Equality in “The Wound-Dresser” and “Song of Myself” Say no to plagiarism. Get a tailor-made essay on 'Why Shouldn't Violent Video Games Be Banned? Get an Original Essay The theme of equality permeates both "The Wound-Dresser" and "Song of Myself." Whitman highlights the judgments made by others and refutes them with his ideas of impartiality .These manifest themselves especially strongly in Whitman's attitude towards the courage of the soldiers in “The Wound-Dresser” and in section 18 of “Song of Myself”. The narrators of both poems emphasize the value of the men they have fought for both armies In this depiction of equality, however, they differ in poetry. Through the vehicles of imagination and repetition, Whitman creates a certain tone for each work, which ultimately allows him to effectively demonstrate the equality of the soldiers. on both sides of the Civil War. 18 of “Song of Myself,” Whitman does not recognize the traditional values ​​of winning and losing. He plays "loud music" for soldiers on both sides of the war, stating, "I don't play marches just for the accepted victors, I play marches for the conquered and killed people" ("Song" 362-363). It takes the inevitable byproduct of war, victors and vanquished, and demonstrates the valor of all men who fight. Whitman first highlights the schism, the “accepted victors” and the “killed people,” that was created through the battle and emphasizes the similarity between the two armies. To achieve this equality, Whitman emphasizes those who have “failed” and heightens their significance. Playing his song for all men, he esteems even those who have been conquered. He makes them precious, commenting that “battles are lost in the same spirit in which they are won” (“Song” 363-364). For Whitman to elevate failed men, he must inherently emphasize their defeat. The reader understands the distinction between the warring sides and gains empathy for the losers through the narrator's affirmation of their worth. Whitman also discusses the two sides of the war in "The Wound-Dresser" and, as in "Song of Myself", demonstrates his belief that soldiers on both sides should be honored for their bravery. He calls them “unsurpassed heroes” (“Dresser” 7) and asks rhetorically, “Was one side so brave? The other was just as brave” (“Dresser” 7). He refers to these forces as “the mightiest armies on earth” (“Dresser” 9). In particular, it is not about "army" but about "armies". This simple act of pluralization demonstrates the equality of competition between the two. War does not happen between a weak force and a strong one; the two are both powerful. Through this introductory paragraph, Whitman establishes the sense of equality represented in the rest of the poem. While in section 18, Whitman highlights the different sides of the war to finally bring them together, in "The Wound Dresser", he gives anonymity to the soldiers in the hospital. He doesn't say whether he works in hospitals for a particular role or whether he travels to care for anyone who needs him. He refers to his patients only as “my wounded” (“Dresser” 26) or “the soldier.” Whitman asserts equality among armies, unifying all soldiers in their experience of suffering. Its complete lack of detail even regarding the color of their uniforms (which would betray the army they fight for) makes the hospitals a non-descript blur. The only details provided involve blood from battle wounds. In “The Wound-Dresser,” Whitman creates a dreamlike state of contemplation. He represents the victims as an anonymous mass of sufferers and does not label his patients based on the alignment for which they haveworn out. On the other hand, section 18 very clearly delineates sides and thus attempts to raise the defeated men to the same level of esteem as the victors. Whitman demonstrates equality in very different ways in these texts, and this manifests itself especially clearly through his use of the auditory senses. In “Song of Myself,” the narrator's strong statements are reflected in his way of playing the music loudly and confidently. On the other hand, the total lack of sound in “The Wound-Dresser” contributes to the dreamlike quality of the narrative, which in turn makes men equal through the paucity of descriptions and differences, rather than an emphasis on them.Section 18 deals almost exclusively with hearing. The narrator discusses music throughout. A musical element pervades the section, with strong diction such as "beat," "pound," and "blow" ("Song" 365-366) associated with the narrator's actions. Additionally, he uses the superlatives of “louder” and “gayer” to describe his playing. These words that emphasize create strong images and catch the reader's eye highlight the strength of the narrator's conviction towards the men he plays for. He wants the reader to follow the music, to recognize the value of every fallen man, not simply those who were part of the winning side. Sound also plays a key role in "The Wound Dresser". The utter lack of sound creates a tone that complements the lack of description of the victims. No man distinguishes himself by crying loudly or making conversation. The narrator helps one man after another, dealing with an endless parade of mutilated bodies. This contrasts sharply with the emphasis on music seen in section 18 of "Song of Myself". The entire account of his time in the hospitals is devoid of any kind of sound. This muted quality resonates because hospitals, particularly war hospitals, would be filled with men screaming, men crying. Therefore, the narrator's presentation of the experience as silent lends itself to this dreamlike quality. The sound editing is done by the narrator and is a conscious effort on his part. He begs the reader to “follow without noise” (“Dresser” 24). This silence increases the impersonal feeling of the hospital. Since no individual shouts, the occupants of each bed become a mass of faceless people. In this way the opposing sides of the war are erased. All that remains are the men who fought for ideals and who now fight for their lives. The narrator says, “I pacify with a soothing hand” (“Dresser” 61) which means to comfort them, but also fits the silence that characterizes this tale. The tone of each poem also comes from Whitman's extensive use of repetition. In section 18 of “Song of Myself,” repetition enhances the narrator's flattery and the musical air of his expression. The last two stanzas have the tone of a greeting. Beginning with “Vivas to those who have failed” (“Song” 367) and followed by four lines beginning with “And to…” the image emerges of Whitman toasting these unsung soldiers. In particular, the repeated “And to” resembles a coda. They give the poem a certain rhythm that otherwise, being a free verse, is missing. Also, use repetition to highlight the term “heroes” which appears three times in the last two lines. In these cases he praises the defeated soldiers to put them on the same level of respect as the victorious ones. The repetition in “The Wound-Dresser” highlights the relentless torrent of faceless patients. Whitman repeats the phrase “I onward go” (“Dresser” 34), or some variation, several times throughout the poem. The reader senses the narrator's weariness as he helps the men, each as wounded as the next. Whether it's a shoulder injury or a hand injury.