This continuation page contains additional source-backed quotations not shown in the initial 50-quotation overview. Return to the topic guide and browse collection.
“I am satisfied—I see, dance, laugh, sing.”
The compact declaration expresses an affirmative presence in one’s own life, emphasizing direct participation and delight instead of waiting for external valuation first.
Song of Myself, 1882 text; the line sits amid Whitman’s celebration of bodily and spiritual acceptance.
“Not I, nor anyone else can travel that road for you.”
Other people can accompany or advise, but some decisions and development remain personally lived responsibilities.
Song of Myself, in the passage describing the road each person must travel for themselves.
“I sound my barbaric yawp over the roofs of the world.”
The exuberant image celebrates unapologetic self-expression and a voice that refuses to become small merely to fit social expectations.
Near the close of “Song of Myself”; Whitman turns self-expression into a large, physical cry.
“I am the poet of the Body and I am the poet of the Soul.”
Body and soul are claimed together rather than ranked as opposites, reinforcing the poem’s refusal to treat embodied life as lesser or unworthy of celebration.
Song of Myself, section 21 in the 1882 Leaves of Grass text, printed page 45 (Wikisource scan page 51). The line opens Whitman’s section joining bodily and spiritual experience; this locator is specific to the represented 1882 textual state.
“You shall listen to all sides and filter them from yourself.”
Whitman urges the reader not to borrow even his own viewpoint wholesale: other voices can be heard, but judgment still has to be worked through personally rather than accepted second-hand.
Leaves of Grass (1855), untitled first-edition poem later known as “Song of Myself,” printed page 14 (Wikisource scan page 20). The sentence follows Whitman’s warning against taking things at second or third hand and against looking only through another person’s eyes; the reviewed locator is edition-specific.
“I dote on myself, there is that lot of me and all so luscious.”
Whitman’s exuberant self-acceptance is deliberately bodily and unapologetic, presenting delight in one’s own existence as something broader than vanity or external approval.
Song of Myself, in the passage celebrating the body and the speaker’s delight in his own existence.
“One world is aware and by far the largest to me, and that is myself.”
Whitman treats the self as an immense field still being discovered, not as a small fixed label; inward experience becomes a world worthy of sustained attention.
Song of Myself, 1882 text; the line follows “I exist as I am, that is enough,” which already exists separately in this collection.
“Divine am I inside and out, and I make holy whatever I touch or am touch’d from.”
Whitman radicalizes self-acceptance by describing the whole person as sacred, dissolving the boundary between an allegedly worthy interior and an unworthy physical exterior.
Song of Myself, 1882 text; the line belongs to Whitman’s intentionally expansive, bodily-spiritual poetic voice and should be read as poetry rather than literal theological doctrine.
“I know I am august, I do not trouble my spirit to vindicate itself or be understood.”
The speaker refuses to make dignity depend on continuous defense or explanation, separating inward assurance from the need to win every outside judgment.
Song of Myself, 1882 text; Whitman immediately compares this unapologetic stance with elementary laws that never apologize.
“Do I contradict myself? Very well then I contradict myself, (I am large, I contain multitudes.)”
Contradiction is treated as part of a large human self rather than automatic proof of failure or hypocrisy.
Leaves of Grass (1855), untitled first-edition poem later known as “Song of Myself,” printed page 55 (Wikisource scan page 61). The verbal passage is present there, while this collection retains the more familiar later punctuation/parenthetical presentation. Later editions number this movement section 51; that section number is cross-edition orientation only and is not presented as 1855 structure.
“Welcome is every organ and attribute of me, and of any man hearty and clean, not an inch nor a particle of an inch is vile.”
Whitman rejects the division of the person into acceptable and shameful fragments, extending his democratic imagination to the body and to ordinary human embodiment.
Song of Myself, 1882 Leaves of Grass text on Wikisource; the source continues “and none shall be less familiar than the rest.”
“I am larger, better than I thought, I did not know I held so much goodness.”
Whitman describes self-discovery as expansion rather than invention: experience reveals capacities and goodness that were already present but insufficiently recognized.
Walt Whitman, 'Song of the Open Road,' section 5 in the represented 1882 Leaves of Grass text. 'I am larger, better than I thought, I did not know I held so much goodness' follows the speaker's declaration of being loosed from imagined limits. It remains poetic first-person self-discovery rather than empirical psychology.
“Breathes there the man, with soul so dead, Who never to himself hath said, This is my own, my native land!”
Scott’s minstrel treats attachment to one’s homeland as a deep part of identity and imagines emotional estrangement from home as a profound loss of belonging.
The Lay of the Last Minstrel, Canto VI, stanza I; reviewed against the 1805 first-edition scan, leaf 170. The patriotic homeland passage is voiced by Scott's minstrel/narrator at the opening of Canto VI and continues into the warning about dying 'unwept, unhonoured, and unsung.' It is Romantic literary rhetoric rather than a rule about nationality or civic loyalty.
“Whatever we had missed, we possessed together the precious, the incommunicable past.”
Jim recognizes that a shared history can remain a lasting bond even when people cannot recover everything that time and separation have taken away.
My Ántonia, Book V, Chapter III, Project Gutenberg #242. Jim Burden returns to the old road that first carried him and Ántonia into Nebraska and concludes that whatever they missed, they still possess “the precious, the incommunicable past.” The sentence is retrospective fictional narration about shared memory, belonging and time, not a psychological law.
“No bird soars too high if he soars with his own wings.”
Ambition is defended when it grows from one’s own capacity rather than borrowed status or imitation.
“Proverbs of Hell.”
“Every individual is a marvel of unknown and unrealized possibilities.”
Jordan locates worth partly in capacities that have not yet been discovered or developed, resisting a final judgment based only on present performance.
Self-Control, Its Kingship and Majesty, later discussion of individual possibility. The sentence is motivational rhetoric about human potential rather than a measurable universal prediction.
“Man is placed into this world not as a finality,—but as a possibility.”
A person is described as unfinished rather than fixed, leaving room for development in conduct, ability and character.
Self-Control, Its Kingship and Majesty, opening essay. Jordan’s language is philosophical and motivational, with period assumptions about agency that should not be substituted for modern psychological evidence.
“The individual must look upon himself as an investment, of untold possibilities if rightly developed.”
Jordan asks the reader to regard personal capacities as worth developing rather than measuring value solely through current achievement or external recognition.
The Majesty of Calmness, “The Dignity of Self-Reliance.” The represented 1900 work is public domain; the investment metaphor belongs to Jordan’s conduct-of-life rhetoric, not financial advice.
“Our first act of freedom, if we are free, ought in all inward propriety to be to affirm that we are free.”
Within James’s argument about determinism, the sentence treats belief in freedom as a performative commitment: if freedom is real, affirming it is itself an appropriate exercise of it.
The Will to Believe, essay “The Dilemma of Determinism”; Project Gutenberg #26659. This is a philosophical argument about free will, not an empirical proof that metaphysical freedom has been established.
“Our remedies oft in ourselves do lie.”
Before assuming rescue must come from outside, the line asks what capacity, choice, or effort is already available within.
All’s Well That Ends Well, Act I, Scene 1; Helena resolves to act rather than ascribe every possibility to fate. Verified against Wikisource’s 1910 facsimile transcription of the 1623 First Folio (folio spelling “Our remedies oft in our selues do lye”); direct evidence resolves to the reviewed Act I transcription.
“This above all: to thine own self be true.”
Polonius frames integrity as consistency between inward conviction and outward conduct, although the advice belongs to a fallible fictional counselor.
Hamlet, Act 1, Scene 3; Polonius gives Laertes this advice before Laertes leaves for France.
“The fault, dear Brutus, is not in our stars, but in ourselves, that we are underlings.”
The line rejects passive fatalism and places responsibility for circumstances more directly on human decisions, ambition, and action.
Julius Caesar, Act I, Scene 2, in the 1919 Yale Shakespeare edition edited by Lawrence Mason. Cassius tells Brutus that men can be masters of their fates and immediately continues, ‘The fault, dear Brutus, is not in our stars, / But in ourselves, that we are underlings.’ This is Cassius’s political persuasion inside the drama, not neutral historical evidence or Shakespeare speaking directly.
“What’s in a name? That which we call a rose by any other word would smell as sweet.”
The line questions whether labels and inherited identities should determine the value or reality of the person beneath them.
Act 2, Scene 2; Juliet separates Romeo from the social meaning of his family name.
“The Child is father of the Man.”
Adult character grows from earlier habits of perception, so childhood is presented as a formative source rather than a discarded stage.
Poem “My Heart Leaps Up.”
