Bayard Taylor's Lars: a Pastoral of Norway; and Other Poems.
17, 18. Hawthorne's Wonder-Book. In two parts.[35]
19, 20. Benjamin Franklin's Autobiography. In two parts.[35]
The Annotated Edition
Bayard Taylor's Lars: a Pastoral of Norway; and Other Poems. by James Russell Lowell
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This poem by James Russell Lowell offers a critical review in verse of Bayard Taylor's collection "Lars: A Pastoral of Norway," evaluating its literary quality and its standing among contemporary works.
- Themes
- art, identity, memory
§01Quick summary
What this poem is about
This poem by James Russell Lowell offers a critical review in verse of Bayard Taylor's collection "Lars: A Pastoral of Norway," evaluating its literary quality and its standing among contemporary works. Lowell employs the poetic form to critique a fellow writer's work, mixing humor with literary insight. You can think of it as a rhymed book review from someone who truly understood what great poetry should be.
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
17, 18. Hawthorne's Wonder-Book. In two parts.
Editor's note
Lowell references Nathaniel Hawthorne's *Wonder-Book for Girls and Boys* (1851), which retells Greek myths for a younger audience. By splitting this citation into two parts, Lowell sets up a structured, comparative framework. He’s essentially measuring Taylor's pastoral work against the benchmark of American literary excellence that Hawthorne embodies.
19, 20. Benjamin Franklin's Autobiography. In two parts.
Editor's note
Franklin's *Autobiography* serves as a powerful example of straightforward American writing and self-made identity. By placing it next to the works of Hawthorne and Taylor, Lowell encourages readers to reflect on the essence of American literature and its aspirations — connecting Taylor’s elevated pastoral goals to a practical, homegrown tradition.
§04Tone & mood
How this poem feels
The tone is dry and measured, exuding a quietly authoritative presence — the voice of a man who has absorbed a vast amount of knowledge and remains unimpressed. While there's no hostility, a cool critical distance maintains a level of detachment from sentiment. Lowell comes across like a judge who has reached a verdict but is still open to sharing his thought process.
§05Symbols & metaphors
Symbols & metaphors
- Hawthorne's Wonder-Book
- Shows the creative, myth-making aspect of American literature — the ability to take traditional stories and turn them into something uniquely fresh and meaningful.
- Franklin's Autobiography
- Represents the practical, independent American tradition — the belief that literature should be grounded in real-life experiences and straightforward truths instead of embellishments.
- The pastoral form
- Norway and its landscapes in Taylor's original work symbolize the exotic and the romantic. Lowell’s reference to it raises the question of whether American poets should seek inspiration from abroad or focus on their own environment.
§06Historical context
Historical context
James Russell Lowell (1819–1891) was a key figure in nineteenth-century American literature, recognized as a poet, critic, editor of *The Atlantic Monthly*, and a Harvard professor. He was known for his verse criticism, most notably in *A Fable for Critics* (1848), where he cleverly critiqued and celebrated his contemporaries through rhyming couplets. Bayard Taylor (1825–1878) enjoyed immense popularity as a travel writer and poet, with *Lars: A Pastoral of Norway* (1873) being one of his more ambitious works. Lowell's response to Taylor's writing reflects a broader discussion in mid-nineteenth-century America about the nature of national literature—should it draw from European traditions and settings, or create something uniquely American? The mentions of Hawthorne and Franklin ground this debate in two distinct yet equally significant American perspectives.
§07FAQ
Questions readers ask
It is a critical poem or verse review where Lowell assesses Bayard Taylor's collection *Lars: A Pastoral of Norway*. The numbered references to Hawthorne and Franklin form a structured comparison, highlighting the quality and ambition of Taylor's work.
They showcase two extremes of American literary achievement — Hawthorne as the creative mythmaker and Franklin as the straightforward realist. By positioning Taylor's pastoral next to their works, Lowell raises the standard and questions whether Taylor meets it.
A pastoral is a poem or story that takes place in a romanticized rural setting, often highlighting shepherds or the simplicity of country life. Taylor's *Lars* brings this tradition to Norway, making a bold and somewhat unexpected choice for an American poet.
They were literary contemporaries who mingled in similar circles, but Lowell had a reputation for his biting critiques, even of those he admired. His verse criticism wasn't just personal; it consistently addressed the broader landscape of American literature.
The numbered format resembles a formal critical index or table of contents, adding an ironic, mock-scholarly vibe to the poem. This suggests that Lowell is engaging in serious critical analysis, but he's also poking fun at himself throughout the process.
Yes. Lowell often combined poetry with literary criticism, most notably in *A Fable for Critics*. He skillfully blended humor, judgment, and genuine insight, and this poem is a great example of that approach.
By comparing Taylor's Norwegian pastoral with Hawthorne's myth retellings and Franklin's autobiography, Lowell suggests that American literature reaches its full potential when it relies on its own experiences and settings instead of borrowing from European landscapes and styles.
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