Vocabulary in Song of Myself

The verb “to effuse” means to flow out. Whitman concludes the poem by describing the speaker’s dissipation into the night, pouring out his “flesh in eddies” so that he becomes everything around him. This dissipation is less of an erasure of the individual self than it is a merging of the temporary self with the immortal self that transcends time and everything in existence.

The adjective “untranslatable” means that something cannot be transformed into something else, such as words being translated from one language to another. Something “untranslatable” can also refer to changing states or forms. Here, the speaker’s “barbaric yawp” cannot be translated into something understandable because he, like the hawk that scolds him, has not been “tamed.”

The verb “to contradict” means to assert the opposite of or to object to something. The speaker not only encourages the reader’s right to criticize his inconsistencies, but also the notion that the constant evolution of time and selfhood means that contradictions are inevitable. Therefore, because he “contain[s] multitudes,” these inconsistencies are unavoidable.

The noun “accoucheur” refers to a person, such as a midwife or an obstetrician, who assists in childbirth. Whitman represents the cycle of life and death through the symbol of childbirth; a newborn emerges into the world through “exquisite flexible doors” of the birth canal, but birth initiates the individual’s inevitable journey to death. The speaker reaffirms the cyclical nature of this journey by suspecting that he has “died myself ten thousand times before.”

A “knoll” is a small hill. The speaker leads the reader to a hill from which to view the “public road” that each individual must travel for themself. This journey is, like the speaker’s journey, a “perpetual” one; it is one of constant transformation, the culmination of all moments before it and all moments that will be created from it.

The verb “to promulge” is a less common variant of the verb “to promulgate,” or to make something public. Whitman depicts the current moment as both containing everything that came before it as well as everything that will be created in the future. Therefore, “every condition,” or every person, not only creates itself in the moment, but also creates “what grows after and out of itself.”

The word “acme” refers to the highest point of something, or the perfect expression of something. Whitman’s speaker means that he, like every other person, is the perfect accumulation of everything that has ever existed—the result of “trillions of winters and summers” and of the natural processes of science and the universe. Whitman further emphasizes the idea that one’s experience in the present moment is divine, and that future moments are actually manifestations of the current one that also contains all previous moments.

A “fluke” is the tail fin of a whale. However, a fluke can also refer to a metal hook on the end of a weapon or a triangular blade on the anchor of a ship. Whitman’s imagery suggests that a whale that has been harpooned and is struggling as “spasms and spouts of blood” bleed into the water. In the next stanza, the speaker urges the “bloody flukes of doubters and sullen mopers” to “be at peace,” thus implying that they have been psychologically harpooned.

The adjective “orotund” refers to a sonic quality that is full, robust, and clear. The speaker characterizes his voice as powerful and commanding as he addresses the crowd, as a leader might speak to his followers. He suggests that he has shifted from the universal human self, which would engage with everyone in the crowd equally, to his individual self that tries—through commanding vocal projection—to set itself apart from everyone else.

The verb “to flaunt” means to display something, often in an arrogant or showy manner. However, Whitman uses the verb as a noun when he describes a “flaunt of the sunshine,” perhaps in order to suggest that the performance of any verb—such as the sun flaunting its light—is a fixed eternal process instead of something with a beginning and an ending. He further develops the idea of eternal processes by declaring that in his embodiment of the divine human self, he is more enduring than the light that touches “surfaces only.” Instead, he “force[s] surfaces and depths also.” In other words, the speaker can penetrate everything and everyone that he encounters, while the sun can only illuminate surfaces.

The noun “emanation” means something that flows from a source, such as the fragrance that issues from a flower.

A “savage” is a person who is perceived as belonging to a primitive society. American colonists often used the term in a pejorative manner to refer to Native Americans, whom they saw as uncivilized. However, the adjective “savage” derives from the Latin word “silvaticus,” which means to be of the woods or forest. Whitman seems to draw from this original meaning, portraying this new wild American identity of the “friendly and flowing savage” as possibly transcending civilization and thus earning the respect and desire of everyone who encounters him.

The noun “eleve,” or “èléve,” is the French term for a student or pupil. The speaker has resolved to “troop forth replenish’d with supreme power,” thus leaving the scene of death and suffering behind. He calls his eleves, or students, to join him as he continues his journey—while also urging them to continue questioning everything that they encounter.

The adjective “unintermitted” means to be continuous and uninterrupted, as opposed to “intermitted” or “intermittent” pain that comes and goes at intervals. Whitman’s speaker, who until now has absorbed and shared the experiences of others, is suddenly “possess’d” by the pain and suffering of “all presences outlaw’d or suffering.”

The noun “cordage” refers to the ropes used in the rigging of a ship. Rigging is a system of such ropes used to reinforce the ship’s masts, thus controlling the position of the sails. Whitman further employs juxtaposition by following the celebratory story of the “sea-battle” in section thirty-five with the ominous portrayal of the bloody aftermath in section thirty-six.

An “ambulanza” is the Italian word for ambulance, a vehicle that transports sick or injured individuals to a location—usually a hospital—in order to receive medical attention. Whitman concludes the extensive catalogue of section thirty-three with images of death and horrific suffering in order to suggest that to encompass everything, as the universal human self does, is not always pleasant or positive.

The adjective “omnigenous” means to contain all things—in this context, all forms of life. The universal self that the speaker embodies moves forward “with velocity” through vast periods of time, which is “infinite” and carries all things in existence.

The speaker notes that all of the animals he observes have the enviable ability to live in the present moment, unencumbered by stressors like a “duty to God” or the compulsion to own things. Whitman suggests that animals possess “tokens” of what humans have lost throughout their evolutionary journey—namely, the ability to be truly happy by appreciating life as it is being lived. Therefore, humans have something to learn from animals and can regain some of what was lost by receiving these “tokens” that animals carry.

The adjective “plutonic” refers to something that has been formed by hot magma, a molten rock material located within the earth. Plutonic rocks are created when hot magma cools and solidifies. Whitman declares that nothing, whether the ancient plutonic rocks from within the earth or the long extinct species (“the mastodon”), can eradicate the present moment of living.

A “pismire” is another word for an ant. Whitman considers the experience of living in a human body within the context of a vast network of ever-evolving life forms, each the product of millions of years of adaptations. Therefore, all things—be they leaves of grass or a pismire—are “equally perfect.”

The adjective “prolific” means to create or produce in abundance. The ache left by the departing “sheath’d hooded sharp-tooth’d touch” provides recompense, or dividends to be enjoyed as the pleasure of touch subsides, which Whitman compares to a “rich showering rain” that enables many sprouts to take root.

The verb “to recompense” means to pay for something or to repay someone for something they have done or given.

A “marauder” is a person who roams about in search of things to steal or people to attack. It is possible that the “red marauder” Whitman refers to is a Native American, as European settlers often described Native Americans as having red-colored skin.

The adjective “prurient” means to inspire or arouse desire, especially sexual desire. Whitman’s word choice further develops his argument that the divine, transcendent self includes both the spiritual and the physical; thus, sexual arousal is sacred rather than vulgar or taboo.

The adjective “callous” means to have a rough, hardened, or thick exterior. Here, “callous” refers to the hard, thick shell of the “quahaug,” or clam. However, the word can also be used to describe a person who is devoid of emotion. Whitman’s word choice seems to suggest a broad dullness of the senses, given that he proceeds to describe his overwhelming experience of touch in the next stanza.

A “quahaug,” or “quahog,” is a species of edible clam that lives in a thick shell. Whitman extends his juxtaposition of human life with seemingly inferior animal life by comparing himself, or the universal form of the self, to a clam. In the following stanza, he goes on to suggest that unlike the clam with its “callous shell,” he is covered with “instant conductors.”

A “bravuras” is a highly technical, challenging musical passage. Whitman, who regularly idealizes the natural world throughout “Song of Myself,” suggests that birds perform their music with great skill. This subtle form of personification reinforces the poet’s argument that the universal human self engages with all forms of life.

The noun “plenum” can refer to either the state of being full or a space that is entirely filled with matter. Whitman suggests that his face, as opposed to his speech or written words, is completely full of the “proof” of everything that he has to say—so much so that the mere hushing of his lips is enough to “wholly confound the skeptic.” Therefore, while Whitman values “articulation,” he acknowledges that the expressions on his face are enough to communicate his thoughts.

The noun “afflatus” refers to the imparting of sacred or divine knowledge—or simply to be inspired by an internal mental force. Whitman, who has just identified himself by name for the first time, characterizes the universal self as having access to divine information—thus reinforcing the portrayal of this universal self as sacred, and thus every part of a person, whether spiritual or physical, is also sacred.

The verb “to imbue” means to furnish, endow, or saturate with something—in this case, materialism and the “Reality” posed by “positive science” and “exact demonstration.” Whitman suggests that developments in science and technology, which were plentiful during the 19th century, have permeated everyday life and possibly crowded out spirituality and religious thinking.

The noun “scrofula” refers to tuberculosis of the lymph nodes, often in the neck. Tuberculosis is a contagious infectious disease that usually affects the lungs, though it can also cause damage to other areas of the body. Though most people do not experience symptoms, those who do experience severe symptoms that can prove fatal 50% of the time. Scrofula, like any form of tuberculosis, is particularly dangerous during pregnancy and would have likely been treated as a death sentence in Whitman’s time.

The adjective “capricious” means to be unpredictable, often due to impulsivity. The speaker personifies the sea as impulsive because of its tendency to vacillate, often without warning, between stormy and pleasant weather. He identifies with this capriciousness because he is similarly complex; he is “of one phase and of all phases,” shifting between opposites so that they seem to comingle within him.

The adjective “august” means to inspire admiration because of one’s great dignity or magnificence. Whitman’s word choice characterizes the universal self, to which the speaker refers as “august” and “deathless,” as venerable and majestic—as such, the speaker’s self is neither superior nor inferior to any other human self.

A “venerealee” is a person with venereal disease, a contagious disease such as syphilis that is often sexually transmitted. In Whitman’s time, venereal disease was commonly associated with prostitution. By arguing for the inclusion of individuals who are usually ostracized or deemed inferior by society, the speaker more dramatically demonstrates his commitment to treating every person as an equal.

The noun “embouchure” refers to the positioning of a person’s lips, teeth, and tongue while playing a wind instrument, such as a trombone or a saxophone. An embouchure can also refer to a type of mouthpiece that is used for playing such an instrument. The speaker portrays the death of those killed during battle not as a tragedy but as an opportunity for celebration. Thus, he celebrates the heroism of those who have fallen by playing the cornet “[his] loudest and gayest.”

A “cornet” is a brass wind instrument that is similar to a trumpet but more cone-shaped. A “cornet” was also a name given to the lowest rank in the United States cavalry. Whitman’s word choice suggests that, just as he plays for lost battles, he celebrates even the lowest members of the military.

The noun “regatta” refers to a boat race, often among sailboats. Boat racing is only one of numerous activities catalogued throughout this section, though the visual details of each may not be about specific events. Instead, Whitman’s nonspecific language suggests that the speaker describes repetitive, general activities that are renewed over time.

The verb “to swag” means to sway or to sag, as the heavy block does beneath its chain. Whitman continues his fixation on difficult physical labor in his description of a black man—not necessarily a slave, as was the black man in the tenth section—driving a cart of stones to a stone yard.

The adjective “lithe” means to be flexible or athletically slender. Whitman’s word choice also carries the connotation of graceful movement, which characterizes otherwise rough physical work as aesthetically pleasing—as opposed to base or low-class.

An “anvil” is a heavy, often forged or steel-faced iron block used by blacksmiths. Whitman’s speaker seems to admire the physical strength associated with masculinity and manual labor, which he observes with interest that, while not sexual, seems to mirror the lonely woman from section eleven.

The word “aft” is a naval term referring to someone situated near, toward, or in the stern of a ship. Whitman’s speaker describes a wealthy woman standing at the blinds of the window in her “fine house by the rise of the bank.” The usual social order is reversed here, as the woman is positioned at a higher status due to her wealth. However, her riches seem to separate her from the rest of the community, symbolized by the boundary established by her window blinds.

The noun “prow” refers to the bow of a ship, in this case a type of fast-moving ship (a “Yankee clipper”). Throughout the tenth section, Whitman illustrates different facets of the American experience through his speaker’s travels—moving from hunting in the wilderness to accompanying clam-diggers at sea to witnessing a wedding between a trapper and a Native American and, finally, helping an escaped slave.

“Timothy” is a species of perennial grass native to Europe but commonly grown for hay in the United States. Whitman’s speaker jumps from the cross-beams of the hay wagon into a bed of clover and timothy, perhaps symbolizing the universal self’s ability to engage with and absorb nature.

The verb “to intertinge” is an archaic form of the verb “to tinge,” which means to stain or lightly color something. Whitman sharply contrasts the chaotic city scene from the preceding section with his peaceful portrayal of harvesttime in the country. Here, the color of the harvested grass is a blend of brown, gray, and green.

The noun “decorum” refers to good manners, or behavior associated with acceptable or proper conduct. Whitman’s word choice possibly implies repression of natural instincts, such as screaming, because of socially imposed expectations.

A “promenader” is a person who goes on a leisurely stroll or drive, which at the time of the poem’s composing would have involved a horse-drawn vehicle. Whitman’s speaker catalogues his surroundings, portraying life in its pleasant and unpleasant forms. Here, he describes the sights and sounds of a busy street and the blend of people from all social classes within it. A promenader would likely have been of the middle or upper classes, as the working class would not have had the time to engage in leisurely activities.

A “mullein” is a type of herbaceous plant belonging to the snapdragon family. Mulleins have woolly leaves and lengthy spikes of bright yellow flowers. Whitman’s speaker includes such details to indicate that the eternal human self that is one with God and one with the natural world, which is also “limitless” in its cycles of birth and death.

The adjective “fratricidal” refers to conflict or intense disagreement within a family, a government, or an organization. The verb “fratricide,” however, means to murder one’s sibling. Whitman portrays the speaker’s self as remaining detached as it witnesses the many everyday details of existence, which include “fratricidal war,” “doubtful news,” and “fitful events.”

The noun “inception” refers to the beginning of something, or the commencement of an activity. Here, Whitman’s speaker scolds “the talkers” for discussing “the beginning and the end,” as well as frivolous topics like “latest dates, discoveries, inventions, societies, authors old and new.” Instead, he asserts that the beginning is always taking place because the universal human self is in a constant state of renewal.

The noun “abeyance” refers to a state of temporary inaction or suspension. Whitman’s speaker means that the creeds, or a set of beliefs, and schools have “retired back” in to a condition of disuse. However, this disuse is transitory, for they are “never forgotten.”