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Excerpt from The Yale Literary Magazine, Vol. 24: December, 1858
In support of this theory, we have other proof besides the direct language of the commencement and conclusion. Almost the only allusion to war in the body of the work is in Part X, and in that place its introduction can be explained upon no other ground than that the design of the poem is what has been above stated. For the hero of the story, from bitter abuse of the new-made lord, in whom his jealous heart sees at once a rival, suddenly turns to a fierce in vective against some nameless huckster who had been preaching down the little army of England. There is no apparent connection between the two verses. To a superficial reader the speaker seems to jump from one subject to the other, without bridging the chasm by which they are separated. But the transition finds an easy ex planation, in truth, its only explanation, in the momentary glimpse the narrator gets of the tumult of his own feelings - ia the sudden conviction, entering his mind, that no war, however terrible or sor row-laden in its immediate effects, could be productive of so much evil and sin as the unchecked rule of the passions which were just agitating his own soul.
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