LONGIXUS.
'J'aimerois mieulx que mon fils apprinst aux tavernes à parler, qu'aux
escholes de la parlerie.'
The Annotated Edition
LONGIXUS. by James Russell Lowell
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Lowell's "Longixus" takes a humorous swipe at the pretentiousness of lengthy public speaking and the empty rhetoric often found in formal oratory training.
- Themes
- art, freedom, identity
§01Quick summary
What this poem is about
Lowell's "Longixus" takes a humorous swipe at the pretentiousness of lengthy public speaking and the empty rhetoric often found in formal oratory training. With a clever quote from Montaigne — who preferred that his son learn to speak in taverns rather than in speech schools — Lowell crafts a joke about a speaker so boring that his audience either dozes off or runs away. The poem serves as a comedic critique of the pompous, self-important style of speaking that was considered eloquent in 19th-century American public life.
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
'J'aimerois mieulx que mon fils apprinst aux tavernes à parler...'
Editor's note
This is the epigraph, a quote from Montaigne's *Essays* in Middle French: 'I would rather my son learned to speak in taverns than in schools of speechifying.' Lowell places this at the beginning as the main idea of the poem — straightforward, genuine conversation always trumps polished, contrived rhetoric. It also hints that what comes next will have a satirical and irreverent tone.
§04Tone & mood
How this poem feels
Wry and satirical, Lowell is clearly enjoying himself — the mockery has a playful quality, resembling a knowing smirk rather than an angry outburst. The humor is dry and intellectual, targeting readers who have endured one too many pompous speeches.
§05Symbols & metaphors
Symbols & metaphors
- The tavern
- Represents genuine, unfiltered, real-world communication — the kind of conversation that truly connects people, unlike the staged performance of formal speeches.
- Schools of speechifying (parlerie)
- A placeholder for superficial institutional learning that emphasizes style over substance — focusing solely on technique rather than genuine understanding.
- Longixus (the name)
- A mock-Latin name derived from *longus* (long), indicating that this speaker's main characteristic is their tendency to ramble. The name alone delivers the humor.
§06Historical context
Historical context
James Russell Lowell wrote at a time when public speaking was a major art form and cultural fixture in America. Figures like Daniel Webster and Edward Everett were almost worshipped as stars of the lecture circuit, while the lyceum movement drew large crowds eager for speeches. As a Harvard professor, editor, and poet, Lowell was deeply involved in this scene, yet he harbored a strong skepticism about its excesses. His *Biglow Papers* showcased his talent for comic verse and satire. "Longixus" fits well within this tradition, featuring a Montaigne epigraph to ground a distinctly American critique: that polished rhetoric often replaces genuine communication. The mock-Latin name reflects the satirical naming styles seen in classical Roman comedy and 18th-century English satire.
§07FAQ
Questions readers ask
It's a fictional mock-Latin name. Lowell created it using the Latin word *longus*, which means long. The name immediately suggests that the poem's subject is someone who talks excessively — it's basically the punchline of the joke.
The epigraph features a quote from Michel de Montaigne's *Essays*, originally penned in 16th-century French. It roughly translates to: 'I would prefer my son to learn how to speak in taverns rather than in schools of rhetoric.' Lowell includes the original text because educated readers of his time were expected to understand French, and directly quoting Montaigne adds a layer of classical authority to the satire—an ironic touch, considering the aim is to poke fun at over-educated rhetoric.
It's likely there wasn't one specific target in mind, but the type certainly existed. In 19th-century America, the lecture and oratory scene was vibrant, and many people grumbled about the windy, self-important speakers. Lowell is poking fun at a recognizable *type* rather than singling out an individual.
That genuine, straightforward speech — even the blunt talk you hear in a tavern — carries more weight than the slick but hollow rhetoric that comes from formal oratory training. Authentic communication outshines mere performance.
It's a purposeful choice. By starting with a Renaissance philosopher voicing the same complaint, Lowell highlights that this issue is both old and widespread, not limited to just American concerns. It also lends the satire a literary background, which enhances the irony of using high culture to poke fun at high culture.
Satirical and playful. Lowell isn’t mad — he finds it funny. The humor is dry and a touch smug, directed at readers who feel the same annoyance with self-important public speakers.
It draws on the tradition of verse satire that dates back to Horace and Juvenal, and more recently to 18th-century English satirists like Pope and Swift. Lowell was familiar with all of them, and his *Biglow Papers* demonstrate his ability to use humor as a means of serious cultural criticism.
Absolutely. The divide between polished, rehearsed rhetoric and authentic communication seems even wider now—just look at political speeches, corporate jargon, or TED Talks that often convey very little despite their slick presentation. Lowell's criticism remains as relevant as ever.
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