Day: January 13, 2024

Introduction: “The Road Not Taken” and “Stopping by Woods”

Wavering, hesitation, reluctance; these words immediately comes to mind when we call to make a choice in life when reading “The Road Not Taken” and “Stopping by Woods” by Frost. Everybody has some options at every point of his life and he is to make a choice based on the rational decision after long or short deliberations. This choice made reviewing the topical situation takes a person on the road to ideal solution of the issue at hand. However, sometimes the same choice lead to highly tough situation where both of the choices or all other available choices seem equally good or equally bad and person has to choose one or the other based on his rational judgment. Poetry is fraught with the theme of such choices made by “The Road Not Taken” and “Stopping by Woods on a Snowy Evening” by Robert Frost have demonstrated how the action of making a choice and selection an option weighs heavily upon a person’s mind. The first one is about when the life time decision is made and second is perhaps when the poet has had some liking for natural but he was also under moral obligations. Whatever the case is both the poems “The Road Not Taken” as well as “Stopping by Woods” shows the same thing as to what choices are there, nature of decisions to select one and limits on the decision to make ideal solutions.

Choices in “The Road Not Taken” and “Stopping by Woods”

In “The Road Not Taken” frost immediately discloses his choice “Two roads diverged in yellow wood, / And sorry I could not take travel both” (The Road Not Taken 1-2) which is also an expression of remorse that both seems equally good but he cannot take both at the same time. He is to leave one and chose the other and when one is left, there is no way he can come to it later in life. This is where the youth comes and it is perhaps his choice of career as a poet that he has made. In fact, Frost calls attention only to the role of human choice. A second target was the notion that “whatever choice we make, we make at our peril” (Montiero, On “The Road Not Take”). However, he also seems to be hell bent on keeping the other “I kept the first for another day” (12) which shows that he does not want to leave the first and has some thinking in his mind that he might turn back and take it but it is not possible as he is doubtful of his return in the future. However, he is satisfied that the type of choices he has, he has made the second one “I took the one less travelled by” (19) that no other person have taken. Similarly, in “Stopping by Woods on a Snowing Evening” he has same two types of choices either to watch the woods and enjoy the nature at this hour of the evening or leave it as he is forced to leave. He is lured by the beauty “The woods are lovely, dark and deep” (13) and he has almost there to enjoy it. However, the issue is that he has to go to perform his mundane responsibilities. He hesitates and “It is an [this] internal will and force that keeps the speaker unsettled in the few moments that he stops to watch the woods fill up with snow” (Pederson). Even his little horse in is wavering whether to stop and see or leave and finaly the poet is weighed down by the other choice that is “But I have promises to keep” (14) that is demands more urgency on the part of the poet.

Nature of Decisions in “The Road Not Taken” and “Stopping by Woods”

The decision in both the cases depend on paragmtic nature. In “The Road Not Taken” the decision depends on whether it would prove fruitful for futrue and that he would make some gains for it is “I took the one less travelled by” (The Road Not Taken 19) which means that in career choice he has made the decision not made but all and sundary “And that has made all the differnce” (20) showing where the poet stands now as it is the result of the same decision that he has made. The decision was hard and tough but the problem is that he has to made in in any way which is very much clear from the first stanza that “And I looked one as far as I could” (4) but ultimately he has to choose the one that is “less travelled by” (19). The decision, whether it is arbitrary or not, depends solely on him at this point. Same thing is in “Stopping by Woods on a Snowy Evening” where he comes to pass by a woods and he is fully aware that he can enjoy it as long as he could despite the fact that his little horse is also aware of his mental wavering. But he has two choices and his decision depends on rational thinking of that “But I have promises to keep” (Stopping by Woods 12) and there is along distance that he has to cover to keep his words. This is the obligation of mundane responsibilities that is weighing heavy upon him, ultimately forcing him to abandon the first choice and keep the second to leave for promises. The situation is the same whether he is to “go forward to the touch,” or will he “stand still in wonderment and let him pass by” in the anecdote” (Montiero).

Limits in “The Road Not Taken” and “Stopping by Woods”

The point of limitation is not so easy to decide as in “The Road Not Taken” he is limited by his choice that both roads are the same and “both that morning equally lay” (The Road Not Taken 11) where he is to think about the one not have been trodden as much as the other one, but the issue is both are almost the same. This takes carefull and deliberate thinking in the face of only two equal choices and finally he, depending on his own decision, made the ideal choice of “I took the one less travelled by” (19) which was to last long for him and set his career path. Similarly, in “Stopping by Woods on a Snowy Evening” he has not only two choices, but also the worldly limitation of covering a long distance before he has to reach home and fulfill his promises, for he knows mundane obligations are urgent that mere enjoyment of nature “And miles to go before I sleep” (Stopping by Woods 16) is another choice before him. The repetition of this sentence is a reminder of the limit that he has to see before leaving.

Conclusion: “The Road Not Taken” and “Stopping by Woods”

Summing up the debate, it is clear that both the poems have presented the speaker two choices, the hard deliberation in making the final decision and limitations before making the ideal solution and that is that the speaker has to be pragmatic in his choice. First the choice of road is the choice of career that everybody is to make in life and second the choice to enjoy nature and keep mundane promises also puts the same burden on mind to make a choice. Therefore, the weight of choice in both the poems is equally difficult not only involving types of choice, but also the situation in which the decision is to be made and finally to choose the decision to go for ideal solution.

Works Cited: “The Road Not Taken” and “Stopping by Woods”

1. Frost, Robert. Robert Frost’s Poems. Edited by Louis Untermeyer, Washington Square Press, 1968.
2. Montiero, George. “On ‘Stopping by Woods on a Snowy Evening’.” 2003. 07 December 2013 http://www.english.illinois.edu/maps/poets/a_f/frost/woods.htm.
3. Montiero, George. “On ‘The Road Not Taken’.” 2003. 27 December 2013 http://www.english.illinois.edu/maps/poets/a_f/frost/road.htm.
4. Pederson, Steve. “‘Stopping by Woods on a Snowy Evening’: A Burkean/Ecocritical Reading.” n.d. 07 December 2013 http://rhetoric.sdsu.edu/lore/6_1/6.5_pederson.pdf.

Three Relevant Questions: “The Road Not Taken” and “Stopping by Woods”

1. How does Robert Frost use nature and the imagery of woods in both “The Road Not Taken” and “Stopping by Woods on a Snowy Evening” to convey deeper meanings and themes in the poems?
2. In “The Road Not Taken,” the speaker reflects on a choice that has made all the difference in their life, while in “Stopping by Woods on a Snowy Evening,” the speaker contemplates the beauty of nature. Compare and contrast the themes of individual choice and the appreciation of nature in these two poems.
3. Analyze the tone and mood in both “The Road Not Taken” and “Stopping by Woods on a Snowy Evening.” How does Frost use language and poetic devices to evoke specific emotions in each poem, and what impact does this have on the reader’s interpretation of the works?

Introduction: “Stopping by Woods on Snowy Evening”

Every person faces a dual conflict in life, much like Frost’s poem “Stopping by Woods on a Snowy Evening.” On one hand, there are the allurements of pleasures, luxuries, and the enjoyments of life, while on the other hand, there is the burden of mundane responsibilities to bear. This dual conflict ensures that a person is mindful of their obligations, such as caring for home, family, and children. In the poem, Frost captures the universal struggle between the enticements of the world, full of luxuries, pleasures, and the beauty of nature, and the weight of daily responsibilities. There are numerous opportunities that might lead one to engage in actions not considered moral, yet seem “lovely, dark and deep” (Stopping by Woods 13). However, the sense of the burden of mundane responsibilities acts as a restraint, preventing excessive indulgence. Frost himself grapples with this dual conflict, contemplating whether to linger in the enchanting beauty of nature or move forward to fulfill his “promises” (14) in his poem “Stopping by Woods on a Snowy Evening.”

Pleasure in “Stopping by Woods on Snowy Evening”

The pleasures of nature unfold as the poet traverses through the woods, particularly on “the darkest evening of the year” (8), signifying December 21, the longest night. Commencing with the inquiry “Whose woods are these I think I know” (1), the poet suggests that he is alone, engaged in a soliloquy, perhaps acquainted with the owner of the woods and possibly on good terms with them. Being alone, he can enjoy the surroundings freely, as the owner would not witness him “stopping” (2) to inquire about his presence in the forest at this late hour.

Since such solitary moments in nature are infrequent for the poet, it becomes an unusual experience for his little horse as well. The horse, accustomed to traveling only when there is a farmhouse nearby, finds it peculiar to “stop without a farmhouse near” (6), especially at night. Similar to the poet’s awareness of this departure from his routine, the horse also senses that his owner has never stopped in such a place at this hour. The setting, described as “lovely, dark and deep” (12), with an “easy wind and downy flake” (11), entices both the poet and his horse to savor the atmosphere.

In this introspective moment, the little horse “gives his harness bells a shake” (9), questioning if his master has made an error in deviating from their usual routine. However, it becomes evident that the poet’s intention is to appreciate the beauty of the woods, acknowledging that they are “lovely, dark and deep” (13), and he desires to fully immerse himself in this enchanting experience.

Frost’s depiction reveals a conflict within the human mind, including Frost’s own, as it grapples with the attraction to what is lovely and the simultaneous struggle to resist its allure. The forest, often associated with isolation and potential evil in biblical contexts, creates a sinister yet captivating atmosphere. This conflict is a recurring theme as individuals navigate the juxtaposition of attraction and the self-discipline needed to resist it.

Conflict in Pleasure in “Stopping by Woods on Snowy Evening”

On the other side of the conflict in “Pleasure in Stopping by Woods on Snowy Evening” lies the burden of responsibilities that an individual carries. Two crucial character traits of a responsible person are highlighted: one’s commitment to their words and the extent to which they go to fulfill promises. A responsible individual rests only when they have met their moral obligation of keeping their word and doing everything within their capacity to honor their commitments. Frost exemplifies these traits, declaring, “But I have promises to keep” (14), emphasizing his awareness that, despite the allure of the “lovely, dark and deep” woods (13), he is bound by promises he cannot disregard.

The second character trait involves recognizing the obligation to travel “miles to go” (15) in order to uphold one’s promises. This moral responsibility takes precedence over the alluring beauty of nature, and Frost reinforces this commitment by reminding himself twice that he has “miles to go” (15) before he can rest. The conflict in Frost’s mind tilts in favor of his mundane responsibilities, despite the captivating attractions and enticements of nature represented by the solitude in the “lovely, dark and deep” woods (13). Frost redirects his attention, acknowledging the more significant tasks in his life.

The shaking of the harness bells by his horse serves as a symbolic gesture, indicating the animal’s loyalty and reminding Frost of his responsibility. This subtle interaction underscores the internal conflict Frost experiences as he navigates between the enchantment of nature and the steadfast commitment to his duties and promises.

Conclusion: Pleasure in “Stopping by Woods on Snowy Evening”

In short, mundane responsibilities carry a profound commitment that must be honored for one to navigate life successfully. The poet, a dedicated individual, doesn’t indulge in the allure of the dark and enchanting forest. Upon stopping, he swiftly realizes the crucial tasks awaiting him at home and the promises he must fulfill. Despite the tempting beauty of the woods and his knowledge of the owner whose “house is in the village though” (2), his responsibility as a committed person takes precedence. Responding to the unspoken call of his horse and the resounding call of his conscience, he chooses to leave, emphasizing both his commitment and responsibility. The poem, beginning with a curious inquiry in “I think I know” (1), concludes by affirming that he indeed knows what he must accomplish before he can “sleep” (16). This juxtaposition of inquiry and affirmation enhances the poem’s beauty, portraying the poet’s journey from uncertainty to a clear sense of purpose and responsibility.

 Works Cited: “Stopping by Woods on Snowy Evening”

Frost, Robert. “Stopping by Woods on a Snowy Evening.” 1951. Poetry Foundation, 19 June 2013, http://www.poetryfoundation.org/poem/171621.

Three Relevant Questions: “Stopping by Woods on Snowy Evening”

1. In “Stopping by Woods on Snowy Evening,” how does the poet navigate the dual conflict between the enchanting allure of nature’s beauty and the weight of mundane responsibilities, and what choices does he make during his journey through the woods?
2. How does Robert Frost employ the setting and the character of the poet’s horse in “Stopping by Woods on Snowy Evening” to convey the tension between the captivating scene of nature’s beauty and the responsibilities that weigh on the traveler?
3. Within the context of “Stopping by Woods on Snowy Evening,” what symbolic significance do the woods hold, and how does the poet reconcile the conflict between the captivating allure of the scene and his sense of duty and obligation?

Introduction: “All I Really Want to Do”

The song titled “All I Really Want to Do” is a love and pop song written by the famous writer and singer, Bob Dylan. Although it differed from his traditional songs, when it was released on the album “Another Side of Bob Dylan,” it proved to be a tremendous success for the album. Not only did it endear itself to the audience, but it also resonated with the pop and rock audience. The song, along with its poetry and music, differs from what Bob Dylan was accustomed to singing. Written in 1964 and performed in the same year, “All I Really Want to Do” depicted not only a different type of love but also a distinct character of a lover.

Lyrics of “All I Really Want to Do”

The song’s lyrics consist of six stanzas, each comprising six lines. Bob Dylan skillfully plays with words in the song. The first stanza hints that all he desires is to be friends with his sweetheart, emphasizing that he does not seek to possess her. It opens with the famous line, “I ain’t lookin’ to compete with you” (1-7), a theme echoed in subsequent stanzas.

The essence of the lyrics is that he does not want to compete, cheat, mistreat, snatch rights, or engage in possessive behavior. His sole intention is to be her friend. This sentiment is reiterated in the second and third stanzas, where he emphasizes his desire to avoid violence, resist making her an object of beauty or a showpiece, and simply be her friend. He rejects the typical lover’s approach of pursuing, confining, defining, studying, or planning his entire life around her. Instead, he wants an authentic friendship and rejects the insincerity of fake offers.

In literal terms, the poet sits with his sweetheart, expressing his difference from other lovers who pursue a girl merely to become her husband and assert ownership over her beauty. He distances himself from traditional masculine behaviors, asserting that his only desire is friendship. Unlike those who marry to showcase their wives as property, mold them to their liking, and exhibit possession, his intention is genuine friendship and nothing else.

Subject of “All I Really Want to Do”

The lyrics convey the song as the lament of a broken heart, with the context that Bob Dylan wrote it shortly after parting ways with his sweetheart. Consequently, the bitterness he experienced during this period permeates the lines. Repetition is a notable feature, where the same theme recurs throughout each stanza. In the first stanza, the cluster of words like “compete, beat, cheat, mistreat, then simplify, deny, and crucify” emphasizes a common theme (1-5), and this pattern continues through the final line of each stanza.

These repetitive phrases illustrate the typical ways in which men are expected to treat their sweethearts or wives, reflecting a conventional narrative. However, the poet distinguishes himself by rejecting this conventional approach and expressing his desire to maintain a friendship with his sweetheart. The closing lines, “All I want to do / Is, baby, be friends with you,” articulate the poet’s true intentions, emphasizing that he seeks nothing more (12-13).

The lyrics fluctuate between being straightforward and occasionally mischievous and humorous. For instance, when he states, “I don’t want to fake you out,” it conveys a sense of seriousness and sincerity from the writer. The lyrics, therefore, reveal a complexity that combines both heartfelt emotions and a touch of playfulness.

Music of “All I Really Want to Do”

The song features a compelling musical structure with a time signature of 12/8, representing four groups of three quavers in a bar. Musicians can follow a beat in fours, emphasizing the first quaver in each bar, creating a rhythmic pattern of 123 123 123 123 from start to finish.

This unconventional 12/8 beat is a distinctive element of the song, contributing to its popularity. Bob Dylan’s choice to use this rhythmic structure sets the song apart from more common musical patterns. The lilting feeling of 123 123 123 123 is maintained throughout the entire composition, creating a unique and memorable musical experience.

Examining specific verses, the division of beats is evident, as seen in lines like “I don’t/ want to fake/ you out/” and “Take or/ shake or/ forsake/ you out.” The song’s success can be attributed, in part, to this distinctive 12/8 beat, which complements the serious yet occasionally humorous message conveyed by the lyrics.

Conclusion: “All I Really Want to Do”

In essence, “All I Really Want to Do” stands out as one of the most popular songs of its time, breaking away from traditional songwriting and singing conventions. Bob Dylan uses this song as a platform to express his feelings after separating from his sweetheart, presenting an unconventional plea for friendship instead of a traditional romantic relationship. The song represents a declaration of freedom from the confines of traditional marital expectations, challenging the notion of a wife sacrificing her life for her husband’s love. Dylan’s unique approach, emphasizing the desire for friendship over romantic entanglements, has resonated with audiences, making the song a beloved and enduring piece in pop and rock music history.

Works Cited: “All I Really Want to Do”

Dylan, Bob. “Bob Dylan Songs.” Bob Dylan. N. d. Web. 25 Feb. 2023.

Three Relevant Questions: “All I Really Want to Do”

1. “All I Really Want to Do”: How does Bob Dylan use the lyrics of this song to convey his perspective on love and relationships, and what insights can be gained from the contrast between what he wants to do and societal expectations?
2. “All I Really Want to Do”: In what ways does the song reflect the cultural and social context of the 1960s, and how does Dylan’s lyrical expression contribute to the broader countercultural movements of that era?
3. “All I Really Want to Do”: How does the music and poetic language in this song contribute to the overall emotional impact, and what themes or messages does Dylan communicate about personal freedom and authenticity through his lyrics?

 “Some Keep the Sabbath Going to Church”: Introduction

Before interpreting “Some Keep the Sabbath Going to Church” by Dickinson, it must be kept in mind that Dickinson’s philosophy of faith is that she does not favor a side in the polemic between fact and faith. She presents arguments from both sides and leaves it to the reader to draw his or her own conclusion.

Summary: “Some Keep the Sabbath Going to Church”

The poem “Some Keep the Sabbath Going to Church” follows the same philosophy of skepticism seen in Emily Dickinson’s approach to faith. It criticizes the Church establishment and emphasizes personal faith in religion. The poem reflects Dickinson’s self-satisfaction with her own understanding and acceptance of religion. She openly expresses having a direct relationship with the Divine, outside the confines of mass worship in a church.

Dickinson distinguishes herself from those who “keep the Sabbath going to Church” (1) by choosing to spend it “staying at Home,” emphasizing the initial capitalization of “Home” to underscore her point. She replaces traditional church elements with nature, opting for “a Bobolink for a chorister / and an orchard for a dome” (3-4). For her, these alternatives surpass the traditional house of God, contrasting with others who may consider these natural elements superior to human beings, God’s own creations.

Drawing on a concept similar to Milton’s idea that the mind can create both “hell of heaven and heaven of hell,” Dickinson suggests that if the mind can transform home into a place of worship, it is a superior choice. The poem implies that private prayer at home surpasses the ceremony of mass worship. Dickinson conveys her disdain for the formalities associated with religious rituals, expressing a distaste for the idea of wearing a “Surplice” (5), contrasting it with her own mental faculty symbolized by “Wings” (6). She contends that external adornments do not make a person more pleasing to God; divine favor is indifferent to outward appearances. The poet may be subtly sarcastic about the formalities that have infiltrated religious rituals and congregations.

Sarcasm in “Some Keep the Sabbath Going to Church”

Nevertheless, Dickinson approaches her sarcasm with care, ensuring that the reader does not perceive her as superior to those who openly display their religious convictions. Instead, she conveys her confidence in feeling that “God preaches” (9) to her. The sermon she experiences is not lengthy, tedious, or frightening; rather, it is balanced and directed towards His creation. This portrayal reflects Dickinson’s personal and individual relationship with the Creator, one that exists independently of traditional church structures and clergy.

Conclusion: “Some Keep the Sabbath Going to Church”

In the second-to-last line, “So instead of getting to Heaven, at last” (11), Dickinson appears to challenge the conventional religious notion that suggests only regular churchgoers attain heaven, and that piety is achieved solely through consistent attendance at sermons. She rejects this perspective, asserting, “I’m going, all along,” expressing her unwavering confidence that there is no reason why she cannot or will not reach Heaven. The poet seems to be inviting the reader to join her on this spiritual journey, suggesting that everyone is accompanying her, and therefore, there is no reason why the reader would not go along as well.

Works Cited: “Some Keep the Sabbath Going to Church”

Dickinson, Emily. “Some keep the Sabbath going to Church.” Final Harvest: Emily Dickinson’s Poems (1995).

Relevant Questions: “Some Keep the Sabbath Going to Church”

1. “Some Keep the Sabbath Going to Church”: How does Emily Dickinson challenge conventional religious practices and express her personal philosophy of faith in this poem?
2. “Some Keep the Sabbath Going to Church”: How does Dickinson use symbolism and vivid imagery to contrast her unconventional approach to spirituality with the traditional idea of attending church on the Sabbath?
3. “Some Keep the Sabbath Going to Church”: In what ways does Dickinson convey her skepticism towards organized religion, and how does she assert her individual, personal connection with the Divine outside the confines of traditional worship?

Introduction: Representation of Sexuality in Walt Whitman

Regarding sexuality in Walt Whitman, the two poems “I Sing the Body Electric” and “Song of Myself” are crucial for understanding Whitman’s attitude toward the physicality of the human body and sexuality during his time. Both poems explore the themes of body and soul, as well as sex and attitudes toward sexuality. While scholars deduce various meanings from his verses in both poems regarding his attitude and inclination toward homosexuality and heterosexuality, a deeper reading of both poems reveals something different compared to the superficial meanings deduced by critics.

In “I Sing the Body Electric,” Whitman discusses the interaction between body and soul, exploring the bodies of both genders, male and female, different types of bodies, and the character of a specific farmer. The poem also delves into the topic of slavery and the position of the body in this trade. On the other hand, in “Song of Myself,” Whitman presents himself seemingly suffering from narcissism. He discusses the interaction of his body with his soul through stories and parables, concluding that he believes in “the flesh and appetites” (“Song of Myself,” Lines 520).

However, within “Song of Myself,” he speaks in connotations that are interpreted as none other than the sexual tendencies of the poet. Gene Bluestein argues that Whitman, a powerful American poet, has been dubbed by critics and scholars as a “good, gay poet,” emphasizing that the presentation of sexuality in his poems, specifically in “I Sing the Body Electric” and “Song of Myself,” is crucial to understanding his “sexual orientation and attitudes” toward sex. In fact, Whitman’s sexuality needs analysis not only in the light of his own poetry but also considering the symbols he uses for sexual orientation and his cultural milieu (Bluestein, p. 153).

Sexuality in Walt Whitman

Regarding Whitman’s sexuality in light of his poetry and comments, both poems clearly express his attitude toward sex. In the poem “I Sing the Body Electric,” he extensively compares the male and female body in the first three sections. Whitman’s perspective is that both the male and female bodies are perfect in every way. He praises both types of bodies in the second and third sections, culminating in his opinion: “Such-like I love—I loosen myself, pass freely, am at the mother’s breast with the little child” (“I Sing The Body Electric,” Line 31). Analyzing these sections along with the last lines reveals his admiration for both male and female bodies.

Gene Bluestein quotes Whitman, stating that it is “imperative to achieve a shifted attitude from superior men and women toward the thought and fact of sexuality, as an element in character, personality, the emotions, and a theme in literature” (qtd. Whitman, p. 154). This suggests that Whitman considers sexuality as a thematic strand in poetry rather than revealing his personal orientation towards hom*-or-heterosexuality.

Similarly, in “Song of Myself,” Whitman declares in the first section, “I will go to the bank by the wood and become undisguised and naked, / I am mad for it to be in contact with me” (“Song of Myself,” Line 19-20). Again, Bluestein’s quoted comments from Whitman emphasize that “meanings…that do not usually go along with those words are behind all” (qtd. Whitman, p. 154). These comments defy the interpretations of critics and scholars, suggesting that Whitman is refuting charges and asserting that the meanings deduced by others are not what he intended. It is akin to the “clef of a symphony” (qtd. Whitman, p. 154) with various interpretations. Therefore, it is not necessary to interpret his sexuality in terms of hom* or heterosexuality.

Symbols and Sexuality in Walt Whitman

Concerning symbols, both of these poems are rich in symbolic elements. Gene Bluestein asserts that Whitman was a symbolist who “believed that truth lay only in indirection rather than direct statement” (p. 154). Applying this perspective to Whitman’s work, it appears that he praises both male and female bodies indirectly, symbolically equating them in terms of their capacity for reproduction. This comparison is evident in the second and third sections of the poem “I Sing the Body Electric,” emphasizing inclusiveness rather than exclusion. Whitman expresses this inclusiveness as everything being diffused, stating, “Hair, bosom, hips, bend of legs, negligent falling hands all diffused, mine too diffused” (“I Sing the Body Electric,” Line 58). Bluestein comments on this, clarifying that it is not “homoeroticism” but an acknowledgment that “male and female are inclusive rather than exclusive terms” (p. 154). Essentially, Bluestein suggests that Whitman’s position was in line with other poets of his time, indicating his advanced thinking for that era.

The poem “Song of Myself” similarly conveys a similar message in its fifth section. Bluestein notes that the use of shocking symbols in this context is intentional, describing it as the “shock value.” Whitman was aware that his audience would be surprised, but he believed it was necessary to use these symbols as an act of “universality” (p. 154). In essence, Bluestein argues that Whitman employed these symbols to discuss the connection between body and soul, even in Section Five of “Song of Myself,” which was notoriously omitted from readings in schools and colleges. This suggests that Whitman was attuned to his social milieu, and his sexual orientation provided broader perspectives for his poetic output.

Themes and Sexuality in Walt Whitman

Concerning the themes of body and soul, this was an enduring and widely popular topic during Whitman’s time. However, Whitman approached it in a radically new way by directly addressing sexuality, especially considering the cultural milieu where discussions around sexuality were considered taboo. Gene Bluestein notes that during Whitman’s era, the body was often deemed inferior, and sexuality was viewed as a sin capable of impurifying the soul. Whitman found it necessary to portray sexuality not as impure but in pure terms. Interestingly, the images Whitman presents in his poetry seem to suggest his heterosexuality (p. 159), a theme evident in both poems.

Bluestein clarifies this perspective when discussing the fifth section of “Song of Myself,” citing specific lines that explicitly point to Whitman’s homosexual orientation (p. 159). For instance, the line “How you settled your head athwart my hips and gently turn’d over upon me” (“Song of Myself,” Line 88) is cited as evidence by critics. While similar connotations exist in “I Sing the Body Electric,” it is approached in symbolic terms, as pointed out by Bluestein. He argues that, true to his upbringing, Whitman was a spiritual individual, and thus, his sexuality transcends categories such as hetero, hom*, or mono. Bluestein suggests that it represents Whitman’s philosophy of body and soul, serving as a symbol of the poet’s creative power (p. 159). Living in a highly repressive culture, Whitman turned to poetry to express these ideas.

Conclusion: Sexuality in Walt Whitman

In summing it up, the explicit portrayal of sexuality in both the poems “Song of Myself” and “I Sing the Body Electric” by Whitman does not necessarily attribute to his being gay or indicate a specific sexual proclivity. According to Whitman’s own opinion, these meanings are different from what is commonly understood, as he aimed to influence men and women to adopt a different attitude toward sexuality, as argued by Bluestein (p. 154). Whitman deliberately used explicit language to prompt his audience to develop a new perspective on a natural phenomenon that was equated with sin during his lifetime. As a symbolist, Whitman’s intention may not align with the literal interpretation of his words; rather, these explicit symbols serve as representatives of his creative soul. He sought to reintroduce the age-old dialectic of body and soul, challenging societal norms around sex and sexuality that were considered taboo during his time. The connotations of Whitman’s explicit sexual passages from both poems take on a different meaning when analyzed and interpreted on a symbolic level, considering the cultural context, understanding, and orientation of his audience. Therefore, Gene Bluestein’s argument that critics and scholars may have missed the point of Whitman and ignored his own comments about his poetry seems justified after this brief analysis.

Sexuality in Walt Whitman: References

1. Bluestein, G., 1997. Sex as a literary theme: Is Whitman the good, gay poet?. Journal of popular culture, 31(3), p.153.
2. Whitman, W., 1996. I sing the body electric. Phoenix.
3. Whitman, W., 2001. Song of myself. Courier Corporation.

Sexuality in Walt Whitman: Relevant Questions

1. How does the exploration of sexuality in Walt Whitman’s works, particularly evident in poems like “Song of Myself” and “I Sing the Body Electric,” challenge societal norms of his time and contribute to a broader understanding of human sexuality?
2. In what ways does Walt Whitman employ explicit language and symbolic representation to convey his perspectives on sexuality, and how do these literary choices align with his overarching artistic and societal objectives?
3. Considering the cultural context and societal attitudes towards sexuality in Whitman’s era, how do critics and scholars interpret, and potentially misinterpret, his explicit sexual passages, and what insights can be gained by reexamining his own comments about the sexuality embedded in his poetry?