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LETTER FROM BOSTON by James Russell Lowell: Summary, Meaning & Analysis

James Russell Lowell

Written in December 1846, this poem is a friendly verse letter from James Russell Lowell to a friend, capturing the people he observes at an anti-slavery bazaar at Boston's Faneuil Hall.

The poem
_December, 1846._ Dear M---- By way of saving time, I'll do this letter up in rhyme, Whose slim stream through four pages flows Ere one is packed with tight-screwed prose, Threading the tube of an epistle, Smooth as a child's breath through a whistle. The great attraction now of all Is the 'Bazaar' at Faneuil Hall, Where swarm the anti-slavery folks As thick, dear Miller, as your jokes. 10 There's GARRISON, his features very Benign for an incendiary, Beaming forth sunshine through his glasses On the surrounding lads and lasses, (No bee could blither be, or brisker,)-- A Pickwick somehow turned John Ziska, His bump of firmness swelling up Like a rye cupcake from its cup. And there, too, was his English tea-set, 19 Which in his ear a kind of flea set, His Uncle Samuel for its beauty Demanding sixty dollars duty, ('Twas natural Sam should serve his trunk ill; For G., you know, has cut his uncle,) Whereas, had he but once made tea in't, His uncle's ear had had the flea in't, There being not a cent of duty On any pot that ever drew tea. There was MARIA CHAPMAN, too, With her swift eyes of clear steel-blue, 30 The coiled-up mainspring of the Fair, Originating everywhere The expansive force without a sound That whirls a hundred wheels around, Herself meanwhile as calm and still As the bare crown of Prospect Hill; A noble woman, brave and apt, Cumæan sibyl not more rapt, Who might, with those fair tresses shorn, The Maid of Orleans' casque have worn, 40 Herself the Joan of our Ark, For every shaft a shining mark. And there, too, was ELIZA FOLLEN, Who scatters fruit-creating pollen Where'er a blossom she can find Hardy enough for Truth's north wind, Each several point of all her face Tremblingly bright with the inward grace, As if all motion gave it light Like phosphorescent seas at night. There jokes our EDMUND, plainly son 51 Of him who bearded Jefferson, A non-resistant by conviction, But with a bump in contradiction, So that whene'er it gets a chance His pen delights to play the lance, And--you may doubt it, or believe it-- Full at the head of Joshua Leavitt The very calumet he'd launch, And scourge him with the olive branch. 60 A master with the foils of wit, 'Tis natural he should love a hit; A gentleman, withal, and scholar, Only base things excite his choler, And then his satire's keen and thin As the lithe blade of Saladin. Good letters are a gift apart, And his are gems of Flemish art, True offspring of the fireside Muse, Not a rag-gathering of news 70 Like a new hopfield which is all poles, But of one blood with Horace Walpole's. There, with cue hand behind his back, Stands PHILLIPS buttoned in a sack, Our Attic orator, our Chatham; Old fogies, when he lightens at 'em, Shrivel like leaves; to him 'tis granted Always to say the word that's wanted, So that he seems but speaking clearer The tiptop thought of every hearer; 80 Each flash his brooding heart lets fall Fires what's combustible in all, And sends the applauses bursting in Like an exploded magazine. His eloquence no frothy show, The gutter's street-polluted flow, No Mississippi's yellow flood Whose shoalness can't be seen for mud;-- So simply clear, serenely deep, 89 So silent-strong its graceful sweep, None measures its unrippling force Who has not striven to stem its course; How fare their barques who think to play With smooth Niagara's mane of spray, Let Austin's total shipwreck say. He never spoke a word too much-- Except of Story, or some such, Whom, though condemned by ethics strict, The heart refuses to convict. Beyond; a crater in each eye, 100 Sways brown, broad-shouldered PILLSBURY, Who tears up words like trees by the roots, A Theseus in stout cow-hide boots, The wager of eternal war Against that loathsome Minotaur To whom we sacrifice each year The best blood of our Athens here, (Dear M., pray brush up your Lempriere.) A terrible denouncer he, Old Sinai burns unquenchably 110 Upon his lips; he well might be a Hot-blazing soul from fierce Judea, Habakkuk, Ezra, or Hosea. His words are red hot iron searers, And nightmare-like he mounts his hearers, Spurring them like avenging Fate, or As Waterton his alligator. Hard by, as calm as summer even, Smiles the reviled and pelted STEPHEN, The unappeasable Boanerges 120 To all the Churches and the Clergies, The grim _savant_ who, to complete His own peculiar cabinet, Contrived to label 'mong his kicks One from the followers of Hicks; Who studied mineralogy Not with soft book upon the knee, But learned the properties of stones By contact sharp of flesh and bones, And made the _experimentum crucis_ 130 With his own body's vital juices; A man with caoutchouc endurance, A perfect gem for life insurance, A kind of maddened John the Baptist, To whom the harshest word comes aptest, Who, struck by stone or brick ill-starred, Hurls back an epithet as hard, Which, deadlier than stone or brick, Has a propensity to stick. His oratory is like the scream 140 Of the iron-horse's frenzied steam Which warns the world to leave wide space For the black engine's swerveless race. Ye men with neckcloths white, I warn you-- _Habet_ a whole haymow _in cornu_. A Judith, there, turned Quakeress, Sits ABBY in her modest dress, Serving a table quietly, As if that mild and downcast eye Flashed never, with its scorn intense, 150 More than Medea's eloquence. So the same force which shakes its dread Far-blazing blocks o'er Ætna's head, Along the wires in silence fares And messages of commerce bears. No nobler gift of heart and brain, No life more white from spot or stain, Was e'er on Freedom's altar laid Than hers, the simple Quaker maid. These last three (leaving in the lurch 160 Some other themes) assault the Church, Who therefore writes them in her lists As Satan's limbs and atheists; For each sect has one argument Whereby the rest to hell are sent, Which serve them like the Graiæ's tooth, Passed round in turn from mouth to mouth;-- If any _ism_ should arise, Then look on it with constable's eyes, 169 Tie round its neck a heavy _athe-_, And give it kittens' hydropathy. This trick with other (useful very) tricks Is laid to the Babylonian _meretrix_, But 'twas in vogue before her day Wherever priesthoods had their way, And Buddha's Popes with this struck dumb The followers of Fi and Fum. Well, if the world, with prudent fear Pay God a seventh of the year, And as a Farmer, who would pack All his religion in one stack, 181 For this world works six days in seven And idles on the seventh for Heaven, Expecting, for his Sunday's sowing, In the next world to go a-mowing The crop of all his meeting-going;-- If the poor Church, by power enticed, Finds none so infidel as Christ, Quite backward reads his Gospel meek, (As 'twere in Hebrew writ, not Greek,) 190 Fencing the gallows and the sword With conscripts drafted from his word, And makes one gate of Heaven so wide That the rich orthodox might ride Through on their camels, while the poor Squirm through the scant, unyielding door, Which, of the Gospel's straitest size, Is narrower than bead-needles' eyes, What wonder World and Church should call The true faith atheistical? 200 Yet, after all, 'twixt you and me, Dear Miller, I could never see That Sin's and Error's ugly smirch Stained the walls only of the Church; There are good priests, and men who take Freedom's torn cloak for lucre's sake; I can't believe the Church so strong, As some men do, for Right or Wrong, But, for this subject (long and vext) I must refer you to my next, 210 As also for a list exact Of goods with which the Hall was packed. READER! _walk up at once (it will soon be too late), and buy at a perfectly ruinous rate._ A FABLE FOR CRITICS;

Public domain · sourced from Project Gutenberg

Quick summary
Written in December 1846, this poem is a friendly verse letter from James Russell Lowell to a friend, capturing the people he observes at an anti-slavery bazaar at Boston's Faneuil Hall. Lowell paints a lively picture of real abolitionists — Garrison, Wendell Phillips, Maria Chapman, and others — using humor and affection. He also takes pointed shots at a Church he views as too friendly with authority and too dismissive of true reformers.
Themes

Line-by-line

Dear M---- / By way of saving time,
Lowell begins with a lighthearted tone, as if he's casually writing a letter to a friend. He humorously claims that using rhyme saves time since it flows more quickly than heavy prose. This self-aware and playful introduction hints that the entire poem will maintain a witty and informal style instead of a serious one.
The great attraction now of all / Is the 'Bazaar' at Faneuil Hall,
He arrives at the Anti-Slavery Bazaar at Faneuil Hall, Boston's renowned public meeting place. The crowd buzzes with abolitionists, and Lowell quickly introduces William Lloyd Garrison. He notes Garrison's unexpectedly gentle features behind his glasses, likening him to a mix of Mr. Pickwick, the lovable comic character, and Jan Žižka, the fierce Hussite general. The humor lies in Garrison's mild appearance contrasting with his radical spirit. Lowell shares the tea-set story, teasing about U.S. customs charging Garrison sixty dollars duty on a gift from his English supporters, making a pun about Garrison having 'cut his uncle,' meaning he disowned Uncle Sam and the U.S. government.
There was MARIA CHAPMAN, too, / With her swift eyes of clear steel-blue,
Chapman is the driving force behind the Fair — Lowell refers to her as 'the coiled-up mainspring,' a mechanical metaphor that illustrates how she propels everything forward while maintaining an outwardly calm demeanor. He likens her to the Cumaean Sibyl, a prophetess, and to Joan of Arc, placing her on a heroic, almost mythical pedestal. The term 'Joan of our Ark' is a clever play on words: she embodies both a warrior-saint and a protector of the abolitionist cause.
And there, too, was ELIZA FOLLEN, / Who scatters fruit-creating pollen
Eliza Follen, an author and activist, is often referred to as a pollinator — someone who plants seeds of truth in open minds. Her face shines with a warm inner light, quivering with strong beliefs, reminiscent of the bioluminescent glow in the ocean. This image is tender and striking, standing out in a poem that is otherwise filled with powerful comparisons.
There jokes our EDMUND, plainly son / Of him who bearded Jefferson,
Edmund Quincy, son of Josiah Quincy who once challenged Jefferson, is a principled non-resistant pacifist but a sharp satirist in practice. Lowell finds humor in this contradiction: Quincy's pen enjoys the fray, even if his philosophy discourages it. Comparing his wit to Saladin's blade is high praise — it's precise, elegant, and deadly. Lowell also praises Quincy's letters as gems of 'Flemish art,' meaning they are crafted with meticulous care, reminiscent of Horace Walpole's renowned correspondence.
There, with cue hand behind his back, / Stands PHILLIPS buttoned in a sack,
Wendell Phillips, the renowned abolitionist speaker, receives the poem's most detailed and respectful depiction. Lowell likens him to the ideal Athenian orator and to William Pitt (Lord Chatham). The central image portrays Phillips's eloquence as a deep, clear river — not the murky Mississippi or frothy runoff, but something calm and compelling. The story about Austin's 'total shipwreck' refers to an actual debate where Phillips defeated an opponent who attempted to compete with him.
Beyond; a crater in each eye, / Sways brown, broad-shouldered PILLSBURY,
Parker Pillsbury is a force of nature, while Phillips flows like a river. Lowell stacks Old Testament prophets—Habakkuk, Ezra, Hosea—to embody Pillsbury's fiery, passionate style. He "tears up words like trees by the roots," a Theseus in work boots battling the Minotaur of slavery. The image of Charles Waterton riding an alligator is both funny and fitting: Pillsbury engages his audiences and drives them forward, whether they're ready or not.
Hard by, as calm as summer even, / Smiles the reviled and pelted STEPHEN,
Stephen Foster (the abolitionist, not the songwriter) is portrayed as someone who has faced actual mob attacks and has been figuratively kicked by every church faction, yet he stays remarkably calm. Lowell humorously suggests that Foster has 'studied mineralogy' because of all the stones thrown at him. The comparison of him to a 'maddened John the Baptist' reflects his intense and uncompromising preaching style — his oratory resonates like the piercing scream of a steam locomotive: relentless and impossible to overlook.
A Judith, there, turned Quakeress, / Sits ABBY in her modest dress,
Abby Kelley Foster is the last portrait and the most quietly powerful. She sits at a table, her eyes downcast, but Lowell believes that same gaze has sparkled with the eloquence of Medea. The contrast between her calm Quaker demeanor and her inner strength is like the difference between a silent, invisible telegraph wire and the volcanic eruption it could signal. Lowell describes her life as 'white from spot or stain' — the greatest moral praise he gives anyone in the poem.
These last three (leaving in the lurch / Some other themes) assault the Church,
Lowell takes a moment to clarify why organized religion labels Pillsbury, Foster, and Kelley as atheists. He ridicules the tendency of sects to condemn others to hell, likening it to the shared tooth passed around among the three Graeae in Greek mythology — a weapon that gets reused over and over. The 'kittens' hydropathy' joke alludes to the practice of drowning kittens: simply label any emerging reform movement as 'atheist' and watch it sink.
Well, if the world, with prudent fear / Pay God a seventh of the year,
This is the poem's most cutting satirical moment. Lowell critiques a version of Christianity that turns faith into a Sunday transaction—spending six days on worldly pursuits and one day in church, hoping for a heavenly payoff. He charges the Church with misinterpreting the Gospels: widening the path to heaven for the wealthy while narrowing it for the less fortunate, manipulating Christ's teachings to justify violence and oppression. It's a powerful, concise condemnation of how institutional religion has supported slavery and inequality.
Yet, after all, 'twixt you and me, / Dear Miller, I could never see
Lowell steps back from outright radicalism in the final stanza, telling his friend that sin and error aren't just found in the Church — there are good priests, and some freedom-fighters are in it for the money. This intentionally moderate, conversational ending tones down the satire and reminds the reader that this is a letter between friends, not a manifesto.

Tone & mood

The tone is warm, witty, and satirical — like a sharp-eyed friend who sees the whole scene as both impressive and a bit ridiculous. Lowell clearly feels for the abolitionists, but he’s too clever to write a straightforward tribute. When he addresses the Church, the warmth fades and the satire becomes more pointed. The poem concludes on a deliberately laid-back, almost indifferent note, as if Lowell is reminding himself — and us — that he’s writing a letter, not delivering a sermon.

Symbols & metaphors

  • The Bazaar at Faneuil HallThe bazaar represents more than just a fundraiser — it embodies the abolitionist movement, serving as a marketplace of moral conviction showcasing various forms of courage. Faneuil Hall, known as Boston's 'Cradle of Liberty,' adds historical significance: this is where the debates around American freedom have always taken place.
  • Rivers and water imagery (Phillips's oratory)Lowell measures the quality of speech using rivers as a metaphor. The Mississippi is muddy and shallow, its street-runoff a polluted froth. In contrast, Phillips's eloquence is deep, clear, and captivating — a river whose depths remain hidden until you attempt to swim against its current. Here, water symbolizes the strength of true moral persuasion.
  • Fire and volcanic imagery (Pillsbury, the Church critique)Volcanic fire — craters, Old Sinai, Ætna — represents speakers who rely on heat and force instead of calm logic. It conveys a righteous anger that can't be restrained or redirected, only endured.
  • The telegraph wire (Abby Kelley Foster)The telegraph wire holds immense power while remaining completely silent. Lowell uses it to illustrate how Foster's outward Quaker calm hides a force capable of shaking the world. This symbol is the most modern in the poem, and its novelty in 1846 would have caught readers' attention right away.
  • Classical and biblical figures (Joan of Arc, Sibyl, Minotaur, John the Baptist)Lowell frequently draws on myth and scripture to portray the abolitionists as historically significant figures. This creates a mix of admiration and humor—these are actual individuals at a church fair in Boston, yet Lowell insists they deserve to be mentioned alongside prophets and heroes.
  • The Graeae's toothIn Greek myth, the three Graeae share a single eye and a single tooth, passing them between themselves. Lowell uses this to ridicule how religious sects wield a common rhetorical weapon—the accusation of atheism—handing it around to silence anyone who dares to challenge them.

Historical context

By December 1846, the American anti-slavery movement was reaching a critical point. The Mexican-American War had just started, and abolitionists worried it was a ploy to expand slave territory westward. The Boston Anti-Slavery Bazaar, organized each year by Maria Weston Chapman, served as a key fundraising event and a gathering place for the movement's prominent figures. At 27, Lowell was already recognized as a poet and had recently married Maria White, a passionate abolitionist herself. He was approaching the satirical verse journalism that would characterize his *Biglow Papers* (1848). This poem marks the transition between his lyrical early work and his more pointed public voice. It was later added to promotional materials for *A Fable for Critics* (1848), his book-length satirical examination of American writers, which clarifies the advertisement included at the end.

FAQ

The 'Dear M----' is most likely Jonathan Peckham Miller, a Vermont abolitionist and a friend of Lowell. The dashes were a typical 19th-century way to partially disguise a person's name in print, while still making it clear to those familiar with the circle.

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