Skip to content
Storgy

The Annotated Edition

LAST POEMS. by James Russell Lowell

Summary, meaning, line-by-line analysis & FAQ.

*Last Poems* is a collection of James Russell Lowell's poetry published after his death, showcasing a diverse array of his work—from the satirical Yankee dialect found in the Biglow Papers to more lyrical and introspective pieces.

Poet
James Russell Lowell
The PoemFull text

LAST POEMS.

James Russell Lowell

Latest Views of Mr. Biglow. Leaving the Matter open. Legend of Brittany, A. L'ENVOi (To the Muse). L'Envoi (Whether my heart hath wiser grown or not). Lesson, The. Letter, A, from a candidate for the presidency in answer to suttin questions proposed by Mr. Hosea Biglow, inclosed in a note from Mr. Biglow to S.H. Gay, Esq., editor of the National Anti-Slavery Standard. Letter, A, from Mr. Ezekiel Biglow of Jaalam to the Hon. Joseph T. Buckingham, editor of the Boston Courier, inclosing a poem of his son, Mr. Hosea Biglow. Letter, A, from Mr. Hosea Biglow to the Hon. J.T. Buckingham, editor of the Boston Courier, covering a letter from Mr. B. Sawin, private in the Massachusetts Regiment. Letter, A Second, from B. Sawin, Esq. Letter, A Third, from B. Sawin, Esq.

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

*Last Poems* is a collection of James Russell Lowell's poetry published after his death, showcasing a diverse array of his work—from the satirical Yankee dialect found in the Biglow Papers to more lyrical and introspective pieces. This collection highlights Lowell's ability to shift between pointed political commentary and softer, more personal reflections. It's as if you're witnessing one writer engage in two distinct conversations simultaneously: one addressing the public spheres of politics and conflict, and the other exploring his inner thoughts and artistic pursuits.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. Latest Views of Mr. Biglow.

    Editor's note

    This entry marks a return to Lowell's best-known satirical character, Hosea Biglow — a straightforward New England farmer whose down-to-earth speech criticizes political hypocrisy. 'Latest Views' implies that the character still has valuable opinions, ensuring that the satirical project remains relevant until the end of Lowell's career.

  2. Leaving the Matter open.

    Editor's note

    The title itself is a rhetorical move — it keeps the argument open. Lowell frequently employed open-ended framing to engage the reader in an ongoing debate instead of delivering a final verdict, reflecting his democratic, conversational style of poetry.

  3. Legend of Brittany, A.

    Editor's note

    This longer narrative poem is inspired by medieval Breton legend, allowing Lowell to delve into themes of love, betrayal, and spiritual consequence in a romantic, ballad-like style. Unlike the Biglow satires, this piece has a more elevated tone, a distant setting, and moral stakes that feel timeless rather than current.

  4. L'ENVOi (To the Muse).

    Editor's note

    An *envoi* is a traditional closing address, typically a farewell to either the poem itself or the muse that inspired it. Lowell's choice to write two envois—one formal and one personal—indicates his deep concern with endings: considering what a poet owes to their craft and what they leave behind.

  5. L'Envoi (Whether my heart hath wiser grown or not).

    Editor's note

    This second envoi feels more introspective and uncertain. The line 'whether my heart hath wiser grown or not' reveals a rare moment of self-doubt from a poet known for his confidence. It comes across as a quiet reflection — has all those years of writing really taught him anything?

  6. Lesson, The.

    Editor's note

    The definite article 'The' adds a sense of finality to this title, suggesting that Lowell is highlighting a singular, hard-won truth. In the context of a later collection, a poem titled 'The Lesson' brings with it an expectation of summation — the distilled wisdom of an older man reflecting on his past.

  7. Letter, A, from a candidate for the presidency...

    Editor's note

    Back in Biglow territory, this piece adopts the epistolary form — a letter from a presidential candidate — to poke fun at the evasions and hollow rhetoric typical in political speech. The detailed subtitle, referencing actual publications like the *National Anti-Slavery Standard*, anchors the satire in a specific historical context and lends it the authenticity of a real document.

  8. Letter, A, from Mr. Ezekiel Biglow of Jaalam...

    Editor's note

    This framing letter introduces the Biglow Papers to the public — a father humorously submitting his son Hosea's poetry to a newspaper editor. The layers of fictional authorship — with Ezekiel writing about Hosea — allow Lowell to explore voice, class, and literary pretension simultaneously.

  9. Letter, A, from Mr. Hosea Biglow to the Hon. J.T. Buckingham...

    Editor's note

    Hosea's letter, which discusses a piece by the unfortunate B. Sawin, adds an extra layer to the fictional narrative. Sawin, a soldier, writes home about the harsh truths of the Mexican-American War — a stark contrast to the patriotic bravado that Lowell was mocking.

  10. Letter, A Second, from B. Sawin, Esq.

    Editor's note

    By the second letter, Sawin has taken on the honorific 'Esq.' — a sharp little jab at how war and opportunism can cloak a person in respectability. His letters become increasingly disillusioned, reflecting on the moral price of a war that Lowell thought was waged to extend slavery.

  11. Letter, A Third, from B. Sawin, Esq.

    Editor's note

    The third Sawin letter reflects the decline of a man who sought glory but instead encountered compromise and corruption. At this stage, the satire has evolved into a form of tragedy—Sawin is no longer merely a fool but a warning, illustrating the consequences of ordinary people handing over their moral judgment to politicians.

§04Tone & mood

How this poem feels

The collection balances two contrasting tones. The Biglow pieces are sharp, combative, and often hilarious — Lowell uses poor spelling and rural dialect to poke fun at powerful figures. In contrast, the lyrical and reflective poems, particularly the two envois and *The Lesson*, are more subdued and elegiac, reflecting the weight of a long career nearing its end. Ultimately, it feels like a writer who never completely chose between being a public satirist and a private poet, ultimately realizing he didn't have to pick one.

§05Symbols & metaphors

Symbols & metaphors

The letter / epistle
Letters form the structural backbone of the Biglow Papers. By their nature, letters suggest a genuine sender, a genuine recipient, and a specific occasion — allowing Lowell to weave political arguments into a format that resembles casual conversation instead of a formal lecture.
The Muse (L'Envoi)
Addressing the Muse directly is a classic move, but Lowell uses it to genuinely question whether his life in poetry has been worthwhile. In this context, the Muse serves more as a mirror — a tool for the poet to reflect on and assess his own growth.
B. Sawin's rank and title
Sawin begins as a private and finishes as 'Esq.' — a path that appears successful but comes off as corrupt. These titles act as ironic markers, showing how war and political cynicism tarnish a man's integrity while boosting his social status.
Brittany / medieval legend
The Breton backdrop of *A Legend of Brittany* provides a historical buffer for exploring moral dilemmas related to love, guilt, and spiritual reckoning. This distance allows Lowell to delve into emotions that might be too intense in a modern context.
The open ending
Titles like *Leaving the Matter Open* and the questioning tone of the second L'Envoi suggest that Lowell was skeptical of neat conclusions. Emphasizing openness is a key theme in this collection — a reminder that genuine thought is never completely settled.

§06Historical context

Historical context

James Russell Lowell published the first series of *The Biglow Papers* in 1848, featuring the fictional Yankee farmer Hosea Biglow as a way to critique the Mexican-American War and the spread of slavery. A second series came out during the Civil War. By the time *Last Poems* was compiled after his death in 1891, Lowell had also been the U.S. Minister to Spain and then to Britain, and he was one of the founding editors of *The Atlantic Monthly*. Essentially, he was a prominent public figure — a poet who spent decades bridging the gap between literature and politics. *Last Poems* collects works from his extensive career, placing dialect satires alongside more personal pieces, and offers readers a comprehensive view of a writer who believed poetry could have a meaningful impact on the world.

§07FAQ

Questions readers ask

The Biglow Papers consist of satirical poems and letters crafted in a New England dialect, showcasing the fictional farmer Hosea Biglow and his acquaintances. Lowell employed these works to critique the Mexican-American War during the 1840s and later the political landscape of the Civil War era in the 1860s. Their significance lies in demonstrating that dialect and humor can effectively convey serious political messages, influencing a lasting tradition of American vernacular writing.

Read next

Poems in the same key

Similar poems

The Love Song of J. Alfred Prufrock — T. S. EliotMending Wall — Robert FrostDulce et Decorum Est — Wilfred OwenTHE ARSENAL AT SPRINGFIELD — Henry Wadsworth Longfellow

More by James Russell Lowell

Browse all James Russell Lowell poems →

Themes in this poem

Poems about artPoems about identityPoems about memoryPoems about war