American Men of Mind

by Burton Egbert Stevenson

During his student days, Holmes had gained considerable reputation as a writer of humorous and sentimental society verse, and during his whole life he wrote practically no other kind. Long practice gave him an easy command of rhythm, and a careful training added delicacy to his diction. He became remarkably dexterous in rhyme, and grew to be the recognized celebrant of class reunions and public dinners. Urbane, felicitous and possessing an unflagging humor, he was the prince of after-dinner poets—not a lofty position, be it observed, nor one making for immortal fame. His highwater mark was reached in three poems, "The Chambered Nautilus," "The Deacon's Masterpiece," and that faultless piece of familiar verse, "The Last Leaf," all of which are widely and affectionately known. He lacked power and depth of imagination, the field in which he was really at home was a narrow one, and the verdict of time will probably be that he was a pleasant versifier rather than a true poet.

His claim to the attention of posterity is likely to rest, not on his verses, but upon a sprightly hodgepodge of imaginary table-talk, called "The Autocrat of the Breakfast-Table"—a warm-hearted, kindly book, which still retains its savor.

And this brings us to our most versatile man-of-letters—James Russell Lowell. Born at Cambridge, in the old house called "Elmwood," so dear to his readers, spending an ideal boyhood in the midst of a cultured circle, treading the predestined path through Harvard, studying law and gaining admission to the bar—such was the story of his life for the first twenty-five years. As a student at Harvard, he had written a great deal of prose and verse of considerable merit, and he continued this work after graduation, gaining a livelihood somewhat precarious, indeed, yet sufficient to render it unnecessary for him to attempt to practice law. But it was not until 1848 that he really "struck his gait."

Certainly, then, he struck it to good purpose by the publication of the "Biglow Papers" and "A Fable for Critics," and stood revealed as one of the wisest, wittiest, most fearless and most patriotic of moralists and satirists. For the "Biglow Papers" mark a culmination of American humorous and satiric poetry which has never since been rivalled; and the "Fable for Critics" displays a satiric power unequalled since the days when Byron laid his lash along the backs of "Scotch Reviewers."

Both were real contributions to American letters, but as pure poetry both were surpassed later in the same year by his "Vision of Sir Launfal." These three productions, indeed, promised more for the future than Lowell was able to perform. He had gone up like a balloon; but, instead of mounting higher, he drifted along at the same level, and at last came back to earth.

The succeeding seven years saw no production of the first importance from his pen, although a series of lectures on poetry, which he delivered before the Lowell Institute, brought him the offer of the chair at Harvard which Longfellow had just relinquished. Two years later, he became editor of the Atlantic Monthly, holding the position until 1861. During this time, he wrote little, but the opening of the Civil War gave a fresh impetus to his muse, his most noteworthy contribution to letters being the "Commemoration Ode" with which he marked its close—a poem which has risen steadily in public estimation, and which is, without doubt, the most notable of its kind ever delivered in America. The poems which he published during the next twenty years did little to enhance his reputation, which, as a poet, must rest upon his "Biglow Papers," his odes, and his "Vision of Sir Launfal."

Yet poetry was but one of his modes of expression, and, some think, the less important one. Immediately following the Civil War, he turned his attention to criticism, and when these essays were collected under the titles "Among My Books" and "My Study Windows," they proved their author to be the ablest critic, the most accomplished scholar, the most cultured writer—in a word, the greatest all-around man-of-letters, in America.

This prominence brought him the offer of the Spanish mission, which he accepted, going from Madrid to London, in 1880, as Ambassador to Great Britain, and remaining there for five years. The service he did there is incalculable; as the spokesman for America and the representative of American culture, he took his place with dignity and honor among England's greatest; his addresses charmed and impressed them, and he may be fairly said to have laid the foundations of that cordial friendship between America and Great Britain which exists to-day. "I am a bookman," was Lowell's proudest boast—not only a writer of books, but a mighty reader of books; and he is one of the most significant figures in American letters.

So we come to the man who measures up more nearly to the stature of a great poet than any other American—Edgar Allan Poe. Outside of America, there has never been any hesitancy in pronouncing Poe the first poet of his country; but, at home, it is only recently his real merit has come to be at all generally acknowledged.

Edgar Allan Poe was born in Boston in 1809—a stroke of purest irony on the part of fate, for he was in no respect a Bostonian, and it was to Bostonians especially that he was anathema. His parents were actors, travelling from place to place, and his birth at Boston was purely accidental. They had no home and no fortune, but lived from hand to mouth, in the most precarious way, and both of them were dead before their son was two years old. He had an elder brother and a younger sister, and these three babies were left stranded at Richmond, Virginia, entirely without money. Luckily they were too young to realize how very dark their future was, and the Providence which looks after the sparrows also looked after them. The wife of a well-to-do tobacco merchant, named John Allan, took a fancy to the dark-eyed, dark-haired boy of two, and, having no children of her own, adopted him.