After World War I, Gustav Holst turned to the last section of Whitman's elegy to mourn friends killed in the war in composing his "Ode to Death" (1919) for chorus and orchestra. Holst saw Whitman "as a New World prophet of tolerance and internationalism as well as a new breed of mystic whose transcendentalism offered an antidote to encrusted Victorianism." According to Sullivan, "Holst invests Whitman's vision of "lovely and soothing death" with luminous open chords that suggest a sense of infinite space... Holst is interested here in indeterminacy, a feeling of the infinite, not in predictability and closure."