Traditional Form In Walt Whitman's Song Of Myself

Into the early 19th century, even with sonnets, metaphysical poetry, and romantic poetry at their pinnacle, the epic poem was still the major form of poetry. In fact, the 19th century produced almost 60 epics, topping most other centuries. With epics being written that often, it is imperative to stand out and adapt. Geoffrey Chaucer tried modernizing The Canterbury Tales by adapting the developing language, English, into his epic. As well, Chaucer incorporated the social norms of the day, from the large, red-bearded, gaping-mouthed Miller to the chivalric and prideful Knight. John Milton adapted Paradise Lost by focusing on particular religious concerns of the 17th century. Percy Bysshe Shelley, in Queen Mab, combined William Godwins 's idea of "necessity" with nature to claim that the evils in society will ultimately disband. But above all poets, with a true modernization of the epic, is Walt Whitman 's Leaves of Grass,

But ironically, Whitman achieves more with the form of "Song of Myself." He uses a number of different rhetorical devices to accomplish his poetry. Overall, the poem lacks traditional form, but Whitman still made mindful choices with the structure and meter. In particular, Whitman does not obey the typical breaks in lines as seen in traditional poetry-Whitman lets the words decide the theme:

Come my children,
Come my boys and girls, and my women and household and intimates,
Now the performer launches his nerve, he has passed his prelude on the reeds within (1056-1058).

Whitman strategically ends the first line with "children." By doing so, there is a focus on "children" overall, not just "boys and girls." The deliberate choice by Whitman creates an effect, an emphasis on all his children, "boys," "girls," "women," household," and "intimates." By choosing to pick where he ends the line, Whitman sets a standard for his individualism within