The sheriff at hand with his deputies, the silent and white-lipp'd crowd, the dangling of the rope.
The shapes arise!
Shapes of doors giving many exits and entrances,
The door passing the dissever'd friend flush'd and in haste,
The door that admits good news and bad news,
The door whence the son left home confident and puff'd up,
The door he enter'd again from a long and scandalous absence, diseased, broken down, without innocence, without means.
11
Her shape arises,
She less guarded than ever, yet more guarded than ever,
The gross and soil'd she moves among do not make her gross and soil'd,
She knows the thoughts as she passes, nothing is conceal'd from her,
She is none the less considerate or friendly therefor,
She is the best belov'd, it is without exception, she has no reason to fear and she does not fear,
Oaths, quarrels, hiccupp'd songs, smutty expressions, are idle to her as she passes,
She is silent, she is possessed of herself, they do not offend her,
She receives them as the laws of Nature receive them, she is strong,
She too is a law of Nature—there is no law stronger than she is.
12
The main shapes arise!
Shapes of Democracy total, result of centuries,
Shapes ever projecting other shapes,
Shapes of turbulent manly cities,
Shapes of the friends and home-givers of the whole earth,
Shapes bracing the earth and braced with the whole earth.
SONG OF THE EXPOSITION.
1
(Ah little recks the laborer,
How near his work is holding him to God,
The loving Laborer through space and time.)
After all not to create only, or found only,
