powers as a poet of the first order. He had to wait some time to gain this, and in that respect he resembled Robert Browning, at first so obscure, at last compelling approval from all.
The field of American literature, as it existed in 1848, was surveyed by Lowell in his happiest manner, as a satirist, in that clever production, by a wonderful Quiz, A Fable for Critics, “Set forth in October, the 31st day, in the year ‘48, G. P. Putnam, Broadway.” For some time the authorship remained a secret, though there were many shrewd guesses as to the paternity of the biting shafts of wit and delicately baited hooks. It was written mainly for the author’s own amusement, and with no thought of publication. Daily instalments of the poem were sent off, as soon as written, to a friend of the poet, Mr. Charles F. Briggs, of New York, who found the lines so irresistibly good, that he begged permission to hand them over to Putnam’s for publication. This, however, Mr. Lowell declined to do, until he found that the repeated urging of his friend would not be stayed. Then he consented to anonymous publication. The secret was kept, until, as the author himself tells us, “several persons laid claim to its authorship.” No poem has been oftener quoted than the fable. It is full of audacious things. The authors of the day, and their peculiar characteristics (Lowell himself not being spared in the least), are held up to admiring audiences with all their sins and foibles exposed to the public gaze. It was intended to have “a sting in his tale,” this “frail, slender thing, rhymey-winged,” and it had it decidedly. Some of the authors lampooned took the matter up, in downright sober earnest, and objected to the seat in the pillory which they were forced to occupy unwillingly. But they forgave the satirist, as the days went by, and they realized that, after all, the fun was harmless, nobody was hurt actually, and all were treated alike by the ready knife of the fabler. But what could they say to a man who thus wrote of himself?—
“There is Lowell, who’s striving Parnassus to climb
With a whole bale of isms tied together with rhyme,
He might get on alone, spite of brambles and boulders,
But he can’t with that bundle he has on his shoulders.
The top of the hill he will ne’er come nigh reaching
Till he learns the distinction ‘twixt singing and preaching;
His lyre has some chords that would ring pretty well,
But he’d rather by half make a drum of the shell,
And rattle away till he’s old as Methusalem,
At the head of a march to the last new Jerusalem.”
Apart from the humorous aspect of the fable, there is, certainly, a good deal of sound criticism in the piece. It may be brief, it may be inadequate, it may be blunt, but for all that it is truthful, and decidedly just, as far as it goes. Bryant, who was called cold, took umbrage at the portrait drawn of him. But his verse has all the cold glitter of the Greek bards, despite the fact that he is America’s greatest poet of nature, and some of his songs are both sympathetic and sweet, such as the “Lines to a Water-fowl,” “The Flood of Years,” “The Little People of the Snow,” and “Thanatopsis.”
But now we come to the book which gave Mr. Lowell his strongest place in American letters, and revealed his remarkable powers as a humorist, satirist, and thinker. We have him in this work, at his very best. The vein had never been thoroughly worked before. The Yankee of Haliburton appeared ten years earlier than the creations of Lowell. But Sam Slick was a totally different person from Hosea Biglow and Birdofredum Sawin. Slick was a very interesting man, and he has his place in fiction. His sayings and doings are still read, and his wise saws continue to be pondered over. But the Biglow type seems to our mind, more complete, more rounded, more perfect, more true, indeed, to nature. The art is well proportioned all through, and the author justifies Bungay’s assumption, that he had attained the rank of Butler, whose satire heads the list of all such productions. Butler, however, Lowell really surpassed. The movement is swift, and there is an individuality about the whole performance, which stamps it undeniably as a masterpiece. The down-east dialect is managed with consummate skill, the character-drawing is superlatively fine, and the sentiments uttered, ringing like a bell, carry conviction. The invasion of Mexico was a distasteful thing to many people because it was felt that that war was dishonorable, and undertaken solely for the benefit of the slaveholder, who was looking out for new premises, where he might ply his calling, and continue the awful trade of bondage, and his dealings in flesh and blood. Mr. Lowell’s heart was steeled against that expedition, and the first series of his Biglow papers, introduced to the world by the Reverend Homer Wilbur, showed how deeply earnest he was, and how terribly rigorous he could be, when the scalpel had to be used. The first knowledge that the reading world had of the curious, ingenuous, and quaint Hosea, was the communication which his father, Ezekiel Biglow, sent to the Boston Courier, covering a poem in the Yankee dialect, by the hand of the young down-easter. It at once commanded notice. The idea was so new, the homely truths were so well put, the language in print was so unusual, and the “hits” were so well aimed, that the critics were baffled. The public took hold immediately, and it soon spread that a strong and bold pen was helping the reformers in their unpopular struggle. The blows were struck relentlessly, but men and women laughed through their indignation. There were some who rebelled at the coarseness of the satire, but all recognized that the author, whoever he might be, was a scholar, a man of thought, and a genuine philanthropist, who could not be put down. Volunteers were wanted, and Boston was asked to raise her quota. But Hosea Biglow, in his charmingly scornful way said:—
“Thrash away, you’ll hev to rattle
On them kittle-drums o’ yourn,—
‘Taint a knowin’ kind o’ cattle
Thet is ketched with mouldy corn.
Put in stiff, you fifer feller,
Let folks see how spry you be,—
Guess you’ll toot till you are yaller
‘Fore you git ahold o’ me!”
The parson adds a note, sprinkled with Latin and Greek sentences, as is his wont. The letters from the first page to the last, in the collected papers, are amazingly clever. The reverend gentleman who edits the series is a type himself, full of pedantic and pedagogic learning, anxious always to show off his knowledge of the classics, and solemn and serious ever as a veritable owl. His notes and introductions, and scrappy Latin and Greek, are among the most admirable things in the book. Their humor is delicious, and the mock criticisms and opinions of the press, offered by Wilbur on the work of his young friend, and his magnificent seriousness, which constantly shows itself, give a zest to the performance, which lingers long on the mind. The third letter contains the often-quoted poem, “What Mr. Robinson Thinks.”
“Gineral C. is a dreffle smart man:
He’s ben on all sides that give place or pelf;
But consistency still wuz a part of his plan,—
He’s ben true to one party,—an’ thet is himself:—
So John P.
Robinson, he
Sez he shall vote for Gineral C.
Parson Wilbur sez he never heerd in his life
That th’ Apostles rigged out in their swaller tail coats,
An’ marched round in front of a drum an’ a fife,
To get some on ‘em office, an’ some on ‘em votes;
But John P.
Robinson, he
Says they didn’t know everything down in Judee.”
Despite the sometimes harsh criticism which the Biglow papers evoked, Mr. Lowell kept on sending them out at regular intervals, knowing that every blow struck was a blow in the cause of right, and every attack was an attack on the meannesses of the time. The flexible dialect seemed to add
