The Annotated Edition
A PRELIMINARY NOTE TO THE SECOND EDITION. by James Russell Lowell
This is James Russell Lowell's clever and self-reflective preface to the second edition of *The Biglow Papers*, presented in both verse and prose.
- Themes
- art, freedom, identity
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Though it well may be reckoned, of all composition, the species at once / most delightful and healthy...
Editor's note
Lowell starts off by reflecting on the idea that writing a preface is often seen as the most enjoyable type of writing — but only for those who can do it for pleasure. He humorously points out that some authors put a new title page on the same old book three times a year just to experience a fleeting sense of public success, likening it to a starving painter presenting a picture of food to a hungry person. This sets a self-deprecating tone, poking fun at literary vanity right from the beginning.
You remember (if not, pray turn, backward and look) that, in writing the / preface which ushered my book...
Editor's note
Here Lowell acknowledges that he was somewhat dismissive of the reading public in his first preface, but he stands by that stance. He contends that a writer doesn't owe anything to the audience, asserting that true literary reputation is determined by an inner sense of judgment rather than by popular opinion. It's a bold and somewhat defensive remark on the importance of artistic integrity.
But I wander from what I intended to say,--that you have, namely, shown / such a liberal way of thinking...
Editor's note
Lowell realizes he's gone off track and gets back to the main point: people bought his book quickly and welcomed it with open arms, which he's really grateful for. He wraps this compliment in a joke about measuring the reader's face — suggesting that those who enjoyed his book might have a slightly shorter nose (meaning they're less snobby). It's all in good fun.
You have watched a child playing--in those wondrous years when belief is / not bound to the eyes and the ears...
Editor's note
This section captures the essence of the preface. Lowell illustrates how children engage in imaginative play — a boy transforms a stick into a sea captain's sword, while a stone becomes Aladdin's lamp. He then parallels this to adult writers who indulge in a similar game of mutual admiration, crafting anonymous rave reviews for one another's work. The humor resonates as Lowell confesses that he's beginning to appreciate public praise himself, quoting Horace: the public *sometimes* gets it right.
In reading these lines, you perhaps have a vision / of a person in pretty good health and condition...
Editor's note
Lowell counts the critical attacks he's faced since the first edition—he says there have been ninety-five separate drubbings, with a potential ninety-sixth on the way from a critic he refers to as 'Molybdostom.' His tone is both mock-tragic and humorous: he feigns trembling at the idea of another bad review while clearly not being bothered at all.
Now I shall not crush _them_ since, indeed, for that matter, / no pressure I know of could render them flatter...
Editor's note
Lowell brushes off his critics with a playful, extensive list of writers and books he prefers: Hakluyt, Ben Jonson, George Herbert, Marlowe, Wordsworth, Montaigne, and others. His point is clear: great literature speaks for itself. He wraps up by symbolically burying the hatchet — lighting a pipe with one of their reviews — and extends an invitation for critics to come see him as friends, leaving any hard feelings behind.
As I ran through the leaves of my poor little book, / to take a fond author's first tremulous look...
Editor's note
Lowell expresses the dread of discovering typographical errors in the first edition — misprints he likens to a beautiful baby suddenly appearing deformed. The term 'pi' (when printer's type gets scrambled) is the most egregious offense. It's a humorous, relatable gripe about the disconnect between a writer's intentions and the final printed product.
In the edition now issued no pains are neglected, / and my verses, as orators say, stand corrected.
Editor's note
Lowell concludes by mentioning that the new edition has been revised, but some misunderstandings are the public's responsibility, not his. In particular, a satirical character inspired by various real individuals has been wrongly identified as one specific friend — and Lowell aims to clarify that. He finishes with a caution to anonymous critics: every stick has two ends, and he's more than capable of striking back.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The starved painter and the picture of meat
- Represents the empty satisfaction of imagined success—an author who simply reprints the same book with a different title is merely indulging in an illusion rather than gaining anything substantial. This highlights Lowell's theme of genuine versus manufactured literary reputation.
- The child's mud-puddle fleet
- Represents pure, untainted imagination — the type of creative belief that doesn't rely on outside approval. Lowell uses it to highlight the difference between true artistic vision and the adult game of mutual flattery among writers.
- Aladdin's lamp made from a stone
- Represents the transformative power of imagination and play. In the poem's context, it also gently pokes fun at writers who bestow exaggerated reputations upon one another, much like how children bestow magical powers.
- The calumet (peace pipe) lit with a critic's review
- A sharp image of dismissal transforms into reconciliation. Lowell literally burns a bad review to light his pipe — turning criticism into fuel — but then extends an olive branch by offering the critic a fresh pipe as a sign of goodwill. It’s both contempt and generosity at once.
- The deformed baby (the misprinted book)
- Lowell's metaphor highlights the pain of seeing a text marred by typographical errors. He compares a book to an author's child, emphasizing the deep emotional impact of witnessing it disfigured by the printer. While this notion is humorous, it underscores the personal connection writers have with their work.
- The attic fire and the books
- The warm study filled with books offers the genuine reward of a literary life: a personal connection with great writers throughout history, free from the influence of critics or public opinion. This is Lowell's response to the question of why he writes in the first place.
§06Historical context
Historical context
§07FAQ
Questions readers ask
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