The Annotated Edition
LETTER FROM BOSTON by 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.
- Themes
- faith, freedom, identity
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Dear M---- / By way of saving time,
Editor's note
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,
Editor's note
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,
Editor's note
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
Editor's note
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,
Editor's note
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,
Editor's note
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,
Editor's note
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,
Editor's note
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,
Editor's note
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,
Editor's note
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,
Editor's note
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
Editor's note
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.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The Bazaar at Faneuil Hall
- The 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 tooth
- In 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.
§06Historical context
Historical context
§07FAQ
Questions readers ask
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