Song of Myself

Steel engraving of Walt Whitman.

"Song of Myself" is a poem by Walt Whitman (1819Template:Ndash1892) that is included in his work Leaves of Grass. It has been credited as "representing the core of Whitman's poetic mission"<ref name="Greenspan">Greenspan, Ezra, ed. Walt Whitman's "Song of Myself": A Sourcebook and Critical Edition. New York and London: Routledge, 2005.</ref> and has been called Whitman's "greatest poem".<ref>Edmundson, Mark (2021). Song of Ourselves: Walt Whitman and the Fight for Democracy. Cambridge, Massachusetts, and London, England: Harvard University Press, p. xi.</ref>

Publication history

The poem was first published without sections<ref>Loving, Jerome. Walt Whitman: The Song of Himself. California: University of California Press, 1999.</ref> as the first of twelve untitled poems in the first (1855) edition of Leaves of Grass. The first edition was published by Whitman at his own expense.

In the second (1856) edition, Whitman used the title "Poem of Walt Whitman, an American," which was shortened to "Walt Whitman" for the third (1860) edition.<ref name="Greenspan" />

The poem was divided into fifty-two numbered sections for the fourth (1867) edition and finally took on the title "Song of Myself" in the last edition (1891–2).<ref name="Greenspan" /> The number of sections is generally thought to mirror the number of weeks in the year.<ref>Template:Cite web</ref>

Walt Whitman: Complete Poetry and Collected Prose (The Library of America, 1982), contains the 1855 edition and the 1891-92 edition.

Reception

Following its 1855 publication, "Song of Myself" was immediately singled out by critics and readers for particular attention, and the work remains among the most acclaimed and influential in American poetry.<ref>Gutman, Huck. "Walt Whitman's 'Song of Myself'". The Oxford Encyclopedia of American Literature. Jay Parini, ed. Oxford University Press, 2004. Oxford Reference Online. Oxford University Press. Web. 20 October 2011</ref> Jay Parini named it the greatest American poem ever written,<ref>Template:Cite news</ref> as did Mark Edmundson.<ref>Edmundson, Mark (2021). Song of Ourselves: Walt Whitman and the Fight for Democracy. Cambridge, Massachusetts, and London, England: Harvard University Press, p. 138.</ref>

In 1855, the Christian Spiritualist gave a long, glowing review of "Song of Myself", praising Whitman for representing "a new poetic mediumship," which through active imagination sensed the "influx of spirit and the divine breath."<ref>Reynolds, David S. Walt Whitman’s America: A Cultural Biography. New York: Alfred A. Knopf, 1995.</ref> Ralph Waldo Emerson wrote a letter to Whitman, praising the 1855 edition of Leaves of Grass as "the most extraordinary piece of wit and wisdom that America has yet contributed".<ref name="Greenspan" /><ref>Edmundson, Mark (2021). Song of Ourselves: Walt Whitman and the Fight for Democracy. Cambridge, Massachusetts, and London, England: Harvard University Press, p. 9.</ref>

Public acceptance was slow in coming, however. Social conservatives denounced the poem as flouting accepted norms of morality due to its blatant depictions of human sexuality. In 1882, Boston's district attorney threatened action against Leaves of Grass for violating the state's obscenity laws and demanded that changes be made to several passages from "Song of Myself".<ref name="Greenspan" />

Literary style

"Song of Myself" includes passages about the unsavory realities of the United States before the Civil War, including one about a multi-racial slave

The poem is written in Whitman's signature free verse style. Whitman, who praises words "simple as grass" (section 39) forgoes standard verse and stanza patterns in favor of a simple, legible style that can appeal to a mass audience.<ref>Redding, Patrick. "Whitman Unbound: Democracy and Poetic Form". New Literary Theory 41.3 (2010): 669-90. Project Muse. 19 October 2011.</ref><ref>Quotations from "Song of Myself" in this section are from the 1891-1892 edition.</ref>

Critics have noted a strong Transcendentalist influence on the poem. In section 32, for instance, Whitman writes, "I think I could turn and live with animals".

In addition to this romanticism, the poem seems to anticipate a kind of realism that would only become important in United States literature after the American Civil War. In the following passage, for example, one can see Whitman's inclusion of the gritty details of everyday life:

The lunatic is carried at last to the asylum a confirm'd case,

(He will never sleep any more as he did in the cot in his mother's bed-room;)
The jour printer with gray head and gaunt jaws works at his case,
He turns his quid of tobacco while his eyes blurr with the manuscript;
The malform'd limbs are tied to the surgeon's table,
What is removed drops horribly in a pail;
The quadroon girl is sold at the auction-stand, the drunkard nods by the bar-room stove, (section 15)

"Self"

In the poem, Whitman emphasizes an all-powerful "I" which serves as narrator, who should not be limited to or confused with the person of the historical Walt Whitman. The persona described has transcended the conventional boundaries of self: "I pass death with the dying and birth with the new-wash'd babe, and am not contain'd between my hat and boots" (section 7).<ref>Quotations in this section are from the 1891-1892 edition.</ref>

There are several other quotes from the poem that make it apparent that Whitman does not consider the narrator to represent a single individual. Rather, he seems to be narrating for all:

• "For every atom belonging to me as good belongs to you." (Section 1)
• "In all people I see myself, none more and not one a barleycorn less/And the good or bad I say of myself I say of them" (Section 20)
• "It is you talking just as much as myself, I act as the tongue of you" (Section 47)
• "Do I contradict myself? Very well then I contradict myself, (I am large, I contain multitudes.)" (Section 51)

Alice L. Cook and John B. Mason offer representative interpretations of the "self" as well as its importance in the poem. Cook writes that the key to understanding the poem lies in the "concept of self" (typified by Whitman) as "both individual and universal,"<ref>Cook, Alice L. "A Note on Whitman’s Symbolism in 'Song of Myself'". Modern Language Notes 65.4 (1950): 228-32. JSTOR. Web. 17 October 2011</ref> while Mason discusses "the reader’s involvement in the poet’s movement from the singular to the cosmic".<ref>Mason, John B. "Walt Whitman's Catalogues: Rhetorical Means for Two Journeys in 'Song of Myself'". American Literature 45.1 (1973): 34-49. JSTOR. Web. 17 October 2011.</ref> The "self" serves as a human ideal; in contrast to the archetypal self in epic poetry, this self is one of the common people rather than a hero.<ref>Miller, James E. Walt Whitman. New York: Twayne Publishers, 1962.</ref> Nevertheless, Whitman locates heroism in every individual as an expression of the whole (the "leaf" among the "grass").

Uses in other media

Canadian doctor and long-time Whitman friend Richard Maurice Bucke analyzed the poem in his influential and widely read 1898 book Cosmic Consciousness, as part of his investigation of the development of man's mystic relation to the infinite.

Simon Wilder delivers this poem to Monty Kessler in With Honors. Walt Whitman's work features prominently throughout the film, and Simon Wilder is often referred to as Walt Whitman's ghost.

A line from section 52 of the 1891-92 edition of "Song of Myself" is featured in the film Dead Poets Society, directed by Peter Weir. The line refers to the sounding of the "barbaric yawp", which illustrates the urgency of the film's protagonists and was read out to them by their English teacher John Keating, played by Robin Williams.

The poem figures in the plot of the 2008 young adult novel Paper Towns by John Green.<ref name="Poolos2014">Template:Cite book</ref>

A documentary project, Whitman, Alabama, featured residents of Alabama reading Whitman verses on camera.<ref>Template:Cite web</ref><ref>Template:Cite magazine</ref>

The poem is central to the plot of the play I and You by Lauren Gunderson.<ref name="Gunderson2018">Template:Cite book</ref>

"Song of Myself" was a major inspiration for the symphonic metal album Imaginaerum (2011) by Nightwish, as well as the fantasy film based on that album.

The poem is recited (or rather enacted) by lead character Will (played by Winston Duke) in the climatic closing scene of the 2020 movie Nine Days.

The quote 'I am large, I contain multitudes' from the poem is prominently featured as a thematic element in the movie The Life of Chuck (2024).

See also

• "I Contain Multitudes", a 2020 Bob Dylan song

External links

• The University of Toronto's full text, with line numbers
• Emerson's letter To Whitman
• Alice L. Cook's "A Note on Whitman's Symbolism in 'Song of Myself'"
• John B. Mason's "Walt Whitman's Catalogues: Rhetorical Means for Two Journeys in "Song of Myself"
• WhitmanWeb's full text in 12 languages, plus audio recordings and commentaries
• Audio: Robert Pinsky reads from "Song of Myself" Template:Webarchive
• Template:Librivox book (individual sections)
• Template:Librivox book