In “So Long” Whitman enables one to sees “what comes after” him, or the future of the nation in its splendor, as it follows his own life; this poem paints the universe’s all-encompassing nature, with ideals such as “liberty,” “equality,” and a capacity to hold superb individuals (609-10). Meanwhile, these encounters prove “too much” for Whitman, which prompts him to examine his own death, which serves as an example of a “crisis” moment for Whitman. However, as a “melodious echo” proves him “undying,” it becomes apparent that his messages extend to future generations, beyond his life span (611). In addition, he states that his book does not touch the man who reads it, but that he himself “[springs] forth” and makes direct contact with man (611). This demonstrates how he considers the effects of his messages superior to the message themselves, in his all-encompassing nature, as it extends beyond the page itself, and into the “arms” of man (611). In addition, his conclusion discusses his shifting personas, his “avatars ascending,” and how, though he cannot transcend death itself, his influence extends to the spiritual realm to serve this purpose (612). Thus, the statement “remember my words, I may again return,” pinpoints how his message’s continuation relies upon man’s ability to absorb it and bestow it upon future generations (612).
In Jonathan Cohen’s “Walt Whitman in Ohio,” he speaks to the manner in which Whitman expects man to play a role in his song’s continuation. While the “American mud” on Whitman’s soles speaks to the inclusive nature of his vision, Cohen questions Whitman in regards to whether or not the world measures up to what he pictured for the West (28). However, Whitman, as he’s personified in this poem, explains that he expects the speaker himself to provide these things (28). This demonstrates how Whitman considers man’s actions a vital component of his vision. It also mirrors Whitman’s spiritual ascent in “So Long,” as he adopts a plethora of personas, to which this term “avatar’s ascending” arises; as in “So Long,” Cohen’s Whitman highlights how he does not die when one becomes affected by him in a spiritual sense, which enables him to recall his messages (612). Also, in “So Long,” Whitman departs from the material realm and touches man beyond the scope of his life, which speaks to the broad-based goals about which Cohen questions him. Cohen includes this spiritual, prophetic Whitman, who permits him to transcend the “material” alongside him, as he shares in the weight of the universe’s scope. Thus, this “invisible weight” Whitman provides Cohen with becomes his ability to perpetuate his dreams “eternal progress,” through the development of a personal connection with Whitman, and an ability to summon his words (28).
This is an interesting analysis of Cohen’s poem in relation to “So Long” in particular. Whitman definitely attempts to draw a contrast between, like you said, the effects of his messages and the messages themselves in order to establish a line of direct contact between poet and reader. Cohen takes this a step further and uses Whitman to not only personify the Whitmanian tradition but also to perpetuate Whitman’s vision of into new arenas, ensuring “eternal progress.”
I think you are correct in saying that Whitman felt a limitation to his words on the page. Though I wonder about how Whitman views transcending death. He says that his old age will meet its “translation,” what does this mean? He acknowledges a spiritual world beyond death, so that is a possibility but then he says that he is the book in the reader’s hands. Does it seem like he is not emphasizing the spiritual translation but a physical one (albeit a freaky friday-esque one)? I do not think he is literally saying that he will be a book, but he will live on in his words. He is ok with his words being compost for a greater poet but there is something significant to his writing. I agree that he talks down on his writing in this poem, however, does it seem like he is giving it authority in his death? I think you are right, this just was a vexing part of this poem to me.