BANNER AND PENNANT.
Come up here, bard, bard;
Come up here, soul, soul;
Come up here, dear little child,
To fly in the clouds and winds with us, and play with the measureless
light.
The Annotated Edition
BANNER AND PENNANT. by Walt Whitman
Read aloud in ~1 minOpen reading mode →
A cheerful invitation—a banner and pennant beckoning a poet, a soul, and a child to rise and embrace the open sky.
- Poet
- Walt Whitman
- Themes
- art, freedom, identity
§01Quick summary
What this poem is about
A cheerful invitation—a banner and pennant beckoning a poet, a soul, and a child to rise and embrace the open sky. Whitman conveys a profound idea in just four lines: art, spirit, and innocence are meant to coexist in freedom and light. It feels like a joyful shout carried by the wind.
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Come up here, bard, bard; / Come up here, soul, soul;
Editor's note
The banner and pennant are calling out directly, first to the *bard* (the poet) and then to the *soul* (the inner spiritual self). The repeated phrases — "bard, bard" and "soul, soul" — add urgency and energy to the call, like someone shouting across a vast open space to ensure they're heard.
Come up here, dear little child, / To fly in the clouds and winds with us, and play with the measureless light.
Editor's note
The third figure called upon is a child, and the word "dear" adds a sudden touch of tenderness. All three — poet, soul, child — are encouraged to *fly* and *play*, actions that cast aside seriousness in favor of pure freedom. "Measureless light" captures Whitman at his most expansive: light without boundaries, a universe that knows no ceiling or edge.
§04Tone & mood
How this poem feels
Jubilant and inviting. The poem reads like a heartfelt greeting from the sky — warm, expansive, and entirely sincere. There’s no sorrow here, no darkness. Whitman's vibrant spirit shines through, even in these four brief lines.
§05Symbols & metaphors
Symbols & metaphors
- Banner and pennant
- Flags that wave proudly represent art, ambition, and public expression. Whitman frequently linked banners to democratic values and the dynamic spirit of a community.
- The bard
- The poet stands as a public figure with a special, almost sacred role — more than just a writer, they serve as a voice for the shared human experience. Whitman envisioned the American poet as a sort of spiritual guide.
- The child
- Innocence and openness. A child instinctively knows how to play and wonder—these qualities are inherent. Positioning the child next to the bard and the soul implies that creativity and spirit are connected to the essence of childhood.
- Measureless light
- Infinity, divinity, and pure potential. Light without measure cannot be contained or quantified—it represents Whitman's idea of the limitless universe that he believed the human soul could connect with.
- Clouds and winds
- The natural world in its wild and untamed form. They embody movement, change, and a resistance to being confined — traits that Whitman linked to poetry and the essence of democracy.
§06Historical context
Historical context
Walt Whitman wrote this short lyric for *Leaves of Grass*, a collection he continually revised and expanded from 1855 until his death in 1892. "Banner and Pennant" is part of the section called "Inscriptions," which Whitman used as a sort of opening celebration for the entire book — brief, straightforward poems designed to set the mood and welcome readers. Whitman wrote during the aftermath of the Civil War, a time when American identity felt both broken and full of new potential. Flags and banners held deep emotional significance during this time, symbolizing sacrifice, unity, and the ongoing journey of democracy. This poem takes those powerful symbols and elevates them beyond politics, transforming them into a cosmic invitation — not to a nation, but to every soul ready to rise.
§07FAQ
Questions readers ask
The title suggests that the banner and pennant are expressing themselves. Whitman allows the flags to speak, reaching out to the bard, the soul, and the child. This is a signature move for Whitman—bringing objects to life so that everything around us seems vibrant and engaged in dialogue.
The repetition resembles how someone might call out from afar, raising their voice to ensure they're heard. It also creates a chant-like, incantatory rhythm. Whitman drew significant inspiration from the rhythms of the Bible and public speaking, and this doubling directly reflects that tradition.
It refers to light that knows no bounds — light that defies measurement or containment. For Whitman, it suggests the infinite, hinting at a universe far larger than any individual life. It's his way of expressing that what lies beyond is not merely sunshine but something akin to the divine.
Whitman believed that wonder, play, and openness—qualities we typically associate with children—are just as vital as artistic skill or spiritual depth. By placing the child alongside the bard and the soul, he suggests that all three are interconnected. You can't truly experience poetry or genuine spirit without that childlike ability to find joy.
It can be interpreted that way. The upward movement, the invitation to "fly in the clouds," and the notion of joining something limitless all suggest a sense of transcendence. However, Whitman intentionally leaves it open — it could also be about the joy of reading a powerful poem or the feeling of being truly alive in a moment of freedom.
Whitman placed a collection of short, inviting poems at the beginning of *Leaves of Grass* under the title "Inscriptions" — consider them as dedications or threshold poems designed to ready the reader for the main work ahead. "Banner and Pennant" is a great example: it's concise, lively, and serves as a genuine invitation to join in the journey.
No, and that's exactly the point. Whitman was a trailblazer of free verse in American poetry—creating long, breath-driven lines that mimic the flow of natural speech instead of sticking to a strict metrical pattern. Even in such a brief poem, you can sense that freedom: the lines stretch and shrink based on the emotion, not a set rhythm.
In the mid-to-late 19th century, flags and banners were rich with meaning — they identified regiments during the Civil War, adorned public buildings, and were prominent at political rallies. They represented a shared identity and common goals. Whitman takes this public, political symbol and turns it into something deeply personal and universal, a flag that waves not for a nation but for every free spirit.
Read next