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The Annotated Edition

I Sing the Body Electric by Walt Whitman

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Whitman's poem passionately celebrates the human body — every limb, organ, and gesture — as something sacred and inseparable from the soul.

Composed
1855 · Victorian
Core theme
Beauty
The PoemFull text

I Sing the Body Electric

Walt Whitman, 1855

1 I SING the Body electric; The armies of those I love engirth me, and I engirth them; They will not let me off till I go with them, respond to them, And discorrupt them, and charge them full with the charge of the Soul. Was it doubted that those who corrupt their own bodies conceal themselves; And if those who defile the living are as bad as they who defile the dead? And if the body does not do as much as the Soul? And if the body were not the Soul, what is the Soul? 2 The love of the Body of man or woman balks account—the body itself balks account; That of the male is perfect, and that of the female is perfect. The expression of the face balks account; But the expression of a well-made man appears not only in his face; It is in his limbs and joints also, it is curiously in the joints of his hips and wrists; It is in his walk, the carriage of his neck, the flex of his waist and knees—dress does not hide him; The strong, sweet, supple quality he has, strikes through the cotton and flannel; To see him pass conveys as much as the best poem, perhaps more; You linger to see his back, and the back of his neck and shoulder-side. The sprawl and fulness of babes, the bosoms and heads of women, the folds of their dress, their style as we pass in the street, the contour of their shape downwards, The swimmer naked in the swimming-bath, seen as he swims through the transparent green-shine, or lies with his face up, and rolls silently to and fro in the heave of the water, The bending forward and backward of rowers in row-boats—the horseman in his saddle, Girls, mothers, house-keepers, in all their performances, The group of laborers seated at noon-time with their open dinner-kettles, and their wives waiting, The female soothing a child—the farmer's daughter in the garden or cow-yard, The young fellow hoeing corn—the sleigh-driver guiding his six horses through the crowd, The wrestle of wrestlers, two apprentice-boys, quite grown, lusty, good-natured, native-born, out on the vacant lot at sundown, after work, The coats and caps thrown down, the embrace of love and resistance, The upper-hold and the under-hold, the hair rumpled over and blinding the eyes; The march of firemen in their own costumes, the play of masculine muscle through clean-setting trowsers and waist-straps, The slow return from the fire, the pause when the bell strikes suddenly again, and the listening on the alert, The natural, perfect, varied attitudes—the bent head, the curv'd neck, and the counting; Such-like I love—I loosen myself, pass freely, am at the mother's breast with the little child, Swim with the swimmers, wrestle with wrestlers, march in line with the firemen, and pause, listen, and count. 3 I know a man, a common farmer—the father of five sons; And in them were the fathers of sons—and in them were the fathers of sons. This man was of wonderful vigor, calmness, beauty of person; The shape of his head, the pale yellow and white of his hair and beard, and the immeasurable meaning of his black eyes—the richness and breadth of his manners, These I used to go and visit him to see—he was wise also; He was six feet tall, he was over eighty years old—his sons were massive, clean, bearded, tan-faced, handsome; They and his daughters loved him—all who saw him loved him; They did not love him by allowance—they loved him with personal love; He drank water only—the blood show'd like scarlet through the clear-brown skin of his face; He was a frequent gunner and fisher—he sail'd his boat himself—he had a fine one presented to him by a ship-joiner—he had fowling-pieces, presented to him by men that loved him; When he went with his five sons and many grand-sons to hunt or fish, you would pick him out as the most beautiful and vigorous of the gang. You would wish long and long to be with him—you would wish to sit by him in the boat, that you and he might touch each other. 4 I have perceiv'd that to be with those I like is enough, To stop in company with the rest at evening is enough, To be surrounded by beautiful, curious, breathing, laughing flesh is enough, To pass among them, or touch any one, or rest my arm ever so lightly round his or her neck for a moment—what is this, then? I do not ask any more delight—I swim in it, as in a sea. There is something in staying close to men and women, and looking on them, and in the contact and odor of them, that pleases the soul well; All things please the soul—but these please the soul well. 5 This is the female form; A divine nimbus exhales from it from head to foot; It attracts with fierce undeniable attraction! I am drawn by its breath as if I were no more than a helpless vapor—all falls aside but myself and it; Books, art, religion, time, the visible and solid earth, the atmosphere and the clouds, and what was expected of heaven or fear'd of hell, are now consumed; Mad filaments, ungovernable shoots play out of it—the response likewise ungovernable; Hair, bosom, hips, bend of legs, negligent falling hands, all diffused—mine too diffused; Ebb stung by the flow, and flow stung by the ebb—love-flesh swelling and deliciously aching; Limitless limpid jets of love hot and enormous, quivering jelly of love, white-blow and delirious juice; Bridegroom night of love, working surely and softly into the prostrate dawn; Undulating into the willing and yielding day, Lost in the cleave of the clasping and sweet-flesh'd day. This is the nucleus—after the child is born of woman, the man is born of woman; This is the bath of birth—this is the merge of small and large, and the outlet again. Be not ashamed, women—your privilege encloses the rest, and is the exit of the rest; You are the gates of the body, and you are the gates of the soul. The female contains all qualities, and tempers them—she is in her place, and moves with perfect balance; She is all things duly veil'd—she is both passive and active; She is to conceive daughters as well as sons, and sons as well as daughters. As I see my soul reflected in nature; As I see through a mist, one with inexpressible completeness and beauty, See the bent head, and arms folded over the breast—the female I see. 6 The male is not less the soul, nor more—he too is in his place; He too is all qualities—he is action and power; The flush of the known universe is in him; Scorn becomes him well, and appetite and defiance become him well; The wildest largest passions, bliss that is utmost, sorrow that is utmost, become him well—pride is for him; The full-spread pride of man is calming and excellent to the soul; Knowledge becomes him—he likes it always—he brings everything to the test of himself; Whatever the survey, whatever the sea and the sail, he strikes soundings at last only here; (Where else does he strike soundings, except here?) The man's body is sacred, and the woman's body is sacred; No matter who it is, it is sacred; Is it a slave? Is it one of the dull-faced immigrants just landed on the wharf? Each belongs here or anywhere, just as much as the well-off—just as much as you; Each has his or her place in the procession. (All is a procession; The universe is a procession, with measured and beautiful motion.) Do you know so much yourself, that you call the slave or the dull-face ignorant? Do you suppose you have a right to a good sight, and he or she has no right to a sight? Do you think matter has cohered together from its diffuse float—and the soil is on the surface, and water runs, and vegetation sprouts, For you only, and not for him and her? 7 A man's Body at auction; I help the auctioneer—the sloven does not half know his business. Gentlemen, look on this wonder! Whatever the bids of the bidders, they cannot be high enough for it; For it the globe lay preparing quintillions of years, without one animal or plant; For it the revolving cycles truly and steadily roll'd. In this head the all-baffling brain; In it and below it, the makings of heroes. Examine these limbs, red, black, or white—they are so cunning in tendon and nerve; They shall be stript, that you may see them. Exquisite senses, life-lit eyes, pluck, volition, Flakes of breast-muscle, pliant back-bone and neck, flesh not flabby, good-sized arms and legs, And wonders within there yet. Within there runs blood, The same old blood! The same red-running blood! There swells and jets a heart—there all passions, desires, reachings, aspirations; Do you think they are not there because they are not express'd in parlors and lecture-rooms? This is not only one man—this is the father of those who shall be fathers in their turns; In him the start of populous states and rich republics; Of him countless immortal lives, with countless embodiments and enjoyments. How do you know who shall come from the offspring of his offspring through the centuries? Who might you find you have come from yourself, if you could trace back through the centuries? 8 A woman's Body at auction! She too is not only herself—she is the teeming mother of mothers; She is the bearer of them that shall grow and be mates to the mothers. Have you ever loved the Body of a woman? Have you ever loved the Body of a man? Your father—where is your father? Your mother—is she living? have you been much with her? and has she been much with you? —Do you not see that these are exactly the same to all, in all nations and times, all over the earth? If any thing is sacred, the human body is sacred, And the glory and sweet of a man, is the token of manhood untainted; And in man or woman, a clean, strong, firm-fibred body, is beautiful as the most beautiful face. Have you seen the fool that corrupted his own live body? or the fool that corrupted her own live body? For they do not conceal themselves, and cannot conceal themselves. 9 O my Body! I dare not desert the likes of you in other men and women, nor the likes of the parts of you; I believe the likes of you are to stand or fall with the likes of the Soul, (and that they are the Soul;) I believe the likes of you shall stand or fall with my poems—and that they are poems, Man's, woman's, child's, youth's, wife's, husband's, mother's, father's, young man's, young woman's poems; Head, neck, hair, ears, drop and tympan of the ears, Eyes, eye-fringes, iris of the eye, eye-brows, and the waking or sleeping of the lids, Mouth, tongue, lips, teeth, roof of the mouth, jaws, and the jaw-hinges, Nose, nostrils of the nose, and the partition, Cheeks, temples, forehead, chin, throat, back of the neck, neck-slue, Strong shoulders, manly beard, scapula, hind-shoulders, and the ample side-round of the chest. Upper-arm, arm-pit, elbow-socket, lower-arm, arm-sinews, arm-bones, Wrist and wrist-joints, hand, palm, knuckles, thumb, fore-finger, finger-balls, finger-joints, finger-nails, Broad breast-front, curling hair of the breast, breast-bone, breast-side, Ribs, belly, back-bone, joints of the back-bone, Hips, hip-sockets, hip-strength, inward and outward round, man-balls, man-root, Strong set of thighs, well carrying the trunk above, Leg-fibres, knee, knee-pan, upper-leg, under leg, Ankles, instep, foot-ball, toes, toe-joints, the heel; All attitudes, all the shapeliness, all the belongings of my or your body, or of any one's body, male or female, The lung-sponges, the stomach-sac, the bowels sweet and clean, The brain in its folds inside the skull-frame, Sympathies, heart-valves, palate-valves, sexuality, maternity, Womanhood, and all that is a woman—and the man that comes from woman, The womb, the teats, nipples, breast-milk, tears, laughter, weeping, love-looks, love-perturbations and risings, The voice, articulation, language, whispering, shouting aloud, Food, drink, pulse, digestion, sweat, sleep, walking, swimming, Poise on the hips, leaping, reclining, embracing, arm-curving and tightening, The continual changes of the flex of the mouth, and around the eyes, The skin, the sun-burnt shade, freckles, hair, The curious sympathy one feels, when feeling with the hand the naked meat of the body, The circling rivers, the breath, and breathing it in and out, The beauty of the waist, and thence of the hips, and thence downward toward the knees, The thin red jellies within you, or within me—the bones, and the marrow in the bones, The exquisite realization of health; O I say, these are not the parts and poems of the Body only, but of the Soul, O I say now these are the Soul!

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

Whitman's poem passionately celebrates the human body — every limb, organ, and gesture — as something sacred and inseparable from the soul. He expresses that loving a body means loving a soul, asserting that no body, whether male, female, enslaved, or free, holds less value than another. By the end, the body and the soul are not distinct entities; they are one and the same.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. I SING the Body electric; / The armies of those I love engirth me, and I engirth them;

    Editor's note

    Whitman begins with a clear purpose: he intends to celebrate the body just as other poets honor the spirit. The word "electric" carries significant weight—it implies that the body is full of energy, vibrant, and strong. The imagery of armies both surrounding him and being surrounded by him illustrates his main idea that human connection is both mutual and physical, not just a concept.

  2. The love of the Body of man or woman balks account—the body itself balks account;

    Editor's note

    The term "balks account" refers to something that can't be easily described or quantified — it's beyond numbers. Whitman then dives into an extensive list of moving bodies: swimmers, wrestlers, farmers, mothers, and laborers. This cataloging style is a hallmark of Whitman's work; by bringing everyone together in his lists, he emphasizes that each of these bodies deserves recognition and celebration.

  3. I know a man, a common farmer—the father of five sons;

    Editor's note

    Whitman focuses on one figure: an elderly farmer, over eighty, who still exudes physical beauty and energy. The portrait carries a sense of reverence. The farmer's body reflects the legacy of generations — his sons embody his strength — and Whitman uses this to illustrate that the body serves as a living connection between the past and the future. The final line, expressing a desire to sit close enough to touch, transforms physical closeness into a form of love.

  4. I have perceiv'd that to be with those I like is enough,

    Editor's note

    This short stanza invites us to pause and reflect. Whitman expresses that just being close to others, feeling their warmth, smelling them, and lightly touching them is all he needs. He doesn't seek grand spiritual experiences. The simple act of being around other people brings profound joy to the soul.

  5. This is the female form; / A divine nimbus exhales from it from head to foot;

    Editor's note

    Whitman approaches the female body with a passion that feels almost ecstatic. His language blends eroticism with cosmic themes — the female body takes in "books, art, religion, time." He then shifts to a more tangible perspective: women are the gateways to birth, the starting point of all human life. The section concludes with the idea that the soul is reflected in the female form itself.

  6. The male is not less the soul, nor more—he too is in his place;

    Editor's note

    Having celebrated the female body, Whitman strikes a balance. The male body is just as sacred, overflowing with passion and strength. Then we reach the poem's most politically charged moment: Whitman asserts that the bodies of the enslaved and the newly arrived immigrant are as sacred as anyone else's. The universe wasn't designed solely for the privileged.

  7. A man's Body at auction; / I help the auctioneer—the sloven does not half know his business.

    Editor's note

    This stanza of the poem is the most confrontational. Whitman enters a slave auction and, with biting irony, takes on the role of the auctioneer — but he does this to force the crowd to confront the reality of what they’re seeing. Each aspect he highlights (the brain, the blood, the passions, the potential for fathering generations) serves as a reminder that this man is not property, cannot be owned, and cannot be assigned a price. The auctioneer is misguided because no bid could ever be sufficient.

  8. A woman's Body at auction! / She too is not only herself—she is the teeming mother of mothers;

    Editor's note

    Whitman transforms the auction scene into a commentary on a woman's body, applying the same reasoning: she isn't a mere object but the origin of all future life. He challenges the reader directly—have you ever loved a body? Where are your parents?—to emphasize that every body at auction is someone's parent, child, or cherished one. The sacred and the universal intertwine seamlessly.

  9. O my Body! I dare not desert the likes of you in other men and women, nor the likes of the parts of you;

    Editor's note

    The final stanza is Whitman's extensive list of the body's parts, named individually from head to toe and then inward to organs, fluids, and functions. It has a rhythmic quality, resembling a chant or a prayer. By identifying each part — knuckle, nipple, lung-sponge, marrow — he challenges the idea that any of it should be shameful or hidden. The poem concludes with its main idea expressed clearly: these parts are not just the body; they are the Soul.

§04Tone & mood

How this poem feels

The tone is both ecstatic and democratic, a blend that Whitman masters better than most. You can sense the genuine joy here—a physical delight in just being alive and surrounded by others. Yet, the poem carries a moral weight, particularly in the auction stanzas, where celebrating the body serves as a powerful statement against slavery. It doesn’t come off as preachy because the joy feels undeniably authentic. Whitman isn’t lecturing you; he’s inviting you to share in his perspective.

§05Symbols & metaphors

Symbols & metaphors

The electric body
Electricity during Whitman's time was the latest and most enigmatic force in nature—unseen yet undeniably real and powerful. Referring to the body as "electric" aligns it with this concept: it's a force that energizes, connects, and brings life. This description also ties the body to the soul, as both represent invisible energies that reveal themselves through their impacts.
The slave auction
The auction block stands out as the poem's most powerful symbol. It signifies the complete disregard for the sacredness of the body — reducing an individual to a mere price tag. By taking on the role of a mock auctioneer and continuously raising the bids beyond any reasonable amount, Whitman demonstrates that the body cannot truly be owned or assigned a market value.
The old farmer
The farmer in section 3 embodies the potential of the body when lived in fully and honestly. His age doesn't weaken him; it enriches him. He represents the belief that physical vitality and moral beauty are intertwined, with the body holding both the past (his ancestors) and the future (his sons and grandsons) within it.
The catalogue of body parts
The long list in section 9 — which names every joint, organ, and fluid in order — acts as a sort of sacred inventory. By not skipping over or softening any part, Whitman makes the case that the body is completely good and deserving of attention. The list itself serves as the argument: everything here is valuable, and there's nothing to be ashamed of.
The female as gate
Whitman refers to women as "the gates of the body, and the gates of the soul." This gate symbolizes both passage and origin — it’s a threshold, not a barrier. By positioning women at the heart of human existence instead of on the sidelines, he offered a radical new perspective in 1855.
The procession
In section 6, Whitman states that "the universe is a procession, with measured and beautiful motion." This procession symbolizes an ordered, democratic movement where everyone has a place, and no one is left out. It reimagines human history as a parade, where the enslaved person and the immigrant walk alongside all others.

§06Form & structure

Form & structure

Meter
free verse

§07Historical context

Historical context

Whitman first published this poem in the 1855 edition of *Leaves of Grass*, but it didn't get its current title until 1867. It came out during a time when the United States was deeply divided over slavery, and Whitman’s assertion of the sacredness of every human body — including those of enslaved individuals — was as much a political statement as it was a poetic one. He was also challenging the prevailing Calvinist and Victorian views that regarded the body as questionable, sinful, or merely a container for the soul. His idea that the body *is* the soul genuinely shocked many readers. The poem reflects Whitman's background as a journalist observing New York street life, his engagement with Emerson's transcendentalism, and his own fluid feelings of attraction toward both men and women.

§08FAQ

Questions readers ask

Whitman is declaring his intention to celebrate the human body like a singer honors a theme — with passion and dedication. "Electric" conveys that the body is filled with energy and strength, rather than merely being a mass of flesh. The title establishes the poem's main point: the body isn't lesser than the soul; it *is* the soul.

The study desk

Teaching materials and reference tools prepared for this poem.