A more satisfactory and successful contribution which was enthusiastically received by the editor was “A Moosehead Journal,” which was in effect a journal, sent home to his wife, of an excursion made by Lowell in the summer of 1853 with his nephew Charles; and in the spring of 1854 appeared in two parts the well-known sketch of “Cambridge Thirty Years Ago,” under the title, “Fireside Travels.” The paper seems to have grown out of an unused sketch of Allston which Lowell had begun for Putnam’s in September, 1853. “What I have written (or part of it),” he says to the editor, “would make a unique article for your magazine, if the other thing is given up. It is a sketch of Cambridge as it was twenty-five years ago, and is done as nobody but I could do it, for nobody knows the old town so well. I mean one of these days to draw a Commencement as it used to be.” Lowell does not appear to have contributed to Putnam’s after December, 1854, when his portrait, an engraving by Hall after Page’s painting, served as frontispiece to the number, being one of a series of portraits of contributors to the magazine.
Meanwhile, when Putnam’s was at the top of its brief tide, another attempt at a good literary magazine was made in Boston. The extraordinary success of “Uncle Tom’s Cabin” had emboldened its publisher, Mr. John P. Jewett, to undertake what its projector, Mr. F. H. Underwood, called a “Literary and Anti-Slavery Magazine.” It was the intention to issue the first number in January, 1854, and to use the great reputation of Mrs. Stowe to float it by printing a new novel by her. Mr. Underwood[98] was particularly desirous of securing Lowell’s aid, especially as he esteemed his poetry quite the best to be had in America, and he was elated at receiving from him the poem “The Oriole’s Nest,” afterward called simply “The Nest.” But the design which had been germinating for two or three years was suddenly brought to naught by the failure of the luckless publishers, whose success with “Uncle Tom’s Cabin” seems to have been thrust upon them, rather than to have been due to their business ability. So a fortnight after sending his poem, Lowell was forced to write the disconcerted editor: “I cannot help writing a word to say how truly sorry I was to hear of the blowing up of your magazine. But it is not so irreparable as if it had been a powder-magazine, though perhaps all the harder to be borne because it was only in posse and not in esse. The explosion of one of those Castles in Spain sometimes sprinkles dust on all the rest of our lives, but I hope you are of better heart, and will rather look upon the affair as a burning of your ships which makes victory the more imperative. Although I could prove by a syllogism in barbara that you are no worse off than you were before, I know very well that you are, for if it be bad to lose mere coin, it is still worse to lose hope, which is the mint in which most gold is manufactured.
“But, after all, is it a hopeless case? Consider yourself to be in the position of all the world before the Mansion of our Uncle Thomas (as I suppose we must call it now, it has grown so respectable) was published, and never to have heard of this Mr. Jew-wit. I think he ought to be—that something ought to be done for him: but for that matter nearly all booksellers stand in the same condemnation. There are as good fish in that buccaneering sea of Bibliopoly as ever were caught, and if one of them has broken away from your harpoon, I hope the next may prove a downright kraaken, on whom, if needful, you can pitch your tent and live.
“Don’t think that I am trifling with you. God knows any jests of mine would be of a bitter sort just now; but I know that it is a good thing for a man to be made to look at his misfortune till it assumes its true relations to things about it. So don’t think me intrusive if I nudge your elbow among the rest.”
A few weeks after the return of the Lowells to America, Longfellow took Clough on a walk to Elmwood. “Lowell,” he says, “we found musing before his fire in his study. His wife came in, slender and pale as a lily.” In reading “A Year’s Life” one is struck by the frequency with which the shadow of death falls across the page. It is true that when he wrote the poems, when indeed he fell in with Maria White, Lowell was struggling out of an atmosphere which was full of damp mist, and the image of death naturally rose constantly before him. Yet it remains that from the beginning of his passion he associated this love with the idea of death. So frail, so almost ethereal was the woman who came thus into his life, that from the first he was constantly sheltering her from the cold blast. The solicitude deepened his passion; it accustomed him at the same time to the idea of transitoriness in the life he led. It is entirely possible, nay, very probable, that this spiritually-bodied girl was permitted to develop into a gracious womanhood through the very fact of her marriage and her motherhood: Lowell’s own mood during the nine years of married life was, as we have seen, often irrepressibly gay and sanguine, and after the death of each of their children the two seemed to spring back into a wholesome delight in life. Still, the fear could never have long been out of their minds, and, after Walter died in Rome, the mother seems steadily to have drooped. When Lowell sent “The Nest” to Underwood, he speaks of it as an old poem: “Perhaps,” he says, “it seems better to me than it deserves, for an intense meaning has been added to it.” The meaning had then indeed been deepened, but when it was written, there was more than remote prophecy in the lines—
“When springs of life that gleamed and gushed
Run chilled, and slower, and are hushed.”
The year that passed after the return from Europe saw Mrs. Lowell declining in strength, though it was not till September, 1853, that his letters betray Lowell’s deepening anxiety, and it was not till the end of the month that he fully realized the progress disease had made. Mrs. Lowell died 27 October, and Lowell was left alone with his little daughter. The visionary faculty, which all his life had been what might almost be called another sense, came now to his help and for awhile he lived as if the companion of thirteen years, though shut out from his daily sight, visited him in the solitude and silence of the night. “I have the most beautiful dreams,” he writes, “and never as if any change had come to us. Once I saw her sitting with Walter on her knee, and she said to me, ‘See what a fine strong boy he is grown.’ And one night as I was lying awake and straining my eyes through the gloom, and the palpable darkness was surging and gathering and dispersing as it will, I suddenly saw far, far off a crescent of angels standing and shining silently. But oh! it is a million times better to have had her and lost her, than to have had and kept any other woman I ever saw.”
It had given both husband and wife a great pleasure to see one and another of Mrs. Lowell’s poems printed during the last year in Putnam’s Monthly. Mr. Briggs, with his affectionate regard for both, was eager to print the verses as they were sent him, and reported all the agreeable words that came to him respecting the poems. The latest to be printed was one on Avignon, in which the poet kept turning back from the historic and spectacular sights to some oleanders which stood by her window. “How beautiful it was,” Lowell wrote to Briggs, “and how fitting for the last. I am going to print them all—but not publish them yet—she did not wish it. I shall give a copy, with a calotype from a drawing which Cheney is to make from Page’s picture, to all her friends.”
It was a year and more before the volume was printed, bearing the title “The Poems of Maria Lowell,” and inscribed to Mrs. Story, Mrs. Putnam, and Mrs. Shaw, three friends of whose loving appreciation Lowell had had many assurances. There are only twenty poems in the volume. Most had been printed before, one, “The Morning-Glory,” in Lowell’s own collection. None of her translations were included. One looks naturally in such a volume rather for intimations of the writer’s character, and for touches of personal feeling, than for poetic art. Mrs. Lowell herself plainly had but a humble conceit of her poetic gift, and it does not appear that poetry was an abundant resource with her. But art there is of no mean order in this little book. It is a delicate instrument on which she plays; there are not many stops, but there is a vibrant tone which thrills the ear. Tenderness indeed is the prevailing note, but in one poem, “Africa,” there is a massiveness of structure, and a sonorous dignity of measure which appeal powerfully to the imagination. The poems have, here and there, an autobiographic value. One written in Rome, shortly after the travellers had reached that city and the dream of childhood had come true, ended with the verses:—
“And Rome lay all before us in its glory,
Its glory and its beautiful decay,
But, like the student in the oft-read story,
I could have turned away,