began in this manner; but a remark that Scudder attributes to him in
regard to Lessing gives us an insight into the deeper mechanism of his
mind. "Shelley's poetry," he said, "was like the transient radiance of
St. Elmo's fire, but Lessing was wholly a poet." This is exactly the
opposite of the view he held during his college life, for Lessing worked
in a methodical and painstaking manner and finished what he wrote with
the greatest care.

More than this, Lessing was as Lowell realized afterwards, too critical
and polemical to be wholly a poet. His "Emilia Galotti" still holds a
high position on the German stage and has fine poetic qualities, but it
is written in prose. His "Nathan the Wise" was written in verse, but did
not prove a success as a drama. In one he attacked the tyranny of the
German petty princes, and in the other the intolerance of the Established
Church. We may assume that is the reason why Lowell admired them; but
Lowell was also too critical and polemic to be wholly a poet,--except on
certain occasions. In 1847 he published the "Fable for Critics," the
keenest piece of poetical satire since Byron's "English Bards and Scotch
Reviewers,"--keen and even saucy, but perfectly good-humored. About the
same time he commenced his "Biglow Papers," which did not wholly cease
until 1866, and were the most incisive and aggressive anti-slavery
literature of that period. Soon afterwards he wrote "The Vision of Sir
Launfal," which has become the most widely known of all his poems, and
which contains passages of the purest a priori verse. Goethe, who
exercised so powerful an influence on Emerson, does not appear to have
interested Lowell at all.

The most plaintive of Beethoven scherzos,--that in the Moonlight Sonata,
--says as if it were spoken in words: