The Red Business: PTSD and The Poet
The representation of “real war” is more naturally expected in epics or novels than in a lyric poem or even a sequence of poems. But Walt Whitman is a rare hybrid, a lyric-narrative poet, and is necessarily aware that a war poem must visibly exhibit its primal archetype in realistic battle. His war poems can be read as a series urgently entering the war through different portals, each attempting to fill a different gap in the imagined panorama, each therefore reflecting the assumed partial inadequacy of the others, and the need for more. To read Drum-Taps, his collection of 1865, is to recognize how quickly Whitman realized the banality of his early jingoistic battle-cries and flag-wavings, not to speak of the suppression, in those early war poems, of what he called, with deadly accuracy, “the red business.” In 1861, when the Civil War began, Whitman was a man in his forties, a non-combatant who had never himself even been wounded. His most natural lyric genre was a poem spoken in the first person. Could he, should he, ethically assume the voice of an active soldier? Nor was he sure of the stance that he should take toward weapons and their wielders. Was he obliged to portray actual killing? He found comparably troubling questions everywhere in the composition of his war poetry.
In addition to such moral questions, formal questions came thronging, arising inevitably in the perplexities of representing battle. At what point should the poem enter the battle, and how much had the poem to accomplish before it could find an ending? What kind of battle should it present, in what large or small setting? Should it be seen in close-up or from a distance? Who will populate the battle, with what weapons, and in what choreography? How specific must the poem be: should the armies be named, should the cause of the war be articulated? What decorum should a war poem observe: should dead bodies be exposed to view? In a personal lyric such perplexities are more easily solved by ear, eye, and instinct, but when the topic arises from a contemporary war, known in its historical circumstances (from newspapers and military bulletins), how shall the poet enter his nation’s current history? And how are his claims to be authenticated? Such questions would arise interiorly in anyone writing a group of war poems.
Whitman made the most active claim to the authenticity of his reportage in the first poem of Leaves of Grass: “I am the man, I suffer’d, I was there.” Those words bring to a close an anecdote in which the poet learns of the actions of a heroic sea-captain: how he risked following a sinking ship through three stormy days, and how, when the storm abated, the brave captain rescued the traumatized passengers from what would have been their sure death:
How he saved the drifting company at last,
How the lank loose-gown’d women look’d when boated from the side of their prepared graves,
How the silent old-faced infants and the lifted sick, and the sharp-lipp’d unshaved men;
— but at that very moment, within the very same sentence, the narrated story of the captain’s acts begins to move, with almost biological caution, step by step, into first-person speech. The poet gradually feels himself mutating into one of the rescued passengers:
All this I swallow, it tastes good, I like it well, it becomes mine,
I am the man, I suffer’d, I was there.
His new identity, which at first appears (quite peculiarly) as a present-tense testing of sense-experience — of ingestion, of swallowing, of tasting — comes to life as a complete present-tense being (“I am the man”). The poet then recapitulates the process in the past tense: the poet insists that he is the same man as he was before the assumption of his added identity — that of one saved from death: “I am the man, I suffer’d, I was there.” The three “I’s”, present and past, fuse into a new immaterial oneness.
Are you the man? Did you suffer? Were you there? How can the reader be persuaded of this extraordinary declaration? And if this is the poet’s suffering during a purely “natural” catastrophe — a storm — can he expect the reader to believe him when he takes on the hideous suffering — caused by arbitrary human evil — of “the hounded slave”?
I am the hounded slave, I wince at the bite of the dogs,
Hell and despair are upon me, crack and again crack the marksmen,
I clutch the rails of the fence, my gore dribs, thinn’d with the ooze of my skin,
I fall on the weeds and stones.
Whitman, often pondering the empathetic possibility of union, implicitly authenticated his claim by the accuracy of his vocabulary — his imagination alone was responsible for his convincing portrayal of the population awaiting rescue: the women of the shipwreck, their “lank” “loose-gown’d” selves, and the sad infants, surprisingly “silent” and “old-faced,” the sick needing to be “lifted,” the “unshaved” men with their three-days’ beards. We can even see what the drifting doomed are thinking as they fear “their prepared graves.”
In a postwar poem, “Sparkles from a Wheel,” Whitman clarifies this imagined participatory process, naming it “effusion.” As the poet-speaker casually notices a knife-grinder in the street, his impersonal first glance narrows to a directed focus. The focusing awakens in the eager eye an arterial imagination, recreating the material presence of the poet’s physical body as an invisible immaterial one:
Myself effusing and fluid, a phantom curiously floating, now here absorb’d and arrested.
Absorbing, he is absorbed; arrested by the scene, he is arrested into it. Only after his casual physical eyesight fixes on the individual detail of the organ-grinder does his spirit effuse itself (Latin: “pour itself out into a receptacle”). In “I am the hounded slave,” the poet’s self-doubling flushes nouns and verbs alike into physicality: hounded, wince, despair, crack, clutch, gore, ooze, fall. The poet’s language also plays with the directional possibilities (right to left, left to right) of his fused identities: not only does the physical body arise to become the floating phantom, but the phantom’s agonies (its immaterial woundings) can reverse into material furnishings (the garments he wears):
Agonies are one of my changes of garments;
I do not ask the wounded person how he feels, I myself become the wounded person,
My hurts turn livid upon me as I lean on a cane and observe.
In simultaneous actions, the wounded body bleeds as the phantom bleeds, immaterially, invisibly, while the immaterial body, livid with hidden hurts, issues from the apparently unharmed observer leaning on his cane. Standing in the street, the supposed “observer” absents himself into a “fluid” new state of feeling. Whitman’s most eloquent and indubitable testimony to the mysterious process by which self-effusion generates an immaterial identity appears in a sublime moment of the prose Preface to Leaves of Grass. There effusion is described in almost biblical cadences, because even to the poet himself the invisible (but entirely real) psychological “effusing” seems an almost miraculous phenomenon:
From the eyesight proceeds another eyesight and from the hearing proceeds another hearing and from the voice proceeds another voice eternally curious of the harmony of things with man.
Owing to his interest in others, and because he could “effuse” himself into almost anyone, in “The Artilleryman’s Vision” Whitman invents, so far as I know, the first American poem of PTSD. Gradually, in his involuntary effusion of linguistic sympathy into the mind of the Artilleryman, Whitman diagnoses the soldier’s affliction as a form of mental illness with a tragic prognosis: the soldier cannot (in the world of the poem) awaken from his postwar “vision” and rejoin his sleeping family. The poem is not the history of a single flashback (defined as “a reawakened memory”). On the contrary, through its bizarre structures and disorganized suites of perceptions, it becomes a surreal portrait of the grim alterations of a disturbed mind.
It also incarnates Wordsworth’s aphoristic but less familiar definition of poetry in his note to “The Thorn” (in the 1800 addition of Lyrical Ballads): “Poetry is passion; it is the history or science of feelings.” The poem’s irregular narrative “plot” furnishes the history of the Artillery Man’s heightened senses and hypervigilant feelings, while the incoherent orientations of his “vision” bring to light Whitman’s science of the feelings aroused by the distress of reliving — not merely remembering — the trauma of witnessing or participating in death-threatening events. I am not the first to see the poem as a description of PTSD, but critics, in their abbreviated mention of the plot, tend to treat the “vision” as a flashback to an actual memory of a single event, a literal transcription of real sights seen by day. But the Artilleryman calls the “sight” that shocks him awake not a memory or a nightmare, but a “vision” — a sacred word, denoting a transcendent and involuntary revelation.
Whitman must bring his readers to recognize the Artilleryman’s “vision” not as a realistic transcript of the seen but rather as a record of the motions of a suffering mind — as a form of mental illness. How do we come to judge the Artilleryman’s “vision” as a form of mental disease inducing distortion and distraction? The poem’s disorder matches, I believe, one variety of the psychological disorders now medically defined (not least in the DSM) under the term “Post-Traumatic Stress Disorder” as a response to having experienced or witnessed actual or threatened death. Unafraid of diagnosing the Artilleryman’s symptoms as indicators of a mental illness, Whitman establishes a tragic prognosis by violating the presumptive “happy ending” of such a poem. Normally an opening frame is matched by a closing frame, and since the soldier was asleep before being awakened by his “vision” we expect him to make a successful return from the vision-journey to his domestic bedroom. This he does not do. By amputating the expected exit-frame, Whitman traps his soldier in permanent trauma.
There are, I would say, three plots to “The Artilleryman’s Vision.” The first is the external, asymmetrical, and tragic plot of the frame-lacking-its-end-frame, which consigns the Artilleryman to everlasting torment. From his night-watches in hospital wards, Whitman would have known that post-traumatic stress could give rise to a recurrent disorder, warranting a hopeless closure of his poem. The second plot, the one of external narrative, tracks the battle’s sights and sounds as the Artilleryman’s mind renders them, while silently, by various manipulations of language, it unveils the effects of trauma on his perceptions, exhibiting the full terror and zest of war before the “vision” arrives at its increasingly chaotic and dangerous close. And the third plot — initially invisible and most inventive — is that of the gradual dehumanization of the Artilleryman by the hellish elements of the “vision” pressing upon him.
In World War I, the link between unendurable battles and the nervous collapse of some soldiers seemed self-evident, requiring for healing only a period of sustained rest, after which the soldier was to be sent back to the front. (Success in “healing” was erratic.) Physicians attempting, at Craiglockart Hospital, to treat Wilfred Owen, Siegfried Sassoon, and other sufferers laid a groundwork for the scientific study of the disease. More recently, the internal and therefore invisible psychic injuries common in PTSD, such as “derealization” (in which the external world appears unreal) and “dissociation” (in which the sufferer watches himself from a numbed distance), have been added to the more evident behavioral symptoms (agitation, tremor, insomnia, self-isolation, hostility, and sudden flashbacks). “The Artilleryman’s Vision” is Whitman’s early — and astonishingly accurate — example of the variety of PTSD that, as an internal mental disease, is harbored invisibly by a physically uninjured veteran.
We notice immediately a disjunctive feature of “The Artilleryman’s Vision”: a hidden third-person “external” narrator gives the poem its title, thereby introducing his human subject not by a personal name but by a military title establishing the soldier’s battle-function: he is the Artilleryman. (We soon discover that all the active soldiers in the poem are identified solely by their military functions.) The title-announcer does not call the poem “I, the Artilleryman”; rather, he is himself a military officer categorizing his men by their assigned mission. After the title, the Artilleryman immediately “takes over” the poem in his deceptively serene first-person opening lines, which serve to frame the central “vision” of battle. As the narrative proper arrives, the ex-soldier (at home) suddenly wakes explosively into a “vacant” midnight which is involuntarily and immediately “filled” by battle-scenes (“I see”) and sounds (“I hear”). The poem then tracks the soldier’s increasingly violent responses to his battle-vision. At first the Artilleryman strives to retain a frail residual sanity, recognizing his vision as a “fantasy unreal”; in a second phase (the battle) he strives to organize his perceptions by several means, for instance by connecting weapons and their wielders, but is defeated by the battle’s overwhelming number of details pressing to be classified; in the third, noise and chaos mount as he undergoes a form of exhilarating madness, bearing out Whitman’s most penetrating insight — that it is “the old mad joy” of killing that floods the heart of the now dehumanized soldier.
Whitman is of course not the first lyric poet brave enough to give a poetic journey an unhappy ending. George Herbert dared, in “The Pilgrimage,” to thwart the devoted traveler’s arrival at his sacred destination. When the pilgrim finds, as he ends his journey, not the promised “gladsome hill” but only “a lake of brackish waters,” he cries out,
Alas my King;
Can both the way and end be tears?
It is a beautiful and resentful line, and as the deceived pilgrim journeys on, he observes that any rest, even that of death, would be preferable to this dangerous and unjust form of life:
After so foul a journey death is fair,
And but a chair.
Although Herbert’s pilgrim is allowed at least that closing complaint, Whitman’s Artilleryman at the end disappears completely unable to depart from the horrors by which he is still surrounded. Robbed of his personal functions, he is fixed forever in his military one.
Whitman was troubled as he sought for a truthful conclusion to “The Artilleryman’s Vision.” We know this because he left a draft of the poem from 1862 called “A Battle.” There the Artilleryman addresses an anonymous comrade, narrating the events that he sees. In the immediate aftermath of mass-killing, however, he cannot continue his “objective” description of the battle, whereupon his recital falls apart in his hands. Mid-line, his second-person narration leaps into first-person testimony, sliding from fact into personal outcry:
The chief gunner ranges and sights his piece, and selects a fuse of the right time,
After a shot see how he leans aside and looks eagerly off, to see the effect!
Then after the battle, what a scene! O my sick soul, how the dead lie.
The first-person draft-lament accelerates into an uncontrolled tautology of melodrama:
O the hideous hell, the damned hell of war
Were the preachers preaching of hell?
O there is no hell more damned than this hell of war.
O what is here? O my beautiful young men! O the beautiful hair, clotted! The faces!
But almost immediately Whitman rejected the draft: apparently he could not feel at home in his own sedulously inserted but emotionally arid intrusions (“see how he leans aside and looks eagerly off!”), nor could he accept the unravelling of his lament into incoherent repetition. In 1865, when the abandoned draft was revised into first-person enunciation, the poet found a chillingly fitting form of closure, as we shall see.
Whitman had been asking himself whether he, as a non-combatant, has a right to speak in a soldier’s voice. In the draft he had hoped that addressing a “you” would insert some second-person drama into the poem while wondering why he was unable to animate a third-person narrative. As the finished poem reveals, he solved the problem of voice by capitulating altogether to a first-person voice emanating from an active soldier. In this capitulation he is obeying the injunctions of poetic law in preference to personal fact. Speaking always, now, as the Artilleryman, Whitman will “become” a combatant, and his feelings (as well as his observations) will, as Wordsworth prescribed, govern his language.
Manifestations of feelings throughout the battle-scenes in the finished poem are multiple. The soldier uses gerunds (nouns made from verbs, and therefore more stable than verbs) in performing his inventory of weapons: he hears not bombs buzzing or muskets rattling, but rather abstractions: “the hum and buzz of the great shells… the rattle of musketry.” Such a conversion establishes the passage of time and gives distinct attention to each weapon. But finally the Artilleryman gives up on his inventory, despairing of precision and falling into vaguely generalized groups (“the sounds of the different missiles”) such as haunt his “vision.” Forsaking words, he valiantly attempts phonetic mimicry (“the short s-s-t! s-s-t! of the rifled ball”), falling back on such aural transcription once more in the penultimate line. Hoping to find a vein by which he may be able to “effuse” and empower himself, the Artilleryman internally undergoes the impact of his vision, unprepared for its outcome. At first a sliver of sanity remains, as the soldier characterizes his vision as a “fantasy unreal” and can adopt an “objective” view: “the skirmishers begin,” “tumultuous now the battle rages.” But such distanced perception disappears as the Artilleryman re-enters the battle, flaunting his imaginative power with hyperbole: “all the scenes at the batteries” return again.
But in what manner do all the scenes arise? The Artilleryman’s view must now be a panoramic one (a form of divine omniscience) in sound as well as sight: the orchestral noise-level rises ominously. Whitman must conjure up — and represent — how the “vision” of a PTSD sufferer differs from the “same” events as seen in ordinary life or in transcriptive memory. He continues to imagine and to recreate the world as it lies inside the oppressed Artilleryman’s brain — distorted, arbitrarily condensed, irrationally contracted or expanded in the fantasy of the “vision.” To the startled Artilleryman, his “fantasy unreal” has become altogether real. The “vision” dictates even his cognition, what the soldier sees and where he directs his glance.
We perceive, as the soldier sketches his scenes, the flagrant reductiveness of war. The soldiers are nothing but their functions: stripped of their personal names and their domestic roles, they become faceless individuals, unranked, without identifying uniforms, socially naked until they are given their guns and uniforms and their assignments or rank — “the chief-gunner”, “the colonel.” When the Artillery man sees a group of nameless “men” not yet engaged in battle, proudly exhibiting their guns, he offers no details of their position, rank, or duties; they participate in the facelessness of “the ranks.” The new recruits remain nameless until they acquire, along with their uniforms and their guns, a military identity, an identifiable place in the army’s implacable hierarchy. Thus does the Artilleryman’s “vision” become “unreal,” deleting from its soldiers all identifications but the external ones that they acquire when they join the army, becoming replaceable cogs in the military machine. If one artilleryman falls, another can be called to take his place.
I must mention, because it clarifies the unexpected closure of the revised “Artilleryman’s Vision,” another draft (immediately following the draft of “Battle”), which will evolve into “A March in the Woods Hard-Prest and the Road Unknown.” In it, Whitman finds a plausible way to insert a first-person soliloquy into a third-person poem: one soldier, detaching himself from troops briefly resting from their “hard-prest” march fleeing their defeat, enters a field-hospital full of wounded and dying soldiers. Sharp-eyed, the soldier details all that he observes, arriving finally at the most desperate sight, a death-spasm. A reader may be baffled by the very strange end to the soldier’s soliloquy: after he turns back to rejoin the ranks, the last sight that he records from his time in the field-hospital has nothing expressly to do with the wounded and dying. Rather, he notes a purely eye-catching aesthetic detail, “the glisten of the little steel instruments catching the flash of the torches.” In the finished poem “flash” was removed and the line was revised to emphasize by alliteration the reciprocity of light from scale to scale, from “glisten” to “glint.” The alliteration further magnetizes the two halves of the moving light-gestalt, creating in effect a fascinating “reverberation” of light in chiaroscuro across differences in scale, from great flashing torches to little steel instruments. I mention this involuntary distraction from pain — enabled by a diversion of the eye to an impersonal aesthetic notation — because such a diversion becomes indispensable to the unexpected conclusion of “The Artilleryman’s Vision.”
An old, reminiscing “artillerist” had turned up in the first edition of Leaves of Grass in 1855, but at that time Whitman had never seen war. By 1862, he evidently understood, from his work in the Washington hospitals, the intense suffering of men who appear uninjured but who in fact bear invisible mental torments generated by what they and others had witnessed and done on the field. In Whitman’s images of PTSD, the soldiers are not recovering “a” memory; rather, they are exposed to a kind of living film-mosaic of horrors accreted during their months or years of service. Their internal “film” has neither logic nor rational sequence, as Whitman is at pains to show in his “matching” of scenes to language.
When Whitman converts “The Artilleryman’s Vision” into an autobiographical account, he makes sure, by its introductory peaceful domestic frame, that it is not a war poem but emphatically a postwar poem. It was first published under the title “The Veteran’s Vision,” but in 1871 the poet, realizing that it would be better understood as a poem about the psychic trauma of lethal battle, made his protagonist not merely a “veteran” but rather a soldier tasked to operate a large front-line cannon, and therefore inevitably responsible for many enemy deaths. Though the Artilleryman’s initial battle details may sound “natural,” the poet’s language, by separating the sounds from each other and distributing them among distinct weapons, ensures the ongoing passage of time during his compelled and exhausting inventory. And by framing the Artilleryman’s experience of battle not as a remembered past moment of war but as the “now” of private midnight after-effects, Whitman has decided on a tragic prognosis for his wounded soldier.
The main verb of the Artilleryman’s opening frame-narrative is in the present tense (“I wake”), and the apparently uninjured soldier alarmingly becomes a combatant again, filling the “vacant midnight” with his threatening “vision” as it unrolls through its “scenes” and “sounds”, interspersed with early “objective” glimpses of the battle itself: “the skirmishers begin, they crawl cautiously ahead.” These brief remarks reflect the soldier’s attempt at the “objectivity” of a third-person observer. Soon enough, however, the aspiration to dispassionate reportage is crushed by the relentless vision that “presses upon” him, and he finds himself in the midst of a literally mimetic battle, where sounds substitute for words, and the soldier — still sane — comments parenthetically from the sidelines: “tumultuous now the contest rages.” The first-person voice will not, however, submit itself further to the impartial voice of detached observation. As the Artilleryman re-enters the battle, he flaunts hyperbole as his banner of reprise: “all” the scenes at the batteries become present to him “again.” “Again,” is the familiar word normally introducing an imaginative reprise, except that here the alerted Artilleryman means the word literally. It is as though a curtain rises on an immense and overwhelming panorama of the entirety of his wartime experience and the vision must choose at each scene the point to which he must direct his glance.
As Whitman begins to imagine and recreate the world as it exists inside the oppressed Artilleryman’s brain, experienced reality becomes distorted, arbitrarily condensed, irrationally contracted or expanded in the madness of “vision.” To the startled Artilleryman, his private and obsessive “fantasy unreal” becomes, as it overcomes his resistance, an experience entirely real and relived. The chaos and increasing uncontrollability of the scenes as the battle progresses warn us that we are following, now, not reality but the deformities of thinking that haunt the veteran of the war. Normally, a narrator would create a reasonable chronology of the battle, but Whitman’s Artilleryman produces scenes arbitrarily and at random: here a close-up, there a distance-view; here a sound, there an action; here a limited capacity, there a panoramic display. These scenes are not produced by the soldier but rather are “pressed” upon him like an incubus, as he lies passive under its rising undermining of rationality.
The poem’s ever-unstated underplot is, as I say, that of the dehumanization of soldiers. The process, begun when the soldier was dislocated from his family and civilian life and reduced from being a named person to being a named function, can end only when the recruit returns home — but the Artilleryman can never return to “a normal life.” The dense battle in his “vision,” is similarly reduced, since it is “populated” by only two groups: soldiers and weapons. The weapons-as-independent-agents, “shrieking” and “buzzing,” dominate the Artilleryman’s initial battle-scenes, and the killing power of those weapons excites their wielders. To the dehumanized “chief-gunner,” his success in killing is a matter of skill, part of an athletic contest and not part of the shedding of blood. At various points in the vision, soldiers become caught up in their own success, and are “cheering” as though war were a sport, giving a “shout of applause” as if the battlefield were a theater. Slowly their dehumanization becomes undeniable. As fantasy becomes reality, the soldiers numb themselves against the realization of what they are actually doing.
War has so dehumanized the Artilleryman, so effaced human distinctions, that he enumerates fallen comrades only as “gaps cut by the enemy’s volleys.” The “gaps” (boasts the Artilleryman) are visually “quickly fill’d up, no delay.” At first the Artilleryman was relatively remote from the center of the battle, dependent on the senses that can operate at a distance, on sight and hearing, but as the battle closes in on him, a nearer sense is activated as his nostrils must admit “the suffocating smoke.” After the respite of a deceptive “lull,” the Artilleryman — earlier the active listener to what he was hearing but now an assaulted victim — quails before “the chaos louder than ever.” The density of the population on the field increases: close by, he hears “eager calls and orders of officers,” who are, we suppose, as “eager” as the chief-gunner to see the effect of their weapons. And all of these scenes have a soundtrack: “And ever the sound of the cannon far or near.” Enemy cannon like his own now approach the Artilleryman; he cannot escape their menace.
At this desperate point Whitman’s genius comes most fully into play: the last word we expect to hear from the Artilleryman is “joy.” Yet here it is, as Whitman penetrates to the ultimate heart of war: it is a primitive tribal savagery, permitted nowhere else in “civilized” life. Not only is it a “joy,” but it is also a madness — an “old” madness recognized from some previous undefined violence perpetrated by the Artilleryman himself on some victim. Whitman’s boldest insight is the frighteningly intimate response of “joy” to violence. In the depths of his soul the Artilleryman feels “a devilish exultation and all the old mad joy.” The Artilleryman still has a conscience, he still knows his joy to be “devilish,” but in the grip of his vision he is immune to shame and guilt. From the indifference of the soldier to the bodies that fill the gap in the line, from the dehumanization of the soldier until he is nothing but a weapon of war, feeling wild joy as his cannon leaps into action, Whitman depicts the Artilleryman’s moral dissolution as he ignores his own companions, wounded unto death, as they flee the front. Indeed, self-numbed against the truth, he boasts of his own insensibility: “The falling, dying, I heed not, the wounded dripping and red I heed not, some to the rear are hobbling.”
“And ever the sound of the cannon…And ever the hastening infantry shifting positions.” “Ever” is the summary word of the vision; the Artilleryman is powerless to expel his incubus. How is it, then, that the Artilleryman turns his eyes skyward at the end? He is still in his “vision,” but he is deflecting guilt and shame by two methods: he sophistically displays his “patriotism” by quoting from Francis Scott Key’s poem “The Star-Spangled Banner” (later set to the music of an “English tavern-song” on its way to becoming our national anthem), and he resorts to an aesthetic language to support his evasion, resembling the soldier in “A March in the Ranks Hard-Prest” who could no longer bear to focus on comrades dying and focused instead on “glints” picked up by small steel instruments from the “glisten” of the great torches. Since the artist’s eye seeks out from childhood what is beautiful, there is always the temptation (especially in youth) to obscure the unacceptable and to mask it by some version of the beautiful. The most courageous artists, like Whitman in “The Artilleryman’s Vision,” hope to refuse the temptation to aestheticize, and therein to falsify, the truth.
The Artilleryman’s vision never releases him: Whitman refuses to return him to the slumbering wife and the breathing infant of the opening frame. In the last moment of his vision, he is still trapped in the hell of war; there is no homecoming from derangement. The soldier attempts to sanitize his vision by abstracting it, in its last words, into a purely visual epiphenomenon: “And at night the vari-colored rockets.” Yet he does not succeed, by these self-exculpations, in escaping his vision; it is still in power, still “pressing upon” its victim, enabling the Artilleryman to excuse his violent joy in war by concluding on an “innocent” and unrepentant note, pleased by the distance from himself in Key’s poetic bombs and colored rockets in the sky. It is a self-defensive conclusion that should shock every reader, the Artilleryman’s flight, by means of an appeal to isolated beauty, from the deaths inflicted on others by his cannon.
To confine a battle to a short lyric is to court trouble. It is natural in a war poem to cite a casus belli, but in the published poem Whitman does not. The implications are evident. What are the two sides fighting about? Who knows, who cares; war is a constant in every culture; men, weapons, deaths. What permits war? The dehumanization of the soldiers on both sides. And what motivates war, generation after generation? Exhilaration: men find it exhilarating, a unique, irresponsible thrill, and can forget, in its spell, the humanity not only of their opponents but of their fellow-soldiers, even of themselves.
Only after rereading “The Artilleryman’s Vision” do we recognize its analytic ambition: to diagnose, silently, by the apparently incoherent reportage of the postwar mentality of a flailing soldier, a disordered mind helpless against the midnight assaults of its alternately frightful and (secretly) zestful vision. And it is only after seeing the poem as a case history that we recognize the implicit prognosis in its abrupt end. Within his own stricken account, the Artilleryman cannot diagnose his case nor admit its prognosis. Every conclusion drawn by the reader must be hinted at by Whitman’s pen — whether by a structural feature (the absence of a closing “frame”); a fall into mimetic sound to suggest the impossibility of intelligible renditions of battle; an unnerving descent into a suddenly religious vocabulary — “the depths of my soul” — when the Artilleryman is appalled by his own appetite for killing, his “devilish exultation and all the old mad joy.” And the more frenzied revelation — “I heed them not” — allows us to see him indeed as a damned soul, further damned by his affected distance as he contemplates not death nor dehumanization nor self-numbing but instead the pleasing liveliness of the skyward spectacle. And by the time he fuses, at the end, an illogical list of unregulated entities — “grime, heat, aide-de camps galloping by” — we perceive that his mind has broken down into a distorting chaos from which he will never recover, a recurrent mental illness not yet given a name.