"'T aint your eppylets an' feathers
Make the thing a grain more right."
Some readers to-day dislike the Yankee dialect of these verses. Some think Lowell struck too hard; but they forget Grant's characterization of the Mexican War as "one of the most unjust ever waged by a stronger against a weaker nation." There are critics who think the First Series of "Biglow Papers" too sectional; an exhibition of New England's ancient tendency towards nullification of the national will. No doubt Lowell underestimated the real strength of the advocates of national expansion at any cost. Parson Wilbur thought, you remember, that
"All this big talk of our destinies
Is half on it ign'ance an' t'other half rum."
Neither ignorance nor rum was responsible for the invasion of Belgium; but at least one can say that the political philosophy which justifies forcible annexation of territory is taught to-day in fewer universities than were teaching it up to 1914. Poets are apt to have the last word, even in politics.
The war with Mexico was only an episode in the expansion of the slave power; the fundamental test of American institutions came in the War for the Union. Here again Lowell touched the heart of the great issue. The Second Series of "Biglow Papers" is more uneven than the First. There is less humor and more of whimsicality. But the dialogue between "the Moniment and the Bridge," "Jonathan to John," and above all, the tenth number, "Mr. Hosea Biglow to the Editor of the Atlantic Monthly," show the full sweep of Lowell's power. Here are pride of country, passion of personal sorrow, tenderness, idyllic beauty, magic of word and phrase.
Never again, save in passages of the memorial odes written after the War, was Lowell more completely the poet. For it is well known that his was a divided nature, so variously endowed that complete integration was difficult, and that the circumstances of his career prevented that steady concentration of powers which poetry demands. She is proverbially the most jealous of mistresses, and Lowell could not render a constant allegiance. At thirty his friends thought of him, rightly enough, as primarily a poet: but in the next fifteen years he had become a professor, had devoted long periods to study in Europe, had published prose essays, had turned editor, first of the Atlantic, then of the North American Review, and was writing political articles that guided public opinion in the North. To use a phrase then beginning to come into general use, he was now a "man of letters." But during the Civil War, I believe he thought of himself as simply a citizen of the Union. His general reputation, won in many fields, gave weight to what he wrote as a publicist. His editorials were one more evidence of the central pull of the Great Tradition; it steadied his judgment, clarified his vision, kept his rudder true.
Lowell's political papers during this period, although now little read, have been praised by Mr. James Ford Rhodes as an exact estimate of public sentiment, as voicing in energetic diction the mass of the common people of the North. Lincoln wrote to thank him for one of them, adding, "I fear I am not quite worthy of all which is therein kindly said of me personally." Luckily Lincoln never saw an earlier letter in which Lowell thought that "an ounce of FrÈmont is worth a pound of long Abraham." The fact is that Lowell, like most men of the "Brahmin caste," came slowly to a recognition of Lincoln's true quality. Motley, watching events from Vienna, had a better perspective than Boston then afforded. Even Mr. Norton, Lowell's dear friend and associate upon the North American Review, thought in 1862 that the President was timid, vacillating, and secretive, and, what now seems a queerer judgment still, that he wrote very poor English. But if the editors of the North American showed a typical Anglo-Saxon reluctance in yielding to the spell of a new political leadership, Lowell made full amends for it in that superb Lincoln strophe now inserted in the "Commemoration Ode," afterthought though it was, and not read at the celebration.
In this poem and in the various Centennial Odes composed ten years later, Lowell found an instrument exactly suited to his temperament and his technique. Loose in structure, copious in diction, swarming with imagery, these Odes gave ample scope for Lowell's swift gush of patriotic fervor, for the afflatus of the improviser, steadied by reverence for America's historic past. To a generation beginning to lose its taste for commemorative oratory, the Odes gave--and still give--the thrill of patriotic eloquence which Everett and Webster had communicated in the memorial epoch of 1826. The forms change, the function never dies.
The dozen years following the Civil War were also the period of Lowell's greatest productiveness in prose. Tethered as he was to the duties of his professorship, and growling humorously over them, he managed nevertheless to put together volume after volume of essays that added greatly to his reputation, both here and in England. For it should be remembered that the honorary degrees of D.C.L. from Oxford and LL.D. from Cambridge were bestowed upon Lowell in 1873 and 1874; long before any one had thought of him as Minister to England, and only a little more than ten years after he had printed his indignant lines about
"The old J. B.
A-crowdin' you and me."