SATAN. by Walt Whitman: Summary, Meaning & Analysis
In this brief, impactful poem, Whitman adopts the voice of Satan—not as a terrifying figure, but as an eternal rebel who won’t submit to authority.
The poem
Aloof, dissatisfied, plotting revolt, Comrade of criminals, brother of slaves, Crafty, despised, a drudge, ignorant, With sudra face and worn brow--black, but in the depths of my heart proud as any; Lifted, now and always, against whoever, scorning, assumes to rule me; Morose, full of guile, full of reminiscences, brooding, with many wiles, Though it was thought I was baffled and dispelled, and my wiles done--but that will never be; Defiant I SATAN still live--still utter words--in new lands duly appearing, and old ones also; Permanent here, from my side, warlike, equal with any, real as any, Nor time, nor change, shall ever change me or my words.
In this brief, impactful poem, Whitman adopts the voice of Satan—not as a terrifying figure, but as an eternal rebel who won’t submit to authority. Satan symbolizes every outsider, every oppressed or marginalized individual who maintains their pride and resistance against all odds. The main message of the poem is that this spirit of rebellion cannot be extinguished, regardless of how much power attempts to suppress it.
Line-by-line
Aloof, dissatisfied, plotting revolt, / Comrade of criminals, brother of slaves,
Crafty, despised, a drudge, ignorant, / With sudra face and worn brow--black, but in the depths of my heart proud as any;
Lifted, now and always, against whoever, scorning, assumes to rule me; / Morose, full of guile, full of reminiscences, brooding, with many wiles,
Though it was thought I was baffled and dispelled, and my wiles done--but that will never be; / Defiant I SATAN still live--still utter words--in new lands duly appearing, and old ones also;
Permanent here, from my side, warlike, equal with any, real as any, / Nor time, nor change, shall ever change me or my words.
Tone & mood
The tone is fiercely defiant — low, growling, and proud. There's no pleading or self-pity present. Whitman uses lengthy lines packed with adjectives that accumulate like charges in an indictment, and then Satan counters each charge with outright refusal. The mood is dark yet not despairing; it resonates with a kind of unstoppable energy.
Symbols & metaphors
- Satan — Satan in this context isn't the Christian devil but represents every rebel, outcast, and oppressed individual who refuses to accept their designated role. Whitman takes this figure from Milton's depiction of the proud fallen angel, removing the theological aspects and focusing solely on the spirit of defiance.
- The raised fist / "Lifted" — The image of something constantly raised in defiance of authority represents resistance as an ongoing stance — a way of being in the world rather than just one moment of rebellion.
- Sudra face / black brow — These images ground the poem's abstract rebellion in tangible systems of oppression: the caste system and American slavery. Satan's face represents those whom society has marginalized.
- Words — When Satan says, "I still utter words," language turns into both a weapon and a means of survival. The poem suggests that as long as the rebel continues to speak, the rebellion remains alive — making the poem a testament to its own message.
- New lands / old ones — This phrase indicates that the spirit of revolt isn't confined to a single culture, time period, or place. It moves, resurfaces, and evolves — making it universal instead of just local.
Historical context
Whitman included this poem in later editions of *Leaves of Grass*, a collection he continuously revised and expanded from 1855 until he passed away in 1892. By the time this poem was published, Whitman had experienced the Civil War firsthand, having volunteered as a nurse, witnessed the end of slavery, and developed a keen interest in issues of power, class, and the criteria for being recognized as fully human. His mention of the "sudra" caste reflects his extensive knowledge of world religions and social structures. This poem aligns with a tradition of Romantic Satanism — a concept made famous by Milton's *Paradise Lost* and further explored by Blake and Shelley, where Satan's pride and refusal to submit are interpreted as heroic rather than malevolent. Whitman builds on this tradition, infusing it with a political and racial perspective that was quite radical for his era.
FAQ
Not quite. Whitman isn't arguing about theology. Instead, he's using Satan as a *symbol* for the defiance that exists in every oppressed or marginalized individual. The poem focuses less on the devil and more on the experience of being told you are nothing — and choosing not to accept that.
"Sudra" (also spelled Shudra) refers to the lowest of the four varnas, or social classes, in the traditional Hindu caste system. Whitman pairs it with "black" to illustrate that Satan's face represents those who exist at the very bottom of social hierarchies — both in South Asia and in America.
It's a visual shout. After a string of adjectives and qualifications, the capitalized name breaks through like a declaration. This marks the moment the speaker shifts from being described to speaking for themselves with real strength.
Yes, directly. Milton's Satan is well-known for declaring, "Better to reign in Hell than serve in Heaven," a proud assertion of defiance against submission. Whitman picks up this tradition but removes the supernatural elements and instead places it within a social and political framework.
The poem features Whitman's hallmark free verse — lacking rhyme and fixed meter. Instead, it unfolds with lengthy, catalog-like lines filled with adjectives and repeating phrases. The rhythm arises from repetition and accumulation, rather than from rhyme or a steady beat.
Any authority that "claims the right to rule" without the consent of those it governs. Whitman intentionally keeps it broad — this could refer to a slaveholder, a king, a caste system, or any institution that views people as inferior. The ambiguity serves a purpose: the rebellion applies universally.
The poem was included in later editions of *Leaves of Grass*, Whitman's ongoing work that he revised continuously from 1855 to 1891. Scholars debate the specific edition in which it first appeared, but it comes from the time after the Civil War when Whitman was deeply contemplating freedom, equality, and the realities of what America had and hadn't fulfilled in its promises.
The idea that the self cannot be destroyed and that words endure beyond power is a recurring theme in *Leaves of Grass*, particularly in *Song of Myself*. Additionally, the connection with marginalized groups — including enslaved individuals, workers, and outcasts — plays a crucial role in poems such as "I Sing the Body Electric" and "The Sleepers."