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{word} = hard to understand, might be this

...generation problem. Now every man lives to the -- two generations. When he becomes 70, he actually has lived two generations. If you now take kindly these dates: from 1819 to 1891. He dies in 1892, doesn't he?

(You said 1819?)

Oh, it makes no difference. I mean, it's over 70. It's the same problem. And you divide these lives, then you can see that Mr. Whitman lives not minus -- of 1819, plus 36, which is 1854, and that he then comes to life from 1854 to 1892. This, you see, these pe- -- nobody writes biography in this country. They don't understand it. They always talk about it. But this is a phenomenon. Now you get Mr. Whitman -- Mr. Melville and you see exactly what happens here. You have his life from 1819 to 1852. And his non-life from 1852 to 19- -- 1891. And that's why they are the most opposite characters in American literature.

Can you see this? That's phenomenal. I haven't -- find anybody who ever mentions this. It's like head and tail of a coin. The first -- one man lives in the first half of his life, and the other man lives in the second half of his life. And they only live half a life. And that's why Mr. Whitman is a burlesque, and Mr. Melville is a tragedy. The difference is -- it is a tragedy after you have lived not to live. It's terrible. It's really, you see. But it's very funny when a man doesn't love in the 36 years of his life in which he should love. And then -- when he then makes a tremendous fanfare, you see, of loving from age 36 to 70, when he should keep quiet and sit still, and raise a family, or build a house or -- you see, have something to do. That's burlesque -- that's funny. And that is the dating of his poetry, so immeasurably funny. Can you see this?

So I think, gentlemen, we -- you learn here something about the problem of the pluri-aged life. You have here the two most important figures of the literature of the United States showing that it is impossible to live in two generations, in a climate like this. They both have -- are confined to live in one generation. I mean, I can't think that out, gentlemen, but I put it into your mind to think this is the -- the connection of these people with America. They wouldn't have had to suffer this way in another country, you see, this kind of being stymied. You can only live in this country as a one-aged man if you are a secular man, because this country only lives by one generation. Anybody who tries to live through two generations, you see, like -- like -- like Melville -- out he goes. The pressure is such, you see, that he's -- he is killed at -- in '52. As you well know, it is true, literally true; everything afterwards just doesn't make any sense. And his -- his son is, after all, he himself at 8- -- not being able to enter the world. And there you

see how important it is, you see, to -- to -- to connect the generations. Our children, gentlemen, and our parents -- they are very much clearer projections of who we are than we ourselves. The suicide of this son, of course, is not an accident. That's exactly the expression of Melville's own situation. And of course, the fact that Mr. -- Mr. Whitman couldn't give life to a mosquito in actual fact, you see, and then has to talk about love in the second half of his life, you see, when he should be a grandfather, that is his one-generation problem, you see.

And I think with this -- with this arithmetic, gentlemen, you begin perhaps to wake up to understand what this 57 is all about. It's the question of the fact that we not only find generations living in history, but {that} you and me, we have to live through two generations. And since you don't want to do this, this country is always rushing from one sensation to the next and there is no continuity. There is no connection. Absolutely none. The impotency of Mr. Whitman is a strange phenomenon, and the sterility of the great fruit that Melville has -- left behind, you see, that he cannot bear fruit, that he has to -- cry out with Pierre, after he has left -- given us Moby-Dick. You see, Moby -- Melville is still an ancestral spirit, because it comes from the Bible and Shakespeare what he has to say. We'll hear about this. I won't anticipate this. Whitman is really leaves of grass. He is unicellular. Therefore he has to postponed living to his second half of his life, and has to fill it with this big noise, the second half. You must think, gentlemen -- that's very serious -- that this man was impotent and homosexual, and that is his poetry. And this country is mentally impotent and homosexual. It is, in all your description, you see, because love is fruitful only when it has a secret. Without secrets, no love. That isn't love. That's just sympathy. That's kindness, what -- what -- what Whitman tries to sell you for love. In order to cover up his impotency and his -- he may be -- not have been impotent with boys, but he certainly was with women -- he has to s- -- call "love," what other people call "I like you," I mean, you see, "I like to be with you. I --. " His embraces are all impotent. They are all Coca-Cola at best, but I think they are only, they really are only -- how do you call the -- ginger ale, ginger ale. That's Walt Whitman's love.

Now that's very serious, gentlemen, because this is the enemy. In the modern society, you see, everybody passes who is amiable, who is smiling, who is friendly, who is sympathetic, who gets along with people. But gentlemen, the mother who has nine children mustn't get on with people. She must give life and protection to child- -- nine children. That's a dif- -- very different case. Fruitfulness is not amiability. And you all mistake lovable and amiable. And that's Walt Whitman. And that's why there is absolutely no fruit in all these to- -- gatherings and togethernesses, and United Nations, and -- and World Federalists Now, and Youth for Congress, and Congress for Youth, and -- and all these convening -- gatherings, mass meetings, conventions, every -- everything we have, all the

charity ladies with all their charities. That's all the impotency of kindness towards -- "embrace," he calls it, big noise.

It's very tempting, gentlemen, because it is -- it seems to -- to do justice to everybody. Gentlemen, if you want to do justice to everybody at the same time, you can't do justice to anybody at no time. It's impossible. The question of living is a question of timing. And it is not a question of all at the same time. Love is selective, or it isn't love.

Now, there's a great problem today, gentlemen, in the world. UNESCO, I mean, all these things are homoerotic. That is, I wouldn't call them "homosexual," in order -- because I don't wish to condemn them. It isn't a question of -- of the penal code or of morality. I don't care all these -- for these people as criminals, or as mental cases, but it is simply descriptively true that they li- -- like loves like in homoerotics. Like loves like, as boy loves boy, you see. And in real love, we love that which is the very opposite, which hard- -- is hardest to love. Man loves woman, because she's different. And that is fruitful love. And you have to take your choice, gentlemen, in your heart of heart. There is a place for comradeship. In the army, like li- -- likes like, buddies; they are the same. If you overstep the line and you fall into the homosexual trap, you become accustomed, you see, not to undertake the love of the opposite, and then the -- the world goes by default, because the world is only sustained by love of the opposite. The love of yourself is luxury, play. It's not necessary. It's nice, but it's not necessary. But the love of the opposite is necessary, because otherwise we die. The other is just pleasant, entertainment.

And here in this country this -- all this must never be said. Nobody tells you clear- -- in so many words, that between Melville and -- and Whitman there is this difference, you see, that Melville is bisexual, really, you see. And -- and Whitman is not. You may say that if -- if Melville had been Whitman and Whitman had been Melville, they would have had a very successful life in the outer world. They become writers from this very strange entrenchment and -- { } -- there would -- you see -- I can sit, and I am now here 20 years in this country, and as I said, I was shell-shocked by Whitman in the year of the Lord 1921 as a -- my real counterpart, as the enemy in the whole Western world. And I'm still full of amazement that these {plants} grow there. That this is there. It has, of course -- Mr. Whitman has of course to do with our big cities, with our big industry, with our -- the detachment of the real ways of the sexes in the home, from the ways, on the roads on which Mr. -- he meets these people, where this all un- -- unpolarized light, so to speak, everybody like everybody else.

If you want to -- to find a method, gentlemen, of studying pluri-aged, and one-aged, and you must begin to see, I hope -- after all, the whole course is { }

-- that this is the -- your first step into realism, that everything you speak about, that is ridiculous, because it's like the New York Times. It is just of the day. It has absolutely no significance, because you only know man if you see him in his -- both aspects as being the fruit of something and being the seed of something. Otherwise you don't know what -- who this man is. It belongs to Melville that his son commits suicide, and that he be- -- has to end up as a silly Customs inspector, in the harbor of New York with rheumatism. And it belongs to Walt Whitman that he hasn't made one woman either happy or unhappy, but that they still say in his town he was the dirtiest man every lived in their town, in Long Island. They declined to -- call an avenue "Walt Whitman Avenue." The farmers there, they will have nothing to do with this man. So obscene he -- he had seemed to them. And to me it seems -- to me, he's an obscenity.

But, you see, what happens is that in 1819, Melville is born and till 32, his father protects him. And in 32, this protection is suddenly torn away. You have the combination of a private-school experience, you see, and then all of a sudden, the very opposite, his { }. So here you see the pluri-aged life of a child, you see, that what happens to the father, the bankruptcy and the death, you see, is in -- my life, what we said about the 18-year-old boy, you see, who then takes his life, that is the small, delicate Melville. In Melville it was still strong enough, he could pull it off and he supports the family from 32 to 51, but then it's over. Then his father-in-law takes over. You should have mentioned it when Mr. Shaw paid for his journey to Palestine. Isn't that true?


Well, quite important, because it was, of course, some fatherly, you see, help coming back to him.

Always think in these generations, gentlemen. You see, they -- because now you go over to the other side. Since Mr. Whitman doesn't even know of the problem of generations, since everybody is at the same time -- we are all here, you see -- {Kramer}, isn't that right? I mean, we are all contemporaries. He had to live at least one generation in order to have anything to say. Because at 36, he at least was already his own heir, once. This you will have to live through, you see. You will face one day the mirror and -- when you shave -- and you will say, "I have seen myself before." And that will be quite a second sight. Many people collapse at 45, because they have lived themselves too much. They have been with them too close -- themselves, you see. They get bored. Well, I -- you understand. This is the problem of -- of suicide. It is, that you can't stand yourself, because you're -- do you know? This is all. This is all. Out, you go.

By the way. Does anybody know what happened to Mr. {Daley}? No?

No? No solution?

{ }.


{ }.

There -- because that's obviously a father problem, too. Father-son problem, from what I have gathered. Has anybody known him? Did anybody know him? Have you heard of him?

(I've heard of him.)

Well, you know, his father died in the war. And he has a -- a father -- fellow scholarship. That is, the Ernest Martin Hopkins fellowships are given to boys who -- whose fathers died in the Second World War. And so that is -- ja. You see? It's a very strange regulation, but there it is. So I was reminded of -- of -- of -- of Herman Mel- -- Melville's, you see, son and his own { }.

So. I have to stop here. But please, see from -- that we -- see here that our heroes in literature draw into themselves the American problem of the two generations. That's a tremendous fact, you see, that they pay with one generation in order to be articulate in the other.