45 CanP o e t r yI t s e l fBea “ WoundD r e s s e r ウ , " , ? : WaltWhitman'sP e r s o n a landN a t i o n a lS t r u g g l e s i nt h eC i v i lWar TerukoKajiwara Introduction:TheRoleofLiteraturei nT i r n e sofD isaster Howc a nl i t e r a t u r eb eo fb e n e f i tt ou sd u r i n gar e a l l i f ed i s a s t e r ? Whent h em a s s i v ee a r t h q u a k eandt s u n a m is t r u c kt h en o r t he a s tr e g i o n o f] a p a non1 1March2 0 1 1“ (t h eG r e a tE a s t] a p a nE a r t h q u a k e " ), 1a s k e d m y s e l ft h i sq u e s t i o nandt h o u g h ta b o u thowWaltWhitmanhado n c e c o n t e m p l a t e dt h esameq u e s t i o ni nt h em i d s to ft h eAmericanC i vi 1W a r . 1 nh i sMemorandad u r i n gt h eWar , Whitmancamec l o s et oa s s e r t i n gt h a t l i t e r a t u r ewasi n e f f e c t i v ei nt e r m so fh e l p i n gap e o p l eo rac o u n t r yi na t i m eo fd i s a s t e r :“ O fs c e n e sl i k et h e s e ,1s a y ,whow rites-whoe ' e rc a n w r i t e ,t h es t o r y ?O fmanyascore-aye ,t h o u s a n d s,N o r t handS o u t h,o f ,i n c r e d i b l e ,i m p r o m p t u ;f i r s t c l a s s u n w r i th e r o e s .unknownheroisms d e s p e r a t i o n s w h ot e l 1 s ?Noh i s t o r y,ever-Nopoems i n g s . "( 16 )W h i t mana l s op l a c e dah i g h e rv a l u eont h et h r e ey e a r shes p e n tv i s i t i n g WashingtonD . C .m i l i t a r yh o s p i t a lt h a nt h et i m eh es p e n tw r i t i n gpo・ e t r y,b e c a u s et h o s ey e a r s" a f f o r d e d "him“ t h ep e r u s a lo ft h o s es u b t l e s t , r a r e s t ,d i v i n e s tv o l u m e so fHumanity,l a i db a r ei ni t si n m o s tr e c e s s e s , ando fa c t u a ll i f eandd e a t h ,b e t t e rt h a nt h ef i n e s t,mostl a b o r ' dn a r r a t i v e s,h i s t o r i e s,poemsi nt h el i b r a r i e s . "( 5 6 )However,h ed i d“d e s i r eand i n t e n dt ow r i t eal i t t l ebooko u to ft h i sp h a s eo fAmerica[ t h ew a r J "a s h er e v e a l e da n1 8 6 3 1 e t t e rt oR a l p hWaldoEmerson( C o r r e s p o n d e n c e6 9 ) / 46 andh ea l s op u b l i s h e dac o l l e c t i o no fpoemsw r i t t e nb e f o r eandd u r i n g ,Drum-Ta ρ' S ,i n1 8 6 5 .S o,whyd i dh ec o n t i n u et ow r i t ep o e t r y t h ewar d e s p i t eh i sd o u b t sa b o u ti t ss o c i a lu s e f u l n e s s ? 2 InDrum ・T aps( 1865-66)/“D rum-Taps"( 1871-91 ) ,w hicha p p e a r e di n book and poem 叩l u s t e rf o r mb e t w e e n 1865 t o 1891,we c a ns e e W h i t m a n ' ss t r u g g l et or e d i s c o v e rt h es o c i a lu s e f u l n e s so fp o e t r y t h r o u g hh i ss h i f tawayf r o mcomposingc o n v e n t i o n a lware p i cpoems e n t e n a r i a n ' sS t o r y " ),andm u s i c a l l y i n s p i r e dc e l e b r a ( s u c ha s“TheC t i o n so fwar( s u c ha s“ B e a t !B e a t !D r u m s ! " ) .F i r s t ,h emovest o w a r d s w r i t i n gmorer e a l i s t i cd e p i c t i o n so fi n d i v i d u a ls o l d i e r s ,( s u c ha s“ A r e s t ,a ndt h eRoadUnknown"),andf i n a l l y, Marchi nt h eRanksHardP h ep r o d u c e sane m p a t h i c ,h e a l i n gpoem,i n“ TheW o u n d D r e s s e r . "“ The W o u n d D r e s s e r "o f f e r ssomet e n t a t i v ea n s w e r st ot h eq u e s t i o no fwhat p o e t r yc a ndof o rs o c i e t yi nar e a ld i s a s t e r .T h i sp a p e rw i l ld i s c u s show ot h i sp a r t i c u l a rn a t i o n a ld i s a s t e randhowh i s Whitmanr e s p o n d巴dt warp o e t r y wasa b l et o“ d r e s s "b o t hp e r s o n a landn a t i o n a lwound, t h r o u g hr e a d i n g so f“ TheW o u n d D r e s s e r "ando t h e rp o e m s . 欄 1 . ComplexFictionalityandMuti-Positionalityofthe NarratorinWhitman's“ R e a l i s t i c "Representation C r i t i c shaveo b s e r v e dt h a tWhitman's ware x p e r i e n c e sb r o u g h t a b o u tr e a l i s t i cr e p r e s e n t a t i o na ss e e ni n“ AMarchi nt h eRanksH a r d n dt h eRoadUnknown, "w hichs t a n d sa p a r tf r o mh i sc o n t e m p o P r e s t,a r a r yware p i c s .T h i si sana s s e s s m e n t1a g r e ew i t h . However ,r e c e n t l y M .WynnThomasandW i l l i a mG .Lul 10 f fh a v ep o i n t e dout . th a ti twould b em i s l e a d i n gi fwei d e n t i f yt h ef i r s tp e r s o nn a r r a t o rw i t hWhitman h i m s e l fandr e g a r dt h en a r r a t i v ea sh i sd i r e c ta u t o b i o g r a p h y . Takef o r e x a m p l e “ ,A M arch, "t h epoemt h a tJ o h nE .S c h w i e b e r tt h i n k s“ e x e m p l i f i e sWhitman'sr e a l i s t i c ,r e p o r t o r i a ls t y l e 'o fwarp o e t r ya ti t sb e s t " ( 4 1 7 )a ndt h a tM i c h a e l .Moont h i n k s“ a n t i c i p a t e dt h er e a l i s mo fS t e p h e n 2 5 6 ) . Thef r a g m e n t a r y, C r a n eand-muchl a t e r E r n e s tHemingway"( r e p o r t o r i a ls t y l eo ft h i s poem,i n f l u e n c e d by t h e“ new a d v a n c eo f 開 4 7 t e 1 e g r a p h i cd i s p a t c h e s "i nw a r t i m enewspapers(Genoways5 2 6 ),v i s u a l i z e s wars c巴n e ss or e a l i s t i c a l l yt h a tr e a d e r smayr e g a r dt h ef i r s t a s p e r s o nn a r r a t o r ' se x p e r i e n c e sh e r ea sWhitman'sr e a lo n e s . However, Schwiebertp o i n t so u t,wars c e n e si n“A March"a r ebasedn o tont h e poet 'sowne x p e r i e n c e sbut“ onanaccounto ft h eb a t t 1 eo fWhiteOaks Churcha sr e 1 a t e dt ohimbyas o l d i e ri noneo ft h eh o s p i t a 1wards"( 4 1 7 ) . h epoeme x e m p 1 i f i e st h ecomp1exf i c t i o n a l i t yandm u 1 t i I na d d i t i o n,t p o s i t i o n a l i t yo ft h en a r r a t o ri nWhitman'swarp o e m s .L e tu sl o o kmore c a r e f u l l ya t“A 恥1 a r c h " A MARCHINTHERANKSHARD-PREST,ANDTHEROAD UNKNOWN. l i n e A Marchi nt h erankshard 予r e s t,and出 er o a dunknown; 1 Ar o u t ethroughaheavywood,withm u f f l e ds t e p si nt h ed a r k n e s s ; Ourarmyf o il 'dw ith1 0 s ss e v e r e,andt h esu日e rremnantr e t r e a t i n g ; Ti 1 la f t e rmidnightglimmeruponus,t h el i g h t so fad i m l i g h t e db u i l d mg; We.comet oanopens p a c ei nt h ewoods,andh a 1 tbyt h ed i m l i g h t e d 5 b u i l d i n g ; ' T i sa1 a r g eo l dchurch,a tt h ec r o s s i n groads-'t i snowanimpromptu h o s p i t a 1 ; -Enteringbutf o raminute,1s e eas i g h tbeyonda l lt h ep i c t u r e sand poemse v e rmade: 7 . ,j u s tl i tby movingc a n d 1 e sand Shadows o fd e e p e s t .d e e p e s tb 1 a c k 1amps, Andbyoneg r e a tp i t c h yt o r c h,s t a t i o n a r y,withw i 1 dr e df l a m e,and c l o u d so fsmoke; Byt h e s e,crowds,groupso fforms,vague1y1s e e,ont h ef 1 0 0 r,somei n t h epews1 a i ddown; 1 0 as o l d i e r,amer~ad, i I 1 . dangero fb 1 e e d i n g Atmyf e e tmorec i i s t i n c ! l y, t odeath,( h ei ss h o ti nt h eabdomen;) 1 1 1stauncht h eb 1 0 0 dt e m p o r a r i l y,( t h ey o u n g s t e r ' sf a c ei sw h i t ea sa 48 l i l y ; ) 1 2 Thenb e f o r e1d e p a r t1sweepmye y e so ' e rt h es c e n e ,f a i nt oa b s o r bi t s ~ F a c e s,v a r i e t i e s,p o s t u r e sbeyondd e s c r i p t i o n, mosti no b s c u r i t y , someo f themd e a d ; Surg巴o n so p e r a t i n g ,a t t e n d a n t sh o l d i n gl i g h t s,t h es m e l lo fe t h e r ,t h e o d o ro fb l o o d ; 1 5 Thecrowd,0t h ecrowdo ft h eb l o o d yf o r m so fs o l d i日rs-they a r do u t s i d ea l s of i l l ' d ; Someont h eb a問 ground,someonp l a n k so rs t r e t c h e r s,somei nt h e d e a t h s p a s ms w e a t i n g ; Ano c c a s i o n a lscreamo rc r y,t h ed o c t o r ' ss h o u t e do r d e r so rc a l l s ; Theg l i s t e no ft h el i t t l es t e e li n s t r u m e n t sc a t c h i n gt h eg l i n to ft h e t o r c h e s ; These1resumea s1chant-1s e ea g a i nt h ef o r m s,1s m e l l仕1 eo d o r ; 2 0 Thenh e a ro u t s i d et h eo r d e r sg i v e n,F a l li n ,mymen ,F a l li n ; Butf i r s t1bendt ot h ed y i n gl a d-h i se y e sopen-ah a l fs m i l eg i v e sh e 立1 e ; Thent h ee y e sc l o s e,c a l m l yc l o s e ,and1s p e e df o r t ht ot h ed a r k n e s s , Resuming ,m arching,a se v e ri nd a r k n e s smarching,oni nt h er a n k s, Theunknownr o a ds t i l lm a r c h i n g . 2S 3 (DT 1 8 6 5 44-45, mye m p h a s i s ) 同 I nl i n e s1 5,t h en a r r a t o ra p p e a r sa samembero f“ Ourarmy, " “A March"and“ we"andh ea p p e a r st ob eas o l d i e r . Buti nl i n e7andl i n e 1 0,t h en a r r a t o rs a y s, “ 一E n t e r i n gb u tf o raminute,1s e eas i g h tbeyond a l lt h epi C t u r e sandpoemse v e rm a d e " :“Byt h e s ecrowds ,groupso f f o r m s , v a g u e l y1s e e,ont h ef 1o o r , somei nt h epewsl a i dd o w n ; "(DT 1 8 6 5 4 4 ), andheb e g i n st oassumet h es t a n c eo fano b s e r v e r c w i t n e s s .I nl i n e s l ト1 2,t h en a r r a t o ri sa t t r a c t e dt o“ as o l d i e r,amerel a d,i nd a n g e ro f b l e e d i n gt od e a t h "( 4 4 )a n d . “,s t a u n c h [ e s ]t h eb l o o dt e m p o r a r i l y "a si fhe assumedt h er o l eo fan u r s e,b u ti nl i n e1 3h er e t u r n st obeano b s e r v e r whenhes a y s .“1sweepmye y e so ' e rt h es c e n e "( 4 4 ) . Wh o .i st h i s 4 9 n a r r a t o rmarchingw i t hs o l d i e r sb u ts u f f e r i n gnowoundsandp r i m a r i l y w i t n e s s i n gt h es c e n e ?Whatd o e shed o ?Thekeyt ot h eq u e s t i o n si si n l i n e2 0 :“These1resumea s1c h a n t-1s e ea g a i nt h eforms,1s m e l lt h e o d o r ; "( 4 5 ) . h en a r r a t o rassumest h ep o s i t i o no fap o e twhor e c a l l sand Here,t h a n t [ i n g J "o r r e p r o d u c e sware x p e r i e n c e si nb a t t l e f i e l d s . Through“c w r i t i n gapoem,t h en a r r a t o r“s e e[ s Ja g a i nt h ef o r m s "-t h eformso fa l l humansandt h i n g sheoncew i t n e s s e di nb a t t l e f i e l d s a n d“s m e l l[ s Jt h e o d o r "o ft h e m . Then a r r a t o rt r a n s f o r m st h ep a s ts c e n ei n t ot h ep r e s e n t andnowe n t e r sanda c t st h es c e n e s . Whent h en a r r a t o rt a k e st h ea c t i o n o f“Resuming"i nl i n e2 4( 4 5 ),heresumesn o to n l ymarchingb u ta l s o r e p r o d u c i n gt h es c e n e sa sap o e t . Moreover ,weshouldn o t et h a tt h e s c e n e st h en a r r a t o rr e c a l l sandr e p r o d u c e sa r en o tt h epoet 'sr e a le x p e r i e n c e sb u twhatheh e a r da b o u tfromo t h e r sandi m a g i n e d .T h i scomp l e xf i c t i o n a l i t y and mu1 ti p o s i t i o n a l i t yo ft h en a r r a t o rc o n s t i t u t e s Whitman'sr e a l i s t i cr e p r e s e n t a t i o no ft h ewars c e n e . Now,1wouldl i k巴 t oa s kwhatWhitmanwantedwhenhec r e a t e d n o to n l ys o l d i e r sandb a t t l e f i e l d sb u ta l s oac h a r a c t e rf o rt h en a r r a t o r t h a ti sd i f f e r e n tfromt h er e a lWhitmanb u tl o o k ss omuchl i k et h ep o e t h i m s e l f ?L e tmec o n s i d e ri tbyr e a d i n g"TheWoundD r e s s e r . " 2 .“ TheWound-Dresser"-A DresserofNationaland PersonalW ounds 1eo ft h i spoem,whichwaschangedfrom“TheD r e s s e r " The1 8 7 6t it , "r e f l e c t sWhitman'si n t e r n a ld e b a t eabouth i s t o寸 heWound-Dresser 1 ee p i t o m i z i n gh i si d e ao ft h e“p o et 's m i l i t a r yh o s p i t a le x p e r i e n c e s,whi "w hichhehadf o r m u l a t e dd u r i n gt h ed e c a d ewhichf o l l o w e d m i s s i o n, t h eendo fC i vi 1War. B e c a u s ehewasworkingonbotht h e1 8 7 5e d i t i o n o fMemorandad u r i n gt h eWarandt h e1 8 7 6e d i t i o no fL e a v e so fG r a s sa t t h esamet i m e,Whitmanmusthaver e c o n s i d e r e dt h es i g n i f i c a n c eo f b o t ht h ep o e tandp o e t r yi t s e l fi nt e r m so fh i swarm e m o r i e s .C o n s e quent 1y “ ,TheW ound-Dresser"a c q u i r e dmoreo fac e n t r a lprominencei n 50 “ Drum-Taps, "a ndt h ef o u r l i n ee p i t a p ho ft h e1 8 7 1and1 8 7 6c l u s t e rw e r e l a t e ri n c o r p o r a t e di n t ot h epoem, i n1 8 81 . Ast h et i t l es u c c i n c t l yshows , t h es i g n i f i c a n c eo f“ wounds , "o ft h ed r e s s i n g s,o ft h e“ d r e s s e r "h i m s e l f , ando ft h ea c to f“ d r e s s i n g "weref o r e g r o u n d e di nt h epoemandt h e 'sc o n s c i o u s n e s s . p o et o u n d D r e s s e r "i nt h e1 8 9 1e d i t i o no fLeaves0 1 I nS e c t i o n1o f“TheW G r a s s,t h en a r r a t o rs p e a k so fh i m s e l fa s “ ,Y e a r sl o o k i n gbackwardr e "(LG189 J 42 41 ) . sumingi nanswert oc h i l d r e n, THEWOUND-DRESSE R . l i n e Ano l dmanb e n d i n g1comeamongnewf a c e s, 1 2 Y e a r sl o o k i n gbackwardr e s u m i n gi nanswert oc h i l d r e n, sf r o myoungmenandm a i d e n st h a tl o v eme, Comet e l lu so l dman,a ( A r o u s ' danda n g r y, I 'dt h o u g h tt ob e a tt h ea l a r u m, andu r g er e l e n t l e s s , war B u ts o o nmyf i n g e r sf a i l ' dme , myf a c ed r o o p ' dand1r e s i g n ' dm y s e l f ,5 Tos i tbyt h ewoundedands o o t h ethem,o rs i l e n t l ywatcht h ed e a d ; ) ft h e s ef u r i o u sp a s s i o n s,t h e s ec h a n c e s,7 Y e a r sh e n c eo ft h e s es c e n e ' s,o w a so n es i d es ob r a v e ?t h eo t h e rwase q u a l l y O fu n s u r p a s s ' dh e r o e s,( b r a v e ; ) Nowb ew i t n e s sa g a i n,p a i n tt h巴 m i g h t i e s ta r m i e so fe a r t h . , O ft h o s ea r m i e ss or a p i ds owondrouswhatsawyout ot e l lu s ? 10 Whats t a y sw i t hyoul a t e s tandd e e p e s t ?o fc u r i o u sp a n i c s , Ofh a r d f o u g h tengagementso rs i e g e st r e m e n d o u swhatd e e p e s tr e・ m a i n s ? ( L G 1 8 9 1241-42,mye m p h a s i s ) Thej u x t a p o s i t i o no f“ l o o k i n gbackward"and“ r e s u m i n g "c h a r a c t e r i z e s t h es t y l eo fWhitman'sw r i t i n gwhichr e f l e c t sh i sp o e t i cs t a n c e sb o t h d u r i n ganda f t e rt h ew a r .T h i sl i n ei sa l m o s tt h esamei na l lt h ev e r s i o n s .T hatmeanst h a t ,i nandb e f o r e t h a ta p p e a r e db e t w e e n1 8 6 5and1 8 91 5 1 1 8 6 5, probablyint h em i d s to ft h ewar,Whitmanc r e a t e dan a r r a t o rwho wasa l r e a d yl o o k i n gbackwardsa twartimee v e n t s,r e t e l l i n gh i swar memoriesandi nd o i n gs o,r e e n a c t i n gt h es c e n e so fw a r .I nl i n e7a s e v e a l sh i scomplexp s y c h o l o g ywhenhec r e a t e saf i c w e l l,Whitmanr t i o n a lt i m ed i s t a n c ebetweent h ewars c e n e sandt h en a r r a t o r :“Y e a r s h e n c eo ft h e s es c e n e s,o ft h e s ef u r i o u sp a s s i o n s,t h e s ec h a n c e s, "( 2 41 ) . Thewarwass t i l lhappeningwh i 1eWhitmanwasw r i t i n gt h e s el i n e s . However,het r a n s f o r m e dt h ewaro ft h ep r e s巴n ti n t oawaro ft h ep a s t, e n a b l i n gt h en a r r a t o rt ov i e w .h i s memories r e t r o s p e c t i v e l y,andi n d o i n gs ot or e c r e a t eh i sware x p e r i e n c e s .I nt h i sa c to fn a r r a t i v er e t r o s p e c t i o n,Whitmanwasa b l et oe v o k e 'ane x p e r i e n c eo fwart h a twas d i s t i n c tfromt h ee v e n t st h a twerea c t u a l l yhappeningaroundh i m .1 wi J lh e r es u g g e s tt h a tWhitmand i dt h i si no r d e rt oc r e a t eav i v i dimage o ft h ep o e ta s“d r e s s e r, "a ndi no r d e rt of o r e g r o u n dt h eimageo ft h e wound. 3 . TheCreationofthePoetas“ Dresser":I t sFictionality andCreativity 1w i l lnowd i s c u s sW h i t m a r i ' sc r e a t i o no ft h i sp o e ta s“ d r e s s e r, "and t h e ngoont oe x p l o r eh i sc e n t r a l i z a t i o no ft h ewoundi m a g e . Therea r eanumbero fi m p o r t a n td i f f e r e n c e s .betweent h ef i r s t p e r s o nn a r r a t o ri n‘ 寸h eWound-Dresser"andr e a lWhitmand u r i n gt h e war . O b v i o u s l y,Whitman had no e x p e r i e n c ea s a “S o l d i e r, "e ven thought h en a r r a t o rassumest h er o l eo ft h e“S o l d i e r "i nS e c t i o n2 : 2 omaidensandyoungmen1loveand出 atloveme, l i n e 1 3 Whatyoua s ko fmydayst h o s et h es t r a n g e s tandsuddenyourt a l k i n g r e c a l l s, S o l d i e ra l e r t1a r r i v ea f t e ral o n gmarchc o v e r ' dw i t hswe呂tandd u s t, 1 5 I nt h en i c ko ft i m e1come,p l u n g ei nt h ef i g h t ,l o u d l ys h o u ti nt h er u s h o fs u c c e s s f u lc h a r g e , 5 2 i k eas w i f t r u n n i n gr i v e rt h e yf a d e, E n t e rt h ec a p t u r ' dworks-yet1 0,l P a s sanda r egonet h e yfade-1d w e l ln o tons o l d i e r s‘ p e r i l so rs o l d i e r s ' 伺 JOys, (Both1rememberwell-manyt h eh a r d s h i p s,fewt h ej o y s,y e t1was . ) content (LG18912 4 2,myemphasis) ,h i sd e s c r i p t i o no fh i sp o e t i cs e l fi nt h er o l eo ft h ed r e s s e ri s However , andi samorec r u c i a la s p e c to fh i swarp o e t r y .I n evenmored e c e p t i v e ,t h ef i r s t p e r s o nn a r r a t o rc o n s t a n t l yr e i t e r a t e st h e S e c t i o n s 2and 3 r e s s, "andh i sa c to fd r e s s i n gi sp o r t r a y e di ng r a p h i cd e t a i. l p h r a s e“1d L e tusl o o ka tS e c t i o n3 : 3 On,on1go,(opend o o r so ft i m e ! openh o s p i t a ld o o r s ! ) l i n e 3 9 p o o rc r a z e d hand t e a rnot t h e bandage The c r u s h ' d head 1d r e s s,( ) 40 away, Thenecko ft h ecavalry-manwitht h eb u l l e tthroughandthrough1 examine, 4 1 Hardt h eb r e a t h i n gr a t t l e s,q u i t eg l a z e da l r e a d yt h eeye,y e tl i f es t r u g g l e shard, (Comesweetd e a t h ! b巴 persuaded0b e a u t i f u ld e a t h ! I nmercycomeq u i c k l y . ) h eamputatedhand, Fromt h estumpo ft h earm,t 45 10 t t e dl i n t ,removet h eslough,washo f ft h ematterand 1undot h ec blood, Backonh i sp i l l o wt h es o l d i e rbendswithc u r v ' dneckands i d e f a l l i n g head, H i se y e sa r ec 1osed,h i sf a c ei sp a l e,hed a r e snotl o o kont h ebloody stump, Andhasn o ty e tl o o k ' doni t . 5 3 Id r e s sawoundi nt h es i d e,d e e p,deep, 50 Butadayo rtwomore,f o rs e et h eframea 1 1wastedands i n k i n g, Andt h ey e 1 1 o w b l u ec o u n t e n a n c es e e . 1d r e s st h ep e r f o r a t e ds h o u l d e r ,t h ef o o twitht h eb u 1 1 e t w o u n d, 5 3 os i c k e n i n g ,s o C l e a n s et h eonew i t hagnawingandp u t r i dgangrene,s 54 o f f e n s i v e, While t h ea t t e n d a n ts t a n d s behind a s i d e me h o l d i n gt h et r a y and pa~ . ~ 1amf a i t h f u l,1don o tg i v eo u t, Thefr空ctur'自白星h~!Þ.旦 kne主J民旦型旦4主並立的~C!Q~~.旦 57 Theseandmore1d r e s sw i t hi m p a s s i v ehand,( y e td e e pi nmyb r e a s ta f i r e,aburningf l a m e . ) 5 8 (LG18912 4 3,mye m p h a s i s ) r e s s "a l o n g s i d ep h r a s e ssucha s“The Then a r r a t o ru s e st h ep h r a s e“1d " “awoundi nt h es i d e , " “t h ep e r f o r a t e ds h o u l d e r ,t h ef o o t c r u s h ' dhead, witht h eb u 1 1 e t w o u n d "and“Th巴 f r a c t u r ' dt h i g h, t h eknee, t h ewoundi n 2 4 3 ) . He“ examine[ s J "“ Thenecko ft h ec a v a l r yman t h eabdomen" ( C l e a n s e[ s J "t h e s ewounds. Here ,t h en a r r at o ra s w i t ht h eb u l l e t "and“ i v i n gm e d i c a lt r e a t sumest h er o l eo fap r o f e s s i o n a ld o c t o ro rn u r s e,g mentt ot h ei n j u r e d . I ti sp r o b a b l yb e c a u s eo ft h i sg r a p h i candr e a l i s t i cp o r t r a y a lo fh i m s e l fa sa“Wound-Dresser"t h a tWhitmani sg e n e r a l l yb e l i e v e dt ohave u r s e "i nt h eWashingtonm i l i t a r yh o s p i t a l s .E a r l yc r i t i c s workeda s“an 5 t e n d e dt oi n t e r p r e tt h er e p r e s e n t a t i o na sa u t o b i o g r a p h i c a . 1 However , i nMemorandad u r i n gt h eWar , Whitmand e s c r i b e sh i m s e l fn o ta san u r s e buta sacompaniono r“ v i s i t o r . "Hew r i t e s “ ,1amm e r e l yaf r i e n dv i s i t i n g t h eH o s p i t a l so c c a s i o n a l l yt oc h e e rt h ewoundedands i c k "( 51 ) .W h i t manr a r e l yd r e s s e dp a t i e n t s 'woundsu n l e s sap a t i e n tr e q u e s t e di t :i n s t e a d,headmiredande n v i e dt h em i d d l e a g e df e m a l el 1u r s e s,f o rt h e i r “ magnetict o u c ho fhands,t h ee x p r e s s i v ef e a t u r e so ft h emother ,t h e 司 5 4 s i l e n ts o o t h i n go f[ t h e i r Jp r e s e n c e "(Memoranda4 0 ) . 6 Whitmant r a n s f e r r e dt h ec h a r a c t e r i s t i c so ft h o s er e a l l i f ef e m a l en u r s e st ot h ef i r s t p e r s o nn a r r a t o ri nt h epoem,d e s c r i b i n gi nS e c t i o n4 ,l i n e6 1,how“ The h u r tandwounded1p a c i f yw i t hs o o t h i n ghand"(LG18912 4 . 3 ) . Thus,t h ef i r s tandmosto b v i o u sd i f f e r e n c ebetweent h en a r r a t o r ' s memoriesandWhitman'sr e a l l i f ee x p e r i e n c e si sWhitman'sa c t u a lr o l e i nt h eh o s p i t a l s . Thes e c o n d f i c t i o nt h a tWhitmanc r e a t e semergesw i t h h i sf o c u son“t h ewound"a st h eprimaryc a u s eo ft h es o l d i e r s 'p a i nand st h ef o c u so ft h eh e a l i n gp r o c巴s s,whereasi nr e a l i t y,a s d e a t h,anda “ ,mosth o s p i t a lf a t a l i t i e s[ . . . Jr e s u l t e dfromd i a r H a r o l dA s p i zo b s e r v e s r h e a,f e v e r s,andpulmonaryi n f e c t i o n s "( 8 0 0 01 ) . ' Whitmanwasw e l l awareo ft h i s ,a sh i sMemorandaando t h e rw r i t i n g sd e m o n s t r a t e , b u ti n t h epoemhec e n t r a l i z e st h ewounda st h eo b j e c to ft h en a r r a t o r ' sa c to f h e a l i n g . Moreover,t h ewoundi t s e l fi sa b s t r a c t e d ;Whitmanf o c u s e sn o t h ewoundeds o l d i e r "b u talways“t h ewound"o r“t h ewounded." on“t T h i sc e n t r a l i z a t i o nanda b s t r a c t i o no ft h ewoundp r e f i g u r e sAbraham L in c o l n ' sp r o m i s e“t ob i n dupt h en a t i o n ' swounds" ( 16 1 7 ) .Thati s, Whitmanusedt h emetaphoro ft h ewoundt os i g n i f yn a t i o n a ld i s a s t e r , j u s ta sL i n c o l nl a t e rd i d . C r u c i a l l y,t h e“ wound"a l s os t a n d sf o rWhitman'sp e r s o n a ls u f f e r sw e l la s, t h es u f f e r i n g so ft h es o l d i e r sandt h en a t i o na tl a r g e .I n i n g s,a "Whitmand e p i c t st h en a r r a t o r ' sp e r S e c t i o n2o f“TheWound-Dresser, s o n a la f f e c t i o nf o r,andp r e o c c u p a t i o nw i t ht h ewoundedbyc a 1 l ing 4 2,mye m p h a s i s ),a sf o l l o w s : them“mywounded"(LG18912 司 l i n e , w a t e randsponge, B e a r i n gt h ebandages S t r a i g h tands w i f t, t omywounded1go, Wheret h e yl i eont h egrounda f t e rt h eb a t t l ebroughti n, Wheret h e i rp r i c e l e s sb l o o dr e d d e n st h eg r a s st h eground, Ort o仕l erowso ft h eh o s p i t a lt e n t ,o rundert h er o of 'dh o s p i t a l, Tot h el o n growso fc o t supanddowne a c hs i d e1r e t u r n, Toeachanda l lonea f t e ra n o t h e r1drawn e a r ,n o tonedo1m i s s, 2 5 26 30 5 5 Ana t t e n d a n tf o l l o w sh o l d i n gat r a y,hec a r r i e sar e f u s epa , 1 i Soont ob ef i l l 'dw i t hc 10 t t e dr a g sandb l o o d, e m p t i e d ,andf i 1 1' da g a i n . 1onwardgo, 1s t o p, Withh i n g e dk n e e sands t e a d yhandt oc : lr e s swounds , 3 5 1amf i r mw i t he a c h,t h epangsa r es h a r py e tu n a v o i d a b l e, Onet u r n st omeh i sa p p e a l i n geyes-poorb o y ! 1n e v e rknewyou , Y e t1t h i n k1c o u l dn o tr e f u s et h i smomentt od i ef o ryou,i ft h a twould s a v ey o u . (LG18912 4 2 4 3 ) H e r e,h ef 巴e l sap e r s o n a li n t i m a c yw i t ht h ewoundeds t r a n g e r s ,and ,i nana c to fsympathy,t oe n v i s a g et h e i rwoundsa sh i so w n .1 seems w i l lnowd i s c u s st h i si s s u ebyexaminingWhitman'si m p u l s et ov i s i t h o s p i t a l si no t d e rt oh e a lb o t ht h ep h y s i c a landm e n t a lwoundso fo t h e r sandh i s ‘o wnp s y c h o l o g i c a lw o u n d s . 4 . HospitalV i s i t s :HealingtheWoundsofOthers αndHisOwn Whitmanwase n t h u s i a s t i ca b o u th i sh o s p i t a lv i s i t st ot h ep o i n to f 8 6 3 ,Whitmanr e c e i v e dal e t t e rfromh i s o b s e s s i o n . OnO c t o b e r2 2,1 , Andrew, wasinac r i t i b r o t h e rJ e f fi n f o r m i n ghimt h a ta n o t h e rb r o t h e r s k i n ghimt or e t u r nt ot h e i rB r o o k l y nhome( K r i e g c a lc o n d i t i o n,anda ,b u tl e f tAndrew,t h e n 5 6 ) . Whitmanr e t u r n e dhomeonNovember2 ,f o rWashingtonD . C .OnDecember3 , d a n g e r o u s l yi l l,onDecember1 Whitmanr e c e i v e dat e l e g r a mfromJ e f fi n f o r m i n ghimo fA n d r e w ' s d e a t h . Whitmanmighthavec i t e dt h er e s t r i c t i v en a t u r eo fh i sg o v e r n , h i s m e n t a lworkc o n t r a c ta sar e a s o nf o rh a v i n gl e f tAndrew;however d e c i s i o n sb o t ht ol e a v eandn o tt or e t u r nhomef o rAndrew'sf u n e r a l r e v e a lh i soverwhelmingi n c l i n a t i o nt os t a ya r o u n dt h eWashington 1 it a r yh o s p i t a l s,awayfromh i sB r o o k l y nf a m i l y .I n d e e d,Whitman's mi vehement p r e o c c u p a t i o nw i t hh o s p i t a lv i s i t i n gr e a c h e ds u c h an 5 6 ,i n1 8 6 4 ,h i sh e a l t hb r o k edown. I nJ u n e ,d o c t o r st o 1 dhim e x t r e m et h a t , andhewasmadet or e t u r n n o tt ov i s i tt h eh o s p i t a 1 su n t i lhewasb e t t e r . tL a t e rt h a tsummer ,however ,h ev i s i t e dh o s p i t a 1 si n homet or e s B r o o k 1 y nandNewYorkwheres i c kandwoundeds o l d i e r sw e r eb e i n g se a r 1 ya sJ a n u a r y2 3,1 8 6 5,her e t u r n e dt oWashington t r e a t e d,anda ( K r i e g5 6 6 5 ) . t h eWhitmanf a m i l y ' ss t a n d a r do fl i v i n gd e t e r i o I nt h emeantime, “ ,p r e s s e df o rmoney ,t h e[WhitmanJ r a t e d .A c c o r d i n gt oRoyM o r r i s f a m i l ywasf o r c e dt or e n to u tt h et o pp a r to fi t sB r o o k 1 y nh o u s eandl i v e i s i nt h eb a s e m e n t "( 2 5 ) .Ther e s i d e n t so ft h ebasementi n c l u d e dWa1t,h ,h i sp h y s i c a l l yandm e n t a l l yd i s a b 1 e db r o t h e rEddy,h i s motherL o u i s a , andh i syoungerb r o t h e r sG e o r g eandJ e f f , a sw e l la s o l d e rb r o t h e rJ e s s e f 'sw i f eM a t t i eandt h e i rtwos o n sJimmyandGeorgy( M o r r i s2 5 ) . J e f ,andWa1t L o u i s as u f f e r e dfromr e a 1o ri m a g i n e dp h y s i c a 1c o m p 1 a i n t s wase x p e c t e dt ol i s t e nt oh e rp r o b 1 e m s . Eddyhadanu n c o n t r o l l a b 1 e a p p e t i t eandwou1dc o n t i n u et oe a tu n t i lhep a s s e do u tu n 1 e s shewas watcheda tm e a l t i m e s .J e s s e,whod i s p 1 a y e de r r a t i canda g g r e s s i v eb e “ ,wou1dp e r i o d i c a l l yt h r e a t e nh i smother h a v i o rd u et ot e r t i a r ys y p h i l i s and[ s i b l i n g s ]w i t hac h a i r "( 2 6 ) .G e o r g eandJ e f fa r g u e d .S i b l i n g swho “ ,Andrew l i v e de 1 s e w h e r ea 1 s od i s r u p t e dt h eh o u s e h o 1 d .F o rexamp1e andh i sw i f es t o p p e dbyf r e q u e n t l yt oc a d g emoneyandd r o po f ft h e i r b a r e 1 yh o u s e b r o k e ns o n s "( 2 6 ) . Whitman's m a r r i e ds i s t e rHannah, meanwhile,hadmovedt oVermont ,b u th e rp 1 a i n t i v e1 e U e r shomed e s c r i b i n gh e ra l l e g e dm i s t r e a t m e n tbyh e rhusbandt o r m e n t e dt h ef a m e b a t e dt h ei s s u earoundt h ed i n n e rt a b 1 e( 2 5 2 6 ) . AsM o r r i s i l y,whod , i twas“ S m a l lwondert h a tWa1ts p e n ta sl i t t 1 et i m ea sp o s s i c o n c 1 u d e s b 1 ei nt h ebosomo fh i sf a m i l y "( 2 6 ) . Whitman'se n t h u s i a s mf o rh o s p i t a 1v i s i t smayb ee v i d e n c eo fad e s i r et oe s c a p efromt h eu n p 1 e a s a n tr e a l i t i e so fh i sr o 1 ea sc a r e g i v e rt oh i s oc r e a t eamoreh e r o i cimageo fh i m s e l fa s d y s f u n c t i o n a 1f a m i l y,andt t h eC h r i s t l i k es a v i o ro fnumerouss o l d i e r s .I no n e“Drum-Taps"poem, “ AS i g h ti nCampi nt h eD a y B r e a kGrayandD i m, "t h ep o e tf i n d s" t h e f a c eo ft h eC h r i s th i m s e l f "i nt h ef a c eo fad e a dyoungs o l d i e r(DT1865 5 7 4 6 ) . Whitmand o e sn o td a r et ocompareh i sn a r r a t i v ep e r s o n at oC h r i s t, however ,i n s t e a dhet r a n s f e r st h er e d e m p t i v epowero ft h eC h r i s tf i g u r e n t ot h eh e a l i n gands o o t h i n gh a n d . WhenWhito n t ot h ed r e s s e r,ando manr e p r e s e n t sh i sn a r r a t o ra saw o u n d d r e s s e r,hee x t e n d sh i sr o l e n t i lh i sr o l ei st ot r e a ta l lt h e beyondt h el i t e r a ld r e s s i n go fwounds,u wounds,p h y s i c a landmental,botho fi n d i v i d u a l sando ft h en a t i o n . Whitman'sd e s i r emaybet oassumeaC h r i s t l i k er o l ea st h es a v i o ro f humankind,b e c au s e“TheWound-Dresser"movesarounds w i f t 1y,t r e a t i n ga smanyi n d i v i d u a l sa sp o s s i b l e .C e r t a i n l y, i nt h ea n t e b e l l u my e a r s , Whitmanhadana m b i t i o nt obecomeap o e t p r o p h e t , g u i d i n gbothi n d i v i d u a l sands o c i e t ythroughh i s“B i b l e "o fdemocracy,Leaves0 1Grass. However,c o n t r a r yt oh i ssomewhato v e r o p t i m i s t i ce x p e c t a t i o n s,t h e h eC i v i lWara p volumes o l df e w e rc o p i e st h a nhehadhoped,andt p e a r e dt obeas i g nt h a th i sb e l i e fi nh i sv o c a t i o nt or e f o r ms o c i e t yhad beenad e l u s i o n . Att h eb e g i n n i n go ft h ewar ,Whitmanwasf a c i n gt h e r e a l i t yt h a thewasn o tap o e t p r o p h e t,b u tmerelyap r o v i d e rf o ran i m p o v e r i s h e df a m i l y .Whitman'se s c a p efromh i sf a m i l ywoesl e df i r s t l y t oh i sc u l t i v a t i n gar o l ef o rh i m s e l fi nr e a l i t ya st h ev a l u e dcompanion o fc o u n t l e s ss o l d i e r si nmi 1 it a r yh o s p i t a l s,ands e c o n d l yt oh i sc o n s t r u c t i o no faf i c t i o n a l,i m a g i n a r ys e l fi nt h ef i g u r e so ft h en u r s eandt h e p o w e r f u l,C h r i s t l i k eW o u n d D r e s s e r . 5 . ThePowerofPoetrytoInvokeSympathy r e" i ns i l e n c eC , )i n Thec r u c i a lp h r a s e si n“TheWound-Dresser"a d r e a m s 'p r o j e c t i o n s . "i nl i n e s2 0and5 9 : l i n e Butins i l e n c e,i nd r e a m s 'p r o j e c t i o n s, 2 0 Whilet h eworldo fg a i nanda p p e a r a n c eandm i r t hg o e son, Sos o o nwhati so v e rf o r g o t t e n,andwaveswasht h ei m p r i n t so f ft h es a n d, Withh i n g e dk n e e sr e t u r n i n g1e n t e rt h ed o o r s,C w h i l ef o ryouupt h e r e, Whoeveryoua r e,f o l l o ww i t h o u tn o i s eandb eo fs t r o n gh e a rt . ) (LG18912 4 2,mye m p h a s i s ) 5 8 4 l i n e Thusi ns i l e n c ei nd r e a m s 'p r o j e c t i o n s 5 9 R e t u r n i n g ,r esuming ,1t h r e a dmywayt h r o u g ht h eh o s p i t a l s, 6 0 Theh u r tandwounded1p a c i f yw i t hs o o t h i n ghand , 日 1s i tbyt h er e s t l e s sa l 1t h ed a r kn i g h t,somea r es oyoung , Somes u f f e rs omuch, 1r e c a l lt h ee x p e r i e n c es w e e tands a d, (Manyas o l d i e r ' sl o v i n garmsa b o u tt h i sn e c khavec r o s s ' dandr e s t e d, Manyas o l d i e r ' sk i s sdwel 1sont h e s eb e a r d e dl i p s . ) 6 5 (LG18912 4 3 4 4, mye m p h a s i s ) Byp r o j e c t i n gh i sdreamsi np o e t i cs p a c e,Whitmanc r e a t e sani d e a ls e l f , f a c i l i t a t i n gt h ew o u n d h e a l i n gp r o c e s sf o rh i m i nt h ef i g u r eo fd r e s s e r , f o ro t h e rp e o p l eandf o rt h eU n i t e dS t a t e sa saw h o 1 e .T h i sp r o c e s s s e l f l i n gi sn o tj u s tane s c a p i s td r e a m ;i tc o n v e y st h e o fi m a g i n a t i v eh巴a powero fp o e t r yt oi n v o k esympathyamongp e o p l e . LukeMancusoh a sa r g u e dt h a t" t h r o u g h o u tt h eC i v i lWarpoems Whitmans h o r e supn o s t a l g i cv o i c e sandr e v i s i o n i s tm e m o r i a l i z a t i o nt o j u s t i f yt h eUnionc a u s e "( 3 0 0 )andt h a td e s p i t eg r a p h i ci m a g e so fm u l t i “ ,r a t h e rt h a nc a l 1i n t oq u e s t i o nt h eb o d i l yf r a g m e n t a t i o n p l ewounds t h en o s t a l g i cf r a m ei sp r o d u c i n gt h e b r o u g h ta b o u tbyt h eb a t t l ef i e l d, ,h e t r a n s p a r e n tc o n t a c tw i t ht h e i rm a r t i a lh e r o i s m "( 3 0 8 ) . Moreover c o n t e n d st h a tWhitman'sp e r s o n aa s an o b s e r v e r w i t n e s sb 1 u r st h e ,e n g e n d e r i n g“[ a n Ju n boundarybetweent h ef a m i l i a randu n f a m i l i a r cannyt r a n c es t a t e "i no r d e rt of i xUnioni d e o l o g ys e c u r e 1 yi nt h emind o ft h er e a d e r( 3 0 8 ) . 1a g r e et h a t Whitman's n a r r a t i v eb l u r st h e s e ,b u t1woulda r g u et h a t b o u n d a r i e sbyp r o d u c i n gat r a n c e l i k es t a t e t r a n c es t a t巴" andt ob l u rt h e Whitman'sa b i l i t yt ob r i n ga b o u tt h i s“ boundaryi nr e a d e r s 'mindsi so n eo fh i ss t r e n g t h s . WhatMancusod e r a n c es t a t e "c a na 1 s ob ei n t e r p r e t e da sas p e c i f i s c r i b e sa san“uncannyt y m p a t h y . "Whitman'sa n i m a t e dr e p r e s e n t a c a l l yWhitmanianformo f“s t i o no ft h en a r r a t o r ' swarmemoriess u c c e e d si nb l u r r i n gb o u n d a r i e s betweent h er e a landt h ei m a g i n a r y,betweent h es t o r i e so ft h ea c t u a l 5 9 p o e tandt h o s eo fh i sf i c t i o n a ln a r r a t o r ,andb etweent h ee x p e r i e n c e so f Whitman'sd r a m a t i cp e r s o n a eandt h o s eo fh i sr e a d e r s ,e vokingd e e p sympathyamongt h e m .Thepowero fsympathyi se x a c t l ywhath ehad beens t r u g g l i n gt oe l i c i tfromh i sr e a d e r ss i n c et h ef i r s te d i t i o no fLeaves ofG r a s s .A rguably, Whitmanwass t i l la b l et of i n dt h epowero fsympか t h yi nl i t e r a t u r ei nanda f t e rt h eC i v i lWard e s p i t eh i sv a r i o u sf r u s t r a t i o n s ,and"Drum-Taps"d e m o n s t r a t e sh i se v e r g r e e nd e s i r et of e e lt h e p a i no fo t h e rp e o p l e ' sware x p e r i e n c e sf o rh i m s e l f ,andt os h a r ei tw i t h o t h e r sthrought h ep o e t i cenactmento fd r e s s i n gp e r s o n a landn a t i o n a l wounds. Eveni fWhitman'sr e a l i z a t i o no fh i sd e s i r e st h r o u g ht h e s epoemsi s e x p l a i n e di nt e r m so fh i swisht oe s c a p efromt h ed y s f u n c t i o n a lr e a l i t i e s h i sd e s p e r a t i o na l s oconveyst h es i n c e r i t yo fh i ss t r u g o fh i sownl i f e,t d e s p i t et h eh o p e l e s s n e s s g l et obeap o e twhohadd e s i g n sf o rt h ef u t u r e, o fp r e s e n tr e a l i t y . Conclusion:TheFunctionofLiterature 1haves u g g e s t e dt h a tt h ea p p a r e n t l ya u t . o b i o g r a p h i c a ln a r r a t i v e s . l1 t h a ta p p e a ri nWhitman's“ r e a l i s t i c "warpoemsa r ee n t i r e l yf i c t i o n a a r g u et h a tt h e i rv e r yf i c t i o n a l i t ys u g g e s t st h a tl i t e r a t u r eh a sag r e a t e r r o l et of u l f i l lt h a nt h emerer e p o r t a g eo fa c t u a levents-thati s ,t h a ti t hast h epowert oevokedreams, h o p e sandsympathyamongp e o p l e, and t oh e l ph e a lp e r s o n a landc o l l e c t i v ewounds. N o t e s a nP o e t r yI ts e l fB ea T h i sp a p e rw a sd e v e l o p e df r o mmyo r a lp r e s e n t a t i o n“C 'Wo u n d D r e s s e r ' ? :W a l tW h i t m a n ' sP e r s o n a la n dN a t i o n a lS t r u g g l e si nt h e C i v i lW a r "g i v e no nJ u n e4 , 2 0 1 3a tt h en i n t hl n t e r n a t i o n a lM e l v i l l ec o n f e r e n c e “ M e l v i 1 1ea n dWhitmani nW a s h i n g t o n , D C :T h eC i v i lWara n dA f t e r "( W a s h ,DC , J u n e4 7,2 0 1 3 ) .T hee a r l i e rJ a p a n e s ev e r s i o no ft h i sp r o j e c tw a s i n g t o n p u b l i s h e da s“S h i・M ・ ‘T heW o u n d D r e s s e r ' n i n a r u n o k a ? W a l tWhitmant o・ N a n b o k u s e n s o u "i nS t u d i e si nHenryD a v i dT h o r e a u[ H e n r yT h o r e a uKenkyu 8( T h eT h o r e a uS o c i e t yo fJ a p a n,2 0 1 2 ),p p . 4ト5 1 . R o n s h u J3 5 0 Iamg r a t e f u lt oJ e n n i f e rH o l t .myf r i e n dandc o l l e a g u e .f o rh e ri n v a l u a b l e commentsonane a r l i e rv e r s i o no ft h i sp a p e r . C o r r e s p o n d e n c e 1S e eL e t t e r3 2 :ToR a l p hWaldoE m e r s o n .J a n u a r y1 7 .1 8 6 3 .( 6 8 7 0 ) . 2 HenryJamess u g g e s t e dt h a tWhitmanc a p i t a l i z e done v e nt h emostd i s a s t r o u se x p e r i e n c e so ft h en a t i o ni no r d e rt oi n c r e a s eh i sfamea sap o e ti n a nu n s i g n e dr e v i e wo fDrum-T . a ρsi nt h eN a t i o n(November1 6 .1 8 6 5 ) .S e e . Whitmanm ighti n d e e dhavehadt h i sl e v e lo fp o e t i ca m b i t i o n . K r i e g71 bu . tIa r g u et h a th es t i l lb e l i e v e di , nt h epowero fp o e t r yt oc h a n g et h e w o r l df o rt h eb e t t e randt oh e a lt h ewoundso ft h en a t i o n . 3 Poemsi nt h e1 8 6 5Drum-Tapsa r ec i t e df r o mt h ef o l l o w i n gt e x: tDrum-Taps (NewY o r k .1 8 6 5 ) .TheWaltWhitmanA r c h i v e .Web( 2 6S e p .2 0 1 1 ) .I nt h i s p a p e r .a l lc i t a t i o n s from t h i st e x ta r ep a r e n t h e t i c a l l ya b b r e v i a t e da s D T 1 8 5 5 . 4 Poemsi nt h e1 8 9 1 9 2e d i t i o no fLeaves0 1Grassa r ec i t e dfromt h ef o l l o w :Leaves0 1Grass(Philadelphia:DavidMcKay.Publishers.1891i n gt e xt ,9 2 ) .The WaltWhitmanA r c h i v e( W e b .2 6S e p .2 0 1 1 ) .I nt h i sp a p e r .a l l 巴p a r e n t h e t i c a l l ya b b r e v i a t e da sLG1891. c i t a t i o n sf r o mt h i st e x ta r 5 TedGenowaysp o i n t so u tt h a t“ manye a r l yb i o g r a p h e r st e n d e dt or e a d ) . t h epoemi n c o r r e c t l ya sap i e c eo fd i r e c ta u t o b i o g r a p h y "(Genoways5 31 6M o r r i sa r g u e st h a t“ Whitmand i dn o to r d i n a r i l yd r e s sp a t i e n t s 'woundsh ewasn o t .a f t e ra l l .an u r s eb u tav i s i t o r-b u ti nt h epoemh ei m a g i n e s h i m s e l fi nt h ec a r e g i v e r ' sr o l ei no r d e rt om a k e .p e r h a p s .amorev i s c e r a l c o n n e c t i o nt ot h ewoundedmen"( 12 1 ) ;A s p i za l s oa r g u e st h a t“ [ i ]nt h e Washingtonm i l i t a r yh o s p i t a l s .Whitmanc o m f o r t e dt h o u s a n d so fa i l i n g andd y i n g‘ b o y s 'a sab e d s i d ea t t e n d a n tand-rarely-asaw o u n d d r e s s e r : ‘ 1h a v esomec a s e swheret h ep a t i e n ti su n w i l l i n ganybodys h o u l ddot h i s b u tm e '( W a l tWhitman.Whi ωl a n ' sC i v i lWar[ 1 9 6 0 J .e d .W a l t e rL o w e n f e l s [NewY o r k :K n o p f .1 9 7 1 J .q t d .i nAs p が i z . 均 z8 初0 0 ω ) . 8 0 0 ) "( A s p i l t h o u g hmosth o s p i t a If a t aI i ti e s . a sWhitmano b 7A s p i ze x p l a i n st h a t“a h eW a r .r e s u l t e dfromd i a r r h e a .f e v e r s .and s e r v e di nMemorandaDuringt pulmonaryi n f e c t i o n s .t h ep o e m ' swoundedmorep o i g n a nt 1yr e p r e s e n tt h e a g o n i e so ft h ea r m i e sandt h ewoundedAmericann a t i o n "( 8 0 0 01 ) . WorksC i t e d “Wound心 r e s s e r .T h e '( 18 6 5 ) . "L e M a s t e randKummings8 0 0 01 . A s p i z .H a r o l d .‘ P r i n. t Genoways.T e d .“ C i v i lWarPoemsi n‘ D r u m T a p s 'and‘ Memorieso fP r e s i d e n t L in c o l n . . . .Kummings5 2 2 3 8 .P r i n. t K r i e g .J o a n nP .A WhitmanC h r o n o l o g y .I owaC i t y :Uo fIowaP .1 9 9 8 .P r i nt . 6 1 Kummings,DonaldD,e d .A Com ρ ,a n i o nt oW a l tW h i t m a n .M a l d e n :B l a c k w e l l, 2 0 0 6 .P r i nt . LeMaster,JR . ,a ndDonaldD,Kummings,e d s .W a l tW h i t m a n :AnE n c y c l o ρ εー d i a .N巴wY o r k :G a r l a n d,1 9 9 8 .P r i n. t L in c o l n,Abraham.“ SecondI n a u g u r a lAddress,March4 ,1 8 6 5 . "1 8 6 5 .T heN o r t he d .Vo. lB :AmericanL it e r a t u r e t o nA n t h o l o g yo fAmericanL i t e r a t u r e .6 0 0 3 .1 6 1 6 1 7 .P r i nt . 1 8 2 0 1 8 6 5 .NewY o r k :Norton,2 L u l l o f f ,Wi l IiamG . V i g i lS t r a n g e1Keptont h eF i e l dOneNight '( 18 6 5 ) . " t LeMasterandKummings7 5 4 5 5 .P r i n. Mancuso,L u k e .“ C i v i lW a r . "Kummings2 9 0 3 1 0 .P r i n. t Moon,Michae. lWhitman,L e a v e so fG r a s sandO t h e rW r i t i n g s .P r i nt . M o r r i s,Roy, J r .TheB e t t e rA n g e l :Wαl tWhitmani nt h eC i v i lW a r .NewY o r k : OxfordUP, 2 0 0 0 .P r i nt . S c h w i e b e r t,JohnE . Marchi nt h eRanksH a r d P r e s t,andt h eRoadUnknown, A '( 18 6 5 ) . "LeMasterandKummings4 1 7 18 .P r i n t ,M .Wynn.T heLunarL i g h to fW h i t m a n ' sP o e t r y .Cambridge,M a s s . : Thomas HarvardUP,1 9 8 7 .P r i n. t Whitman,Wal. tTheC o r r e s p o n d e n c e . Vo. ll :1 8 4 2 1 8 6 7 .Ed,EdwinH a v i l a n d Mi I l 日r .NewY o r k :NewYorkUP,1 9 61 .P r i n. tTheC o l l e c t e dW r i t i n g so f WaltWhitman. 一 一 一 一 一 _ 'Drum-T . ゅs .NewYork,1 8 6 5 .TheWαl tWhitmanA r c h i v e .Web.6S e p . 2 0 11 . 一一一一一. Le 仰 e so fG r a s s .Washington,1 8 7 17 2 .TheW a l tWhitmanA r c h i v e . Web.2 6S e p .2 0 11 . 一一一一一. L e a v e so fG r a s s .P h i l a d e l p h i a :DavidMcKay,P u b l i s h e r s,1 8 9 1 9 2,The W a l tWhitmanA r c h i v e .Web.2 6S e p .2 0 11 . 一一一一一.Leaveso fG r a s sandO t h e rW r i t i n g s .ANortonC r i t i c a le d,E d .M i c h a e l Moon.NewY o r k :Norton, 2 0 0 2 .P r i n t 一一一一一. Memorandad u r i η : gt h eW a r .Camden,NJ,1 8 7 5 7 6 .TheW a l tWhitman e p .2 0 11 . A r c h i v e .Web.6S 一一一一一. S e q u e lt oD r u m T a p s .Washington,1 8 6 5 6 6, TheW a l tWhitmanA r c h i v e .Web.6S e p . 2 0 11 . 刷 刷 叩
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