In the introduction to their seminal edition of The Holy War (1682) Roger Sharrock and James Forrest identify a softening of Bunyan's attitude in the 1670s concerning 'the terrors that had haunted his conscience' (HW, p. xiv) regarding hell and damnation. They argue that the harsher and more rigidly defined theology of predestination, hitherto predominant in Bunyan's writing, was becoming gentler, being gradually replaced by an inclination towards the 'mercy and relief available to Christians'. An example is provided by the actions of Emanuel in The Holy War, a paragon of goodness and mercy, who constantly forgives the ingratitude of Mansoul's citizens for their disobedience, and lack of constancy and discipline (HW, pp. xiv, xvi). Yet The Holy War is a profoundly violent text where Emanuel's mercy and forgiveness are tempered by his willingness to wage war in a determined and bloody fashion. Violent conflict is everywhere apparent, as a line from the prefatory poem to the text makes clear: 'Mansoul, it was the very seat of war' (HW, p. 4). When the battle for the town of Mansoul takes place between the forces of good and evil, led by Emanuel and Diabolus respectively, the text informs us that 'many were maimed and wounded, and slain' (HW, p. 83). When Emanuel recaptures the town of Mansoul for the first time from the occupying forces of Diabolus, the chief among the ungodly are tried and crucified. In its depiction of armed conflict, and in its characterisation of the warrior for religious truth, Bunyan's narrative closely resembles Milton's in Paradise Lost (1667). Neil Keeble has observed that Bunyan, like Milton, was a 'transgressive and subversive author' whose dissent from the established church was lifelong and pronounced.