The use of the first-person pronoun “I” serves as a powerful tool for exploring identity, consciousness, and the self. This poetic device takes on different shapes and meanings across various traditions. Walt Whitman and Emily Dickinson, two of the most iconic American poets, utilize “I” in their work in contrasting ways that reflect their divergent worldviews. Bringing Rumi and Hafez, the Sufi mystics of Persian poetry, into this discussion enriches the exploration of the self, adding layers of spiritual transformation and divine union as well as introduce nuanced elements of pedagogy in the teaching and appreciation of poetry across traditions and cultures that can contribute to greater inclusiveness in cultivating broader and more far-reaching world views.

Whitman and Dickinson: Two Shades of the Self

Whitman and Dickinson represent two distinct shades of self-expression within the same overall poetic tradition. Their use of “I” contrasts in scope, tone, and relationship to the divine and nature, even as both explore the inner life and individuality.

Scope of the “I”
Whitman’s “I” is expansive and universal. In “Song of Myself,” the speaker embodies all humanity, celebrating the collective human experience. Whitman’s democratic vision of the self merges with the cosmos, representing a cosmic whole. By contrast, Dickinson’s “I” is introspective and isolated. Her speaker often contemplates personal emotions, inner conflicts, and existential concerns, as in her poem “I’m Nobody! Who are you?” Her voice is inward, concerned with the individual soul, and often withdrawn from society.

Tone and Expression
Whitman’s “I” is bold, assertive, and celebratory, embracing all of life’s experiences with an optimistic tone. His verse is expansive, mirroring his worldview that the self is intertwined with nature, society, and the universe. Dickinson’s “I” is reserved, questioning, and ambivalent. Her poetry is marked by introspective contemplation and a quiet, often melancholic tone, exploring themes of death, isolation, and the unknown.

Relationship with Nature and the Divine
Whitman views the self as interconnected with nature and the divine. He celebrates the human body and soul as integral to the natural world and the divine order. Dickinson, however, approaches nature and divinity with ambiguity and distance. While she often reflects on nature, it is with a sense of detachment, and her relationship with God is more uncertain, wrestling with faith and doubt.

Despite their differences, both poets use the “I” to delve deeply into the nature of the self, exploring human individuality and the universal condition. Whitman’s voice reaches outward, while Dickinson’s retreats inward, yet both provide profound insights into the nature of existence.

Introducing Rumi: A Different Color of Self

Rumi’s “I” stands apart from the individualistic perspectives of Whitman and Dickinson. His conception of the self is not rooted in individuality but in the dissolution of the ego in divine union. For Rumi, the “I” is a temporary, illusory construct, meant to dissolve into the Beloved (God). His poetry reflects a joyous embrace of death as a reunion with the divine, where the self transcends physical and material limitations.

Rumi’s “I”
Rumi’s “I” is transformative and mystical, focused on the soul’s journey toward annihilation of the self (fana) in God. The ego, for Rumi, is an obstacle to be overcome. His poetry often uses metaphors of love, intoxication, and journey to describe the soul’s ultimate return to the source. In this way, Rumi’s “I” becomes a bridge between human consciousness and the divine, as he expresses in “I died as a mineral and became a plant… Why should I fear? When was I less by dying?”

Hafez: The Playful, Paradoxical “I”

Hafez, another Persian Sufi poet, adds a unique layer to the exploration of the self. Like Rumi, Hafez explores themes of divine love and the dissolution of the self, but his use of the “I” is often playful, paradoxical, and ambiguous. Hafez’s “I” shifts between the lover, the seeker, and the mystic, blurring the lines between the personal and the universal, the worldly and the spiritual.

Hafez’s “I”
Hafez’s speaker is often engaged in a dialogue between the pleasures of the material world and the spiritual quest for divine union. His use of “I” reflects the tension between these two realms, often evoking irony or humor to navigate the complexities of life. Like Rumi, Hafez’s “I” seeks transcendence, but his path is more winding and filled with human contradictions.

Meta-Pedagogy: Teaching the Poetic “I”

From a pedagogical perspective, the study of these poets’ use of “I” provides a rich field for reflection on subjectivity, self-expression, and identity. A meta-pedagogical approach encourages educators and students to engage with these texts not only at a surface level but also to reflect on how they interpret the notion of the self and the process of learning itself.

Reflection on Self and Perspective
By comparing Whitman’s expansive “I” with Dickinson’s introspective “I,” students are encouraged to reflect on their own perspectives and modes of self-expression. How do we perceive our own identity? How do we relate to the world, society, and the divine? Incorporating Rumi and Hafez adds another dimension, asking students to consider the dissolution of the self and its transcendence into something greater.

Layered Interpretations
These poets offer multi-layered uses of “I” that invite deep interpretation. Students can engage in meta-cognitive exercises, reflecting on how their understanding of the self and identity is shaped by cultural, philosophical, and religious frameworks. How does the universal “I” of Whitman differ from Rumi’s dissolving “I”? What does Hafez’s playful, paradoxical “I” reveal about the complexities of human experience?

Exploring Identity and Spirituality
Whitman and Dickinson provide contrasting views of individual and collective identity, while Rumi and Hafez take the exploration further into the realm of spiritual transcendence. Students can explore how societal, historical, and spiritual contexts influence these poets’ perspectives on the self and how their own identities are shaped by similar forces.

Conclusion: The Poetic Journey of the Self

The poetic “I” of Whitman, Dickinson, Rumi, and Hafez provides a spectrum of perspectives on identity, selfhood, and the human condition. Whitman’s universal, celebratory “I” contrasts with Dickinson’s introspective and questioning voice. Rumi’s transformative “I” transcends the individual, seeking divine union, while Hafez’s playful “I” navigates the paradoxes of existence with both humor and depth.

As we continue to study these poets through a meta-pedagogical lens, we gain more than just an understanding of their use of the first-person pronoun. We are invited to reflect on our own sense of self, the nature of identity, and the role of spirituality and transcendence in human experience. This exploration makes the study of poetry not just an academic exercise but a personal and transformative journey into the heart of what it means to be human.