The popular judgment of the poem (which after all is the important judgment) is fairly stated by Mr. Greenslet: "There is probably no poem in American literature in which a visionary faculty like that [of Lowell] is expressed with such a firm command of poetic background and variety of music as in _Sir Launfal_ ... its structure is far from perfect; yet for all that it has stood the searching test of time: it is beloved now by thousands of young American readers, for whom it has been a first initiation to the beauty of poetic idealism."

While studying _The Vision of Sir Launfal_ the student should be made familiar with Tennyson's _Sir Galahad_ and _The Holy Grail_, and the libretto of Wagner's _Parsifal_. Also Henry A. Abbey's magnificent series of mural paintings in the Boston Public Library, representing the Quest of the Holy Grail, may be utilized in the _Copley Prints_.

If possible the story of Sir Galahad's search for the Grail in the seventeenth book of Sir Thomas Malory's _Morte Darthur_ should be read. It would be well also to read Longfellow's _King Robert of Sicily_, which to some extent presents a likeness of motive and treatment.

THE COMMEMORATION ODE

In April, 1865, the Civil War was ended and peace was declared. On July 21 Harvard College held a solemn service in commemoration of her ninety-three sons who had been killed in the war. Eight of these fallen young heroes were of Lowell's own kindred. Personal grief thus added intensity to the deep pa.s.sion of his utterance upon this great occasion. He was invited to give a poem, and the ode which he presented proved to be the supreme event of the n.o.ble service. The scene is thus described by Francis H. Underwood, who was in the audience:

"The services took place in the open air, in the presence of a great a.s.sembly. Prominent among the speakers were Major-General Meade, the hero of Gettysburg, and Major-General Devens. The wounds of the war were still fresh and bleeding, and the interest of the occasion was deep and thrilling. The summer afternoon was drawing to its close when the poet began the recital of the ode. No living audience could for the first time follow with intelligent appreciation the delivery of such a poem. To be sure, it had its obvious strong points and its sonorous charms; but, like all the later poems of the author, it is full of condensed thought and requires study. The reader to-day finds many pa.s.sages whose force and beauty escaped him during the recital, but the effect of the poem at the time was overpowering. The face of the poet, always singularly expressive, was on this occasion almost transfigured--glowing, as if with an inward light. It was impossible to look away from it. Our age has furnished many great historic scenes, but this Commemoration combined the elements of grandeur and pathos, and produced an impression as lasting as life."

Of the delivery and immediate effect of the poem Mr. Greenslet says: "Some in the audience were thrilled and shaken by it, as Lowell himself was shaken in its delivery, yet he seems to have felt with some reason that it was not a complete and immediate success. Nor is this cause for wonder. The pa.s.sion of the poem was too ideal, its woven harmonies too subtle to be readily communicated to so large an audience, mastered and mellowed though it was by a single deep mood.

Nor was Lowell's elocution quite that of the deep-mouthed odist capable of interpreting such organ tones of verse. But no sooner was the poem published, with the matchless Lincoln strophe inserted, than its greatness and n.o.bility were manifest."

The circ.u.mstances connected with the writing of the ode have been described by Lowell in his private letters. It appears that he was reluctant to undertake the task, and for several weeks his mind utterly refused to respond to the high duty put upon it. At last the sublime thought came to him upon the swift wings of inspiration. "The ode itself," he says, "was an improvisation. Two days before the commemoration I had told my friend Child that it was impossible--that I was dull as a door-mat. But the next day something gave me a jog, and the whole thing came out of me with a rush. I sat up all night writing it out clear, and took it on the morning of the day to Child."

In another letter he says: "The poem was written with a vehement speed, which I thought I had lost in the skirts of my professor's gown. Till within two days of the celebration I was hopelessly dumb, and then it all came with a rush, literally making me lean (mi fece magro), and so nervous that I was weeks in getting over it." In a note in Scudder's biography of Lowell (Vol. II., p. 65), it is stated upon the authority of Mrs. Lowell that the poem was begun at ten o'clock the night before the commemoration day, and finished at four o'clock in the morning. "She opened her eyes to see him standing haggard, actually wasted by the stress of labor and the excitement which had carried him through a poem full of pa.s.sion and fire, of five hundred and twenty-three lines, in the s.p.a.ce of six hours."

Critical estimates are essentially in accord as to the deep significance and permanent poetic worth of this poem. Greenslet, the latest biographer of Lowell, says that the ode, "if not his most perfect, is surely his n.o.blest and most splendid work," and adds: "Until the dream of human brotherhood is forgotten, the echo of its large music will not wholly die away." Professor Beers declares it to be, "although uneven, one of the finest occasional poems in the language, and the most important contribution which our Civil War has made to song." Of its exalted patriotism, George William Curtis says: "The patriotic heart of America throbs forever in Lincoln's Gettysburg address. But nowhere in literature is there a more magnificent and majestic personification of a country whose name is sacred to its children, nowhere a profounder pa.s.sion of patriotic loyalty, than in the closing lines of the Commemoration Ode. The American whose heart, swayed by that lofty music, does not thrill and palpitate with solemn joy and high resolve does not yet know what it is to be an American."

With the praise of a discriminating criticism Stedman discusses the ode in his _Poets of America_: "Another poet would have composed a less unequal ode; no American could have glorified it with braver pa.s.sages, with whiter heat, with language and imagery so befitting impa.s.sioned thought. Tried by the rule that a true poet is at his best with the greatest theme, Lowell's strength is indisputable. The ode is no smooth-cut verse from Pentelicus, but a ma.s.s of rugged quartz, beautiful with prismatic crystals, and deep veined here and there with virgin gold. The early strophes, though opening with a fine abrupt line, 'weak-winged is song,' are scarcely firm and incisive. Lowell had to work up to his theme. In the third division, 'Many loved Truth, and lavished life's best oil,' he struck upon a new and musical intonation of the tenderest thoughts. The quaver of this melodious interlude carries the ode along, until the great strophe is reached,--

Such was he, our Martyr-Chief,

in which the man, Abraham Lincoln, whose death had but just closed the national tragedy, is delineated in a manner that gives this poet a preeminence, among those who capture likeness in enduring verse, that we award to Velasquez among those who fasten it upon the canvas. 'One of Plutarch's men' is before us, face to face; an historic character whom Lowell fully comprehended, and to whose height he reached in this great strophe. Scarcely less fine is his tearful, yet transfiguring, Avete to the sacred dead of the Commemoration. The weaker divisions of the production furnish a background to these pa.s.sages, and at the close the poet rises with the invocation,--

'Bow down, dear Land, for thou hast found release!'

a strain which shows that when Lowell determinedly sets his mouth to the trumpet, the blast is that of Roncesvalles."

W.C. Brownell, the latest critic of Lowell's poetry, says of this poem: "The ode is too long, its evolution is defective, it contains verbiage, it preaches. But pa.s.sages of it--the most famous having characteristically been interpolated after its delivery--are equal to anything of the kind. The temptation to quote from it is hard to withstand. It is the cap-sheaf of Lowell's achievement." In this ode "he reaches, if he does not throughout maintain, his own 'clear-ethered height' and his verse has the elevation of ecstasy and the splendor of the sublime."

The versification of this poem should be studied with some particularity. Of the forms of lyric expression the ode is the most elaborate and dignified. It is adapted only to lofty themes and stately occasions. Great liberty is allowed in the choice and arrangement of its meter, rhymes, and stanzaic forms, that its varied form and movement may follow the changing phases of the sentiment and pa.s.sion called forth by the theme. Lowell has given us an account of his own consideration of this matter. "My problem," he says, "was to contrive a measure which should not be tedious by uniformity, which should vary with varying moods, in which the transitions (including those of the voice) should be managed without jar. I at first thought of mixed rhymed and blank verses of unequal measures, like those in the choruses of _Samson Agonistes_, which are in the main masterly. Of course, Milton deliberately departed from that stricter form of Greek chorus to which it was bound quite as much (I suspect) by the law of its musical accompaniment as by any sense of symmetry. I wrote some stanzas of the _Commemoration Ode_ on this theory at first, leaving some verses without a rhyme to match. But my ear was better pleased when the rhyme, coming at a longer interval, as a far-off echo rather than instant reverberation, produced the same effect almost, and yet was gratified by unexpectedly recalling an a.s.sociation and faint reminiscence of consonance."

BIBLIOGRAPHY

Horace E. Scudder: _James Russell Lowell: A Biography_. 2 vols. The standard biography.

Ferris Greenslet: _James Russell Lowell: His Life and Work_. The latest biography (1905) and very satisfactory.

Francis H. Underwood: _James Russell Lowell: A Biographical Sketch and Lowell the Poet and the Man_. Interesting recollections of a personal friend and editorial a.s.sociate.

Edward Everett Hale: _Lowell and His Friends_.

Edward Everett Hale, Jr.: _James Russell Lowell_. (Beacon Biographies.)

Charles Eliot Norton: _Letters of James Russell Lowell_. 2 vols.

Invaluable and delightful.

Edmund Clarence Stedman: _Poets of America_.

W.C. Brownell: _James Russell Lowell_. (Scribner's Magazine, February, 1907.) The most recent critical estimate.

George William Curtis: _James Russell Lowell: An Address_.

John Churton Collins. _Studies in Poetry and Criticism_, "Poetry and Poets of America." Excellent as an English estimate.

Barrett Wendell: _Literary History of America_ and _Stelligeri_, "Mr.

Lowell as a Teacher."

Henry James: _Essays in London and Library of the World's Best Literature_.

George E. Woodberry: _Makers of Literature_.

William Watson: _Excursions in Criticism_.

W.D. Howells: _Literary Friends and Acquaintance_.

Charles E. Richardson: _American Literature_.

M.A. DeWolfe Howe: _American Bookmen_.

Thomas Wentworth Higginson: _Old Cambridge_.

Frank Preston Stearns: _Cambridge Sketches_. 1905.

Richard Burton: _Literary Leaders of America_. 1904.

John White Chadwick: Chambers's _Cyclopedia of English Literature_.

Hamilton Wright Mabie: _My Study Fire_. Second Series, "Lowell's Letters."

Margaret Fuller: _Art, Literature and the Drama_. 1859.

Richard Henry Stoddard: _Recollections, Personal and Literary_, "At Lowell's Fireside."

Edwin P. Whipple: _Outlooks on Society, Literature and Politics_, "Lowell as a Prose Writer."

H.R. Haweis: _American Humorists_.

Bayard Taylor: _Essays and Notes_.

G.W. Smalley: _London Letters_, Vol. 1., "Mr. Lowell, why the English liked him."