In Cambridge there are two literary shrines to which visitors are sure to find their way soon after passing the Harvard gates, "Craigie House," the home of Longfellow and "Elmwood," the home of Lowell. Though their hallowed retirement has been profaned by the encroachments of the growing city, yet in their simple dignity these fine old colonial mansions still bespeak the noble associations of the past, and stand as memorials of the finest products of American culture.

Elmwood was built before the Revolution by Thomas Oliver, the Tory governor, who signed his abdication at the invitation of a committee of "about four thousand people" who surrounded his house at Cambridge. The property was confiscated by the Commonwealth and used by the American army during the war. In 1818 it was purchased by the Rev. Charles Lowell, pastor of the West Congregational Church in Boston, and after ninety years it is still the family home. Here was born, February 22, 1819, James Russell Lowell, with surroundings most propitious for the nurturing of a poet-soul. Within the stately home there was a refined family life; the father had profited by the unusual privilege of three years' study abroad, and his library of some four thousand volumes was not limited to theology; the mother, whose maiden name was Spence and who traced her Scotch ancestry back to the hero of the ballad of Sir Patrick Spens, taught her children the good old ballads and the romantic stories in the Fairie Queen, and it was one of the poet's earliest delights to recount the adventures of Spenser's heroes and heroines to his playmates.

An equally important influence upon his early youth was the out-of-door life at Elmwood. To the love of nature his soul was early dedicated, and no American poet has more truthfully and beautifully interpreted the inspired teachings of nature, whispered through the solemn tree-tops or caroled by the happy birds. The open fields surrounding Elmwood and the farms for miles around were his familiar playground, and furnished daily adventures for his curious and eager mind. The mere delight of this experience with nature, he says, "made my childhood the richest part of my life. It seems to me as if I had never seen nature again since those old days when the balancing of a yellow butterfly over a thistle bloom was spiritual food and lodging for a whole forenoon." In the Cathedral is an autobiographic passage describing in a series of charming pictures some of those choice hours of childhood:

Quite like other boys Lowell was subjected to the processes of the more formal education of books. He was first sent to a "dame school," and then to the private school of William Wells, under whose rigid tuition he became thoroughly grounded in the classics. Among his schoolfellows was W.W. Story, the poet-sculptor, who continued his life-long friend. Thomas Wentworth Higginson, who was one of the younger boys of the school, recalls the high talk of Story and Lowell about the Fairie Queen. At fifteen he entered Harvard College, then an institution with about two hundred students. The course of study in those days was narrow and dull, a pretty steady diet of Greek, Latin and Mathematics, with an occasional dessert of Paley's Evidences of Christianity or Butler's Analogy. Lowell was not distinguished for scholarship, but he read omnivorously and wrote copiously, often in smooth flowing verse, fashioned after the accepted English models of the period. He was an editor of Harvardiana, the college magazine, and was elected class poet in his senior year. But his habit of lounging with the poets in the secluded alcoves of the old library, in preference to attending recitations, finally became too scandalous for official forbearance, and he was rusticated, "on account of constant neglect of his college duties," as the faculty records state. He was sent to Concord, where his exile was not without mitigating profit, as he became acquainted with Emerson and Thoreau. Here he wrote the class poem, which he was permitted to circulate in print at his Commencement. This production, which now stands at the head of the list of his published works, was curiously unprophetic of his later tendencies. It was written in the neatly, polished couplets of the Pope type and other imitative metres, and aimed to satirize the radical movements of the period, especially the transcendentalists and abolitionists, with both of whom he was soon to be in active sympathy.

Lowell's first two years out of college were troubled with rather more than the usual doubts and questionings that attend a young man's choice of a profession. He studied for a bachelor's degree in law, which he obtained in two years. But the work was done reluctantly. Law books, he says, "I am reading with as few wry faces as I may." Though he was nominally practicing law for two years, there is no evidence that he ever had a client, except the fictitious one so pleasantly described in his first magazine article, entitled My First Client. From Coke and Blackstone his mind would inevitably slip away to hold more congenial communion with the poets. He became intensely interested in the old English dramatists, an interest that resulted in his first series of literary articles, The Old English Dramatists, published in the Boston Miscellany. The favor with which these articles were received increased, he writes, the "hope of being able one day to support myself by my pen, and to leave a calling which I hate, and for which I am not well fitted, to say the least."

During this struggle between law and literature an influence came into Lowell's life that settled his purposes, directed his aspirations and essentially determined his career. In 1839 he writes to a friend about a "very pleasant young lady," who "knows more poetry than any one I am acquainted with." This pleasant young lady was Maria White, who became his wife in 1844. The loves of this young couple constitute one of the most pleasing episodes in the history of our literature, idyllic in its simple beauty and inspiring in its spiritual perfectness. "Miss White was a woman of unusual loveliness," says Mr. Norton, "and of gifts of mind and heart still more unusual, which enabled her to enter with complete sympathy into her lover's intellectual life and to direct his genius to its highest aims." She was herself a poet, and a little volume of her poems published privately after her death is an evidence of her refined intellectual gifts and lofty spirit.

In 1841 Lowell published his first collection of poems, entitled A Year's Life. The volume was dedicated to "Una," a veiled admission of indebtedness for its inspiration to Miss White. Two poems particularly, Irene and My Love, and the best in the volume, are rapturous expressions of his new inspiration. In later years he referred to the collection as "poor windfalls of unripe experience." Only nine of the sixty-eight poems were preserved in subsequent collections. In 1843, with a young friend, Robert Carter, Lowell launched a new magazine, The Pioneer, with the high purpose, as the prospectus stated, of giving the public "a rational substitute" for the "namby-pamby love tales and sketches monthly poured out to them by many of our popular magazines." These young reformers did not know how strongly the great reading public is attached to its literary flesh-pots, and so the Pioneer proved itself too good to live in just three months. The result of the venture to Lowell was an interesting lesson in editorial work and a debt of eighteen hundred dollars. His next venture was a second volume of Poems, issued in 1844, in which the permanent lines of his poetic development appear more clearly than in A Year's Life. The tone of the first volume was uniformly serious, but in the second his muse's face begins to brighten with the occasional play of wit and humor. The volume was heartily praised by the critics and his reputation as a new poet of convincing distinction was established. In the following year appeared Conversations on Some of the Old Poets, a volume of literary criticism interesting now mainly as pointing to maturer work in this field.

It is generally stated that the influence of Maria White made Lowell an Abolitionist, but this is only qualifiedly true. A year before he had met her he wrote to a friend: "The Abolitionists are the only ones with whom I sympathize of the present extant parties." Freedom, justice, humanitarianism were fundamental to his native idealism. Maria White's enthusiasm and devotion to the cause served to crystallize his sentiments and to stimulate him to a practical participation in the movement. Both wrote for the Liberty Bell, an annual published in the interests of the anti-slavery agitation. Immediately after their marriage they went to Philadelphia where Lowell for a time was an editorial writer for the Pennsylvania Freeman, an anti-slavery journal once edited by Whittier. During the next six years he was a regular contributor to the Anti-Slavery Standard, published in New York. In all of this prose writing Lowell exhibited the ardent spirit of the reformer, although he never adopted the extreme views of Garrison and others of the ultra-radical wing of the party.

But Lowell's greatest contribution to the anti-slavery cause was the Biglow Papers, a series of satirical poems in the Yankee dialect, aimed at the politicians who were responsible for the Mexican War, a war undertaken, as he believed, in the interests of the Southern slaveholders. Hitherto the Abolitionists had been regarded with contempt by the conservative, complacent advocates of peace and "compromise," and to join them was essentially to lose caste in the best society. But now a laughing prophet had arisen whose tongue was tipped with fire. The Biglow Papers was an unexpected blow to the slave power. Never before had humor been used directly as a weapon in political warfare. Soon the whole country was ringing with the homely phrases of Hosea Biglow's satiric humor, and deriding conservatism began to change countenance. "No speech, no plea, no appeal," says George William Curtis, "was comparable in popular and permanent effect with this pitiless tempest of fire and hail, in the form of wit, argument, satire, knowledge, insight, learning, common-sense, and patriotism. It was humor of the purest strain, but humor in deadly earnest." As an embodiment of the elemental Yankee character and speech it is a classic of final authority. Says Curtis, "Burns did not give to the Scotch tongue a nobler immortality than Lowell gave to the dialect of New England."

The year 1848 was one of remarkably productive results for Lowell. Besides the Biglow Papers and some forty magazine articles and poems, he published a third collection of Poems, the Vision of Sir Launfal, and the Fable for Critics. The various phases of his composite genius were nearly all represented in these volumes. The Fable was a good-natured satire upon his fellow authors, in which he touched up in rollicking rhymed couplets the merits and weaknesses of each, not omitting himself, with witty characterization and acute critical judgment; and it is still read for its delicious humor and sterling criticism. For example, the lines on Poe will always be quoted:

And so the sketch of Hawthorne:

Lowell was now living in happy content at Elmwood. His father, whom he once speaks of as a "Dr. Primrose in the comparative degree," had lost a large portion of his property, and literary journals in those days sent very small checks to young authors. So humble frugality was an attendant upon the high thinking of the poet couple, but this did not matter, since the richest objects of their ideal world could be had without price. But clouds suddenly gathered over their beautiful lives. Four children were born, three of whom died in infancy. Lowell's deep and lasting grief for his first-born is tenderly recorded in the poems She Came and Went and the First Snow-Fall. The volume of poems published in 1848 was "reverently dedicated" to the memory of "our little Blanche," and in the introductory poem addressed "To M.W.L." he poured forth his sorrow like a libation of tears:

The year 1851-52 was spent abroad for the benefit of Mrs. Lowell's health, which was now precarious. At Rome their little son Walter died, and one year after their return to Elmwood sorrow's crown of sorrow came to the poet in the death of Mrs. Lowell, October, 1853. For years after the dear old home was to him The Dead House, as he wrote of it:

Before 1854 Lowell's literary success had been won mainly in verse. With the appearance in the magazines of A Moosehead Journal, Fireside Travels, and Leaves from My Italian Journal his success as a prose essayist began. Henceforth, and against his will, his prose was a stronger literary force than his poetry. He now gave a course of lectures on the English poets at the Lowell Institute, and during the progress of these lectures he received notice of his appointment to succeed Longfellow in the professorship of the French and Spanish languages and Belles-Lettres in Harvard College. A year was spent in Europe in preparation for his new work, and during the next twenty years he faithfully performed the duties of the professorship, pouring forth the ripening fruits of his varied studies in lectures such as it is not often the privilege of college students to hear. That pulling in the yoke of this steady occupation was sometimes galling is shown in his private letters. To W.D. Howells he wrote regretfully of the time and energy given to teaching, and of his conviction that he would have been a better poet if he "had not estranged the muse by donning a professor's gown." But a good teacher always bears in his left hand the lamp of sacrifice.

In 1857 Lowell was married to Miss Frances Dunlap, "a woman of remarkable gifts and grace of person and character," says Charles Eliot Norton. In the same year the Atlantic Monthly was launched and Lowell became its first editor. This position he held four years. Under his painstaking and wise management the magazine quickly became what it has continued to be, the finest representative of true literature among periodicals. In 1864 he joined his friend, Professor Norton, in the editorship of the North American Review, to which he gave much of the distinction for which this periodical was once so worthily famous. In this first appeared his masterly essays on the great poets, Chaucer, Dante, Shakespeare, Spenser, Milton, Dryden, and the others, which were gathered into the three volumes, Among My Books, first and second series, and My Study Windows. Variety was given to this critical writing by such charming essays as A Good Word for Winter and the deliciously caustic paper On a Certain Condescension in Foreigners.

One of the strongest elements of Lowell's character was patriotism. His love of country and his native soil was not merely a principle, it was a passion. No American author has done so much to enlarge and exalt the ideals of democracy. An intense interest in the welfare of the nation broadened the scope of his literary work and led him at times into active public life. During the Civil War he published a second series of Biglow Papers, in which, says Mr. Greenslet, "we feel the vital stirring of the mind of Lowell as it was moved by the great war; and if they never had quite the popular reverberation of the first series, they made deeper impression, and are a more priceless possession of our literature." When peace was declared in April, 1865, he wrote to Professor Norton: "The news, my dear Charles, is from Heaven. I felt a strange and tender exaltation. I wanted to laugh and I wanted to cry, and ended by holding my peace and feeling devoutly thankful. There is something magnificent in having a country to love." On July 21 a solemn service was held at Harvard College in memory of her sons who had died in the war, in which Lowell gave the Commemoration Ode, a poem which is now regarded, not as popular, but as marking the highest reach of his poetic power. The famous passage characterizing Lincoln is unquestionably the finest tribute ever paid to Lincoln by an American author.

In the presidential campaign of 1876 Lowell was active, making speeches, serving as delegate to the Republican Convention, and later as Presidential Elector. There was even much talk of sending him to Congress. Through the friendly offices of Mr. Howells, who was in intimate personal relations with President Hayes, he was appointed Minister to Spain. This honor was the more gratifying to him because he had long been devoted to the Spanish literature and language, and he could now read his beloved Calderon with new joys. In 1880 he was promoted to the English mission, and during the next four years represented his country at the Court of St. James in a manner that raised him to the highest point of honor and esteem in both nations. His career in England was an extraordinary, in most respects an unparalleled success. He was our first official representative to win completely the heart of the English people, and a great part of his permanent achievement was to establish more cordial relations between the two countries. His literary reputation had prepared the ground for his personal popularity. He was greeted as "His Excellency the Ambassador of American Literature to the Court of Shakespeare." His fascinating personality won friends in every circle of society. Queen Victoria declared that during her long reign no ambassador had created so much interest or won so much regard. He had already been honored by degrees from Oxford and Cambridge, and now many similar honors were thrust upon him. He was acknowledged to be the best after-dinner speaker in England, and no one was called upon so often for addresses at dedications, the unveiling of tablets, and other civic occasions. It is not strange that he became attached to England with an increasing affection, but there was no diminution of his intense Americanism. His celebrated Birmingham address on Democracy is yet our clearest and noblest exposition of American political principles and ideals.

With the inauguration of Cleveland in 1885 Lowell's official residence in England came to an end. He returned to America and for a time lived with his daughter at Deerfoot Farm. Mrs. Lowell had died in England, and he could not carry his sorrow back to Elmwood alone. He now leisurely occupied himself with literary work, making an occasional address upon literature or politics, which was always distinguished by grace and dignity of style and richness of thought.

In November, 1886, he delivered the oration at the 250th anniversary of the founding of Harvard University, and, rising to the requirements of this notable occasion, he captivated his hearers, among whom were many distinguished delegates from the great universities of Europe as well as of America, by the power of his thought and the felicity of his expression.

During the period of his diplomatic service he added almost nothing to his permanent literary product. In 1869 he had published Under the Willows, a collection that contains some of his finest poems. In the same year The Cathedral was published, a stately poem in blank verse, profound in thought, with many passages of great poetic beauty. In 1888 a final collection of poems was published, entitled Heartsease and Rue, which opened with the memorial poem, Agassiz, an elegy that would not be too highly honored by being bound in a golden volume with Lycidas, Adonais and Thyrsis. Going back to his earliest literary studies, he again (1887) lectured at the Lowell Institute on the old dramatists, Occasionally he gave a poem to the magazines and a collection of these Last Poems was made in 1895 by Professor Norton. During these years were written many of the charming Letters to personal friends, which rank with the finest literary letters ever printed and must always be regarded as an important part of his prose works.

It was a gracious boon of providence that Lowell was permitted to spend his last years at Elmwood, with his daughter, Mrs. Burnett, and his grandchildren. There again, as in the early days, he watched the orioles building their nests and listened to the tricksy catbird's call. To an English friend he writes: "I watch the moon rise behind the same trees through which I first saw it seventy years ago and have a strange feeling of permanence, as if I should watch it seventy years longer." In the old library by the familiar fireplace he sat, when the shadows were playing among his beloved books, communing with the beautiful past. What unwritten poems of pathos and sweetness may have ministered to his great soul we cannot know. In 1890 a fatal disease came upon him, and after long and heroic endurance of pain he died, August 12, 1891, and under the trees of Mt. Auburn he rests, as in life still near his great neighbor Longfellow. In a memorial poem Oliver Wendell Holmes spoke for the thousands who mourned:

Lowell's rich and varied personality presents a type of cultured manhood that is the finest product of American democracy. The largeness of his interests and the versatility of his intellectual powers give him a unique eminence among American authors. His genius was undoubtedly embarrassed by the diffusive tendency of his interests. He might have been a greater poet had he been less the reformer and statesman, and his creative impulses were often absorbed in the mere enjoyment of exercising his critical faculty. Although he achieved only a qualified eminence as poet, or as prose writer, yet because of the breadth and variety of his permanent achievement he must be regarded as our greatest man of letters. His sympathetic interest, always outflowing toward concrete humanity, was a quality—

With marvelous versatility and equal ease he could talk with the down-east farmer and salty seamen and exchange elegant compliments with old world royalty. In The Cathedral he says significantly:

In the delightful little poem, The Nightingale in the Study, we have a fanciful expression of the conflict between Lowell's love of books and love of nature. His friend the catbird calls him "out beneath the unmastered sky," where the buttercups "brim with wine beyond all Lesbian juice." But there are ampler skies, he answers, "in Fancy's land," and the singers though dead so long—

His love of reading is manifest in all his work, giving to his style a bookishness that is sometimes excessive and often troublesome. His expression, though generally direct and clear, and happily colored by personal frankness, is often burdened with learning. To be able to read his essays with full appreciation is in itself evidence of a liberal education. His scholarship was broad and profound, but it was not scholarship in the German sense, exhaustive and exhausting. He studied for the joy of knowing, never for the purpose of being known, and he cared more to know the spirit and meaning of things than to know their causes and origins. A language he learned for the sake of its literature rather than its philology. As Mr. Brownell observes, he shows little interest in the large movements of the world's history. He seemed to prefer history as sublimated in the poet's song. The field of belles-lettres was his native province; its atmosphere was most congenial to his tastes. In book-land it was always June for him—

But books could never divert his soul from its early endearments with out-of-door nature. "The older I grow," he says, "the more I am convinced that there are no satisfactions so deep and so permanent as our sympathies with outward nature." And in the preface to My Study Windows he speaks of himself as "one who has always found his most fruitful study in the open air." The most charming element of his poetry is the nature element that everywhere cheers and stimulates the reader. It is full of sunshine and bird music. So genuine, spontaneous and sympathetic are his descriptions that we feel the very heart throbs of nature in his verse, and in the prose of such records of intimacies with outdoor friends as the essay, My Garden Acquaintance. "How I do love the earth," he exclaims. "I feel it thrill under my feet. I feel somehow as if it were conscious of my love, as if something passed into my dancing blood from it." It is this sensitive nearness to nature that makes him a better interpreter of her "visible forms" than Bryant even; moreover, unlike Bryant he always catches the notes of joy in nature's voices and feels the uplift of a happy inspiration.

In the presence of the immense popularity of Mark Twain, it may seem paradoxical to call Lowell our greatest American humorist. Yet in the refined and artistic qualities of humorous writing and in the genuineness of the native flavor his work is certainly superior to any other humorous writing that is likely to compete with it for permanent interest. Indeed, Mr. Greenslet thinks that "it is as the author of the Biglow Papers that he is likely to be longest remembered." The perpetual play of humor gave to his work, even to the last, the freshness of youth. We love him for his boyish love of pure fun. The two large volumes of his Letters are delicious reading because he put into them "good wholesome nonsense," as he says, "keeping my seriousness to bore myself with."

But this sparkling and overflowing humor never obscures the deep seriousness that is the undercurrent of all his writing. A high idealism characterizes all his work. One of his greatest services to his country was the effort to create a saner and sounder political life. As he himself realized, he often moralized his work too much with a purposeful idealism. In middle life he said, "I shall never be a poet until I get out of the pulpit, and New England was all meeting-house when I was growing up." In religion and philosophy he was conservative, deprecating the radical and scientific tendencies of the age, with its knife and glass—

The moral impulse and the poetic impulse were often in conflict, and much of his early poetry for this reason was condemned by his later judgment. His maturer poems are filled with deep-thoughted lines, phrases of high aspiration and soul-stirring ecstasies. Though his thought is spiritual and ideal, it is always firmly rooted in the experience of common humanity. All can climb the heights with him and catch inspiring glimpses at least of the ideal and the infinite.