16 quotations linked to Song of Myself by or associated with Walt Whitman, with source notes, explanations and related topics.
Identity, bodily and spiritual self-acceptance, democracy, nature, companionship, mortality and expansive first-person experience.
Dates represented in this collection: 1882 · 1855. Individual quotation notes provide the most specific context for a passage.
Use these links when you want to inspect the wording in its wider work or edition.
“I know I am solid and sound.”
Whitman’s speaker declares an underlying soundness that is not presented as a verdict from other people, making self-assurance part of the poem’s larger democratic self.
Source note: Song of Myself, 1882 text; this statement begins a sequence of increasingly expansive declarations about the speaker’s place in the universe.
“I exist as I am, that is enough.”
Whitman asserts existence itself before performance or approval, making the line useful for thinking about intrinsic worth.
Source note: Leaves of Grass, “Song of Myself.”
“I celebrate myself, and sing myself.”
The opening celebrates the self without separating it from the wider world that the poem later embraces.
Source note: Leaves of Grass, “Song of Myself.”
“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.
Source note: 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.
Source note: 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.
Source note: 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.
Source note: Song of Myself, section 21 in the 1882 Leaves of Grass text; the line opens a passage joining bodily and spiritual experience.
“I bequeath myself to the dirt to grow from the grass I love.”
Death becomes continuity with nature rather than simple disappearance, connecting mortality with renewal, earth, and the lives that follow.
Source note: Final section of “Song of Myself”; the speaker imagines returning physically to the earth.
“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.
Source note: Leaves of Grass (1855), the untitled poem later known as “Song of Myself,” in the early passage telling readers not to take things at second or third hand or look through another person’s eyes. Wikisource’s 1855 scan places the sentence on printed page 14.
“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.
Source note: 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.
Source note: Song of Myself, 1882 text; the line follows “I exist as I am, that is enough,” which already exists separately in this collection.
“I believe a leaf of grass is no less than the journey-work of the stars.”
The ordinary and the cosmic are placed on the same continuum of wonder, resisting the habit of treating small things as insignificant.
Source note: Song of Myself, in Whitman’s catalogue of equal wonders.
“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.
Source note: 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.
Source note: 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.
Source note: Leaves of Grass, “Song of Myself,” section 51.
“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.
Source note: Song of Myself, 1882 Leaves of Grass text on Wikisource; the source continues “and none shall be less familiar than the rest.”