France, the 18th year of These States. — Summary

Walt WhitmanCheerful

1 A GREAT year and place; A harsh, discordant, natal scream out-sounding, to touch the mother’s heart closer than any yet.

I walk’d the shores of my Eastern Sea, Heard over the waves the little voice, Saw the divine infant, where she woke, mournfully wailing, amid the roar of cannon, curses, shouts, crash of falling buildings; Was not so sick from the blood in the gutters running—nor from the single corpses, nor those in heaps, nor those borne away in the tumbrils; Was not so desperate at the battues of death—was not so shock’d at the repeated fusillades of the guns.

2 Pale, silent, stern, what could I say to that long-accrued retribution? Could I wish humanity different? Could I wish the people made of wood and stone? Or that there be no justice in destiny or time?

3 O Liberty! O mate for me! Here too the blaze, the grape-shot and the axe, in reserve, to fetch them out in case of need; Here too, though long represt, can never be destroy’d; Here too could rise at last, murdering and extatic; Here too demanding full arrears of vengeance.

4 Hence I sign this salute over the sea, And I do not deny that terrible red birth and baptism, But remember the little voice that I heard wailing—and wait with perfect trust, no matter how long; And from to-day, sad and cogent, I maintain the bequeath’d cause, as for all lands, And I send these words to Paris with my love, And I guess some chansonniers there will understand them, For I guess there is latent music yet in France—floods of it; O I hear already the bustle of instruments—they will soon be drowning all that would interrupt them; O I think the east wind brings a triumphal and free march, It reaches hither—it swells me to joyful madness, I will run transpose it in words, to justify it, I will yet sing a song for you, MA FEMME.

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Whitman looks across the Atlantic at revolutionary France and hears not just cannon fire and collapsing buildings, but a newborn wailing. He walks his own shore, haunted by the carnage—blood in gutters, heaped corpses, firing squads—yet feels strangely still. The horror does not sicken him as it might, because he sees it as a long-overdue delivery. The speaker’s mood is grim acceptance mixed with electric anticipation; he refuses to wish humanity numb or justice absent, even when vengeance is terrifying.

By the poem’s close, that electric note takes over. He calls Liberty his mate and vows to translate the violence into a triumphal song. The east wind brings the noise of new instruments, a free march that will drown every interruption. The mood swells from sorrowful awe into something like joyful madness, anchored by perfect trust in what the bloody birth will become. It’s a love letter to Paris, brutal and tender, convinced that music is latent in the wreckage.

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