Lyrics LOWELL'S POETRY 449 The best of Lowell's lyrics may be grouped in two classes, the first dealing with his personal joy or grief, the second with the feelings of the nation. Typical of the former are "The First Snowfall" and a few other lyrics reflecting the poet's sorrow for the loss of a little daughter, simple, human poems, in refreshing contrast with most others of Lowell, which strive for brilliancy. The best of the national lyrics is "The Present Crisis" (1844). This was at first a party poem, a ringing appeal issued during the turmoil occasioned by the annexation of Texas; but now, with the old party issues forgotten, we can all read it with pleasure as a splendid expression of the American heart and will in every crisis of our national history. In the nature lyrics we have a double reflection, one of the external world, the other of a poet who could not be singleminded, and who was always confusing his own impressions of nature or humanity with those other impressions which he found reflected in poetry. Read the charming "To a Dandelion," for example, and note how Lowell cannot be content with his Dear common flower that grow'st beside the way, but must bring in Eldorado and twenty other poetic allusions to glorify a flower which has no need of external glory. Then for comparison read Bryant's "Fringed Gentian" and see how the elder poet, content with the flower itself, tells you very simply how its beauty appeals to him. Or read "An Indian-Summer Reverie" with its scattered lines of gold, and note how Lowell cannot say what he feels in his own heart but must search everywhere for poetic images; and then, because he cannot find exactly what he seeks or, more likely, because he finds a dozen tempting allusions where one is plenty, he goes on and on in a vain quest that ends by leaving himself and his reader unsatisfied. Sir Launfal The most popular of Lowell's works is The Vision of Sir Launfal (1848), in which he invents an Arthurian kind of legend of the search for the Holy Grail. Most of his long poems are labored, but this seems to have been written in a moment of inspiration. The "Prelude" begins almost spontaneously, and when it reaches the charming passage "And what is so rare as a day in June?" the verse fairly begins to sing, a rare occurrence with Lowell. Critical readers may reasonably object to the poet's moralizing, to his imperfect lines and to his setting of an Old World legend of knights and castles in a New World landscape; but uncritical readers rejoice in a moral feeling that is fine and true, and are content with a good story and a good landscape without inquiring whether the two belong together. Moreover, Sir Launfal certainly serves the first purpose of poetry in that it gives pleasure and so deserves its continued popularity among young readers. Two satiric poems that were highly prized when they were first published, and that are still formally praised by historians who do not read them, are A Fable for Critics Satires and The Biglow Papers. The former is a series of doggerel verses filled with grotesque puns and quips aimed at American authors who were prominent in 1848. The latter, written in a tortured, "Yankee" dialect, is made up of political satires and conceits occasioned by the Mexican and Civil wars. Both works contain occasional fine lines and a few excellent criticisms of literature or politics, but few young readers will have patience to sift out the good passages from the mass of glittering rubbish in which they are hidden. ९९ Much more worthy of the reader's attention are certain neglected works, such as Lowell's sonnets, his "Prometheus," "Columbus," "Agassiz," "Portrait of Dante," "Washers of the Shroud," "Under the Old Elm" (with its noble tribute to Washington) and "Stanzas on Freedom." It is a pity that THE ESSAYS OF LOWELL 451 such poems, all of which contain memorable lines, should be kept from the wide audience they deserve, and largely because of the author's digressiveness. To examine them is to conclude that, like most of Lowell's works, they are not simple enough in feeling to win ordinary readers, like the poetry of Longfellow, and not perfect enough in form to excite the admiration of critics, like the best of Poe's melodies. LOWELL'S HOUSE, CAMBRIDGE, IN WINTER Lowell's Prose. In brilliancy at least Lowell has no peer among American essayists, though others excel him in the better qualities of originality or charm or vigor. The best of his prose works are the scintillating essays collected in My Study Window and Among My Books. In his political essays he looked at humanity with his own eyes, but the titles of the volumes just named indicate his chief interest as a prose writer, which was to interpret the world's books rather than the world's throbbing life. For younger readers the most pleasing of the prose works are the comparatively simple ་་ sketches, "My Garden Acquaintance," Cambridge Thirty Years Ago" and "On a Certain Condescension in Foreigners." In these sketches we meet the author at his best, alert, witty and so widely read that he cannot help giving a literary flavor to whatever he writes. Among the best of his essays on literary subjects are those on Chaucer, Dante, Keats, Walton and Emerson. One who reads a typical collection of Lowell's essays is apt to be divided between open admiration and something akin to Quality of resentment. On the one hand they are brilliant, the Essays stimulating, filled with "good things"; on the other they are always digressive, sometimes fantastic and too often self-conscious; that is, they call our attention to the author rather than to his proper subject. When he writes of Dante he is concerned to reveal the soul of the Italian master; but when he writes of Milton he seems chiefly intent on showing how much more he knows than the English editor of Milton's works. When he presents Emerson he tries to make us know and admire the Concord sage; but when he falls foul of Emerson's friends, Thoreau and Carlyle, his personal prejudices are more in evidence than his impersonal judgment. In consequence, some of the literary essays are a better reflection of Lowell himself than of the men he wrote about. An author must be finally measured, however, by his finest work, by his constant purpose rather than by his changing mood; and the finest work of Lowell, his critical studies of the elder poets and dramatists, are perhaps the most solid and the most penetrating that our country has to show. He certainly kept "the great tradition" in criticism, a tradition which enjoins us, in simple language, to seek only the best and to reverence it when we find it. As he wrote: Great truths are portions of the soul of man; Great souls are portions of eternity; Each drop of blood that e'er through true heart ran With lofty message, ran for thee and me. A NEW-WORLD HUMORIST OLIVER WENDELL HOLMES (1809-1894) 453 It is a sad fate for a writer to be known as a humorist; nobody will take him seriously ever afterward. Even a book suffers from such a reputation, the famous Don Quixote for example, which we read as a type of extravagant humor but which is in reality a tragedy, since it portrays the disillusionment of a man who believed the world to be like his own heart, noble and chivalrous, and who found it filled with villainy. Because Holmes (who was essentially a moralist and a preacher) could not repress the bubbling wit that was part of his nature, our historians must set him down as a humorist and name the "One-Hoss Shay" as his most typical work. Yet his best poems are as pathetic as "The Last Leaf," as sentimental as "The Voiceless," as patriotic as "Old Ironsides," as worshipful as the "Hymn of Trust," as nobly didactic as "The Chambered Nautilus "; his novels are studies of the obscure problems of heredity, and his most characteristic prose work, The Autocrat of the Breakfast Table, is an original commentary on almost everything under the sun. ९९ Evidently we prize a laugh above any other product of literature, and because there is a laugh or a smile hidden in many a work of Holmes he must still keep the place assigned to him as an American" humorist. Even so, he is perhaps our most representative writer in this field; for he is as thoroughly American as a man can be, and his rare culture and kindness are in refreshing contrast to the crude horseplay or sensationalism that is unfortunately trumpeted abroad as New World humor. A Placid Life. Though Holmes never wrote a formal autobiography he left a very good reflection of himself in his works, and it is in these alone that we become acquainted with him, a genial, witty, observant, kind-hearted and pure-hearted man whom it is good to know. He belonged to what he called "the Brahmin caste" of intellectual aristocrats (as described in his novel, Elsie Venner), for he came from |