Sum up the themes restated in number 52, the coda to Song of Myself.

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A key theme that Whitman sums up in his coda is that we are all interrelated: individuals, the human species, nature, and the universe. For example, Whitman makes a connection to the hawk and by extension to other humans, the natural world, and the cosmos, stating:

I too am not a bit tamed . . . I too am untranslatable . . .

As throughout the poem, the "I" represents a universal self, not just Whitman.

Another key theme that the coda reiterates is that death is not the end, but a reintegration or regeneration in which the self lives on in nature and the universe:

I depart as air . . . . I shake my white locks at the runaway sun,
I effuse my flesh in eddies and drift it in lacy jags.

The poem's coda repeats that dead are not removed from us, but part of us. Just as the grass is the hair of the corpse earlier in the poem, here, at the end, we are exhorted to find the poet under our boot soles, in the dirt of the earth.

The last line reiterates that we are interconnected and will meet again:

I stop some where waiting for you.

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Whitman compares himself to the hawk, and describes his “Song of Myself” as a “barbaric Yawp” (a meaningless sound, a crying out that only signifies that he is alive, with no “meaning” to his poem).  He hints at his death, or at least at his coming to an end, with such lines as “I bequeath myself to the dirt to grow from the grass I love, If you want me again look for me under your boot-soles.”  “I stop somewhere waiting for you” may be the most beautiful, poignant line of the entire poem—compare Rumi’s “Beyond right and wrong, there is a field; I wall meet you there”.  Here is Whitman’s invitation for the reader to share his world, to also sing the song of hiself, to live as fully and as enigmatically as he did (“Do I contradict myself”  Very well, I contradict myself”).  The flesh imagery suggests that he is willing to embrace, to devour the reader’s flesh, as an outward sign of being at one with all his experiences.

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