draws all his characters quite _à la_ Fuseli,-- by James Russell Lowell: Summary, Meaning & Analysis
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 poem
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.
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.
Line-by-line
Not sketching their bundles of muscles and thews illy, / 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.
Tone & mood
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.
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.
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.
FAQ
"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.