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

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This brief verse from James Russell Lowell's satirical poem *A Fable for Critics* humorously critiques two approaches to literary portraiture by likening them to the visual artists Fuseli and Flaxman.

Poet
James Russell Lowell
Themes
art, beauty, identity
The PoemFull text

draws all his characters quite _à la_ Fuseli,--

James Russell Lowell

Not sketching their bundles of muscles and thews illy, 600 He paints with a brush so untamed and profuse, They seem nothing but bundles of muscles and thews; E. is rather like Flaxman, lines strait and severe, And a colorless outline, but full, round, and clear;-- To the men he thinks worthy he frankly accords The design of a white marble statue in words.

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

This brief verse from James Russell Lowell's satirical poem *A Fable for Critics* humorously critiques two approaches to literary portraiture by likening them to the visual artists Fuseli and Flaxman. The poet being described creates characters filled with such raw, muscular energy that they come across as overdone and nearly monstrous, while another writer ("E.") takes a contrasting approach — clean, precise, and as cool as carved marble. Lowell's observation is that both extremes overlook an essential quality: one emphasizes muscle, while the other focuses solely on structure.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. Not sketching their bundles of muscles and thews illy, / He paints with a brush so untamed and profuse,

    Editor's note

    Lowell begins with a backhanded compliment. The writer being mocked isn't bad at depicting physical force—he's actually quite good at it. However, the word "profuse" hints at the issue: there's an excess of everything. The reference to Swiss-British painter Henry Fuseli is fitting since Fuseli was known for his dramatic, almost grotesque figures filled with exaggerated muscles and nightmarish energy.

  2. They seem nothing but bundles of muscles and thews;

    Editor's note

    The punchline of the first mini-portrait hits home here. All that technical skill in showing physical power creates characters that resemble anatomy diagrams more than real humans. "Thews," an old term for muscular strength or muscles, is repeated from the previous line to emphasize the monotony: this writer only has one note, and he plays it loudly.

  3. E. is rather like Flaxman, lines strait and severe,

    Editor's note

    Lowell turns to a second writer, referred to simply as "E." (most likely Ralph Waldo Emerson). The focus then shifts to John Flaxman, the neoclassical sculptor and illustrator known for his clean, simple outlines. Here, "strait" means strict or narrow, not twisted — Lowell is talking about a style that permits no excess, warmth, or color.

  4. And a colorless outline, but full, round, and clear;--

    Editor's note

    This line captures a genuine tension. "Colorless" suggests a flaw, and it is one—there's a lack of emotional warmth and variety. However, "full, round, and clear" are true strengths: the ideas are well-developed, the forms are well-defined, and everything is distinct. Lowell appreciates the precision while also acknowledging the price it comes with.

  5. To the men he thinks worthy he frankly accords / The design of a white marble statue in words.

    Editor's note

    The closing couplet delivers the most striking imagery in the passage. When "E." praises someone, it results in a white marble statue — beautiful, dignified, enduring, and completely cold. The phrase "men he thinks worthy" suggests a level of selectiveness or even elitism: not everyone is granted this honor, and those who are receive something magnificent yet lifeless.

§04Tone & mood

How this poem feels

The tone is witty and gently satirical — it feels like the voice of someone who has read extensively and finds the literary scene both a bit absurd and genuinely fascinating. Lowell isn't cruel; he has a certain admiration for both writers, even as he pokes fun at them. The humor here is dry and reminiscent of clubroom banter, the kind of joke that only works if you're already familiar with who Fuseli and Flaxman are.

§05Symbols & metaphors

Symbols & metaphors

Bundles of muscles and thews
A symbol of literary excess—writing that showcases technical prowess but becomes so fixated on force and drama that it sacrifices human depth. The repetition of the phrase across two lines echoes the monotony it aims to convey.
Fuseli's brush
Henry Fuseli's painting style — wild, dark, and overcharged — represents a way of writing that values raw intensity more than restraint. Just mentioning his name evokes the idea of "too much of a good thing."
Flaxman's lines
John Flaxman's neoclassical outlines — pure, severe, and devoid of color — embody a writing style that prioritizes clarity and elegance, but sacrifices warmth and emotional depth.
White marble statue
The closing image sharpens the critique of "E.": his praise resembles a monument—permanent and beautiful, yet cold to the touch. Marble embodies ideals, not the warmth of living people.
Colorless outline
Color in painting brings emotion and life; its absence here indicates a focus on intellectual precision at the cost of feeling. This phrase reflects Lowell's mixed feelings — he values the clarity but longs for the warmth.

§06Historical context

Historical context

These lines are from *A Fable for Critics*, a satirical poem that Lowell published anonymously in 1848. It offers a lively exploration of the American literary scene in the mid-nineteenth century, with Lowell delivering sharp, humorous critiques of writers like Emerson, Poe, Hawthorne, and Margaret Fuller. This particular passage, located around line 600, discusses two unnamed authors—one likely inspired by a Romantic-era writer known for his excesses, and the other typically recognized as Ralph Waldo Emerson. At the time, American literature was in the process of carving out its own identity in contrast to European influences, and the references to European artists Fuseli (1741–1825) and Flaxman (1755–1826) illustrate how mid-century American critics often turned to visual art to articulate literary style. The poem’s couplet structure keeps the humor sharp and the critiques punchy.

§07FAQ

Questions readers ask

"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.

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