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NOTICES OF AN INDEPENDENT PRESS by James Russell Lowell: Summary, Meaning & Analysis

James Russell Lowell

This piece is James Russell Lowell's satirical preface to *The Biglow Papers*.

The poem
[I have observed, reader (bene-or male-volent, as it may happen), that it is customary to append to the second editions of books, and to the second works of authors, short sentences commendatory of the first, under the title of _Notices of the Press_. These, I have been given to understand, are procurable at certain established rates, payment being made either in money or advertising patronage by the publisher, or by an adequate outlay of servility on the part of the author. Considering these things with myself, and also that such notices are neither intended, nor generally believed, to convey any real opinions, being a purely ceremonial accompaniment of literature, and resembling certificates to the virtues of various morbiferal panaceas, I conceived that it would be not only more economical to prepare a sufficient number of such myself, but also more immediately subservient to the end in view to prefix them to this our primary edition rather than to await the contingency of a second, when they would seem to be of small utility. To delay attaching the _bobs_ until the second attempt at flying the kite would indicate but a slender experience in that useful art. Neither has it escaped my notice nor failed to afford me matter of reflection, that, when a circus or a caravan is about to visit Jaalam, the initial step is to send forward large and highly ornamented bills of performance, to be hung in the bar-room and the post-office. These having been sufficiently gazed at, and beginning to lose their attractiveness except for the flies, and, truly, the boys also (in whom I find it impossible to repress, even during school-hours, certain oral and telegraphic communications concerning the expected show), upon some fine morning the band enters in a gayly painted wagon, or triumphal chariot, and with noisy advertisement, by means of brass, wood, and sheepskin, makes the circuit of our startled village streets. Then, as the exciting sounds draw nearer and nearer, do I desiderate those eyes of Aristarchus, 'whose looks were as a breeching to a boy.' Then do I perceive, with vain regret of wasted opportunities, the advantage of a pancratic or pantechnic education, since he is most reverenced by my little subjects who can throw the cleanest summerset or walk most securely upon the revolving cask. The story of the Pied Piper becomes for the first time credible to me (albeit confirmed by the Hameliners dating their legal instruments from the period of his exit), as I behold how those strains, without pretence of magical potency, bewitch the pupillary legs, nor leave to the pedagogic an entire self-control. For these reasons, lest my kingly prerogative should suffer diminution, I prorogue my restless commons, whom I follow into the street, chiefly lest some mischief may chance befall them. After the manner of such a band, I send forward the following notices of domestic manufacture, to make brazen proclamation, not unconscious of the advantage which will accrue, if our little craft, _cymbula sutilis_, shall seem to leave port with a clipping breeze, and to carry, in nautical phrase, a bone in her mouth. Nevertheless, I have chosen, as being more equitable, to prepare some also sufficiently objurgatory, that readers of every taste may find a dish to their palate. I have modelled them upon actually existing specimens, preserved in my own cabinet of natural curiosities. One, in particular, I had copied with tolerable exactness from a notice of one of my own discourses, which, from its superior tone and appearance of vast experience, I concluded to have been written by a man at least three hundred years of age, though I recollected no existing instance of such antediluvian longevity. Nevertheless, I afterwards discovered the author to be a young gentleman preparing for the ministry under the direction of one of my brethren in a neighboring town, and whom I had once instinctively corrected in a Latin quantity. But this I have been forced to omit, from its too great length.--H.W.] * * * * * _From the Universal Littery Universe_. Full of passages which rivet the attention of the reader.... Under a rustic garb, sentiments are conveyed which should be committed to the memory and engraven on the heart of every moral and social being.... We consider this a _unique_ performance.... We hope to see it soon introduced into our common schools.... Mr. Wilbur has performed his duties as editor with excellent taste and judgment.... This is a vein which we hope to see successfully prosecuted.... We hail the appearance of this work as a long stride toward the formation of a purely aboriginal, indigenous, native, and American literature. We rejoice to meet with an author national enough to break away from the slavish deference, too common among us, to English grammar and orthography.... Where all is so good, we are at a loss how to make extracts.... On the whole, we may call it a volume which no library, pretending to entire completeness, should fail to place upon its shelves. * * * * * _From the Higginbottomopolis Snapping-turtle_. A collection of the merest balderdash and doggerel that it was ever our bad fortune to lay eyes on. The author is a vulgar buffoon, and the editor a talkative, tedious old fool. We use strong language, but should any of our readers peruse the book, (from which calamity Heaven preserve them!) they will find reasons for it thick as the leaves of Vallum-brozer, or, to use a still more expressive comparison, as the combined heads of author and editor. The work is wretchedly got up.... We should like to know how much _British gold_ was pocketed by this libeller of our country and her purest patriots. * * * * * _From the Oldfogrumville Mentor_. We have not had time to do more than glance through this handsomely printed volume, but the name of its respectable editor, the Rev. Mr. Wilbur, of Jaalam, will afford a sufficient guaranty for the worth of its contents.... The paper is white, the type clear, and the volume of a convenient and attractive size.... In reading this elegantly executed work, it has seemed to us that a passage or two might have been retrenched with advantage, and that the general style of diction was susceptible of a higher polish.... On the whole, we may safely leave the ungrateful task of criticism to the reader. We will barely suggest, that in volumes intended, as this is, for the illustration of a provincial dialect and turns of expression, a dash of humor or satire might be thrown in with advantage.... The work is admirably got up.... This work will form an appropriate ornament to the centre table. It is beautifully printed, on paper of an excellent quality. * * * * * _From the Dekay Bulwark_. We should be wanting in our duty as the conductor of that tremendous engine, a public press, as an American, and as a man, did we allow such an opportunity as is presented to us by 'The Biglow Papers' to pass by without entering our earnest protest against such attempts (now, alas! too common) at demoralizing the public sentiment. Under a wretched mask of stupid drollery, slavery, war, the social glass, and, in short, all the valuable and time-honored institutions justly dear to our common humanity and especially to republicans, are made the butt of coarse and senseless ribaldry by this low-minded scribbler. It is time that the respectable and religious portion of our community should be aroused to the alarming inroads of foreign Jacobinism, sansculottism, and infidelity. It is a fearful proof of the widespread nature of this contagion, that these secret stabs at religion and virtue are given from under the cloak (_credite, posteri!_) of a clergyman. It is a mournful spectacle indeed to the patriot and Christian to see liberality and new ideas (falsely so called,--they are as old as Eden) invading the sacred precincts of the pulpit.... On the whole, we consider this volume as one of the first shocking results which we predicted would spring out of the late French 'Revolution' (!) * * * * * _From the Bungtown Copper and Comprehensive Tocsin (a try-weakly family journal)_. Altogether an admirable work.... Full of humor, boisterous, but delicate,--of wit withering and scorching, yet combined with a pathos cool as morning dew,--of satire ponderous as the mace of Richard, yet keen as the scymitar of Saladin.... A work full of 'mountain-mirth,' mischievous as Puck, and lightsome as Ariel.... We know not whether to admire most the genial, fresh, and discursive concinnity of the author, or his playful fancy, weird imagination, and compass of style, at once both objective and subjective.... We might indulge in some criticisms, but, were the author other than he is, he would be a different being. As it is, he has a wonderful _pose_, which flits from flower to flower, and bears the reader irresistibly along on its eagle pinions (like Ganymede) to the 'highest heaven of invention.' ... We love a book so purely objective ... Many of his pictures of natural scenery have an extraordinary subjective clearness and fidelity.... In fine, we consider this as one of the most extraordinary volumes of this or any age. We know of no English author who could have written it. It is a work to which the proud genius of our country, standing with one foot on the Aroostook and the other on the Rio Grande, and holding up the star-spangled banner amid the wreck of matter and the crush of worlds, may point with bewildering scorn of the punier efforts of enslaved Europe.... We hope soon to encounter our author among those higher walks of literature in which he is evidently capable of achieving enduring fame. Already we should be inclined to assign him a high position in the bright galaxy of our American bards. * * * * * _From the Saltriver Pilot and Flag of Freedom._ A volume in bad grammar and worse taste.... While the pieces here collected were confined to their appropriate sphere in the corners of obscure newspapers, we considered them wholly beneath contempt, but, as the author has chosen to come forward in this public manner, he must expect the lash he so richly merits.... Contemptible slanders.... Vilest Billingsgate.... Has raked all the gutters of our language.... The most pure, upright, and consistent politicians not safe from his malignant venom.... General Cushing comes in for a share of his vile calumnies.... The _Reverend_ Homer Wilbur is a disgrace to his cloth.... * * * * * _From the World-Harmonic-Æolian-Attachment_. Speech is silver: silence is golden. No utterance more Orphic than this. While, therefore, as highest author, we reverence him whose works continue heroically unwritten, we have also our hopeful word for those who with pen (from wing of goose loud-cackling, or seraph God-commissioned) record the thing that is revealed.... Under mask of quaintest irony, we detect here the deep, storm-tost (nigh ship-wracked) soul, thunder-scarred, semi-articulate, but ever climbing hopefully toward the peaceful summits of an Infinite Sorrow.... Yes, thou poor, forlorn Hosea, with Hebrew fire-flaming soul in thee, for thee also this life of ours has not been without its aspects of heavenliest pity and laughingest mirth. Conceivable enough! Through coarse Thersites-cloak, we have revelation of the heart, wild-glowing, world-clasping, that is in him. Bravely he grapples with the life-problem as it presents itself to him, uncombed, shaggy, careless of the 'nicer proprieties,' inexpert of 'elegant diction,' yet with voice audible enough to whoso hath ears, up there on the gravelly side-hills, or down on the splashy, indiarubber-like salt-marshes of native Jaalam. To this soul also the _Necessity of Creating_ somewhat has unveiled its awful front. If not Oedipuses and Electras and Alcestises, then in God's name Birdofredum Sawins! These also shall get born into the world, and filch (if so need) a Zingali subsistence therein, these lank, omnivorous Yankees of his. He shall paint the Seen, since the Unseen will not sit to him. Yet in him also are Nibelungen-lays, and Iliads, and Ulysses-wanderings, and Divine Comedies,--if only once he could come at them! Therein lies much, nay all; for what truly is this which we name _All_, but that which we do _not_ possess?... Glimpses also are given us of an old father Ezekiel, not without paternal pride, as is the wont of such. A brown, parchment-hided old man of the geoponic or bucolic species, gray-eyed, we fancy, _queued_ perhaps, with much weather-cunning and plentiful September-gale memories, bidding fair in good time to become the Oldest Inhabitant. After such hasty apparition, he vanishes and is seen no more.... Of 'Rev. Homer Wilbur, A.M., Pastor of the First Church in Jaalam,' we have small care to speak here. Spare touch in him of his Melesigenes namesake, save, haply, the--blindness! A tolerably caliginose, nephelegeretous elderly gentleman, with infinite faculty of sermonizing, muscularized by long practice and excellent digestive apparatus, and, for the rest, well-meaning enough, and with small private illuminations (somewhat tallowy, it is to be feared) of his own. To him, there, 'Pastor of the First Church in Jaalam,' our Hosea presents himself as a quite inexplicable Sphinx-riddle. A rich poverty of Latin and Greek,--so far is clear enough, even to eyes peering myopic through horn-lensed editorial spectacles,--but naught farther? O purblind, well-meaning, altogether fuscous Melesigenes-Wilbur, there are things in him incommunicable by stroke of birch! Did it ever enter that old bewildered head of thine that there was the _Possibility of the Infinite_ in him? To thee, quite wingless (and even featherless) biped, has not so much even as a dream of wings ever come? 'Talented young parishioner'? Among the Arts whereof thou art _Magister_, does that of _seeing_ happen to be one? Unhappy _Artium Magister!_ Somehow a Nemean lion, fulvous, torrid-eyed, dry-nursed in broad-howling sand-wildernesses of a sufficiently rare spirit-Libya (it may be supposed) has got whelped among the sheep. Already he stands wild-glaring, with feet clutching the ground as with oak-roots, gathering for a Remus-spring over the walls of thy little fold. In heaven's name, go not near him with that flybite crook of thine! In good time, thou painful preacher, thou wilt go to the appointed place of departed Artillery-Election Sermons, Right-hands of Fellowship, and Results of Councils, gathered to thy spiritual fathers with much Latin of the Epitaphial sort; thou too, shalt have thy reward; but on him the Eumenides have looked, not Xantippes of the pit, snake-tressed, finger-threatening, but radiantly calm as on antique gems; for him paws impatient the winged courser of the gods, champing unwelcome bit; him the starry deeps, the empyrean glooms, and far-flashing splendors await. * * * * * _From the Onion Grove Phoenix._ A talented young townsman of ours, recently returned from a Continental tour, and who is already favorably known to our readers by his sprightly letters from abroad which have graced our columns, called at our office yesterday. We learn from him, that, having enjoyed the distinguished privilege, while in Germany, of an introduction to the celebrated Von Humbug, he took the opportunity to present that eminent man with a copy of the 'Biglow Papers.' The next morning he received the following note, which he has kindly furnished us for publication. We prefer to print it _verbatim_, knowing that our readers will readily forgive the few errors into which the lllustrious writer has fallen, through ignorance of our language. 'HIGH-WORTHY MISTER! 'I shall also now especially happy starve, because I have more or less a work of one those aboriginal Red-Men seen in which have I so deaf an interest ever taken full-worthy on the self shelf with our Gottsched to be upset. 'Pardon my in the English-speech un-practice! 'Von Humbug.' He also sent with the above note a copy of his famous work on 'Cosmetics,' to be presented to Mr. Biglow; but this was taken from our friend by the English custom-house officers, probably through a petty national spite. No doubt, it has by this time found its way into the British Museum. We trust this outrage will be exposed in all our American papers. We shall do our best to bring it to the notice of the State Department. Our numerous readers will share in the pleasure we experience at seeing our young and vigorous national literature thus encouragingly patted on the head by this venerable and world-renowned German. We love to see these reciprocations of good-feeling between the different branches of the great Anglo-Saxon race. [The following genuine 'notice' having met my eye, I gladly insert a portion of it here, the more especially as it contains one of Mr. Biglow's poems not elsewhere printed.--H.W.] _From the Jaalam Independent Blunderbuss._ ... But, while we lament to see our young townsman thus mingling in the heated contests of party politics, we think we detect in him the presence of talents which, if properly directed, might give an innocent pleasure to many. As a proof that he is competent to the production of other kinds of poetry, we copy for our readers a short fragment of a pastoral by him, the manuscript of which was loaned us by a friend. The title of it is 'The Courtin'.' Zekle crep' up, quite unbeknown, An' peeked in thru the winder, An' there sot Huldy all alone, 'ith no one nigh to hender. Agin' the chimbly crooknecks hung, An' in amongst 'em rusted The ole queen's-arm thet gran'ther Young Fetched back frum Concord busted. The wannut logs shot sparkles out Towards the pootiest, bless her! An' leetle fires danced all about The chlny on the dresser. The very room, coz she wuz in, Looked warm frum floor to ceilin', An' she looked full ez rosy agin Ez th' apples she wuz peelin'. She heerd a foot an' knowed it, tu, Araspin' on the scraper,-- All ways to once her feelins flew Like sparks in burnt-up paper. He kin' o' l'itered on the mat, Some doubtfle o' the seekle; His heart kep' goin' pitypat, But hern went pity Zekle. An' yet she gin her cheer a jerk Ez though she wished him furder, An' on her apples kep' to work Ez ef a wager spurred her. 'You want to see my Pa, I spose?' 'Wall, no; I come designin'--' 'To see my Ma? She's sprinklin' clo'es Agin to-morrow's i'nin'.' He stood a spell on one foot fust, Then stood a spell on tother, An' on which one he felt the wust He couldn't ha' told ye, nuther. Sez he, 'I'd better call agin;' Sez she,'Think likely, _Mister;_' The last word pricked him like a pin, An'--wal, he up and kist her. When Ma bimeby upon 'em slips, Huldy sot pale ez ashes, All kind o'smily round the lips An' teary round the lashes. Her blood riz quick, though, like the tide Down to the Bay o' Fundy, An' all I know is they wuz cried In meetin', come nex Sunday. SATIS multis sese emptores futuros libri professis, Georgius Nichols, Cantabrigiensis, opus emittet de parte gravi sed adhuc neglecta historiæ naturalis, cum titulo sequente, videlicet: _Conatus ad Delineationem naturalem nonnihil perfectiorem Scarabæi Bombilatoris, vulgo dicti_ HUMBUG, ab HOMERO WILBUR, Artium Magistro, Societatis historico-naturalis Jaalamensis Præside (Secretario, Socioque (eheu!) singulo), multarumque aliarum Societatum eruditarum (sive ineruditarum) tam domesticarum quam transmarinarum Socio--forsitan futuro.

Public domain · sourced from Project Gutenberg

Quick summary
This piece is James Russell Lowell's satirical preface to *The Biglow Papers*. In it, he creates a series of fake newspaper reviews—some overly enthusiastic, some harsh, some pretentious, and some downright ridiculous—to poke fun at the practice of paid literary promotion. Through his fictional editor, Reverend Homer Wilbur, Lowell illustrates how press notices often lack authenticity and are primarily designed to boost sales. Nestled within is the poem "The Courtin'," a delightful dialect love story that stands out as a genuine work amidst the parody.
Themes

Line-by-line

[I have observed, reader (bene-or male-volent, as it may happen)...
The fictional Reverend Wilbur begins with a lengthy, tongue-in-cheek explanation of why he's chosen to write his own press notices instead of waiting for genuine ones. He likens this practice to circus handbills and patent-medicine testimonials, emphasizing that literary blurbs are simply performative and lack any real truth. The humor arises from his earnest justification of a thoroughly cynical act.
_From the Universal Littery Universe_. Full of passages which rivet the attention...
The first fake review pokes fun at overly enthusiastic, empty praise. It describes the book as 'unique,' suggests it for schools, and hails it as a victory of 'purely aboriginal, indigenous, native, and American literature' — stacking synonyms to mask its lack of specific content. The humor lies in the reviewer applauding the author for straying from English grammar while writing in perfectly standard English.
_From the Higginbottomopolis Snapping-turtle_. A collection of the merest balderdash...
The second notice parodies the harsh partisan attack review. It labels the author a 'vulgar buffoon' and the editor a 'talkative, tedious old fool,' while subtly suggesting that 'British gold' has corrupted the author—a common smear of the time. Like the glowing review, this one is just as hollow, but in the opposite way.
_From the Oldfogrumville Mentor_. We have not had time to do more than glance...
This notice humorously mocks the reviewer who confesses to not having read the book yet spends considerable time praising the paper quality and print size. He provides vague, cautious criticism, suggesting that 'a passage or two might have been retrenched,' and concludes by calling it 'an appropriate ornament to the centre table' — the epitome of a hollow compliment.
_From the Dekay Bulwark_. We should be wanting in our duty as the conductor...
A parody of the self-righteous, politically charged review. The reviewer denounces the book as an assault on "slavery, war, the social glass, and all the valuable and time-honored institutions" — unintentionally showing that the book's real targets (slavery and war) are issues he feels are worth defending. Lowell leverages the reviewer's own arrogance to highlight his moral emptiness.
_From the Bungtown Copper and Comprehensive Tocsin_. Altogether an admirable work...
This mocks the overly elaborate, pseudo-intellectual rave review filled with contradictory praise ('boisterous yet delicate'), trendy critical buzzwords ('objective and subjective'), and lofty nationalist imagery (the 'proud genius of our country' with one foot on the Aroostook and the other on the Rio Grande). It perfectly captures the essence of mid-19th-century American literary nationalism.
_From the Saltriver Pilot and Flag of Freedom_. A volume in bad grammar and worse taste...
Another harsh attack notice, this time aimed at the dialect writing as evidence of inferior breeding. The reviewer's anger that the poems were published in 'obscure newspapers' before making it into a book adds an interesting twist—suggesting he overlooked them until they became too prominent to ignore. The reference to General Cushing ties the satire to the genuine political controversies of the 1840s.
_From the World-Harmonic-Æolian-Attachment_. Speech is silver: silence is golden...
This parody is the longest and most intricate, taking aim at the style of criticism associated with Carlyle — filled with compound hyphenated words, grand statements, and vague pronouncements. Lowell imitates Thomas Carlyle's prose so accurately (the 'thunder-scarred, semi-articulate' soul, the 'Nibelungen-lays' and 'Iliads') that it feels like both an homage and a critique. The reviewer's disdain for the fictional editor Wilbur serves as a joke about critics who idolize genius while overlooking basic decency.
_From the Onion Grove Phoenix_. A talented young townsman of ours...
The final fake notice presents a spoof letter from the renowned German scholar 'Von Humbug'—a name that says it all—crafted in comically broken English. The tale of custom-house officers confiscating his book, along with the call to inform the State Department, pokes fun at American literary nationalism's relentless craving for validation from Europe.
Zekle crep' up, quite unbeknown, / An' peeked in thru the winder,
The embedded poem "The Courtin'" changes the tone of the piece entirely. Written in a New England dialect, it narrates the story of Zekle sneaking up to court Huldy, with both feeling tongue-tied and anxious until he finally kisses her, leading to them being 'cried in meetin'' (meaning their banns announced at church). It's warm, humorous, and truly tender—a genuine poem tucked inside a satire about insincere ones, which is precisely Lowell's argument about the true home of authentic American literature.
SATIS multis sese emptores futuros libri professis...
The closing Latin mock-advertisement, credited to Wilbur himself, teases an upcoming scholarly work on the natural history of the 'Humbug' beetle. It's a playful final joke: Wilbur humorously details his own credentials (president, secretary, and the only member of the Jaalam natural history society), and the title of the work serves as an ideal summary of the entire piece — a thorough scientific examination of the humbug.

Tone & mood

Gleefully satirical from start to finish, the piece maintains a dry, deadpan confidence that avoids crossing into meanness. You can tell Lowell is enjoying himself, and the humor is so generous that even the subjects of the parody come off as more ridiculous than villainous. The included dialect poem 'The Courtin'' adds a layer of genuine warmth and tenderness, broadening the tonal range beyond what it first seems.

Symbols & metaphors

  • The fake press noticesEach invented review represents a different type of critical dishonesty: meaningless praise, biased attacks, superficial reading, jingoistic bluster, and pretentious posturing. Together, they create a framework illustrating how literary culture struggles to connect with real writing.
  • Von HumbugThe fictional German scholar, whose name literally translates to fraud, highlights American literature's desire for European approval. His poor English and the controversy surrounding his plagiarized book poke fun at the notion that a work's legitimacy relies on foreign validation.
  • The dialect in 'The Courtin''Zekle and Huldy's New England speech — 'unbeknown,' 'pootiest,' 'pitypat' — stands in stark contrast to the inflated critical language that surrounds it. Their dialect conveys authenticity, a deep local connection, and real emotion, offering a refreshing alternative to the empty universalism of the insincere reviews.
  • The circus / band wagonWilbur likens his self-promotion to a circus parade coming to town, honestly admitting that all book publicity is a show. By calling it out, he takes away its power and brings the reader into the humor.
  • The Humbug beetle (Scarabaeus Bombilator)The closing Latin advertisement presents the humbug as a creature deserving of natural-history examination. It implies that fraud and pretension aren't moral shortcomings but rather inherent characteristics of the literary ecosystem, just as natural and classifiable as any insect.

Historical context

James Russell Lowell published *The Biglow Papers* (First Series) in 1848, bringing together satirical dialect poems he had written for the *Boston Courier* and *Anti-Slavery Standard*. These poems opposed the Mexican-American War and slavery. The fictional frame features a naive Yankee farmer named Hosea Biglow, edited by the pompous Reverend Homer Wilbur, which allowed Lowell to express radical ideas humorously. The preface, titled "Notices of an Independent Press," critiques a real issue of the time: in the 1840s, American newspapers often bought or traded book reviews for advertising. Additionally, the push for a distinctly 'American' literature free from British influence was a loud yet often superficial cultural movement. Lowell's parody of the Carlylean review style also shows his mixed feelings about the impact of Thomas Carlyle, whose works *Sartor Resartus* and *Heroes and Hero-Worship* had a significant influence on American intellectual life in the 1840s.

FAQ

It mainly consists of prose satire, featuring one authentic dialect poem, "The Courtin'," woven into it. Lowell included it as the preface to *The Biglow Papers*, a collection of verses, placing it at the intersection of essay and poetry. This piece functions more as a literary performance than a traditional lyric poem.

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