WHAT RABBI JEHOSHA SAID by James Russell Lowell: Summary, Meaning & Analysis
Lowell shares a lesson from a Jewish rabbi: God creates new angels daily, and their sole purpose is to sing one perfect "Hosanna!" before disappearing.
The poem
Rabbi Jehosha used to say That God made angels every day, Perfect as Michael and the rest First brooded in creation's nest, Whose only office was to cry _Hosanna!_ once, and then to die; Or rather, with Life's essence blent, To be led home from banishment. Rabbi Jehosha had the skill To know that Heaven is in God's will; And doing that, though for a space One heart-beat long, may win a grace As full of grandeur and of glow As Princes of the Chariot know. 'Twere glorious, no doubt, to be One of the strong-winged Hierarchy, To burn with Seraphs, or to shine With Cherubs, deathlessly divine; Yet I, perhaps, poor earthly clod, Could I forget myself in God, Could I but find my nature's clue Simply as birds and blossoms do, And but for one rapt moment know 'Tis Heaven must come, not we must go, Should win my place as near the throne As the pearl-angel of its zone. And God would listen mid the throng For my one breath of perfect song, That, in its simple human way, Said all the Host of Heaven could say.
Lowell shares a lesson from a Jewish rabbi: God creates new angels daily, and their sole purpose is to sing one perfect "Hosanna!" before disappearing. The poem expands on this idea — if a brief moment of pure devotion holds as much weight as an archangel's everlasting service, then an ordinary person who loses themselves in God, even for just one breath, can be as close to the divine as any heavenly prince. It's a gentle, hopeful assertion that sincerity always surpasses grandeur.
Line-by-line
Rabbi Jehosha used to say / That God made angels every day,
Rabbi Jehosha had the skill / To know that Heaven is in God's will;
'Twere glorious, no doubt, to be / One of the strong-winged Hierarchy,
Tone & mood
The tone is warm and gently confident, sprinkled with a touch of self-deprecating humor. Lowell doesn’t lecture — he reflects. The poem feels like a guy chatting in a cozy chair, genuinely thrilled by a nugget of rabbinic wisdom and exploring it wherever it takes him. There’s a sense of reverence, but no heaviness; the mood remains light even when the concepts grow expansive.
Symbols & metaphors
- The one-day angel — These angels fashioned for a single 'Hosanna!' embody any act of devotion that stands alone, no matter how brief. They transform the brevity of life or transient goodness into an asset rather than a drawback — a complete purpose can be achieved in just one moment.
- Birds and blossoms — Lowell sees these as symbols of natural, unthinking obedience. They simply exist without trying to be anything else. To him, they represent the easy connection to one's own purpose that he, as a self-aware human, must actively seek out.
- The Chariot (Merkabah) — The 'Princes of the Chariot' are the top angels in Jewish mystical tradition, serving at God's divine throne-chariot. Lowell uses this term to represent the highest level of spiritual achievement and then contends that even a single genuine human moment can match that level.
- One breath of perfect song — This image represents the essence of genuine human prayer or praise. It doesn’t have to be grand or everlasting. Its beauty lies in its honesty and complete self-surrender, rather than in strength or length.
- Banishment — The angels return home 'from banishment' as they merge back into Life's essence. This subtly portrays earthly existence — for both angels and humans — as a brief separation from the divine, infusing the poem with a sense of yearning for reunion.
Historical context
James Russell Lowell wrote this poem in the mid-to-late nineteenth century, a time when American poets and intellectuals were increasingly fascinated by comparative religion and mysticism. As a Harvard professor and editor of *The Atlantic Monthly*, Lowell was one of the most respected literary figures of his time. He references a teaching from the Talmud attributed to Rabbi Joshua ben Hananiah, which was becoming accessible to educated readers due to the rise in translations of Jewish texts. Lowell's engagement with this material reflects the Transcendentalist curiosity of his peers, who believed that divine truth could be found across various traditions, not just within Christianity. This poem fits well with his other reflective, faith-inspired works, and its central idea—that genuine human devotion can be as powerful as angelic perfection—offers a uniquely democratic, American take on mystical theology.
FAQ
Lowell is talking about Rabbi Joshua ben Hananiah, a well-known Jewish sage who lived during the first and second centuries CE. The idea that God creates new angels every day is indeed found in the Talmud, particularly in the tractates *Chagigah* and *Bereshit Rabbah*, meaning Lowell is referencing an actual source rather than making it up. He adjusts the name a bit to 'Jehosha.'
'Hosanna' is a Hebrew shout of praise that means approximately 'save us' or 'praise be.' In the poem, it represents the sole act of worship that these temporary angels are meant to perform. This is their whole purpose — just one shout of praise, and they fulfill their reason for existing.
This refers to *Merkabah* mysticism, an early Jewish mystical concept focused on God's throne-chariot as depicted in the book of Ezekiel. The 'Princes of the Chariot' are the top angels who serve that throne. Lowell uses them to symbolize the highest level of spiritual glory, then contends that a single genuine human moment holds equal value.
This line from the poem really stands out. While many religious beliefs depict humans reaching for Heaven, Lowell turns that idea on its head: in a moment of genuine self-forgetfulness and harmony with God's will, Heaven comes down to meet you where you are. You don’t have to work your way up; the divine comes down to you. This reflects a deeply Transcendentalist view — the sacred is available right here and right now.
It's self-deprecating humor with a serious twist. 'Clod' refers to a lump of earth or dirt — hardly glamorous compared to burning seraphs. Lowell recognizes the difference between human flaws and angelic perfection, yet the poem argues that this gap isn't as significant as we often believe. The humility feels sincere, but it also sets the stage for an uplifting conclusion.
The poem uses rhyming couplets and follows iambic tetrameter, meaning there are four beats per line. It's structured into three stanzas of different lengths: the first has eight lines, the second has six, and the last has twelve. This neat, traditional form matches the poem's conversational and reflective tone; it feels genuine rather than pretentious.
It's certainly influenced by religious concepts — like Jewish mysticism, angelic hierarchies, and prayer — but its main message is easy for anyone to grasp. The poem explores whether a brief, genuine moment of being completely yourself can hold as much significance as a lifetime of great accomplishments. You don't have to believe in angels to connect with that question.
In medieval and Renaissance cosmology, the heavens were organized into concentric spheres or 'zones,' each ruled by a specific order of angels. The 'pearl-angel' serves as the guardian angel of the zone closest to the divine throne. Lowell suggests that his one perfect moment of human song would grant him a spot right there, at the innermost ring — the closest anyone, even an angel, can get to God.