...down night's nimbus floods on taces ghastly, swollen, purple ..." (LG 320); or, from another poem, "war and all its deeds of carnage must in time be utterly lost, / . . . the hands of the sisters Death and Night incessantly softly wash again, and ever again, this...

...could only hope with Whitman, in words that he set in 1 93621 when war was once again threatening, 'that war and all its deeds of carnage must in time...softly, wash again and ever again this soiled world'. Between 1918 and 1920, while working on A Pastoral Symphony, Vaughan Williams made extensive cuts and...

...only require but not itself achieve. Quoting "Reconciliation" from Sequel to Drum- Taps—"Beautiful that war and all its deeds of carnage, must in time be utterly lost" (Sequel, jjj), Sweet claims: "Discourse itself is represented as possessing the aesthetic power to...

...for an end to divisions in the Union, particularly in the poem "Reconciliation," a term he called the "Word over all, beautiful as the sky! / Beautiful...its deeds of carnage, must in time be utterly lost" (LG Far II, 555-56). Whitman's impetus for this kind of cultural amnesia suggests a desire to forget...

...strong as that created in Whitman's "Reconciliation" as he imagines not his "camerado" but "my enemy": Word over all, beautiful as the sky, Beautiful that...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...

...shares with Whitman's little poem "Reconciliation," which first appeared in Sequel to Drum-Taps (1865): Word over all, beautiful as the sky, Beautiful that...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...

...drums give you music; And my heart, O my soldiers, my veterans, My heart gives you love. Reconciliation WORD over all, beautiful as the sky! Beautiful that...lost; That the hands of the sisters Death and Night, incessandy softly wash again, and ever again, this soil'd world: . . . For my enemy is dead — a man...

...invariably moves —the recognition of the humanity of the enemy—is the capstone of this poem as well: "For my enemy is dead, a man divine as myself is dead." Typically, however, Whitman takes the abstraction and makes it physical, startling us with the final...

...The man who had known "many a soldier's kiss... on these bearded lips," had one kiss left to bestow: 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. Bend down and touch lightly with my lips the white face in the coffin.3 3 With...

...hope takes root in the mortal intimacy between the poem's speaker and his dead enemy: Word over al1 beautiful as the sky. Beautiful that war and all its deeds of carnage must ut time be utterly lost. Thar the hands of the sisters Death and Night incessantly softly wash again....