Whitman is less than a Greek or Roman; for their consciousness, even in Homeric times, was full to the brim of the sad mortality of this sunlit world, and such a consciousness Walt Whitman resolutely refuses to adopt. When, for example, Achilles, about to slay Lycaon, Priam’s young son, hears him sue for mercy, he stops to say: “Ah, friend, thou too must die: why thus lamentest thou? Patroclos too is dead, who was better far than thou.... Over me too hang death and forceful fate. There cometh morn or eve or some noonday when my life too some man shall take in battle, whether with spear he smite, or arrow from the string.” Then Achilles savagely severs the poor boy’s neck with his sword, heaves him by the foot into the Scamander, and calls to the fishes of the river to eat the white fat of Lycaon. Just as here the cruelty and the sympathy each ring true, and do not mix or interfere with one another, so did the Greeks and Romans keep all their sadnesses and gladnesses unmingled and entire. Instinctive good they did not reckon sin; nor had they any such desire to save the credit of the universe as to make them insist, as so many of us insist, that what immediately appears as evil must be ‘good in the making,’ or something equally ingenious. Good was good, and bad just bad, for the earlier Greeks. They neither denied the ills of nature, — Walt Whitman’s verse, ‘What is called good is perfect and what is called bad is just as perfect,’ would have been mere silliness to them, — nor did they, in order to escape from those ills, invent ‘another and a better world’ of the imagination, in which, along with the ills, the innocent goods of sense would also find no place. This integrity of the instinctive reactions, this freedom from all moral sophistry and strain, gives a pathetic dignity to ancient pagan feeling. And this quality Whitman’s outpourings have not got. (Penguin, 1985, pp. 86-87)