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