Compare the familiar line in Gray's _Elegy_: by James Russell Lowell: Summary, Meaning & Analysis
This short prose-and-verse piece by James Russell Lowell juxtaposes two well-known lines: Gray's somber "paths of glory lead but to the grave" and Tennyson's more hopeful "path of duty was the way of glory." It also includes a verbose passage that Lowell considered adding to Tennyson's ode to bridge the gap between the two lines.
The poem
"The paths of glory lead but to the grave." and Tennyson's line, in the _Ode to the Duke of Wellington_: "The path of duty was the way of glory." In a letter to T.W. Higginson, who was editing the _Harvard Memorial Biographies_, in which he was to print the ode, Lowell asked to have the following passage inserted at this point: "Virtue treads paths that end not in the grave, But through those constellations go That shed celestial influence on the brave. If life were but to draw this dusty breath That doth our wits enslave, And with the crowd to hurry to and fro, Seeking we know not what, and finding death, These did unwisely; but if living be, As some are born to know, The power to ennoble, and inspire In other souls our brave desire For fruit, not leaves, of Time's immortal tree, These truly live, our thought's essential fire, And to the saner," etc. Lowell's remark in _The Cathedral_, that "second thoughts are prose," might be fairly applied to this emendation. Fortunately, the passage was never inserted in the ode.
This short prose-and-verse piece by James Russell Lowell juxtaposes two well-known lines: Gray's somber "paths of glory lead but to the grave" and Tennyson's more hopeful "path of duty was the way of glory." It also includes a verbose passage that Lowell considered adding to Tennyson's ode to bridge the gap between the two lines. The irony lies in Lowell's own words: he stated that "second thoughts are prose," and this awkward addition certainly illustrates his point. Ultimately, the piece serves as a reminder of why great poetry often defies attempts at enhancement.
Line-by-line
"The paths of glory lead but to the grave." / and Tennyson's line…
"Virtue treads paths that end not in the grave, / But through those constellations go…"
Lowell's remark in *The Cathedral*, that "second thoughts are prose"…
Tone & mood
Wry and self-deprecating, the piece feels like a clever trap that Lowell has set for himself. He earnestly presents the attempted change, only for the final sentence to catch him out with his own words. The overall mood is gently ironic, like a good editor smiling while subtly putting a bad revision to rest.
Symbols & metaphors
- Paths / the path — Both Gray and Tennyson use the road as a metaphor for life. Gray's *paths* (plural, collective) lead to death, while Tennyson's *path* (singular, chosen) leads to glory. The word carries a lot of weight in just a few words, which is something Lowell's inserted passage doesn't quite achieve.
- Constellations / celestial influence — In Lowell's inserted verses, stars symbolize the enduring moral impact of virtuous individuals — the notion that a good life continues to shine after death, similar to how starlight persists beyond its origin. It's an authentic concept, but the way it's presented obscures its essence.
- Time's immortal tree — The tree, whose fruit represents real achievement and lasting legacy, stands in contrast to mere leaves, which symbolize surface show and fleeting fame. This imagery resonates with a long-standing tradition of trees representing life, but in this case, it feels more like an artificial addition rather than something that has developed naturally from the poem.
- The grave — In Gray's line, the grave serves as the full stop for all human ambition. In contrast, Lowell's passage attempts to argue that the grave isn't the end, but by naming it so often, he keeps drawing the reader's attention back to the very finality he seeks to avoid.
Historical context
James Russell Lowell (1819–1891) was a leading figure in American literature during the nineteenth century. He was a poet, critic, editor of *The Atlantic Monthly*, and later served as U.S. Ambassador to Britain. The *Harvard Memorial Biographies*, which Thomas Wentworth Higginson edited, honored Harvard alumni who lost their lives in the Civil War. Tennyson's *Ode on the Death of the Duke of Wellington* (1852) was considered the prestigious elegy of the time, while Gray's *Elegy Written in a Country Churchyard* (1751) was one of the most frequently quoted poems in English. Lowell's effort to connect these two works illustrates the Victorian struggle to balance the concept of heroic death with the Christian hope for immortality—an issue that the Civil War made deeply personal for American readers. His self-reflective saying from *The Cathedral* (1870), that "second thoughts are prose," adds a touch of irony to the notion of a failed revision.
FAQ
The first quote comes from Thomas Gray's *Elegy Written in a Country Churchyard* (1751): "The paths of glory lead but to the grave." The second is from Alfred Lord Tennyson's *Ode on the Death of the Duke of Wellington* (1852): "The path of duty was the way of glory." Gray takes a fatalistic view, while Tennyson offers a redemptive perspective. Lowell finds the contrast between their views intriguing.
Lowell sensed a conflict between Gray's assertion that glory ends in death and Tennyson's belief that duty *is* glory. He felt there needed to be a connection — a philosophical argument suggesting that virtuous lives attain true immortality. He aimed for the *Harvard Memorial Biographies* to convey this argument as part of the tribute to those who died in the Civil War. Ultimately, he sought to counter Gray's pessimism on behalf of the fallen soldiers.
It’s a line from Lowell's poem *The Cathedral*, suggesting that when you revisit and interpret a poem, you often swap its natural rhythm for dull, explanatory language — basically, prose pretending to be poetry. The irony is that the passage he added perfectly illustrates this very mistake.
No. The editor feels a sense of relief knowing that it was never added. The *Harvard Memorial Biographies* were published without Lowell's changes, keeping Tennyson's ode as it was.
The syntax is complicated, the rhythm feels forced, and the imagery (constellations, Time's immortal tree) seems excessive rather than justified. More importantly, the two original lines already create a strong tension on their own—adding a lengthy explanation diminishes that tension instead of resolving it.
The *Harvard Memorial Biographies* paid tribute to young men who lost their lives in the Civil War. For their families and classmates, wondering if those deaths had lasting significance — if the soldiers lived on in some form — was a very real concern. Lowell's added passage is his way of affirming that their impact lasts. However, the poetry struggles to support the heavy argument he places upon it.
It’s a hybrid piece—a brief critical note that includes some verse. The framing prose serves as editorial commentary, while the inserted passage is the verse being analyzed. Altogether, it acts as a small lesson in poetic judgment, highlighting Lowell's own mistake as the example for teaching.
Thomas Wentworth Higginson was a notable abolitionist, a colonel during the Civil War, and a literary editor — most recognized today as the person Emily Dickinson exchanged letters with regarding her poetry. He took on the editing of the *Harvard Memorial Biographies*. When Lowell wrote to him asking for the inclusion, it indicates that this was a thoughtful and intentional editorial choice, not just a casual note — which makes the omission of the passage even more striking.