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“As a racy humorist and a brilliant wit using verse as an instrument of expression, he has no clear superior, probably no equal, so far at least as American readers are concerned, among writers who have employed the English language.  As a satirist he has superiors, but scarcely as an inventor of jeux d’esprit.  As a patriotic lyrist he has few equals and very few superiors in what is probably the highest function of such a poet—­that of stimulating to a noble height the national instincts of his countrymen....  The rest of his poetry may fairly be said to gain on that of any of his American contemporaries save Poe in more sensuous rhythm, in choicer diction, in a more refined and subtilized imagination, and in a deeper, a more brooding intelligence.”—­Prof.  William P. Trent.

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“In originality, in virility, in many-sidedness, Lowell is the first of American poets.  He not only possessed, at times in nearly equal measure, many of the qualities most notable in his fellow-poets, rivaling Bryant as a painter of nature, and Holmes in pathos, having a touch too of Emerson’s transcendentalism, and rising occasionally to Whittier’s moral fervor, but he brought to all this much beside.  In one vein he produced such a masterpiece of mingled pathos and nature painting as we find in the tenth Biglow letter of the second series; in another, such a lyric gem as The Fountain; in another, The First Snow-Fall and After the Burial; in another, again, the noble Harvard Commemoration Ode....  He had plainly a most defective ear for rhythm and verbal harmony.  Except when he confines himself to simple metres, we rarely find five consecutive lines which do not in some way jar on us.  His blank verse and the irregular metres which he, unfortunately, so often employs, have little or no music, and are often quite intolerable.  But after all the deductions which the most exacting criticism can make, it still remains that, as a serious poet Lowell stands high.  As a painter of nature, he has, when at his best, few superiors, and, in his own country, none.  Whatever be their esthetic and technical deficiencies, he has written many poems of sentiment and pathos which can never fail to come home to all to whom such poetry appeals.  His hortatory and didactic poetry, as it expresses itself in the Commemoration Ode, is worthy, if not of the music and felicity of Milton and Wordsworth, at least of their tone, when that tone is most exalted.  As a humorist he is inimitable.  His humor is rooted in a fine sense of the becoming, and in a profounder insight into the character of his countrymen than that of any other American writer.”—­John Churton Collins.

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