To me, the song does question the idea that conscientious objectors might act differently when the proverbial threat is at their own door. One is the ideal way we hope we might act. The other allows us to adjust to a the nuances of a particular situation--one with heavy emotional content. Knowing Stan, he took many shots at those positions he judged to be less than manly in the macho, maybe Ernest Hemingway, sense.

I know I would act on the emotions of the moment if someone was knocking down our own door.

Indeed, the only time I ever got credit for laying a guy out in a bar was when a drunk (who shall remain nameless) came on hard to Carol at The Fifth Peg bar/folk club in Chicago----> and she was eight months pregnant at the time. I intervened, got between the two of them, put my hands on his 2 shoulders and pushed him back. As he was quite drunk, he staggered back---and knocked down a row of bar stools! Folks were sure I'd punched him out. Soooo, I was tossed out of the bar. (John Prine was singing his set in the music room---1970; everyone was back there listening and that's why the bar stools were empty.)

Stan asked me once why I didn't do any of his songs!?   I told him that I could never do 'em with the voice and the style he brought to them. He set the standard very high by nailing the song every time he chose to sing one. Stan took exception to that---so I learned "White Squall."

Art Thieme