The Infinite Self: Exploring 'Song of Myself'
A comprehensive journey into Walt Whitman's seminal poem, exploring its evolution, impact, and profound philosophical core.
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Publication History
Genesis and Evolution
The poem, now known as "Song of Myself," underwent significant transformation from its initial publication. It first appeared anonymously, as the first of twelve untitled poems, in the inaugural 1855 edition of Walt Whitman's monumental work, Leaves of Grass, which Whitman self-funded.[2]
Evolving Titles
Subsequent editions saw the poem retitled: it was called "Poem of Walt Whitman, an American" in the second (1856) edition, and simply "Walt Whitman" for the third (1860) edition.b
Reception and Recognition
Critical Acclaim
Upon its 1855 debut, "Song of Myself" immediately captured the attention of critics and readers, quickly establishing itself as a cornerstone of American poetry. Its enduring influence is such that in 2011, writer Jay Parini declared it the greatest American poem ever written.[5]
Early Endorsements
The Christian Spiritualist offered a laudatory review in 1855, hailing Whitman for pioneering a "new poetic mediumship" that channeled "spirit and the divine breath."[6] Even Ralph Waldo Emerson penned a letter to Whitman, commending the work for its profound "wit and wisdom."d
Controversy and Censorship
Public acceptance, however, was not immediate. Social conservatives condemned the poem for its frank explorations of human sexuality, which they deemed immoral. This led to significant controversy; in 1882, Boston's district attorney threatened legal action against Leaves of Grass under state obscenity laws, demanding revisions to passages within "Song of Myself."e
Literary Style and Influences
Free Verse and Accessibility
The poem is a prime example of Whitman's distinctive free verse style. Eschewing traditional metrical patterns and stanzaic structures, Whitman favored a direct, accessible language—words "as simple as grass" (section 39)—aimed at engaging a broad audience.[7]
Romanticism and Transcendentalism
A strong current of Transcendentalist thought permeates the poem, evident in Whitman's expressions of finding divinity within nature and the animal kingdom, as seen in section 32 where he contemplates living amongst animals and perceiving the divine in insects.
Foreshadowing Realism
Beyond its romanticism, the poem anticipates the literary realism that would gain prominence in American literature following the Civil War. Whitman incorporates vivid, often gritty, details of everyday life, capturing the complex realities of his time. For instance, section 15 presents stark vignettes:
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, ...[117]
This passage reflects the unsavory realities of the United States before the Civil War, including depictions of social issues and marginalized individuals.
The Expansive 'Self'
Beyond the Individual
In "Song of Myself," Whitman crafts a powerful narrative voice—an "I" that transcends the historical Walt Whitman. This persona is not confined by conventional limitations, declaring, "I pass death with the dying, and birth with the new-washed babe .... and am not contained between my hat and boots" (section 7).a
Universal Connection
Whitman explicitly positions this "Self" as a conduit for universal experience, suggesting it speaks for all humanity: "For every atom belonging to me as good belongs to you" (section 1). He further emphasizes this connection: "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). The narrator acts as a voice for others: "It is you talking just as much as myself... I act as the tongue of you" (section 47).
Containing Multitudes
The poem famously embraces internal complexity and contradiction as a sign of expansive identity: "Do I contradict myself? Very well then I contradict myself, (I am large, I contain multitudes.)" (section 51).[8] Scholars like Alice L. Cook interpret this "Self" as simultaneously individual and universal, while John B. Mason highlights the reader's journey from the singular self to a cosmic perspective.[9] This "Self" represents a democratic ideal, finding heroism not in a singular hero, but in the inherent worth of every common individual, each an expression of the collective whole.
Cultural Resonance
Literary and Academic Influence
Richard Maurice Bucke's influential 1898 book, Cosmic Consciousness, analyzed "Song of Myself" as a key text in understanding humanity's evolving mystical connection to the infinite.a
Cinematic and Literary Adaptations
The poem's themes have resonated across various media:
- In the film With Honors, the character Simon Wilder delivers the poem, embodying Whitman's spirit.
- The film Dead Poets Society features a recitation of the line concerning the "barbaric yawp," illustrating the protagonists' urgency.
- John Green's 2008 novel Paper Towns prominently features the poem.[11]
- The play I and You by Lauren Gunderson centers on the poem.[14]
- The 2020 film Nine Days culminates in a powerful enactment of the poem.
- The upcoming film The Life of Chuck (2025) highlights the quote "I contain multitudes."
Musical Inspirations
The symphonic metal album Imaginaerum (2011) by Nightwish, and its accompanying film, drew significant inspiration from "Song of Myself."
Related Works by Walt Whitman
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References
References
- Greenspan, Ezra, ed. Walt Whitmanâs "Song of Myself": A Sourcebook and Critical Edition. New York: Routledge, 2005. Print.
- Loving, Jerome. Walt Whitman: The Song of Himself. California: University of California Press, 1999. Print.
- Gutman, Huck. "Walt Whitman's 'Song of Myself'". The Oxford Encyclopedia of American Literature. Ed. Jay Parini. Oxford University Press, 2004. Oxford Reference Online. Oxford University Press. Web. 20 October 2011
- Reynolds, David S. Walt Whitmanâs America: A Cultural Biography. New York: Alfred A. Knopf, 1995. Print.
- Redding, Patrick. "Whitman Unbound: Democracy and Poetic Form". New Literary Theory 41.3 (2010): 669-90. Project Muse. Web. 19 October 2011.
- Cook, Alice L. "A Note on Whitmanâs Symbolism in 'Song of Myself'". Modern Language Notes 65.4 (1950): 228-32. JSTOR. Web. 17 October 2011
- 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.
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Educational Context
This page has been generated by an Artificial Intelligence, drawing upon publicly available data from Wikipedia. It is intended solely for educational and informational purposes, providing an academic exploration of Walt Whitman's "Song of Myself."
This is not literary criticism or academic advice. The content presented is a synthesis and refinement of source material and should not be considered a substitute for original scholarly research or professional literary analysis. While efforts have been made to ensure accuracy based on the provided source, the AI cannot guarantee completeness or absolute fidelity to the nuances of literary interpretation.
Users are encouraged to consult primary texts and scholarly resources for a comprehensive understanding of the subject matter. The creators of this page are not responsible for any interpretations or actions taken based on the information provided herein.