draws all his characters quite _à la_ Fuseli,-- by James Russell Lowell

"E." is almost certainly Ralph Waldo Emerson—the initial fits, and the description of a cool, precise, marble-like style aligns with how Lowell and others viewed Emerson's writing. The writer compared to Fuseli is less clearly identified; different scholars have proposed names like Cornelius Mathews or another author known for their overly dramatic style. Lowell intentionally left some identities vague for comic effect.

A Fable for Critics is an extensive satirical poem published by Lowell in 1848, consisting of more than a thousand lines. The poem is structured as a fictional visit to Apollo's court, where the god and a critic pass judgment on contemporary American writers. Around line 600, there’s a series of quick literary portraits presented in fast-paced couplets.

Henry Fuseli (1741–1825) was a Swiss-British painter known for his dramatic, nightmarish scenes filled with exaggerated muscular figures — like in The Nightmare. John Flaxman (1755–1826) was an English sculptor and illustrator recognized for his clean, stark neoclassical outlines. Lowell pairs them together because their styles are starkly different, and comparing a writer's style to a visual artist's was a common tactic in the nineteenth century — it provided readers with an immediate, vivid sense of what the writing evoked.

"Thews" is an old English term that refers to muscles or, more broadly, muscular strength. By Lowell's era, it had become somewhat antiquated, which adds a layer of humor—he employs this somewhat pretentious, literary term to characterize writing that is overly inflated and grandiose itself.

Both, at the same time. Lowell really appreciates how clear and thorough Emerson's writing is — calling it "full, round, and clear" is high praise. However, the terms "colorless" and the comparison to a cold white marble statue suggest that something is lacking: the warmth of human emotion and the feeling that a real person is behind the words. This critique shows a level of respect for its subject that keeps it from being purely harsh.

When Emerson praises someone he admires, it’s akin to a marble statue: skillfully made, dignified, and enduring — yet chilly. Marble represents monuments and ideals, not living beings. Lowell suggests that Emerson's praise turns his subjects into abstractions instead of recognizing them as real, complex humans.

The repetition is a purposeful stylistic choice. By employing nearly identical phrases in consecutive lines, Lowell immerses the reader in the monotony he depicts. The writer being satirized possesses one dominant trait — sheer physical strength — and Lowell's structure reflects that one-dimensional quality by driving home the same image twice.

Lowell writes in rhyming couplets that follow a loose anapestic rhythm — a lively, quick-paced meter that fits satirical verse well, as it maintains a light tone and ensures the punchlines hit effectively. This form has a rich history in English comic poetry, tracing back to writers like Samuel Butler and Alexander Pope, and Lowell was intentionally engaging with that tradition.