The Yale Literary Magazine, Vol. 24

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Excerpt from The Yale Literary Magazine, Vol. 24: December, 1858In Maud there appear to be two totally distinct designs and it is from the fact of not distinguishing the relation in which these stand to one another, that the confused notions many persons have of the poem take their rise. At the very commencement, we have lines written under the in¿uence of feelings, excited to a diseased action, glorifying war and condemning peace and all the chicanery and crime which grow up along with and out of the arts of peace. Yet this design, with which the poem opens, with which it closes, is referred to but once or twice in the body of the work, which is taken up with the narration of a love-story and its developement of passion through all the stages of doubt, certainty and despair. How shall these two things, apparently so contradictory, be reconciled? Were the beginning and the end simply tacked on at the moment of publication, to ¿atter the passing feelings of a people engaged at that very time in a great struggle, or even to stir up those feelings more powerfully 7 An object so disgraceful as the former, or even so temporary as the latter, could be no inducement to an author whose reputation was already acquired, and who, for the sake of ac quiring it, had never done anything unworthy of the high mission which in early life he had claimed for himself. The poem must be accepted as it stands. The introduction and the close are constit uent parts of it, and by their relation to the general design is it to be judged.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully, any imperfections that remain are intentionally left to preserve the state of such historical works.