The Annotated Edition
POSTSCRIPT, 1887 by James Russell Lowell
Written when Lowell was nearing seventy, this poem serves as a letter to his old friend George William Curtis, reviving verses he had set aside thirteen years prior and sharing them as a gesture of connection across time.
- Themes
- friendship, memory, mortality
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Curtis, so wrote I thirteen years ago, / Tost it unfinished by, and left it so;
Editor's note
Lowell begins by sharing the poem's unusual backstory: he wrote it in 1874, set it aside, and now, in 1887, has pieced it together again to send to his friend Curtis. This candid acknowledgment of its unfinished nature establishes a self-deprecating, conversational tone from the outset.
Some of the verses pleased me, it is true, / And still were pertinent,--those honoring you.
Editor's note
He sifts through the old draft like someone rummaging through a drawer, holding onto only the lines that still resonate — especially those that commend Curtis. It’s a humble act: he’s not presenting finished work, just the fragments that passed his own scrutiny.
These now I offer: take them, if you will, / Like the old hand-grasp, when at Shady Hill
Editor's note
The verses aren’t just literary works; they’re like a handshake between old friends. Shady Hill was the Cambridge estate of Charles Eliot Norton, a common meeting spot for their circle, while Staten Island was another favorite hangout—these specific place names root their friendship in genuine, shared memories.
If once you thought me rash, no longer fear; / Past my next milestone waits my seventieth year.
Editor's note
Lowell admits that he used to be hot-headed and impulsive when he was younger. Now, as he approaches seventy, that fire has cooled. There's a touch of gentle humor in this — he's letting Curtis know that the old firebrand has mellowed out.
I mount no longer when the trumpets call; / My battle-harness idles on the wall,
Editor's note
The armor on the wall vividly represents a life filled with public engagement—political, literary, and diplomatic—that Lowell has mostly moved away from. He was a dedicated abolitionist and later served as the U.S. Ambassador to Spain and Britain; this 'battle-harness' isn't just a metaphor; it has genuine significance in his biography.
Shivering sometimes it calls me as it hears / Afar the charge's tramp and clash of spears;
Editor's note
Even the old armor seems to shake at the distant sounds of public life and political turmoil. Lowell hasn’t lost his instincts; he just doesn’t follow them anymore. The armor takes on a life of its own, representing his younger self.
But 'tis such murmur only as might be / The sea-shell's lost tradition of the sea,
Editor's note
One of the poem's most striking comparisons: the subtle pull Lowell still feels toward public battle is akin to the sound you hear when you hold a shell to your ear — an echo of something immense and tangible, yet no longer the thing itself. The shell has departed from the ocean; Lowell has stepped away from the arena.
While from my cliff I watch the waves of men / That climb to break midway their seeming gain,
Editor's note
From his perspective as someone who has lived many years, Lowell observes younger generations charging ahead with enthusiasm, only to stumble along the way. The wave metaphor isn’t meant to be cynical; it reflects the understanding of someone who has experienced being a wave himself and understands the currents of the ocean.
Little I ask of Fate; will she refuse / Some days of reconcilement with the Muse?
Editor's note
Lowell's final wish is simple: he wants to return to poetry. He presents it as a negotiation with Fate, almost like a heartfelt plea. After spending years in the public eye—editing, engaging in diplomacy, and offering criticism—he longs to go back to the art he cherished most.
I take my reed again and blow it free / Of dusty silence, murmuring, 'Sing to me!'
Editor's note
The reed symbolizes the poet's instrument, reminiscent of Pan's pipes or the reed flute in Rumi's work. Blowing the dust out of it represents a revival — Lowell is reigniting his creative life and inviting the Muse to inspire him once more.
Home am I come: not, as I hoped might be, / To the old haunts, too full of ghosts for me,
Editor's note
Lowell came back from his years as an ambassador in Europe to discover that the familiar places of his past are now filled with memories of those who have passed away. He can't revisit the actual haunts—too many friends are no longer there. Instead, he turns inward to find solace in old dreams, cherished books, and familiar rhythms.
How empty seems to me the populous street, / One figure gone I daily loved to meet,--
Editor's note
Even a crowded street feels empty when the one face you were hoping to see is gone. Lowell is about to mention two significant losses: Longfellow ('the clear, sweet singer with the crown of snow') and Emerson. Both passed away in 1882, five years before this poem was published.
The clear, sweet singer with the crown of snow / Not whiter than the thoughts that housed below!
Editor's note
This is Lowell's elegy for Longfellow — his white hair ('crown of snow') reflects the purity of his inner life. The compliment feels warm and personal, rather than a formal eulogy. Longfellow was not just a neighbor; he was a close friend of Lowell's for decades.
And, ah, what absence feel I at my side, / Like Dante when he missed his laurelled guide,
Editor's note
Lowell likens Emerson's loss to Dante losing Virgil — the guide who took him through the underworld but couldn't accompany him any longer. This comparison is both accurate and heartfelt: Emerson was the guiding light for Lowell's generation, and his absence created a distinct void.
But life is sweet, though all that makes it sweet / Lessen like sound of friends' departing feet,
Editor's note
The turn here is key. Lowell doesn’t dwell in sorrow. Life remains beautiful, even as it drains away, and the picture of friends’ departing footsteps is painfully vivid — the sound that lingers as someone walks away from you for the final time.
And Death is beautiful as feet of friend / Coming with welcome at our journey's end;
Editor's note
Death is seen not as a loss but as an arrival — like the sound of a friend's footsteps approaching you instead of retreating. For Lowell, many of the people he cherished are already gone, so death has transformed into the space for reunion. This notion is one of the poem's most subtly revolutionary concepts.
For me Fate gave, whate'er she else denied, / A nature sloping to the southern side;
Editor's note
Lowell sees himself as naturally sunny—optimistic and warm-hearted. He appreciates this trait but candidly acknowledges its downside: when darkness arrives, his sunny disposition feels the weight of it even more.
I muse upon the margin of the sea, / Our common pathway to the new To Be,
Editor's note
The sea marks the boundary between this life and what lies beyond. Lowell observes the sails of the dead — 'good and beautiful embarked before' — shrinking on the horizon. He isn’t afraid; he’s simply waiting for his turn, repairing his own boat with the remnants of his experiences.
Nor sadly hear, as lower sinks the sun, / My moorings to the past snap one by one.
Editor's note
The poem ends with Lowell listening, free of grief, as the final ties to his past life loosen. The sun sets, the moorings break — yet the tone is one of acceptance, even peace. He is prepared to set sail.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The battle-harness on the wall
- Lowell's armor, now hanging idle, reflects a lifetime of public engagement—political activism, literary battles, and diplomatic service—that he has set aside. It still quivers at distant sounds, but it no longer joins the fight.
- The sea-shell's lost tradition of the sea
- The hollow echo in a shell held to the ear reflects the faint, lingering pull of past passions. The shell may be dry and far from the ocean, but it still holds its memories — just like Lowell continues to hear the call of public life, even if he chooses not to respond.
- The reed
- A classical symbol of the poet's instrument, rooted in pastoral and Eastern traditions. Blowing the dust off it marks Lowell's return to poetry after a long absence — a thoughtful, humble gesture of creative rebirth.
- The sea and the departing sails
- The sea marks the boundary between life and death, and the sails fading into the distance represent the souls of friends who have gone before. Lowell stands on the shore, mending his own boat, waiting calmly.
- The crown of snow (Longfellow)
- Longfellow's white hair forms a halo of purity, and Lowell quickly reinforces this image by noting that the thoughts within were even whiter. This tribute resonates both visually and morally.
- Dante's laurelled guide (Emerson)
- By positioning Emerson as Virgil to his Dante, Lowell assigns him the crucial role of a guide through the challenging paths of intellectual and moral existence—someone whose absence truly leaves you feeling adrift.
§06Historical context
Historical context
§07FAQ
Questions readers ask
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