when Cromwell almost decided to leave England and join the Puritans in America, and makes from it a powerful plea for true patriotism; and "Columbus," which treats in a similar way the moment when the explorer was given "one day more" to accomplish his aim. Launfal," 1845. But the chief poem of this earlier period, and one of the most important of Lowell's works, is "The "Sir Vision of Sir Launfal." In this poem Lowell used the theme of the search for the Holy Grail, which Tennyson has made so familiar to lovers of poetry, in "The Idylls of the King." The American poet developed the story in his own way. Indeed, the story, so far as I know, is entirely his own; and there is no apparent effort to give a mediæval atmosphere. It is frankly ethical; the inspiring lessons reach the soul, in every part of the poem; but it is not didactic, in an inartistic sense; that is, the lesson teaches itself, and is not forced. Some of the best passages are descriptive of nature. With the older English poets, May is the beautiful month of the year, and there has been a conventional fashion of giving May, in America, the same qualities which the poets ascribe to it in England. But Lowell is not conventional. He knows that in New England June is the most beautiful month of the year; and the New England June has been described once for all in the opening part of "Sir Launfal." And what is so rare as a day in June? Then, if ever, come perfect days; 5 ΙΟ 15 20 Then Heaven tries the earth if it be in tune, And over it softly her warm ear lays : An instinct within it that reaches and towers, Thrilling back over hills and valleys; The buttercup catches the sun in its chalice, The little bird sits at his door in the sun, With the deluge of summer it receives. Notice how real it all is. The buttercup, the cowslip, the dandelion, the characteristic flowers of the New England fields, are the flowers of which he writes. How the warm glow of the June day pervades every line! There are lines here that well illustrate Lowell's gift of strong expression (see lines 8-10, 14, 19, 20). A passage of almost equal beauty is the prelude to Part Second of the poem, which describes that marvel of our American winter — a bright day following a frost storm when the winter wind Had caught the nodding bulrush tops Lowell, indeed, comes near to the ideal of the "Ode," when the beggar with whom Sir Launfal divides his crust, in "the voice that was calmer than silence," said: The Holy Supper is kept, indeed, In whatso we share with another's need; Who gives himself with his alms feeds three, Himself, his hungering neighbor, and me. Critics," 1848. According to the usual division of verse, it would "A Fable for be difficult to classify the "Fable for Critics." In it Lowell's strong tendency toward criticism finds expression in rime. We have already quoted it repeatedly. In connection with every name thus far mentioned, and with some who will be mentioned, it would be well for the student to see if they are discussed in the "Fable," and if so, to read what Lowell has there to say. 1846. Lowell's most entirely original work, and the one that made the strongest impression on his contemporaries, was "The Biglow Papers." It is a series of "The Biglow dialect poems, supposed to be composed by a rustic Papers," genius of New England, introduced and accompanied 1860. by a series of letters from his pastor, the Rev. Homer Wilbur. It was, first of all, a powerful political pamphlet. It attacked the men and the measures of the dominant party during the time of the Mexican War, and indirectly defended the abolitionists and other opponents of the war and of the annexation of Texas. The second series did the same service in behalf of the dominant party, and against the obstructionists and "peace" party, during the Civil War. While the political interest may be transitory, "The Biglow Papers" will always attract the student of Literature as a most effective character study; being Lowell's nearest approach to a dramatic poem. The supposed author and Parson Wilbur are distinguished with beautiful art, and the weaknesses of the opposite party are revealed with keen sarcasm. Another striking characteristic is the dialect. It may be that this will prevent its enduring popularity. Dialects are transitory, and perhaps the people of the future will not take the trouble to interpret the dialect of these poems. But scholars and literary men will always be especially interested in this feature. We We may be sure that the poems have preserved the dialect, whatever effect the dialect may have upon the poems. Moreover, scattered through them there are examples of keen wit, stinging satire, and lovely description of nature. "What Mr. Robinson thinks,” number three of the first series; parts of the "Third Letter from B. Sawin, Esq.," and "Jonathan to John," in the second series, are examples of the wit and satire. The following extract from "Sunthin' in the Pastoral Line," second series, is one of the most perfect expressions of the real New England atmosphere in Literature. From SUNTHIN' IN THE PASTORAL LINE 1 BIGLOW PAPERS, SECOND SERIES, NUMBER SIX I, country-born an' bred, know where to find 1 Copyright, 1866, Houghton, Mifflin & Co. Boston. 5 ΙΟ 15 20 25 30 35 49 An' seem to metch the doubtin' blue-bird's notes, Bloodroots, whose rolled-up leaves ef you oncurl, But these are jes' Spring's pickets; sure ez sin, For half our May's so awfully like May'n't, Fust come the blackbirds clatt'rin' in tall trees, Then saffern swarms swing off from all the willers things lag behind, Then seems to come a hitch, |