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Part Second by James Russell Lowell

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This two-stanza passage marks the beginning of the darker part of a longer narrative poem, signaling to the reader that things are about to take a turn for the grim.

Poet
James Russell Lowell
Core theme
Art
The PoemFull text

Part Second

James Russell Lowell

I As one who, from the sunshine and the green, Enters the solid darkness of a cave, Nor knows what precipice or pit unseen May yawn before him with its sudden grave, And, with hushed breath, doth often forward lean, Dreaming he hears the plashing of a wave Dimly below, or feels a damper air From out some dreary chasm, he knows not where; II So, from the sunshine and the green of love, We enter on our story's darker part; 290 And, though the horror of it well may move An impulse of repugnance in the heart, Yet let us think, that, as there's naught above The all-embracing atmosphere of Art, So also there is naught that falls below Her generous reach, though grimed with guilt and woe.

Public domain

Sourced from Project Gutenberg

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§01Quick summary

What this poem is about

This two-stanza passage marks the beginning of the darker part of a longer narrative poem, signaling to the reader that things are about to take a turn for the grim. Lowell likens the transition from a joyful love story to its troubled aftermath to stepping out of bright sunlight and into a pitch-black cave. He reassures us that Art holds the power — and the responsibility — to confront even the most unsettling human experiences without flinching.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. As one who, from the sunshine and the green, / Enters the solid darkness of a cave,

    Editor's note

    Stanza I unfolds like an extended simile. A person steps out of bright daylight and into a cave, needing to slow down, hold their breath, and navigate carefully — fearful of a concealed drop or pit. The cave is saturated with uncertainty: the speaker envisions hearing water far below or feels a cold draft from an invisible chasm. Each detail (held breath, dreaming of sounds, unsure of the source) emphasizes our blindness and vulnerability when we step away from the comforting light of familiarity.

  2. So, from the sunshine and the green of love, / We enter on our story's darker part;

    Editor's note

    Stanza II introduces the simile, suggesting that the cave represents the dark turn the narrative is about to take. Lowell recognizes that the upcoming content might disturb the reader, but he shifts to defending Art itself. He compares Art to an atmosphere — it envelops all, regardless of status — and asserts that nothing, no matter how tainted by guilt or pain, is unworthy of its focus. This serves as both an apology for the impending darkness and a declaration of artistic principle.

§04Tone & mood

How this poem feels

The tone shifts in two distinct beats. The first stanza feels quiet and uneasy — it's as if you can hear someone cautiously tiptoeing through darkness. The second stanza stands tall and takes on a more measured, almost philosophical tone. Lowell remains calm and thoughtful, like a guide who has traveled this path before, encouraging you to trust him even as the light fades away.

§05Symbols & metaphors

Symbols & metaphors

The cave
The cave symbolizes the dark and morally complex part of the story that the poem is introducing. It reflects the hidden dangers of guilt, sorrow, and human flaws—elements we often don't recognize until we find ourselves deep within them.
Sunshine and the green
Used twice—first in the context of the literal cave scenario and then for love—this phrase evokes feelings of happiness, innocence, and the cozy segment of the story that we are now moving away from.
The all-embracing atmosphere of Art
Art is like the air: invisible, omnipresent, and surrounding everything without bias. This perspective suggests that Art isn't meant to serve as a moral gatekeeper; it should equally embrace darkness alongside beauty.
The pit / chasm
The hidden drop in the cave floor represents a sudden disaster—the type of calamity that can strike unexpectedly in a person's life, particularly in a love story that has taken a turn for the worse.
The plashing of a wave
The faint, uncertain sound of water deep in the cave hints at something alive and moving in the darkness below—a glimpse of the emotional turbulence that lies ahead in the story.

§06Form & structure

Form & structure

Meter
iambic pentameter
Rhyme
ABABABCC ABABAB CC

§07Historical context

Historical context

James Russell Lowell published *A Legend of Brittany* in 1844, a lengthy narrative poem structured in Spenserian stanzas, from which this excerpt is taken. At the time, Lowell was in his mid-twenties and part of the New England literary circle that included figures like Longfellow and Whittier. He was deeply invested in exploring what American poetry should convey. The poem unfolds a tragic medieval story centered on love, sin, and spiritual repercussions. "Part Second" marks the shift from romance to its darker outcomes. In the closing lines, Lowell defends Art, reflecting a Romantic belief—similar to that of Keats and Shelley—that poetry should confront suffering and moral complexities, as the full spectrum of human experience is the rightful domain of artists. This passage also highlights Lowell's early aspiration to create poetry that is both morally significant and artistically ambitious.

§08FAQ

Questions readers ask

What is this poem actually about?

It serves as a transitional passage in a longer narrative poem. Lowell is indicating to the reader that the story is moving from its romantic, joyful phase into a darker and more unsettling territory. Together, the two stanzas function as both a warning and a justification.

What is the cave a metaphor for?

The cave symbolizes the dark, morally challenging section of the story that lies ahead. Just as someone moving from bright sunlight into a cave feels disoriented and apprehensive about unseen threats, the reader is about to dive into a part of the narrative filled with guilt, suffering, and uncertainty.

What does Lowell mean by 'the all-embracing atmosphere of Art'?

He argues that art, much like air, envelops everything—it doesn’t selectively focus on only the pleasant or uplifting topics. A genuine work of art can and should confront the darker aspects of human experience, not just the beautiful ones. This serves as his justification for exploring darker themes in his writing.

Why does Lowell use the phrase 'sunshine and the green' twice?

The repetition is intentional. The first instance establishes the simile (a person moving from daylight into a cave), while the second instance connects it directly to the poem's narrative (trading the joy of love for its dark aftermath). This echo links the two stanzas and creates a sense of inevitability in the transition.

What is the rhyme scheme and verse form?

Each stanza follows the ottava rima form—eight lines that rhyme ABABABCC. This is the same structure Keats used in Isabella and Byron in Don Juan. It's particularly effective for lengthy narrative poems, as the closing couplet adds a feeling of resolution or delivers a strong final thought.

Who is the 'we' in 'we enter on our story's darker part'?

Lowell speaks directly to the reader, inviting them to join the narrative as an active participant rather than a passive observer. This approach shares the responsibility of confronting the challenging material ahead — you aren't merely watching; you're stepping into the cave alongside the storyteller.

Is this poem part of something larger?

Yes. This is the beginning of Part Two of A Legend of Brittany, a lengthy narrative poem that Lowell published in 1844. The entire poem presents a medieval story of love and sin. This excerpt serves as a chapter opener, setting the stage for the moral darkness that lies ahead.

What is the mood of the passage and how does Lowell create it?

The first stanza sets a mood of quiet dread with vivid details — held breath, hidden pits, faint water sounds, and cold drafts from mysterious chasms. The second stanza transitions to a more composed and even defiant tone. Together, they journey from anxiety to a sense of steady resolve.

Citation

Cite this poem

MLA

Lowell, James Russell. "Part Second." Storgy, https://storgy.com/poems/part-second-james-russell-lowell/.

APA

Lowell, J. R. (n.d.). Part second. Storgy. https://storgy.com/poems/part-second-james-russell-lowell/

TeacherAP Lit Q1 scaffold — preview

Row A — Thesis

1 pt

In 'Part Second,' James Russell Lowell employs an extended cave simile to argue that Art's authority lies in its willingness to descend into darkness: where the timid explorer shrinks from 'some dreary chasm,' the artist must follow, …

  • Row B — Evidence + Commentary4 pts
  • Row C — Sophistication1 pt
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