Not only around our infancy, etc.: The allusion is to by James Russell Lowell: Summary, Meaning & Analysis
Lowell challenges Wordsworth's well-known notion that we lose our connection to heaven's glory as we age.
The poem
Wordsworth's _Ode on the Intimations of Immortality_, especially these lines: "Heaven lies about us in our infancy! Shades of the prison-house begin to close Upon the growing Boy, But he beholds the light, and whence it flows, He sees it in his joy; The Youth, who daily farther from the east Must travel, still is Nature's Priest, And by the vision splendid Is on his way attended; At length the Man perceives it die away, And fade into the light of common day." As Lowell's central theme is so intimately associated with that of Wordsworth's poem, if not directly suggested by it, the two poems should be read together and compared. Lowell maintains that "heaven lies about us" not only in our infancy, but at all times, if only we have the soul to comprehend it.
Lowell challenges Wordsworth's well-known notion that we lose our connection to heaven's glory as we age. He suggests that the divine light Wordsworth believes diminishes in adulthood is actually ever-present; we simply need the right kind of soul to perceive it. This perspective offers a hopeful twist to a beautiful yet somber assertion.
Line-by-line
Heaven lies about us in our infancy! / Shades of the prison-house begin to close...
The Youth, who daily farther from the east / Must travel, still is Nature's Priest...
At length the Man perceives it die away, / And fade into the light of common day.
As Lowell's central theme is so intimately associated with that of / Wordsworth's poem...
Tone & mood
The tone is calmly assertive and corrective. There's no resentment toward Wordsworth — Lowell clearly has an affection for the *Ode* — but he won't accept its mournful ending. The mood is positive and slightly urgent, as if someone wants to ensure you don't leave a great poem with a misunderstanding.
Symbols & metaphors
- Heaven lying about us — The divine or transcendent aspect of experience that envelops human life. For Wordsworth, it's something inherited from childhood that diminishes over time; for Lowell, it's a constant presence that can be recognized at any stage of life.
- The prison-house — Wordsworth depicts adult consciousness as a rational, habitual mind that shuts out the bright, vibrant sense of the world we experienced as children. Lowell suggests that this prison isn't unavoidable; the soul has the power to resist being confined.
- The light of common day — Wordsworth's phrase captures the dull, disillusioned view of adulthood. It may seem bright, but it represents a sort of blindness — missing the deeper glow that lies beneath everyday appearances. Lowell's poem pushes back against this notion, refusing to accept it as the ultimate truth.
- The east / sunrise — The direction of birth and origin. Moving "farther from the east" symbolizes aging for Wordsworth — a gradual, irreversible journey away from the source of spiritual light. This concept lends an elegiac, westward drift to the poem.
- Nature's Priest — Wordsworth's title refers to the youth who continues to connect with the natural world and its deeper sacred meanings. This implies that the skill to interpret nature spiritually is a form of calling — one that Lowell thinks can endure over time.
Historical context
James Russell Lowell (1819–1891) was a poet, critic, and diplomat born in Boston, growing up influenced by British Romanticism. Wordsworth's *Ode: Intimations of Immortality from Recollections of Early Childhood* (1807) was widely discussed on both sides of the Atlantic during the nineteenth century, arguing that we are born with a sense of glory that adult life diminishes. Lowell was part of a generation of American writers who admired the Romantics but also felt compelled to respond to them. His perspective here reflects a broader American Transcendentalist movement, shared with Emerson and Thoreau, which rejected the notion of inevitable spiritual decline. While Wordsworth mourns what has been lost, Lowell argues that such loss stems from a lack of attention, rather than being an inherent part of nature.
FAQ
Wordsworth claims that the divine radiance we experience as children fades permanently as we transition into adulthood. However, Lowell argues that this perspective is either misguided or only partially true. In Lowell's opinion, heaven is continually surrounding us; the difference lies in our ability to recognize it with our soul and attention. The loss isn't a natural part of aging; instead, it's a shortcoming of our inner lives.
Reading the quoted passage here gets you close to the point. However, diving into the full *Ode: Intimations of Immortality* truly pays off—it's one of the masterpieces of English poetry. Grasping its entire narrative, especially Wordsworth's own sense of partial solace at the end, deepens Lowell's response and adds layers to its meaning.
It's Wordsworth's metaphor for how adult consciousness constricts our perception. As we mature, our rational habits and daily routines slowly overshadow the bright, almost magical view of the world we experienced as children. This prison isn’t grand; it’s simply the gradual fading of our sense of wonder.
Because young people can still sense the sacred meaning in nature—like how a sunset or a mountain isn't merely a physical fact but holds a deeper significance. A priest acts as a mediator between the human and the divine, and Wordsworth believes that youth still fulfills this role, even as the original vision of childhood begins to fade.
It's Wordsworth's portrayal of adult perception devoid of transcendence. It may sound bright, but it conveys a sense of spiritual dullness — viewing the world merely as matter and fact, lacking any deeper glow. The phrase carries a deliberate irony: what should be the beauty of ordinary daylight turns into a symbol of loss.
He's part of the Boston-Cambridge scene and shares their rejection of spiritual pessimism, but Lowell was more of a literary critic and public intellectual than a strict Transcendentalist. He resembles a skeptical fellow-traveler — someone who believes that the divine is accessible to adults but reaches that conclusion through poetry and humanism instead of Emerson's more structured philosophy.
Optimistic, definitely. Lowell argues that Wordsworth's elegy for lost childhood vision is overly pessimistic. The light still exists; the real question is whether you can be the kind of person who notices it. This is a tough kind of optimism—it places the responsibility on you—but it's still optimism.
Because they truly engage with one another. Wordsworth offers one of literature's most poignant reflections on spiritual loss, while Lowell provides a straightforward counterargument. Reading their works side by side is a valuable exercise in understanding how poets influence and challenge each other, prompting you to consider which perspective on human experience resonates with you more.