Various, The Atlantic Monthly, Volume 06…
“ It excites our wonder to observe how in pathos Hood's genius divests itself of attributes which had seemed essential to its existence. All that is grotesque, whimsical, or odd disappears, and we have only the soul of pity in the sound of song,—in song "most musical, most melancholy." In pathos, Hood's is not what we should call a transformed genius so much as a genius becoming divested of its coarser life, and then breathing purely the inner spirit of goodness and beauty. The result is what one might almost term the "absolute" in pathos. Nothing is excluded that is necessary to impression ”
