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within the technique of negation as utilized in “A Song of the Rolling Earth” and the primary motion of “This Compost” and never always in the affirmative technique as utilized in “Song of Myself” and the second two Badass vintage pug and wine sometimes i take baths because its hard to drink wine in the shower poster movements of “This Compost.” In chapter 2, I contemplate some circumstances that symbolize more troubling features of the poet’s wild troping in the affirmative methodology, especially the usage of personification as a way to rhetorical identification, a linguistic analog for the human need to dominate earthly life. What, then, does Whitman mean by the soul? Just as he was not a thinker of language, he was not a scientific metaphysician, so the query will never have a clear reply. To make it even harder to pin down, his understanding of the soul appears to change over time and is different from poem to poem. In the poems dating from the primary two editions of Leaves of Grass, the soul regularly appears as it does within the lines I’ve quoted from “Song of Myself.” No doubt, Whitman at all times owes one thing to his main metaphysical source, the essays of Ralph Waldo Emerson. But this 1855 model of the soul is not precisely the Emersonian oversoul, the pool of consciousness that we enter when we search deep inside ourselves and sarcastically find the connection to nature and all conscious beings. In later writings, Whitman appears to become more and more Emersonian, however in the image of the soul with the voice that hums and lulls and the phallic tongue that plunges into the womb-coronary heart of the poet, Whitman offers us a somewhat different image. It is simple to grow annoyed with all of the soul speak in Whitman and determine that when he uses the word “soul,” he does so for rhetorical functions, to accentuate what’s primarily a materialist understanding of his world. In The Lunar Light of Whitman’s Poetry, for instance, Wynn Thomas complains of Whitman’s “prattlings in regards to the soul” (12–13). Thomas sees the recourse to metaphysical language as Whitman’s “trick . . . of turning up the volume of his rhetoric in order to drown out the noise of his doubts” . This is kind of the position I took myself in Whitman’s Poetry of the Body, especially in my reading of the 1855 poem that might become “I Sing the Body Electric” in later editions. But if we take the poet at his word when he says “I consider in you my soul,” we cannot cease there. The rambling and uneven improvement of the poem, a product no doubt of its method of indirection, makes it troublesome to know who the “kids” of the “dumb nice mom” are (the poets, those that reside near the earth?) and the way they proceed to know her. But hints all through the poem suggest the possibility of a type of communion. Like the denizens of Plato’s cave, people might know the earth’s reality not directly by catching glances of her face’s reflection in “what has the character of a mirror” —an motion that will

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