Early in his career, James Russell Lowell's writing was influenced by Swedenborgianism, a Spiritualism-infused form of Christianity founded by Emanuel Swedenborg, causing Frances Longfellow (wife of the poet Henry Wadsworth Longfellow) to mention that "he has been long in the habit of seeing spirits".[112] He composed his poetry rapidly when inspired by an "inner light" but could not write to order.[113] He subscribed to the common nineteenth-century belief that the poet was a prophet but went further, linking religion, nature, and poetry, as well as social reform.[112] Evert Augustus Duyckinck and others welcomed Lowell as part of Young America, a New York-based movement. Though not officially affiliated with them, he shared some of their ideals, including the belief that writers have an inherent insight into the moral nature of humanity and have an obligation for literary action along with their aesthetic function.[114] Unlike many of his contemporaries, including members of Young America, Lowell did not advocate for the creation of a new national literature. Instead, he called for a natural literature, regardless of country, caste, or race, and warned against provincialism which might "put farther off the hope of one great brotherhood".[30] He agreed with his neighbor Longfellow that "whoever is most universal, is also most national".[114] As Lowell said:
I believe that no poet in this age can write much that is good unless he gives himself up to [the radical] tendency ... The proof of poetry is, in my mind, that it reduces to the essence of a single line the vague philosophy which is floating in all men's minds, and so render it portable and useful, and ready to the hand ... At least, no poem ever makes me respect its author which does not in some way convey a truth of philosophy.[115]
A scholar of linguistics, Lowell was one of the founders of the American Dialect Society.[116] He applied this passion to some of his writings, most famously in The Biglow Papers, in which he presents an early 19th-century rural Yankee dialect,[117] complete with nonstandard local grammar and quasi-phonetic spelling[118][119][27]—a literary method called eye dialect. In using this vernacular, Lowell intended to get closer to the common man's experience and was rebelling against more formal and, as he thought, unnatural representations of Americans in literature. As he wrote in his introduction to The Biglow Papers, "few American writers or speakers wield their native language with the directness, precision, and force that are common as the day in the mother country" (i.e. England).[120] Though intentionally humorous, this precise representation of an early New England dialect was pioneering work within American literature.[121] For example, Lowell's character Hosea Biglow says in verse:
Ef you take a sword an' dror it, An go stick a feller thru, Guv'ment aint to answer to it, God'll send the bill to you.[122]
Lowell is considered one of the fireside poets, a group of writers from New England in the 1840s who all had a substantial national following and whose work was often read aloud by the family fireplace. Besides Lowell, the main figures from this group were Longfellow, Holmes, John Greenleaf Whittier, and William Cullen Bryant.[123]
