him, and after long and heroic endurance of pain he died, August 12, 1891, and under the trees of Mt. Auburn he rests, as in life still near his great neighbor Longfellow. In a memorial poem Oliver Wendell Holmes spoke for the thousands who mourned:

Lowell's rich and varied personality presents a type of cultured manhood that is the finest product of American democracy. The largeness of his interests and the versatility of his intellectual powers give him a unique eminence among American authors. His genius was undoubtedly embarrassed by the diffusive tendency of his interests. He might have been a greater poet had he been less the reformer and statesman, and his creative impulses were often absorbed in the mere enjoyment of exercising his critical faculty. Although he achieved only a qualified eminence as poet, or as prose writer, yet because of the breadth and variety of his permanent achievement he must be regarded as our greatest man of letters. His sympathetic interest, always outflowing toward concrete humanity, was a quality—

With marvelous versatility and equal ease he could talk with the down-east farmer and salty seamen and exchange elegant compliments with old world royalty. In The Cathedral he says significantly:

In the delightful little poem, The Nightingale in the Study, we have a fanciful expression of the conflict between Lowell's love of books and love of nature. His friend the catbird calls him "out beneath the unmastered sky," where the buttercups "brim with wine beyond all Lesbian juice." But there are ampler skies, he answers, "in Fancy's land," and the singers though dead so long—

His love of reading is manifest in all his work, giving to his style a bookishness that is sometimes excessive and often troublesome. His expression, though generally direct and clear, and happily colored by personal frankness, is often burdened with learning. To be able to read his essays with full appreciation is in itself evidence of a liberal education. His scholarship was broad and profound, but it was not scholarship in the German sense, exhaustive and exhausting. He studied for the joy of knowing, never for the purpose of being known, and he cared more to know the spirit and meaning of things than to know their causes and origins. A language he learned for the sake of its literature rather than its philology. As Mr. Brownell observes, he shows little interest in the large movements of the world's history. He seemed to prefer history as sublimated in the poet's song. The field of belles-lettres was his native province; its atmosphere was most congenial to his tastes. In book-land it was always June for him—

But books could never divert his soul from its early endearments with out-of-door nature. "The older I grow," he says, "the more I am convinced that there are no satisfactions so deep and so permanent as our sympathies with outward nature." And in the preface to My Study Windows he speaks of himself as "one who has always found his most fruitful study in the open air." The most charming element of his poetry is the nature element that everywhere cheers and stimulates the reader. It is full of sunshine and bird music. So genuine, spontaneous and sympathetic are his descriptions that we feel the very heart throbs of nature in his verse, and in the prose of such records of intimacies with outdoor friends as the essay, My Garden Acquaintance. "How I do love the earth," he exclaims. "I feel it thrill under my feet. I feel somehow as if it were conscious of my love, as if something passed into my dancing blood from it." It is this sensitive nearness to nature that makes him a better interpreter of her "visible forms" than Bryant even; moreover, unlike Bryant he always catches the notes of joy in nature's voices and feels the uplift of a happy inspiration.

In the presence of the immense popularity of Mark Twain, it may seem paradoxical to call Lowell our greatest American humorist. Yet in the refined and artistic qualities of humorous writing and in the genuineness of the native flavor his work is certainly superior to any other humorous writing that is likely to compete with it for permanent interest. Indeed, Mr. Greenslet thinks that "it is as the author of the Biglow Papers that he is likely to be longest remembered." The perpetual play of humor gave to his work, even to the last, the freshness of youth. We love him for his boyish love of pure fun. The two large volumes of his Letters are delicious reading because he put into them "good wholesome nonsense," as he says, "keeping my seriousness to bore myself with."

But this sparkling and overflowing humor never obscures the deep seriousness that is the undercurrent of all his writing. A high idealism characterizes all his work. One of his greatest services to his country was the effort to create a saner and sounder political life. As he himself realized, he often moralized his work too much with a purposeful idealism. In middle life he said, "I shall never be a poet until I get out of the pulpit, and New England was all meeting-house when I was growing up." In religion and philosophy he was conservative, deprecating the radical and scientific tendencies of the age, with its knife and glass—