Song of Myself (Part 16) - Walt Whitman
Embracing Diversity and Unity Across Identities
I am of old and young, of the foolish as much as the wise,
Regardless of others, ever regardful of others,
Maternal as well as paternal, a child as well as a man,
Stuff’d with the stuff that is coarse and stuff’d with the stuff that is fine,
One of the Nation of many nations, the smallest the same and the largest the same,
A southerner soon as a northerner, a planter nonchalant and hospitable down by the Oconee I live,
A Yankee bound my own way ready for trade, my joints the limberest joints on earth and the sternest joints on earth,
A Kentuckian walking the vale of the Elkhorn in my deerskin leggings, a Louisianian or Georgian,
A boatman over lakes or bays or along coasts, a Hoosier, Badger, Buckeye,
At home on the hills of Vermont or in the woods of Maine, or on the Texas ranch,
Comrade of Californians, comrade of free Northwesterners, (loving their big proportions),
Comrade of raftsmen and coalmen, comrade of all who shake hands and welcome to drink and meat,
A learner with the simplest, a teacher of the thoughtfulest,
A novice beginning yet experient of myriads of seasons,
Of every hue and caste am I, of every rank and religion,
A farmer, mechanic, artist, gentleman, sailor, Quaker,
Prisoner, fancy-man, rowdy, lawyer, physician, priest.
I resist anything better than my own diversity,
Breathe the air but leave plenty after me,
And am not stuck up, and am in my place.
(The moth and the fish-eggs are in their place,
The bright suns I see and the dark suns I cannot see are in their place,
The palpable is in its place and the impalpable is in its place.)
In Part 16 of Walt Whitman’s “Song of Myself,” the poet celebrates the multiplicity of human identities, ranging from old and young to various regions, professions, and social stations. Declaring “I am of old and young, of the foolish as much as the wise,” Whitman signals his intent to bridge social, cultural, and generational divides, championing the idea that all states of being have a rightful place in the tapestry of existence.
Whitman’s lines capture an all-inclusive vision of the American identity—one that doesn’t hinge on a single stereotype or fixed role. He offers a sweeping geographical reach, portraying himself as both a southerner and northerner, as comfortable in coastal regions as on ranches and in forests. By identifying with raftsmen, miners, tradespeople, teachers, prisoners, and priests, Whitman dissolves boundaries that once stood between city and countryside, or wealth and poverty, or the devout and the secular. This gesture of broad association represents his conviction that the self can encompass every aspect of life, rather than being confined to a narrow category.
Crucially, Whitman insists on the freedom and fullness of his diversity: “I resist anything better than my own diversity.” For him, it is this multiplicity—this capacity to be “stuff’d with the stuff that is coarse and stuff’d with the stuff that is fine”—that fosters a genuinely democratic spirit. Each role, each background, and every nuance of character adds to the richness of the collective whole.
At the poem’s close, the lines about the moth, the fish-eggs, and the invisible suns remind us that every entity, no matter how seemingly trivial or distant, has a rightful place in the grand design. There is no hierarchy of worthiness in Whitman’s universe; rather, the smallest forms of life and the largest cosmic bodies both belong, each with its own significance. By weaving them into the same poetic breath, Whitman underscores the interconnectedness of all forms of being. He does so to invite readers to find their own infinite capacity for empathy and connection.
In essence, Part 16 continues Whitman’s larger project of recognizing the sacred bond that links individuals across differences, proclaiming that one can be many things without contradiction. The poet’s stance is both personal and national—he is not merely describing America, but also embodying it, celebrating the enormous variety within. Seen this way, his voice becomes ours as well, offering a path to understanding ourselves as part of something vast and inclusive.
Ultimately, “Song of Myself (Part 16)” is a reminder that identity is never just one thing. Whether we live in farmland or city streets, hold the rank of professional or laborer, hail from one faith or another, we each reflect a note in the larger human symphony. By embracing that broad multiplicity, Whitman affirms that harmony emerges from our collective variety rather than from strict conformity.
Key points
• Whitman embraces the diversity of human roles, regions, and beliefs.
• The poem underscores that individuals can hold multiple identities at once.
• Equality and unity arise when we acknowledge and celebrate our shared human bond.
• Natural imagery (moths, fish-eggs, unseen suns) affirms that every entity, large or small, has its rightful place.
• Through this acceptance of multiplicity, Whitman reflects the spirit of a vast, inclusive democracy.