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Even in overtly biographical poems biographical facts vary in their
relevance.

There is a disgust weaving its way through TWL which is much better
recognized and understood in the light of fairly well known biographical
material. And commentary on the poem needs to recognize that.

But the situation is different with the awful daring lines. They
immediately follow the first speaking of the thunder, and _in_ the poem,
they are as I suggested earlier an abstract proposition about human
experience -- about the human condition as it were. ("Abstract" is not a
dirty word in my critical vocabulary.) Probably the lines have a
biographical reference -- _but it is not relevant_ here, and to focus
here on hunting for such a referent (the particular event obviously not
obvious) distracts from the real power of the lines as an abstract
statement forming part of the whole web of relations which constitute
the poem.

Carrol