CAPITALS. by James Russell Lowell: Summary, Meaning & Analysis
This isn't your typical poem; instead, it's an alphabetical index of poem titles from James Russell Lowell's collected works, organized under the letters A and B.
The poem
A.C.L., To. Above and Below. Absence. After the Burial. Agassiz. Agro-Dolce. Al Fresco. Aladdin. Alexander, Fanny, To. All-Saints. Allegra. Ambrose. Anti-Apis. Appledore, Pictures from. April Birthday, An--at Sea. Arcadia Rediviva. At the Burns Centennial. At the Commencement Dinner, 1866. Auf Wiedersehen. Auspex. Bankside. Bartlett, Mr. John, To. Beaver Brook. Beggar, The. Bibliolatres. Biglow, Mr. Hosea, to the Editor of the Atlantic Monthly. Biglow, Mr., Latest Views of.
This isn't your typical poem; instead, it's an alphabetical index of poem titles from James Russell Lowell's collected works, organized under the letters A and B. You can think of it as a table of contents you'd find at the beginning of a poetry book—it points you to each poem rather than weaving a narrative. It serves as a guide to Lowell's diverse body of work, covering everything from personal dedications to nature sketches and political satire.
Line-by-line
A.C.L., To. / Above and Below.
Absence. / After the Burial.
Agassiz. / Agro-Dolce.
Aladdin. / Alexander, Fanny, To.
All-Saints. / Allegra.
Ambrose. / Anti-Apis.
Appledore, Pictures from. / April Birthday, An--at Sea.
Arcadia Rediviva. / At the Burns Centennial.
At the Commencement Dinner, 1866. / Auf Wiedersehen.
Auspex.
Bankside. / Bartlett, Mr. John, To.
Beaver Brook. / Beggar, The.
Bibliolatres. / Biglow, Mr. Hosea, to the Editor of the Atlantic Monthly.
Biglow, Mr., Latest Views of.
Tone & mood
The tone of this reference index may seem neutral and organizational at first glance. However, as you read through it, you can sense the quiet confidence of a poet reflecting on a long career. There's no drama or argument here—just a steady list of titles that hint at a life dedicated to writing about topics ranging from grief and politics to the sound of birdsong. The inclusion of a few foreign-language titles, like Auf Wiedersehen, Agro-Dolce, and Al Fresco, adds a touch of cosmopolitan flair without being ostentatious.
Symbols & metaphors
- Alphabetical order — The strict A-to-B sequence removes any sense of hierarchy from the poems. A personal elegy ('After the Burial') stands alongside a comic satire (Biglow) without any editorial notes. The alphabet itself symbolizes a democratic arrangement — no poem holds more importance than another.
- Foreign-language titles (Auf Wiedersehen, Agro-Dolce, Al Fresco) — These titles reflect Lowell's deep engagement with European culture and languages. They position him as a poet who navigated between American vernacular, as seen in the Biglow dialect poems, and a more cosmopolitan literary tradition — a tension that is key to his identity.
- Dedications ('To.') — Several entries are addressed to specific individuals. In a collected index, these dedications serve as a reminder that for Lowell, poetry was also a social act — a means of honoring friendships, marking occasions, and connecting with both the living and the dead.
- Place names (Appledore, Beaver Brook, Bankside) — Many titles are anchored in specific locations, rooting Lowell's imagination in real geography. New England landscapes coexist with Shakespearean London, indicating that both home and the broader world hold a place in his imagination.
- Auspex — The Roman bird-reader who wraps up the 'A' section serves as a subtle reflection of the poet — a person who used to find significance in little signs but now worries that this ability is slipping away. This adds an unexpectedly personal touch to the index before the 'B' section starts.
Historical context
James Russell Lowell (1819–1891) was a key figure in nineteenth-century American literature—he was a poet, critic, editor of *The Atlantic Monthly*, a Harvard professor, and later served as U.S. Ambassador to Spain and Britain. This index of poem titles under the letters A and B comes from the 'Capitals' section of his collected works, a common feature in Victorian-era poetry collections that helped readers find poems in alphabetical order. Lowell's writing spanned a wide variety of forms: from personal elegies and nature lyrics to political satire (like the *Biglow Papers*), occasional verse for public events, and lengthy memorial odes. The index showcases this diversity without any commentary. It was put together in the later part of his career, at a time when he was recognized as America's leading man of letters, and it reflects a body of work influenced by personal loss, abolitionist politics, and a strong connection to both American and European literary traditions.
FAQ
Not in the conventional sense. 'Capitals' is essentially an alphabetical list of poem titles from Lowell's collected works, acting like a table of contents. This was a common feature in Victorian poetry collections, making it easier for readers to locate specific poems. Reading it from start to finish offers a broad overview of Lowell's style and themes, but it doesn’t weave a narrative or present an argument like a lyric poem would.
Hosea Biglow is a fictional Yankee farmer created by Lowell for *The Biglow Papers*, a collection of satirical poems written in the New England dialect. Biglow's letters and verses take aim at American politicians, the Mexican-American War, and later the Civil War era. They gained immense popularity during Lowell's time and are regarded as some of the most incisive political satire in American literary history.
'After the Burial' is a heartfelt poem Lowell penned following the death of his daughter Rose in 1850. It's one of his most emotionally intense works, resisting the well-meaning but hollow reassurances people often give to those in mourning — he rejects comfort from clichés about heaven or the natural order of life. In this index, it emerges as one of the most profoundly painful titles on the list.
An auspex was a Roman priest who interpreted omens by observing birds in flight. Lowell adopts this title for a brief lyric that explores how the heart loses its youthful ability to feel deeply. The speaker reflects on a time when they could easily read emotional signs, but that sensitivity has faded. It's a poem about aging and emotional numbness, wrapped in classical imagery.
Lowell had a rich education in European languages and literature, spending considerable time in Europe. Titles such as 'Auf Wiedersehen' (German: 'until we meet again'), 'Agro-Dolce' (Italian: 'bittersweet'), and 'Al Fresco' (Italian: 'in the open air') showcase his cosmopolitan background. They also hint at the mood or tradition that a poem engages with even before you read the first line.
Louis Agassiz was a Swiss-American naturalist and a professor at Harvard, renowned as one of the leading scientists of the nineteenth century. He shared a close friendship and collaboration with Lowell during their time at Harvard. After Agassiz passed away in 1873, Lowell penned an extensive memorial ode to honor him—this poem stands out as one of the most ambitious works in his career, intertwining personal sorrow with insights on science, nature, and intellectual exploration.
In 1859, the centennial of Robert Burns's birth was celebrated throughout the English-speaking world with dinners and public readings. Lowell was invited to compose a poem for the event. These 'occasional poems'—created for specific public occasions—were an important aspect of a Victorian poet's social responsibilities, and Lowell was among the most sought-after writers for such assignments in America.
It's Latin for 'Arcadia Revived.' Arcadia was an area in ancient Greece that came to represent an ideal pastoral world in poetry and art — one that's peaceful, simple, and connected to nature. 'Rediviva' translates to brought back to life. Lowell uses this title to hint at a poem about reclaiming or reimagining that lost ideal, reflecting his ongoing interest in the struggle between an idealized past and a messy present.