Equality in the “The Wound-Dresser”, as well as “Song of Myself”.
Both “The Wound-Dresser”, and “Song of Myself” are infused with the theme of equality. Whitman comments on judgments made by others and responds with his own views of impartiality. These qualities are evident in Whitman’s attitude toward the bravery of troops in “The Wound-Dresser” section 18 of his “Song of Myself”. Both poems highlight the bravery of men who fought in either army’s armies. However, the ways Whitman depicts equality will differ from one poem to another. Whitman uses repetition and imagery to set a tone that ultimately allows him show the equality among soldiers on both sides. Whitman, in section 18, states that he does not believe in traditional values of winning and loss. He performs “music strong”, which he plays for soldiers on both sides. He acknowledges war’s inevitable outcomes, the winners and the losers, and emphasizes the importance of all combatants. Whitman first focuses on the schism that has been created in battle by highlighting the similarities between both armies. Whitman emphasizes the “failures” of those in order for equality. He values all who are conquered by his song. He declares them worthless, commenting “battles must be won in the same way they/are lost” (Song #363-364). Whitman must emphasize the defeat of unsuccessful men in order to lift them up. The reader learns to differentiate between the wars and develops empathy for those who are defeated by the narrative’s affirmation of their worth.
Whitman also discusses both sides of war in “The Wound Dresser” and, like in “Song of Myself”, he demonstrates that he believes soldiers on both sides should be recognized for their bravery. He calls them “unsurpassable heros” (Dresser 7) and asks rhetorically, “Was one side so courageous?” “Dresser 7”: The other side was just as brave. These forces were referred to as “the biggest armies of the earth” by Dresser 9 It is not an “army”, but rather “armies”. The simple act if pluralizing is enough to demonstrate the equality of contest between these two. The war is not between one powerful force and one weak; both are powerful. Whitman introduces the concept of parity through this paragraph.
Whitman in section 18 emphasizes the various sides of war in order to bring them together. In “The Wound Dresser”, however, he provides anonymity to soldiers in the hospital. He does not mention whether he works at hospitals on one side, or if he is mobile caring for others. He refers only to his patients as “my wounds” (26). Or “the soldier”. Whitman claims equality between the armies and unites all soldiers in their suffering experience. The hospitals are a blurred mess because Whitman is so vague about the colors of the uniforms, which would reveal the army they fight for, and he doesn’t even give any details. Only the details about battle injuries are given.
Whitman creates an almost dream-like state in “The Wound-Dresser” where he recollects his past. He presents the victims in anonymity and doesn’t assign names to their side. Section 18 however clearly defines sides and attempts to elevate the defeated men to equal esteem with the victors. Whitman is an example of equality, demonstrating it in very different ways through these texts. He makes use of his auditory and visual senses to demonstrate this. The narrator’s bold claims in “Song of Myself,” mirror his confident and loud playing of music. The Wound-Dresser, however, has no sound. This contributes to a dream-like quality to narration. It makes the men feel equal by focusing on their differences and descriptions.
Section 18 focuses almost entirely on the auditory. The narration includes music throughout. The section is dominated by music, and strong diction like “beat”, “pound”, or “blow” (Song, 365-3666) are used to describe the actions of the narrator. His playing style is also described by him using the superlatives, “loudest”, and”gayest. These words emphasize create strong images. They jump out at the readers and highlight the conviction of his narrator regarding the men he plays. He wants readers to be able not only to identify the winners, but also to appreciate the worth and dignity of every man.
The Wound Dresser’s role is also heavily influenced by sound. The tone of “The Wound Dresser” is a combination of silence and lack of description. One man does not stand out from the rest by making a lot of noise or talking. The narrator is a helper to each man in the story, tending a endless parade de mangled bodies. This contrasts strongly to the emphasis placed on music in section 18. His entire hospital experience is silent. This is because hospitals, especially those in war, would be filled with men screaming out and yelling. This dream-like quality can be attributed to the way the narrator presents his experience. The narration is edited out of sound by the narrator. It is his conscious effort. “Follow without noise,” he urges the reader (“Dresser”) 24. This improves the hospital’s impersonality. Each bed becomes one person, as no one cries. The war’s opposing sides are thus erased. It is now just the men who once fought to defend ideals but now fight for what they believe in. “I pacify my subjects with a soothing hand” (“Dresser”), which can also be translated as comfort. This account is also silent.
Whitman’s repeated repetitions are a key factor in the tone and style of each poem. In section 18, “Song of Myself”, the repetition increases the adulation of narrator as well as the musicality of their expressions. The final two stanzas sound like a salute. After the opening line (“Song”) 367) is “Vivas to all those who have failed”, four lines begin “And …”,” which evokes Whitman toasting these unvoiced soldiers. Particularly, the repeated “And tos” remind me of a coda. Because it is not free verse, they give the poem a rhythm. In the third and final lines, he repeats the word “heroes” three times. To honor the defeated soldiers, he uses these lines to show his respect for them.
The relentless stream of patients with no faces is highlighted in repetition in “The Wound-Dresser.” Whitman repeats “I onward” (“Dresser 34”) several times throughout the poem. As he assists the men, each one as hurt as the last, the reader can feel the weariness of the narrator. These men suffer horrific injuries, including a broken hand or a cut shoulder. The “putrid Gangrene” is juxtaposed with the story. The reader should expect stories of screaming and shouting. Instead, the narrator recounts his tale, “in silence and dreams’ projections,” twice more. Whitman reaffirms the universal suffering and the surreal experience he had.
Whitman acknowledges the valor and sacrifices of all those who fought. It is noteworthy that he doesn’t spend much time on the exciting battle stories. Section 18 is all about the brave men, and the music they play. The Wound-Dresser begins with a description of battle. Then he shifts to hospitals in the rest. Whitman lauds the sacrifices made by all the men and plays music for “the deceased” in section 18. (Song 365). Because the poem deals with division, the unifying death of all is prominent. Whitman calls attention to the common state of being and points out that death is universal. Nearly the whole of “The Wound-Dresser,” which includes nearly all the poems, is devoted to the suffering. These works by Whitman focus on men’s suffering. When viewed through the lense of equality, it becomes clear that death and suffering are the ultimate equalizers.
