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BULLETS IN THE AIR, BLOOD IN THE SOIL, INK ON THE PAGE:
LEADERSHIP, WAR, TRAUMA, MEMORY AND HEALING IN THE
SELECT ENGLISH POEMS
Ms. M.S. Sowgan higa
English Li e a u e, CDOE, Bha a hia Uni e si y, Coimba o e
supe s a ms.[email p o ec ed]
D . S. Kalai ani
Assis an P o esso o English, CDOE, Bha a hia Uni e si y, Coimba o e
[email p o ec ed]u.in
h ps://doi.o g/10.5281/zenodo.17283367
Abs ac
The leade o he leade ship does no anish when he mission ends. Bulle s o e he ai , blood soaked
he soil, bu ink p ese ed wha wa ied o e ase. In he silence ha ollows con lic , leade ship is es ed,
memo y is ac u ed, and poe y bea s wi ness. Whe e s a egy ends, e se begins—ca ying he weigh o
auma, he echo o command, he agmen s o memo y, and he long oad o healing. This pape explo es
Wal Whi man’s “When Lilacs Las in he Doo ya d Bloom’d” as a ounda ional elegy ha uses leade ship,
wa , and healing in o a poe ic s uc u e ha an icipa es 20 h and 21s -cen u y auma li e a u e. I ’s a
landma k elegy ha ede ined how poe y could media e na ional auma. By examining Whi man’s
ea men o Ab aham Lincoln’s dea h as bo h pe sonal and na ional loss, he s udy highligh s how na u al
image y becomes a si e o e hical ememb ance and mo al leade ship. The pape hen ex ends his
amewo k by in eg a ing oices om Wil ed Owen, Don DeLillo, John McC ae, Seamus Heaney, Mahmoud
Da wish, W.B. Yea s, and Langs on Hughes—au ho s whose wo ks simila ly con e g ie in o collec i e
memo y and esis ance. This a icle-- using li e a y heo y, his o ical s ances, and leade ship models--
a gues ha Whi man’s elegy and Lincoln's leade ship b ings ou a wo ldwide adi ion o poe ic mou ning
in esponse o wa and con lic .
Keywo ds: Leade ship, Ab aham Lincoln, Wal Whi man, E hical Leade ship, Wa Poe y, T auma
li e a u e, Memo y, Healing.
In oduc ion
Wa is no jus a backd op bu a c ucible o eckoning auma, leade ship, and memo y. In
his pape , we conside “When Lilacs Las in he Doo ya d Bloom’d” as a pi o o examine and
add ess he e olu ion o he 20 h and 21s -cen u y wa li e a u e. This compa a i e lens e eals
hema ic con inui y ac oss di e se geopoli ical con ex s and ou key hema ic clus e s:
ep esen a ion, e hics, memo y, and humani a ian conce ns. The pape posi ions wa poe y as
bo h a pe sonal wi ness and ci ic commen a y. The wo ks o Wil ed Owen, John McC ae,
Seamus Heaney, Mahmoud Da wish, W.B. Yea s, and Langs on Hughes a e examined o
unde s and how g ie is ans o med in o e hical ememb ance. By examining Whi man’s
symbolic s a egies alongside e ol ing heo ies o se an and ans o ma ional leade ship, his
a icle posi ions his elegy as a co ne s one ex in he global li e a y esponse o con lic ,
memo y, and na ional conscience.
Wa Li e a u e and he Eme gence o T auma Na a i e
In he as e ain o 20 h and 21s -cen u y English li e a u e, wa has long unc ioned as
he ajec o y om sha e ed sel o imagina i e healing, becoming cen al o excellence in
li e a u e. Wo ld Wa I had des oyed he image o idealizing wa . The combina ion o ench
wa a e, gas a acks, and mechanized killing esul ed in se e e physical and psychological
wounds. The WWI e a had a majo li e a y shi , which ma ked he bi h o mode n wa poe y.
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Li e a u e explo es sha e ed iden i y and silenced expe iences. Wa li e a u e s a ed using
agmen ed na a ion o show deep psychological damage. The ic ims’ memo ies we e o en
sca e ed, and hei iden i ies we e ac u ed. Gene ally, auma esis s linea s o y elling,
which c ea es non-na a able expe iences. Li e a u e used hese echniques, such as in e io
na a ion o mo al analysis and iden i y epai . T auma makes i ha d o ell a “no mal” s o y,
so cha ac e s s uggled o ell s o ies in a ch onological o de . One good example o such a
echnique is gi en in E ich Ma ia Rema que’s All Quie on he Wes e n F on . WWII Li e a u e
con inued he same end, bu i also began o explo e esis ance, su i al, e hics, and
econs uc ion. W i e s also analysed how people ebuild hei iden i ies and ind meaning a e
such p o ound su e ing.
Compa a i e and Global App oaches
The complex in e sec ions o wa , auma, and ememb ance in li e a u e a e o ganized in o
key hema ic clus e s ha ame he scope o his s udy. They include ep esen a ional
s a egies, e hical implica ions, memo y, and humani a ian conce ns. Whi man’s elegy is
conside ed as pi o o unde s and he li e a y discou se o 20 h and 21s -cen u y English
li e a u e. The global li e a y esponses o wa om he enches o Wil ed Owen o he
occupied homelands o Mahmoud Da wish, his s udy uses a amewo k ha highligh s bo h
hema ic con inui y and geopoli ical speci ici y. I posi ions wa poe y as bo h a pe sonal
wi ness and a ci ic commen a y ac oss cul u es.
Whi man’s Elegy as a Na ional Bluep in o Healing
Wal Whi man’s elegy “When Lilacs Las in he Doo ya d Bloom’d” is no jus a
commemo a ion o he 16 h p esiden o he US, Ab aham Lincoln. Lincoln was a g ea leade
whose leade ship was based on e hics and ans o ma ion. He led he coun y h ough he Ci il
Wa wi h s a egies and p ese ed he Union. I was an ea ly example o wa li e a u e,
composed igh a he end o he Ci il Wa and Lincoln’s assassina ion. The poem demons a es
he blend o pe sonal so ow and collec i e g ie . I mou ns he leade and he soldie s, and
c ea es a uni ied space o healing. The elegy e lec s on he endu ing na u e o Lincoln’s
leade ship and legacy, wi hin a se ing o mou ning and sp ing ime ( enewal).
The Symbolic A chi ec u e o G ie
Whi man esponds o Lincoln's dea h wi h a poe ic a chi ec u e o g ie . He uses h ee
symbols o na u e, which a e he lilacs ( ebi h o enewal), he s a (leade ship), h ush (g ie ,
dea h, and anscendence). Lincoln’s dea h ep esen s mo e han a pe sonal agedy; i
ep esen s a mo al and spi i ual ac u e in he na ion. The poem c ea es a s uc u e whe e g ie
is no e ased bu embedded in memo y and hope. Th ough laye ed na u al symbolisms,
Whi man con e s his up u e in o a p ocess o healing. The con as o na u e wi h he
iolence makes he ca as ophe s and ou mo e. Whi man’s use o blooming lilacs du ing a
na ional mou ning o e s beau y, hope, and peace, c ea es a con as , and helps hem p ocess
g ie .
Na u e and he I ony o Renewal
The poem begins in elegiac ones: “When lilacs las in he doo ya d bloom’d, / And he g ea
s a ea ly d oop’d in he wes e n sky in he nigh ” (1-2). He e, Lincoln is no jus a man, bu a
allen “s a ”—a celes ial compass ex inguished oo soon. The jux aposi ion o na u e (sp ing’s
enewal) wi h dea h is a li e a y s a egy ound in la e wa ex s, whe e na u al cycles a e
con as ed wi h human loss. Like Whi man, he Wo ld Wa I poe s o pos -9/11 w i e s use
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na u e o he na u al wo ld o nego ia e pe sonal so ow and public g ie . In “Fu ili y” w i en
by Wil ed Owen, he speake desc ibes a dead soldie and wonde s i he sun can b ing him
back o li e. He asks, “Mo e him in o he sun— / Gen ly i s ouch awoke him once” (1-2). The
sun is gene ally a na u al symbol o li e and wa m h, bu he e i is powe less o b ing him back
o li e. This showcases he helplessness o na u e agains he i e ocable des uc ion caused by
humans (wa ). The li e a y echnique o blending na u e wi h wa channels he g ie in o
na u al cycles, hus binding dea h o egene a ion.
Whi man’s Poe ic Leade ship Philosophy
Unlike Whi man’s mo e s uc u ed “O Cap ain! My Cap ain!” which o eg ounds na ional
ic o y and emo ional connec ion, his poem o e s a philosophical and symbolic po ayal o
leade ship, mo ali y, and legacy. Whi man uses he symbols o he lilac, he allen s a , and he
h ush o con ey he complexi y and mo al ounda ion o Lincoln’s leade ship. The elegy mi o s
mode n auma na a i es whe e linea exp ession is insu icien , and memo y e u ns in
agmen s. Whi man w i es: “I mou n’d, and ye shall mou n wi h e e - e u ning sp ing” (3),
showing how his g ie keeps coming back e e y yea , like a cycle. La e wa poems also
con inued his s yle--seasons, objec s, and symbols a e used o b ing back memo ies o loss. The
poem’s long cen al sec ion aces Lincoln’s une al p ocession ac oss a g ie ing na ion. As he
co in mo es h ough ields and ci ies, he poem enac s a i ual o public mou ning. Bells oll,
di ges echo, aces emain unba ed. 20 h and 21s -cen u y wa li e a u e na a i es become a
essel o na ional healing. Whi man’s symbolism c ea es he apeu ic s uc u es, and each
elemen helps he na a o and eade e ame dea h no as an end bu as pa o an in eg a ed,
pain ul con inuum.
F om F agmen a ion o Con inui y: Lincoln’s E hical Leade ship
The he mi h ush’s song, appea ing la e in Whi man’s elegy, is a u ning poin : a momen
o quie consola ion amid so ow. Lincoln’s leade ship, ma ked by sac i ice and ision, becomes
emblema ic o a na ion’s los mo al cen e. His assassina ion is ea ed no only as a pe sonal
loss bu also as a his o ical auma. Whi man posi ions Lincoln’s leade ship as e hical and
se an leade ship (G eenlea , 1977) h ough he hemes o sac i ice, empa hy, and se ice. He
had a clea ision and ga e isiona y guidance (Bennis, 2009) o his people h ough his
speeches. Lincoln p io i ized he na ion and people o e pe sonal gain 9 (Sinek, 2009). Lincoln
was a ans o ma ional leade who shaped democ a ic ideals and uni y (Bu ns, 1978; Bass,
1985). His alues and ideas, such as uni y, compassion, and emancipa ion, emain in p ac ice in
Ame ican democ acy, much like he lilacs o e his g a e. This is he ‘pinnacle leade ship’
(Maxwell, 2011), whe e a leade ’s impac sus ains because o who hey a e and wha hey
ep esen . Li e a u e con inues his way o hono allen soldie s and leade s as icons o mo al
s uggle, sou ces o inspi a ion, o eminde s o socie al esponsibili ies. The na a o ’s g ie
has no disappea ed, bu i has become bea able: “Lilac and s a and bi d wined wi h he chan
o my soul” (205). This poe ic wining e lec s how a and memo y wo k oge he o con e
auma in o meaning. I is a healing ins inc ound in mode n and pos mode n auma li e a u e.
Li e a u e as Memo ial and Mo al A chi e: Wa , Rep esen a ion, and E hics
This endu ing o e e las ing na u e o wa poe y lies in i s abili y o con ey he c uel y o
wa and he emo ional u hs, which a e o en los in poli ical na a i es. Following Whi man’s
ounda ional elegy, he poe y o Wo ld Wa I & II mus be explo ed as i p o ides one o he
mos de as a ing li e a y esponses o wa and con lic in English li e a u e. These poems
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ques ion he cos o wa , and depic he e hics, humani a ian conce ns, and emo ional
dimensions o auma and econs uc ion owa ds healing.
Lamen and Leade ship in Wil ed Owen
Wil ed Owen, like Whi man, was bo h pa icipan and wi ness. Owen’s “An hem o
Doomed You h” o e s a lamen no only o he allen com ades bu o he ailu e o leade ship
ha sen hem o die. His poe y insis s ha a leade has he du y o p o ec his people, no
be ay hem. He asks: “Wha passing-bells o hese who die as ca le?” (1), in oking he same
une al a mosphe e as Whi man’s une al ain. Owen’s use o s a k image y and simile ‘as
ca le’ highligh s he impe sonal b u ali y o wa , ha is, he dehumanized slaugh e o li es like
ca le. He c i iques how wa denies hese young soldie s he digni y o p ope une als. Owen
does no jus mou n he loss bu also blames he wa machine ha uins young li es. Bo h he
poe s ul ima ely ele a e he dead: Whi man h ough symbols o enewal and anscendence;
Owen h ough u h ha demands ememb ance and mo al cla i y.
McC ae’s Mobilized Memo y
John McC ae’s “In Flande s Fields” is mo e han jus a sad poem ha o e s a ibu e o he
dead soldie s. The speake is a allen soldie . He asks he li ing o hono he dead by con inuing
he igh and o “Take up ou qua el wi h he oe” (10) and “hold i high”. He does no wan hei
sac i ice o go in ain. These lines in oke bo h mou ning and allying. The image y o he ed
poppies blooming amid he g a es e lec s he same symbolic s a egy Whi man had used wi h
he lilacs. Na u e becomes a can as whe e human g ie and so ow a e pain ed. This passing o
he o ch con e s mou ning in o du y. The elegy e uses closu e; i weaponizes ememb ance.
Like Whi man’s “When Lilacs Las in he Doo ya d Bloom’d ”, McC ae uses na u e, speci ically
lowe s, as a essel o na ional g ie . The ed poppies, blooming amid ows o c osses, mi o
Whi man’s lilacs ha g ow ‘wi h delica e colo ed blossoms’ nea Lincoln’s body. Bo h poe s use
lo a o e e nalize loss, ancho ing public memo y in na u al ecu ence. Whi man’s s a
d ooping in he wes e n sky and McC ae’s poppies blooming be ween c osses bo h ende
absence isible:
“In Flande s ields he poppies blow
Be ween he c osses, ow on ow...” (1-2) (McC ae)
“O e he b eas o he sp ing, he land, amid ci ies,
Lo, he mos lo ed, he No he n S a …” (Whi man)
Na u e does no simply wi ness g ie —i becomes i s emblem. In bo h poems, lowe s g ow
whe e bodies lie, ma king he space be ween dea h and legacy.
Vision and Voice: Langs on Hughes and he Poe ics o Awa eness
In “I Look a he Wo ld,” Langs on Hughes w i es, “I look a my own body / Wi h eyes no
longe blind” (11–12). This sel - ecogni ion is he beginning o e hical leade ship—a hallma k
o Whi man’s Lincoln. His e ses signal a sense o awakening.
Hughes, like Whi man, belie ed ha he leade mus i s be mo ally awake. His poe y
doesn’ jus mou n injus ice—i mus e s hope and cou age. Leade ship is no he o ical bu
li ed: in he enches, in esis ance, in memo y. Toge he , hese poe s sus ain Whi man’s legacy
o he elegy as a poli ical and spi i ual ac . Thei wo ks c ea e an a chi ec u e o healing. This
a chi ec u e is buil on e hical ememb ance as hese poe s do no me ely mou n bu bea
wi ness, and ans o m he pe sonal and collec i e g ie in o a call o jus ice and mo al cla i y.
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Heaney’s Mou ning: Elegy, Silence, and Poli ical Conscience
Seamus Heaney’s “Casual y” also in eg a es pe sonal memo y and poli ical c isis. Much like
Whi man o Lincoln, Heaney’s wo k mo es beyond pe sonal loss o ques ion b oade socie al
issues. The speake mou ns a iend killed du ing he No he n I ish T oubles in a pub bombing
a e Bloody Sunday. The poem pens he impac o he poli ical iolence on o dina y people. The
dead ishe man was an apoli ical igu e who was caugh in he web o poli ical iolence. Heaney
e lec s on he loss and exp esses how he became an emblem o mo al complexi y: “How
culpable was he?” (74). This line highligh s he e hical ensions in mode n con lic . The use o
wa e image y: “Like blossoms on slow wa e ” and elegiac ones e okes Whi man’s lilacs and
h ush. In his way, Heaney con ibu es o a con empo a y memo y cul u e whe e li e a u e no
only p ese es he dead bu also ques ions he e ms o hei dea h. The poe y becomes a o m
o e hical wi nessing, no jus memo y.
Siege and Su i al: Mahmoud Da wish and Resis ance h ough Elegy
Mahmoud Da wish’s “A S a e o Siege” was w i en du ing he Second In i ada. He con inues
his cou se in a di e en cul u al na a i e. The poem e lec s on endu ance, ci ic du y, and
poe ic esponsibili y. The lines “We do wha he p isone s do/ We sow hope.” (3,5) exp ess
esilience amid ad e si y and ha dships. He w i es: “I ha e no mo e ea h o lose”. Na u e
image y in he poem such as do es, oli e g o es, ain, golden au umn, and blue sky explains how
li e can be peace ul and beau i ul. A he same ime, he poem alks abou gun i e and
des uc ion, which c ea es an emo ional impac . Flowe s and bi ds, like in Whi man’s elegy,
s and o hope and su i ing ha d imes. Pu ing peace ul na u e and iolence oge he makes
he heme e y powe ul.
Yea s and he My hologizing o Na ional T auma: “A Te ible Beau y”
Yea s’ poem “Eas e , 1916” medi a es on leade ship, ma y dom, and he cos o sac i ice o
he ans o ma ion. The e ain “A e ible beau y is bo n” exp esses he pa adoxical bi h o
new poli ical eali ies ha come h ough iolence and loss. Like Whi man, Yea s is also caugh
be ween admi a ion and mou ning; he immo alizes he leade s o he Rising, ye ques ions he
cos o hei dea h. This poem’s use o he symbolic na u e, “ he s one in he mids o all”, mi o s
Whi man’s s yle: ixed symbols in a shi ing mo al landscape. Yea s ul ima ely ecognizes he
ans o ma ion o o dina y people in o e e nal igu es, a p ocess ha Whi man enac s h ough
Lincoln.
Collec i ely, hese poe s ep esen a anshis o ical dialogue abou how li e a u e eclaims
auma, econs uc ing i in o a pu pose and eimagining a healing.
Whi man’s E hical Imp in : Leade ship Remembe ed Th ough Loss
Ra he han powe o cha isma, leade s o g ea wa s like Lincoln a e emembe ed o
sac i ice, humili y, empa hy, and ision. His dea h is no me ely an end bu a mo al inhe i ance.
Whi man w i es:
“Fo he swee es , wises soul o all my days and lands—
And his o his dea sake,
Lilac and s a and bi d wined wi h he chan o my soul.” (204–206)
The poem mou ns no jus a pe son bu an ideal o e hical and isiona y leade ship. This
ision anscends he Ame ican Ci il Wa . By making g ie a sou ce o mo al cla i y, Whi man
ele a es he elegy in o a uni ied space whe e public loss becomes an e hical call o ac ion.
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Conclusion
Poe y does no me ely eco d he pas bu eclaims and eshapes pain in o pu pose. This
pape examined how Whi man’s elegy u ns g ie in o e hical e lec ion and in luenced la e wa
poe y. All hese poe s use poe y o link so ow wi h public esponsibili y. By linking pe sonal
so ow wi h public memo y, hese poe s show how li e a u e can help socie ies p ocess auma.
Na u e plays a i al ole in p ocessing g ie . Li e a u e keeps ha memo y ali e. The ue
iumph o leade ship lies no in conques , bu in he legacy o he leade ship ha ou li es i .
These indings highligh poe y’s endu ing abili y o help socie ies p ocess auma and e lec
on leade ship.
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DeLillo, Don. Falling Man. Sc ibne , 2007.
Goleman, Daniel. Emo ional In elligence. Ban am Books, 1995.
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