Identity
To the speaker of the poem, the soldiers lack personal identities but hold significance as parts of a long, winding line of bodies. The speaker appreciates this scene for its artistic unity, observing how the line of soldiers blends seamlessly into the natural landscape. Symbolically, the soldiers' line reflects the river, and the "brown-faced" men merge into the surroundings like trees. The flag they follow for honor and identity is even tied to nature with the descriptor "snowy." From afar, these men lose their individual identities, collectively shedding the traits that separate humans from nature.
Midway through the poem, there is a brief moment encouraging readers to see the soldiers as individuals rather than just part of a group. Whitman instructs, “Behold,” prompting the reader to view “each person a picture.” While some details are given to differentiate one group from another, there are no specifics to help readers imagine distinct individuals.
The soldiers' lack of individuality and their appearance as part of a larger unit align with the main goal of military training—to make soldiers prioritize their commanders' orders over personal needs and desires. Soldiers wear uniforms and march in formation to identify as part of a collective; in this poem, Whitman extends this anonymity to their faces and stances. The indistinguishability of these soldiers from one another demonstrates their success in fulfilling their military roles.
War and Peace
Readers entranced by the poem's vivid portrayal of soldiers heading into battle might temporarily miss the serious, life-and-death issues at the heart of war. The scene is one of peaceful harmony, with horses idling and men at rest, while the rhythmic clatter of the soldiers' equipment is mirrored by the poem's use of alliteration (the repetition of consonant sounds) and assonance (the repetition of vowel sounds). The final line, which describes how the “flags flutter gaily in the wind,” perfectly captures the carefree and comforting tone that flows throughout the entire piece.
This poem stands out because it defies the brutality often associated with war poetry. By presenting soldiers in a peaceful moment, engaged in the simple task of crossing a river, Whitman adds a human element to war and reminds readers that behind the excitement of battle, there are everyday people involved in military operations. The stark contrast between this peaceful scene and the typical violence of war is so pronounced that the poem doesn't seem to try to mislead readers about the horrors of combat. In fact, readers become more aware of the impending danger these soldiers might face precisely because it is so notably absent. Although there is no direct threat in this scene, the poem's structure—such as the abrupt pause in line 5, which suggests unspoken issues—serves as a reminder that the peace depicted here is fleeting in the context of war.
Nature
The presence of both men and horses in this cavalry regiment highlights the poem's focus on nature. On one level, the poem examines the interaction between humanity and the natural world. The military unit represents the dual nature of humanity: the primal urge for violence and the advanced strategic thinking. Unlike modern warfare, which is executed from afar with computer-guided missiles, these cavalry soldiers maintain a close bond with nature through their relationships with their horses and their need to adapt to their natural surroundings. In this particular scene, it is a river, rather than an adversary, that they must navigate. The poem underscores humanity's link to nature using natural imagery: the term "serpentine" describes the winding formation of the men, while "brown-faced" conveys a natural tone, reminding readers that these soldiers have been exposed...
(This entire section contains 141 words.)
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to the sun and fresh air.
Order and Disorder
This poem creates a subtle tension between the reader's understanding of the chaotic nature of battle and the disciplined actions of a well-trained military unit executing basic maneuvers. Although the cavalry's mission to cross the river includes moments of rest and relaxation, it retains its structured form. The soldiers are described as being "in long array," a phrase often associated with formal attire, implying that their march is a kind of organized presentation, a deliberate display for an audience. The poem emphasizes this idea of a simple military maneuver as a structured exhibition by inviting readers to "behold."
Even with the regimented structure, both soldiers and their horses tend to follow their natural inclinations towards disorder. Horses splash in the water and linger, while soldiers take breaks whenever they can. Each person acts independently, fulfilling their unique role based on their position in the line. This suggests that someone observing closely might not comprehend the cavalry's overall strategy. Only from a sufficient distance does the order in their actions become apparent.
Unity of the Nation
The Civil War era was a transformative and turbulent period for both the United States and Walt Whitman personally. Prior to the outbreak of conflict in 1861, Whitman's poetry often celebrated the unity of the nation, a theme that would become more complex and poignant with the advent of war. The cessation of peace left Whitman initially silent and reflective, with only a few patriotic calls to arms, such as “Beat! Beat! Drums!,” punctuating this quiet period.
However, the war's impact became intensely personal when news reached Whitman in late 1862 of his brother George's injury at the Battle of Fredericksburg. Rushing to the front lines, Whitman found his brother with only minor wounds and decided to remain with the army for several months. This experience at the frontline catalyzed a shift in Whitman's poetic expression.
During these months, Whitman began crafting a series of vivid, concise poems, characterized by their sketchlike quality. Among these, “Cavalry Crossing a Ford” stands out as a notable example. Unlike his earlier works, these poems eschew the overt persuasion of argument and personality. Instead, Whitman employed a deliberate arrangement of imagery to evoke the unity he so cherished, perhaps as a response to the fractured reality of the times. In doing so, Whitman sought to capture the essence of the nation’s spirit amidst chaos, providing a lens through which the harmony of a united front could still be envisioned despite the ravages of war.
Democracy and the Individual
In this imagistic reflection, the speaker adopts a more subdued tone compared to earlier works, choosing not to engage in lofty assertions. Unlike the voice in "Crossing Brooklyn Ferry," this speaker refrains from making transcendent claims, instead focusing on the tangible presence of soldiers crossing a ford. Each soldier, whether just entering the stream or emerging on the opposite bank, is portrayed as an equal part of the collective march. This portrayal echoes one of Walt Whitman's central themes: the delicate interplay between the "simple separate person" and the broader "En-Masse," as introduced in "One's-Self I Sing," the opening poem of Leaves of Grass.
Within the poem, the soldiers are depicted as distinct individuals, each a "picture," yet simultaneously part of a "line in long array." They personify the democratic ideals of the Union army—a group of rugged, self-reliant individuals united for a common cause. Consistent with the themes throughout Drum-Taps, there are no officers highlighted, just the men themselves. These soldiers, depicted in a nonchalant and confident manner, echo the wartime versions of the vivid characters in "Song of Myself," such as the leisurely boatmen, clam diggers, and diligent blacksmiths. Each figure embodies the democratic spirit, where individuality contributes to the strength of the collective.
The Relationship Between People and Political Institutions
In the intricate tapestry of human existence, the relationship between individuals and political institutions is often fraught with ambiguity and complexity. This dynamic is vividly encapsulated in the symbolism of flags within literature, serving as a powerful metaphor for both unity and separation. In a traditional sense, flags are emblematic of a collective identity, rallying "brown-faced men" and "lines in long array" under a shared national endeavor. They soar above the scene, signifying cohesion among those engaged in a communal struggle.
Yet, the imagery of flags also suggests a distinct detachment from the immediate, tangible realities experienced by individuals. While the soldiers, their horses, and the natural elements like green islands and silvery rivers are integral to the world's creation, flags remain abstract constructs, hovering separately from the visceral elements of life. This separation underscores a broader philosophical notion, eloquently articulated by Whitman, that a nation’s true essence resides not within its political symbols or institutional frameworks but within the living, breathing individuals who form its core.
Through this lens, political institutions, represented by flags, appear as both an embodiment of unity and a reminder of their inherent abstraction. The flags fluttering above the scene encapsulate this duality, standing as both a unifying force and a symbol set apart from the immediate lived experiences of those beneath them. Thus, the relationship between people and political institutions is at once interconnected and distinct, a tension that continues to shape the fabric of society.
