wanted?)

       The usual routine . . . . the workshop, factory, yard, office, store, or desk;

       The jaunt of hunting or fishing, or the life of hunting or fishing,

       Pasturelife, foddering, milking and herding, and all the personnel and usages;

       The plum-orchard and apple-orchard . . . . gardening . . seedlings, cuttings, flowers and vines,

       Grains and manures . . marl, clay, loam . . the subsoil plough . . the shovel and pick and rake and hoe . . irrigation and draining;

       The currycomb . . the horse-cloth . . the halter and bridle and bits . . the very wisps of straw,

       The barn and barn-yard . . the bins and mangers . . the mows and racks:

       Manufactures . . commerce . . engineering . . the building of cities, and every trade carried on there . . and the implements of every trade,

       The anvil and tongs and hammer . . the axe and wedge . . the square and mitre and jointer and smoothingplane;

       The plumbob and trowel and level . . the wall-scaffold, and the work of walls and ceilings . . or any mason-work:

       The ship’s compass . . the sailor’s tarpaulin . . the stays and lanyards, and the ground-tackle for anchoring or mooring,

       The sloop’s tiller . . the pilot’s wheel and bell . . the yacht or fish-smack . . the great gay-pennanted three-hundred-foot steamboat under full headway, with her proud fat breasts and her delicate swift-flashing paddles;

       The trail and line and hooks and sinkers . . the seine, and hauling the seine;

       Smallarms and rifles . . . . the powder and shot and caps and wadding . . . . the ordnance for war . . . . the carriages:

       Everyday objects . . . . the housechairs, the carpet, the bed

      and the counterpane of the bed, and him or her sleeping at night, and the wind blowing, and the indefinite noises:

       The snowstorm or rainstorm . . . . the tow-trowsers . . . . the lodge-hut in the woods, and the still-hunt:

       City and country . . fireplace and candle . . gaslight and heater and aqueduct;

       The message of the governor, mayor, or chief of police . . . . the dishes of breakfast or dinner or supper;

       The bunkroom, the fire-engine, the string-team, and the car or truck behind;

       The paper I write on or you write on . . and every word we write . . and every cross and twirl of the pen . . and the curious way we write what we think . . . . yet very faintly;

       The directory, the detector, the ledger . . . . the books in ranks or the bookshelves . . . . the clock attached to the wall,

       The ring on your finger . . the lady’s wristlet . . the hammers of stonebreakers or coppersmiths . . the druggist’s vials and jars;

       The etui of surgical instruments, and the etui of oculist’s or aurist’s instruments, or dentist’s instruments;

       Glassblowing, grinding of wheat and corn . . casting, and what is cast . . tinroofing, shingledressing,

       Shipcarpentering, flagging of sidewalks by flaggers . . dockbuilding, fishcuring, ferrying;

       The pump, the piledriver, the great derrick . . the coalkiln and brickkiln,

       Ironworks or whiteleadworks . . the sugarhouse . . steam-saws, and the great mills and factories;

       The cottonbale . . the stevedore’s hook . . the saw and buck of the sawyer . . the screen of the coalscreener . . the mould of the moulder . . the workingknife of the butcher;

       The cylinder press . . the handpress . . the frisket and tympan . . the compositor’s stick and rule,

       The implements for daguerreotyping . . . . the tools of the rigger or grappler or sailmaker or blockmaker,

      Goods of guttapercha or papiermache . . . . colors and brushes . . . . glaziers’ implements,

       The veneer and gluepot . . the confectioner’s ornaments . . the decanter and glasses . . the shears and flatiron;

       The awl and kneestrap . . the pint measure and quart measure . . the counter and stool . . the writingpen of quill or metal;

       Billiards and tenpins . . . . the ladders and hanging ropes of the gymnasium, and the manly exercises;

       The designs for wallpapers or oilcloths or carpets . . . . the fancies for goods for women . . . . the bookbinder’s stamps;

       Leatherdressing, coachmaking, boilermaking, ropetwisting, distilling, signpainting, limeburning, coopering, cottonpicking,

       The walkingbeam of the steam-engine . . the throttle and governors, and the up and down rods,

       Stavemachines and plainingmachines . . . . the cart of the carman . . the omnibus . . the ponderous dray;

       The snowplough and two engines pushing it . . . . the ride in the express train of only one car . . . . the swift go through a howling storm:

       The bearhunt or coonhunt . . . . the bonfire of shavings in the open lot in the city . . the crowd of children watching;

       The blows of the fighting-man . . the upper cut and one-two-three;

       The shopwindows . . . . the coffins in the sexton’s wareroom . . . . the fruit on the fruitstand . . . . the beef on the butcher’s stall,

       The bread and cakes in the bakery . . . . the white and red pork in the pork-store;

       The milliner’s ribbons . . the dressmaker’s patterns . . . . the tea-table . . the homemade sweetmeats:

       The column of wants in the one-cent paper . . the news by telegraph . . . . the amusements and operas and shows: