Bon Voyage by James Russell Lowell

Lowell doesn’t mention her by name in the poem. While scholars have connected it to several women in his social circle, the poem intentionally serves as a universal homage. This anonymity lends the admiration a sense of reverence rather than mere gossip.

It's French for "good journey" or "safe travels" — a typical send-off for someone leaving by sea. Lowell takes this everyday phrase for his title and then spends fourteen lines transforming that straightforward wish into something grand and mythical.

A Petrarchan sonnet consists of 14 lines divided into an 8-line octave (ABBAABBA) and a 6-line sestet. Lowell adheres to this structure closely: the octave discusses the ship and ocean, presenting the situation, while the sestet expresses a specific wish for a peaceful, golden return. This is a classic example of the form applied to a real event.

In Greek mythology, Zeus, known as Jove in Latin, became infatuated with the Phoenician princess Europa. He changed into a stunning white bull, coaxed her onto his back, and swam with her across the sea to Crete. Lowell refers to this as the ultimate example of a serene ocean crossing — and then claims his traveler is even more valuable to him than Europa was to Zeus.

The paper nautilus is a small sea creature that drifts on the ocean's surface, using its thin shell much like a sail. It became a popular symbol in poetry during the 19th century, with Oliver Wendell Holmes penning a well-known poem about it. Lowell employs this image of fragile beauty to convey that if the sea is calm and golden enough, even this delicate sailor will venture out. This suggests that the ocean must be at its very best for her return.

It's a description of moonlight dancing on the water. The moon appears to glide over the sea's surface, yet leaves no traces — hence "printless." "Summer sandals" evokes a sense of lightness and warmth. This image is one of Lowell's most unique: graceful, weightless, and glowing all at once.

"Westering" refers to the act of moving toward the west, where the sun sets and, according to classical mythology, where the underworld begins. Ships journeying from Europe to America vanished beyond the western horizon. Lowell employs this phrase to imbue the departure with a mythic, nearly cosmic significance, while the rest of the poem emphasizes her eventual return.

Both, honestly. The word "regrets" (signifying longing rather than remorse) and the idea of someone fading into the distance evoke deep sadness. Yet, the poem brims with a sense of hope and even playfulness — Lowell is more occupied with commanding the ocean and outdoing Zeus in flattery than dwelling in sorrow. The closing image of moonlight and the Nautilus emphasizes beauty instead of grief.