INTRODUCTION
Whilstmidway in his thirty-fifth year Lowell was appointed to deliver a course of lectures before the Institute founded by a relative, and bearing the family name. He was then known as the author of two volumes of poems besides the biting “Fable for Critics” and the tender “Vision of Sir Launfal,” and the nimbus was still brightly shining around the head of him who had created the tuneful “Hosea Biglow” and the erudite “Parson Wilbur.” It was not the accident of relationship that procured this appointment; he had fairly earned the honor by his scholarly acquirements and poetly achievements.
When the twelfth and last lecture had been delivered, the correspondent of the “New York Evening Post” wrote:
“Mr. Lowell has completed his course of lectures on English Poetry, which have been attendedthroughout by crowded audiences of the highest intelligence. The verdict of his hearers has been a unanimous one of approval and delight. Certainly no course of literary lectures has ever been delivered here so overflowing with vigorous, serious thought, with sound criticism, noble, manly sentiments, and genuine poetry. Mr. Lowell is a poet, and how could a true poet speak otherwise?“His appointment to the Professorship of Belles Lettres in Harvard College, made vacant by the resignation of Longfellow, is the very best that could have been made, and gives high satisfaction. It is such names that are a tower of strength and a crown of glory to our Alma Mater. Everett, Sparks, Ticknor, Longfellow, Agassiz, Peirce, are known in their respective departments wherever science and polite letters have a foothold, and the nomination of James Russell Lowell as the associate and successor of such men is the most ‘fit to be made.’”
“Mr. Lowell has completed his course of lectures on English Poetry, which have been attendedthroughout by crowded audiences of the highest intelligence. The verdict of his hearers has been a unanimous one of approval and delight. Certainly no course of literary lectures has ever been delivered here so overflowing with vigorous, serious thought, with sound criticism, noble, manly sentiments, and genuine poetry. Mr. Lowell is a poet, and how could a true poet speak otherwise?
“His appointment to the Professorship of Belles Lettres in Harvard College, made vacant by the resignation of Longfellow, is the very best that could have been made, and gives high satisfaction. It is such names that are a tower of strength and a crown of glory to our Alma Mater. Everett, Sparks, Ticknor, Longfellow, Agassiz, Peirce, are known in their respective departments wherever science and polite letters have a foothold, and the nomination of James Russell Lowell as the associate and successor of such men is the most ‘fit to be made.’”
A quarter of a century after their delivery, one who heard them bore this testimony: “The lectures made a deep impression upon cultivated auditors, and full reports of them were printed in the Boston ‘Advertiser.’ Their success was due to their intrinsic merits. The popular lecturer is often led to imitate the vehement action of thestump-speaker and the drollery of the comedian by turns. Mr. Lowell’s pronunciation is clear and precise, and the modulations of his voice unstudied and agreeable, but he seldom if ever raised a hand for gesticulation, and his voice was kept in its natural compass. He read like one who had something of importance to utter, and the just emphasis was felt in the penetrating tone. There were no oratorical climaxes, and no pitfalls set for applause. But the weighty thoughts, the earnest feeling, and the brilliant poetical images gave to every discourse an indescribable charm. The younger portion of the audience, especially, enjoyed a feast for which all the study of their lives had been a preparation.”
The same auditor, writing after Lowell’s death, mentions them again: “In 1854 [it was really 1855] Lowell delivered a course of twelve lectures on the British Poets at the Lowell Institute. They were not printed at the time, except, partially, in newspaper reports, but doubtless many of their ideas were absorbed in the published essays. In these lectures the qualities of his prose style began to be manifested. It was felt by every hearer to be the prose of a poet, as it teemed with original images, fortunate epithets, and artistically wrought allusions, and had a movement and music all itsown. A few friends from Cambridge attended these lectures, walking into the city, and more than once through deep snow. The lecturer humorously acknowledged his indebtedness to them, saying that when he saw their faces he was in the presence of his literary conscience. These lectures have not been published as yet, and may not be.”
Even while they were yet ringing in the ears of those delighted audiences, Ticknor and Fields were eager to publish them, but Lowell withheld consent. The lectures had been rapidly written, and needed the labor of the file, and this the unexpected duties of the equally unexpected professorship precluded. There were five applicants for the chair vacated by Longfellow, but Lowell was not one of them; both his nomination and his appointment were made without his knowledge. He accepted the chair with the understanding that he should be allowed to spend one year abroad for some necessary study in Germany and Spain. Then his professorial duties engaged him and the “Lectures on English Poets” were left as a waif stranded on the forgotten columns of a newspaper. When at length the opportunity of leisure came Lowell found himself capableof better things, and he was satisfied with absorbing into later essays some fragments of the early lectures. There ended his concern for them; but an enthusiastic hearer had preserved the Boston “Advertiser’s” reports of them in a special scrap-book, which ultimately became the property of the University of Michigan and thus fell into the editor’s hands, who felt the charm thereof, and was desirous of sharing his pleasure with theRowfant Club.
There is little doubt that Lowell had been too fastidious when he wrote to James T. Fields, in May, 1855: “It has just got through my skull, and made a dint into my sensorium, that you wrote me a note, ever so long ago, about my lectures and the publication of them. I don’t mean to print them yet—nor ever till they are better—but, at any rate, I consider myself one of your flock, though not, perhaps, as lanigerous as some of them.” And when Lowell’s literary executor wrote: “His powers of critical appreciation and reflection were displayed to advantage in these lectures. No such discourses had been heard in America. They added greatly to his reputation as critic, scholar, and poet,”—there could be no hesitation in setting aside Lowell’s modest self-depreciation.After the delivery of his first lecture, he had written to his friend Stillman: “So far as the public are concerned, I have succeeded.” And his words are as true in 1896 as they were in 1855; and although his literary art was not so consummate as it became in his ultimate development, these early lectures will aid and encourage the student by showing his growth: we see the rivulet become the flowing river.
We share, too, in the delight of his first audience on reading:
“The lines of Dante seem to answer his every mood: sometimes they have the compressed implacability of his lips, sometimes they ring like an angry gauntlet thrown down in defiance, and sometimes they soften or tremble as if that stern nature would let its depth of pity show itself only in a quiver of the voice.”“So in ‘Paradise Lost’ not only is there the pomp of long passages that move with the stately glitter of Milton’s own angelic squadrons, but if you meet anywhere a single verse, that, too, is obstinately epic, and you recognize it by its march as certainly as you know a friend by his walk.”“Who can doubt the innate charm of rhyme whose eye has ever been delighted by the visible consonance of a tree growing at once toward anupward and a downward heaven, on the edge of the unrippled river; or as the kingfisher flits from shore to shore, his silent echo flies under him and completes the vanishing couplet in the visionary world below.”“Every desire of the heart finds its gratification in the poet because he always speaks imaginatively and satisfies ideal hungers.”
“The lines of Dante seem to answer his every mood: sometimes they have the compressed implacability of his lips, sometimes they ring like an angry gauntlet thrown down in defiance, and sometimes they soften or tremble as if that stern nature would let its depth of pity show itself only in a quiver of the voice.”
“So in ‘Paradise Lost’ not only is there the pomp of long passages that move with the stately glitter of Milton’s own angelic squadrons, but if you meet anywhere a single verse, that, too, is obstinately epic, and you recognize it by its march as certainly as you know a friend by his walk.”
“Who can doubt the innate charm of rhyme whose eye has ever been delighted by the visible consonance of a tree growing at once toward anupward and a downward heaven, on the edge of the unrippled river; or as the kingfisher flits from shore to shore, his silent echo flies under him and completes the vanishing couplet in the visionary world below.”
“Every desire of the heart finds its gratification in the poet because he always speaks imaginatively and satisfies ideal hungers.”
And see, too, how the “powers of critical appreciation” that Professor Norton has mentioned were bursting into blossom and giving promise of the golden harvest to come:
“Sir Thomas Browne, * * * a man who gives proof of more imagination than any other Englishman except Shakspeare.”
“Sir Thomas Browne, * * * a man who gives proof of more imagination than any other Englishman except Shakspeare.”
For subtlety and depth of insight Lowell has never excelled this early example, nor has he ever outdone the critical estimate, so true and so terse, of his final pronouncement upon Pope:
“Measured by any high standard of imagination, he will be found wanting; tried by any test of wit, he is unrivaled.”
“Measured by any high standard of imagination, he will be found wanting; tried by any test of wit, he is unrivaled.”
And what of such a shining felicity as where he meets Sir Thomas Browne on common ground andthe author of “Religio Medici” gravely smiles and acknowledges kinship:
“If a naturalist showed us a toad we should feel indifferent, but if he told us that it had been found in a block of granite we should instantly look with profound interest on a creature that perhaps ate moths in Abel’s garden or hopped out of the path of Lamech.”
“If a naturalist showed us a toad we should feel indifferent, but if he told us that it had been found in a block of granite we should instantly look with profound interest on a creature that perhaps ate moths in Abel’s garden or hopped out of the path of Lamech.”
Most truly “No such lectures had been heard in America,” and as truly they deserve to be made more than a delightful memory for the early hearers alone.
Lowell wrote to a friend that at his first lecture he had held his audience for an hour and a quarter, but the reporter’s notes of that lecture fall far short of that fullness; nevertheless, compared with Anstey’s shorthand notes of Carlyle’s lectures on the “History of Literature,” we come much nearer to the living voice in the Boston “Advertiser’s” reports of these Lowell lectures. Carlyle spoke without a written text, nor had he any notes save a few bits of paper which in his hyper-nervousness he twisted out of all hope of reportorial decipherment—and without once looking at them; Lowell had hismanuscripts (writtencurrente calamo, for the new wine of life was in full ferment and it was no small feat to bottle any of it successfully), and we are assured from internal evidence that the “Advertiser’s” reporter was allowed access to them. His text has atangas characteristic as Thoreau’s wild apples, and we do not feel the dubiety of the blind patriarch, “The voice is Jacob’s, but the hands are Esau’s.” No; it is James Russell Lowell, his voice, his inimitable mark, and these are his words sounding in our ears after half a century.
The only attempt at “editing” has been as far as possible to reproduce the reporter’s “copy.” To that end Lowell’s profusion of capitals is retained (and the reader will bear in mind that the Transcendental spirit was then in both the air and the alphabet), and even his italics, suggested, as Mr. Underwood says, by the speaker’s emphasis, find their respective places. Here and there a compositor’s error has been corrected and a proof-reader’s oversight adjusted; sometimes this has been conjectural, and again the needful change was obvious. In all else, save the applause, this Rowfant Book may be called a faint echo of the Lowell Institute Lectures.
It is “printed, but not published” in loving fealty to Lowell’s memory, and every Rowfanter has at heart the assurance that his Shade will look upon this literaryflotsamwithout a frown, or with one that will soon fade into forgiveness.
S. A. J.
Ann Arbor, November 10th, 1896.