Chapter 3

"The few torches light up the spectacle. All around on the wharf, on the ground, out on side places, etc., the men are lying on blankets and old quilts, with the bloody rags bound round heads, arms, legs, etc. The attendants are few, and at night few outsiders also,--only a few hard-worked transportation men and drivers. (The wounded are getting to be common, and people grow callous.) The men, whatever their condition, lie there, and patiently wait till their turn comes to be taken up. Near by the ambulances are now arriving in clusters, and one after another is called to back up and take its load. Extreme cases are sent off on stretchers. The men generally make little or no ado, whatever their sufferings,--a few groans that cannot be repressed, and occasionally a scream of pain, as they lift a man into the ambulance.

"To-day, as I write, hundreds more are expected, and to-morrow and the next day more, and so on for many days.

"The soldiers are nearly all young men, and far more American than is generally supposed,--I should say nine tenths are native-born. Among the arrivals from Chancellorsville I find a large proportion of Ohio, Indiana, and Illinois men. As usual, there are all sorts of wounds. Some of the men are fearfully burnt from the explosion of artillery caissons. One ward has a long row of officers, some with ugly hurts. Yesterday was, perhaps, worse than usual. Amputations are going on,--the attendants are dressing wounds. As you pass by, you must be on your guard where you look. I saw, the other day, a gentleman--a visitor, apparently, from curiosity--in one of the wards stop and turn a moment to look at an awful wound they were probing, etc. He turned pale, and in a moment more he had fainted away and fallen on the floor."

An episode,--the death of a New York soldier:--

"This afternoon, July 22, 1863, I spent a long time with a young man I have been with a good deal from time to time, named Oscar F. Wilber, company G, 154th New York, low with chronic diarrhoea, and a bad wound also. He asked me to read him a chapter in the New Testament. I complied, and asked him what I should read. He said: 'Make your own choice.' I opened at the close of one of the first books of the Evangelists, and read the chapters describing the latter hours of Christ and the scenes at the crucifixion. The poor, wasted young man asked me to read the following chapter also, how Christ rose again. I read very slowly, as Oscar was feeble. It pleased him very much, yet the tears were in his eyes. He asked me if I enjoyed religion. I said: 'Perhaps not, my dear, in the way you mean, and yet, maybe, it is the same thing.' He said: 'It is my chief reliance.' He talked of death, and said he did not fear it. I said: 'Why, Oscar, don't you think you will get well?' He said: 'I may, but it is not probable.' He spoke calmly of his condition. The wound was very bad; it discharged much. Then the diarrhoea had prostrated him, and I felt that he was even then the same as dying. He behaved very manly and affectionate. The kiss I gave him as I was about leaving he returned fourfold. He gave me his mother's address, Mrs. Sally D. Wilber, Alleghany post-office, Cattaraugus County, New York. I had several such interviews with him. He died a few days after the one just described."

And here, also, a characteristic scene in another of those long barracks:--

"It is Sunday afternoon (middle of summer, 1864), hot and oppressive, and very silent through the ward. I am taking care of a critical case, now lying in a half lethargy. Near where I sit is a suffering rebel, from the 8th Louisiana; his name is Irving. He has been here a long time, badly wounded, and has lately had his leg amputated. It is not doing very well. Right opposite me is a sick soldier boy, laid down with his clothes on, sleeping, looking much wasted, his pallid face on his arm. I see by the yellow trimming on his jacket that he is a cavalry boy. He looks so handsome as he sleeps, one must needs go nearer to him. I step softly over to him, and find by his card that he is named William Cone, of the 1st Maine Cavalry, and his folks live in Skowhegan."

In a letter to his mother in 1863 he says, in reference to his hospital services: "I have got in the way, after going lightly, as it were, all through the wards of a hospital, and trying to give a word of cheer, if nothing else, to every one, then confining my special attention to the few where the investment seems to tell best, and who want it most.... Mother, I have real pride in telling you that I have the consciousness of saving quite a number of lives by keeping the men from giving up, and being a good deal with them. The men say it is so, and the doctors say it is so; and I will candidly confess I can see it is true, though I say it myself. I know you will like to hear it, mother, so I tell you."

Again he says: "I go among the worst fevers and wounds with impunity; I go among the smallpox, etc., just the same. I feel to go without apprehension, and so I go: nobody else goes; but, as the darkey said there at Charleston when the boat ran on a flat and the rebel sharpshooters were peppering them, '_somebody_ must jump in de water and shove de boat off.'"

In another letter to his mother he thus accounts for his effect upon the wounded soldiers: "I fancy the reason I am able to do some good in the hospitals among the poor, languishing, and wounded boys, is that I am so large and well,--indeed, like a great wild buffalo with much hair. Many of the soldiers are from the West and far North, and they like a man that has not the bleached, shiny, and shaved cut of the cities and the East."

As to Whitman's appearance about this time, we get an inkling from another letter to his mother, giving an account of an interview he had with Senator Preston King, to whom Whitman applied for assistance in procuring a clerkship in one of the departments. King said to him, "Why, how can I do this thing, or anything for you? How do I know but you are a secessionist? You look for all the world like an old Southern planter,--a regular Carolina or Virginia planter."

The great suffering of the soldiers and their heroic fortitude move him deeply. He says to his mother: "Nothing of ordinary misfortune seems as it used to, and death itself has lost all its terrors; I have seen so many cases in which it was so welcome and such a relief." Again: "I go to the hospitals every day or night. I believe no men ever loved each other as I and some of these poor wounded, sick, and dying men love each other."

Whitman's services in the hospitals began to tell seriously upon his health in June, 1864, when he had "spells of deathly faintness, and had trouble in the head." The doctors told him he must keep away for a while, but he could not. Under date of June 7, 1864, he writes to his mother:--

"There is a very horrible collection in Armory Building (in Armory Square Hospital),--about two hundred of the worst cases you ever saw, and I have probably been too much with them. It is enough to melt the heart of a stone. Over one third of them are amputation cases. Well, mother, poor Oscar Cunningham is gone at last: (he is the 82d Ohio boy, wounded May 3, '63). I have written so much of him I suppose you feel as if you almost knew him. I was with him Saturday forenoon, and also evening. He was more composed than usual; could not articulate very well. He died about two o'clock Sunday morning, very easy, they told me. I was not there. It was a blessed relief. His life has been misery for months. I believe I told you, last letter, I was quite blue from the deaths of several of the poor young men I knew well, especially two of whom I had strong hopes of their getting up. Things are going pretty badly with the wounded. They are crowded here in Washington in immense numbers, and all those that came up from the Wilderness and that region arrived here so neglected and in such plight it was awful (those that were at Fredericksburg, and also from Belle Plain). The papers are full of puffs, etc., but the truth is the largest proportion of worst cases get little or no attention.

"We receive them here with their wounds full of worms,--some all swelled and inflamed. Many of the amputations have to be done over again. One new feature is, that many of the poor, afflicted young men are crazy; every ward has some in it that are wandering. They have suffered too much, and it is perhaps a privilege that they are out of their senses. Mother, it is most too much for a fellow, and I sometimes wish I was out of it; but I suppose it is because I have not felt firstrate myself."

Of the Ohio soldier above referred to, Whitman had written a few days before: "You remember I told you of him a year ago, when he was first brought in. I thought him the noblest specimen of a young Western man I had seen. A real giant in size, and always with a smile on his face. Oh, what a change! He has long been very irritable to every one but me, and his frame is all wasted away."

To his brother Jeff he wrote: "Of the many I have seen die, or known of the past year, I have not seen or known of one who met death with any terror. Yesterday I spent a good part of the afternoon with a young man of seventeen named Charles Cutter, of Lawrence City, 1st Massachusetts Heavy Artillery, Battery M. He was brought into one of the hospitals mortally wounded in abdomen. Well, I thought to myself as I sat looking at him, it ought to be a relief to his folks, after all, if they could see how little he suffered. He lay very placid, in a half lethargy, with his eyes closed; it was very warm, and I sat a long while fanning him and wiping the sweat. At length he opened his eyes quite wide and clear, and looked inquiringly around. I said, "What is it, my dear? do you want anything?" He said quietly, with a good-natured smile, "Oh, nothing; I was only looking around to see who was with me." His mind was somewhat wandering, yet he lay so peaceful in his dying condition. He seemed to be a real New England country boy, so good-natured, with a pleasant, homely way, and quite fine-looking. Without any doubt, he died in course of the night."

Another extract from a letter to his mother in April, 1864:--

"Mother, you don't know what a feeling a man gets after being in the active sights and influences of the camp, the army, the wounded, etc. He gets to have a deep feeling he never experienced before,--the flag, the tune of Yankee Doodle, and similar things, produce an effect on a fellow never felt before. I have seen tears on the men's cheeks, and others turn pale under such circumstances. I have a little flag,--it belonged to one of our cavalry regiments,--presented to me by one of the wounded. It was taken by the rebs in a cavalry fight, and rescued by our men in a bloody little skirmish. It cost three men's lives just to get one little flag four by three. Our men rescued it, and tore it from the breast of a dead rebel. All that just for the name of getting their little banner back again. The man that got it was very badly wounded, and they let him keep it. I was with him a good deal. He wanted to give me something, he said; he did not expect to live; so he gave me the little banner as a keepsake. I mention this, mother, to show you a specimen of the feeling. There isn't a regiment of cavalry or infantry that wouldn't do the same on occasion."

[An army surgeon, who at the time watched with curiosity Mr. Whitman's movements among the soldiers in the hospitals, has since told me that his principles of operation, effective as they were, seemed strangely few, simple, and on a low key,--to act upon the appetite, to cheer by a healthy and fitly bracing appearance and demeanor; and to fill and satisfy in certain cases the affectional longings of the patients, was about all. He carried among them no sentimentalism nor moralizing; spoke not to any man of his "sins," but gave something good to eat, a buoying word, or a trifling gift and a look. He appeared with ruddy face, clean dress, with a flower or a green sprig in the lapel of his coat. Crossing the fields in summer, he would gather a great bunch of dandelion blossoms, and red and white clover, to bring and scatter on the cots, as reminders of out-door air and sunshine.

When practicable, he came to the long and crowded wards of the maimed, the feeble, and the dying, only after preparations as for a festival,--strengthened by a good meal, rest, the bath, and fresh underclothes. He entered with a huge haversack slung over his shoulder, full of appropriate articles, with parcels under his arms, and protuberant pockets. He would sometimes come in summer with a good-sized basket filled with oranges, and would go round for hours paring and dividing them among the feverish and thirsty.]

Of his devotion to the wounded soldiers there are many witnesses. A well-known correspondent of the "New York Herald" writes thus about him in April, 1876:--

"I first heard of him among the sufferers on the Peninsula after a battle there. Subsequently I saw him, time and again, in the Washington hospitals, or wending his way there, with basket or haversack on his arm, and the strength of beneficence suffusing his face. His devotion surpassed the devotion of woman. It would take a volume to tell of his kindness, tenderness, and thoughtfulness.

"Never shall I forget one night when I accompanied him on his rounds through a hospital filled with those wounded young Americans whose heroism he has sung in deathless numbers. There were three rows of cots, and each cot bore its man. When he appeared, in passing along, there was a smile of affection and welcome on every face, however wan, and his presence seemed to light up the place as it might be lighted by the presence of the God of Love. From cot to cot they called him, often in tremulous tones or in whispers; they embraced him; they touched his hand; they gazed at him. To one he gave a few words of cheer; for another he wrote a letter home; to others he gave an orange, a few comfits, a cigar, a pipe and tobacco, a sheet of paper or a postage-stamp, all of which and many other things were in his capacious haversack. From another he would receive a dying message for mother, wife, or sweetheart; for another he would promise to go an errand; to another, some special friend very low, he would give a manly farewell kiss. He did the things for them no nurse or doctor could do, and he seemed to leave a benediction at every cot as he passed along. The lights had gleamed for hours in the hospital that night before he left it, and, as he took his way towards the door, you could hear the voices of many a stricken hero calling, 'Walt, Walt, Walt! come again! come again!'"

III

Out of that experience in camp and hospital the pieces called "Drum-Taps," first published in 1865,--since merged in his "Leaves,"--were produced. Their descriptions and pictures, therefore, come from life. The vivid incidents of "The Dresser" are but daguerreotypes of the poet's own actual movements among the bad cases of the wounded after a battle. The same personal knowledge runs through "A Sight in Camp in the Daybreak Gray and Dim," "Come up from the Fields, Father," etc., etc.

The reader of this section of Whitman's work soon discovers that it is not the purpose of the poet to portray battles and campaigns, or to celebrate special leaders or military prowess, but rather to chant the human aspects of anguish that follow in the train of war. He perhaps feels that the permanent condition of modern society is that of peace; that war as a business, as a means of growth, has served its time; and that, notwithstanding the vast difference between ancient and modern warfare, both in the spirit and in the means, Homer's pictures are essentially true yet, and no additions to them can be made. War can never be to us what it has been to the nations of all ages down to the present; never the main fact, the paramount condition, tyrannizing over all the affairs of national and individual life, but only an episode, a passing interruption; and the poet, who in our day would be as true to his nation and times as Homer was to his, must treat of it from the standpoint of peace and progress, and even benevolence. Vast armies rise up in a night and disappear in a day; a million of men, inured to battle and to blood, go back to the avocations of peace without a moment's confusion or delay,--indicating clearly the tendency that prevails.

Apostrophizing the genius of America in the supreme hour of victory, he says:--

"No poem proud, I, chanting, bring to thee--nor mastery's rapturous verse:-- But a little book containing night's darkness and blood-dripping wounds, And psalms of the dead."

The collection is also remarkable for the absence of all sectional or partisan feeling. Under the head of "Reconciliation" are these lines:--

"Word over all, beautiful as the sky! Beautiful that war, and all its deeds of carnage, must in time be utterly lost! That the hands of the sisters Death and Night incessantly, softly wash again, and ever again, this soil'd world; ... For my enemy is dead--a man divine as myself is dead; I look where he lies, white-faced and still, in the coffin--I draw near; I bend down, and touch lightly with my lips the white face in the coffin."

Perhaps the most noteworthy of Whitman's war poems is the one called "When Lilacs last in the Door-yard bloomed," written in commemoration of President Lincoln.

The main effect of this poem is of strong, solemn, and varied music; and it involves in its construction a principle after which perhaps the great composers most work,--namely, spiritual auricular analogy. At first it would seem to defy analysis, so rapt is it, and so indirect. No reference whatever is made to the mere fact of Lincoln's death; the poet does not even dwell upon its unprovoked atrocity, and only occasionally is the tone that of lamentation; but, with the intuitions of the grand art, which is the most complex when it seems most simple, he seizes upon three beautiful facts of nature, which he weaves into a wreath for the dead President's tomb. The central thought is of death, but around this he curiously twines, first, the early-blooming lilacs which the poet may have plucked the day the dark shadow came; next the song of the hermit thrush, the most sweet and solemn of all our songsters, heard at twilight in the dusky cedars; and with these the evening star, which, as many may remember, night after night in the early part of that eventful spring, hung low in the west with unusual and tender brightness. These are the premises whence he starts his solemn chant.

The attitude, therefore, is not that of being bowed down and weeping hopeless tears, but of singing a commemorative hymn, in which the voices of nature join, and fits that exalted condition of the soul which serious events and the presence of death induce. There are no words of mere eulogy, no statistics, and no story or narrative; but there are pictures, processions, and a strange mingling of darkness and light, of grief and triumph: now the voice of the bird, or the drooping lustrous star, or the sombre thought of death; then a recurrence to the open scenery of the land as it lay in the April light, "the summer approaching with richness and the fields all busy with labor," presently dashed in upon by a spectral vision of armies with torn and bloody battle-flags, and, again, of the white skeletons of young men long afterward strewing the ground. Hence the piece has little or nothing of the character of the usual productions on such occasions. It is dramatic; yet there is no development of plot, but a constant interplay, a turning and returning of images and sentiments.

The poet breaks a sprig of lilac from the bush in the door-yard,--the dark cloud falls on the land,--the long funeral sets out,--and then the apostrophe:--

"Coffin that passes through lanes and streets, Through day and night, with the great cloud darkening the land, With the pomp of the inloop'd flags, with the cities draped in black, With the show of the States themselves, as of crape-veiled women, standing, With processions long and winding, and the flambeaus of the night, With the countless torches lit--with the silent sea of faces, and the unbared heads, With the waiting depot, the arriving coffin, and the sombre faces, With dirges through the night, with the thousand voices rising strong and solemn; With all the mournful voices of the dirges, pour'd around the coffin, To dim-lit churches and the shuddering organs--Where amid these you journey, With the tolling, tolling bells' perpetual clang; Here! coffin that slowly passes, I give you my sprig of lilac.

"(Nor for you, for one alone; Blossoms and branches green to coffins all I bring; For fresh as the morning--thus would I chant a song for you, O sane and sacred death.

"All over bouquets of roses, O death! I cover you over with roses and early lilies; But mostly and now the lilac that blooms the first, Copious, I break, I break the sprigs from the bushes; With loaded arms I come, pouring for you, For you and the coffins all of you, O death.)"

Then the strain goes on:--

"O how shall I warble myself for the dead one there I loved? And how shall I deck my song for the large sweet soul that has gone? And what shall my perfume be, for the grave of him I love?

"Sea-winds, blown from east and west, Blown from the eastern sea, and blown from the western sea, till there on the prairies meeting: These, and with these, and the breath of my chant, I perfume the grave of him I love."

The poem reaches, perhaps, its height in the matchless invocation to Death:--

"Come, lovely and soothing Death, Undulate round the world, serenely arriving, arriving, In the day, in the night, to all, to each, Sooner or later, delicate Death.

"Prais'd be the fathomless universe, For life and joy, and for objects and knowledge curious; And for love, sweet love--but praise! O praise and praise, For the sure-enwinding arms of cool-enfolding Death.

"Dark Mother, always gliding near, with soft feet, Have none chanted for thee a chant of fullest welcome? Then I chant it for thee--I glorify thee above all; I bring thee a song that when thou must indeed come, come unfalteringly.

"Approach, encompassing Death--strong Deliveress! When it is so--when thou hast taken them, I joyously sing the dead, Lost in the loving, floating ocean of thee, Laved in the flood of thy bliss, O Death.

"From me to thee glad serenades, Dances for thee I propose, saluting thee--adornments and feastings for thee; And the sights of the open landscape, and the high-spread sky are fitting, And life and the fields, and the huge and thoughtful night. The night, in silence, under many a star; The ocean shore, and the husky whispering wave, whose voice I know; And the soul turning to thee, O vast and well-veil'd Death, And the body gratefully nestling close to thee."

IV