Cambridge Sketches — Reading Notes
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There were some, however, who recollected on their way to breakfast the sad procession that had passed through the college-yard six months before,--the military funeral of James Russell Lowell's nephews, killed in General Sheridan's victory at Cedar Run. There were no recent graduates of Harvard more universally beloved than Charles and James Lowell; and none of whom better things were expected. To Lowell himself, who had no other children, except a daughter, they were almost like his own sons, and the ode he wrote on this occasion touches a depth of pathos not to be met with elsewhere in his poetry. There was not at that time another family in Cambridge or Boston which contained two such bright intellects, two such fine characters. It did not seem right that they should both have left their mother, who was bereaved already by a faithless husband, to fight the battles of their country, however much they were needed for this. Even in the most despotic period of European history the only son of a widow was exempt from conscription. Then to lose them both in a single day! Mrs. Lowell became the saint of Quincy Street, and none were so hardened or self-absorbed as not to do her reverence.
But now the terrible past was eclipsed by the joy and pride of victory. The great heroic struggle was over; young men could look forward to the practice of peaceable professions, and old men had no longer to think of the exhausting drain upon their resources. Fond mothers could now count upon the survival of their sons, and young wives no longer feared to become widows in a night. Everywhere there was joy and exhilaration. To many it was the happiest day they had ever known.
President Hill was seen holding a long and earnest conversation with Agassiz on the path towards his house. The professors threw aside their contemplated work. Every man went to drink a glass of wine with his best friend, and to discuss the fortunes of the republic. The ball-players set off for the Delta, where Memorial Hall now stands, to organize a full match game; the billiard experts started a tournament on Mr. Lyon's new tables; and the rowing men set off for a three-hours' pull down Boston harbor. Others collected in groups and discussed the future of their country with the natural precocity of youthful minds. "Here," said a Boston cousin of the two young Lowells, to a pink-faced, sandy-haired ball-player, "you are opposed to capital punishment; do you think Jeff. Davis ought to be hung?" "Just at present," replied the latter, "I am more in favor of suspending Jeff. Davis than of suspending the law,"--an opinion that was greeted with laughter and applause. The general sentiment of the crowd was in favor of permitting General Lee to retire in peace to private life; but in regard to the president of the Southern Confederacy the feeling was more vindictive.
We can now consider it fortunate that no such retaliatory measures were taken by the government. Much better that Jefferson Davis, and his confederates in the secession movement, should have lived to witness every day the consequences of that gigantic blunder. The fact that they adopted a name for their newly-organized nation which did not differ essentially from the one which they had discarded; that their form of government, with its constitution and laws, differed so slightly from those of the United States, is sufficient to indicate that their separation was not to be permanent, and that it only required the abolition of slavery to bring the Southern States back to their former position in the Union. If men and nations did what was for their true interests, this would be a different world.
Frank Preston Stearns opens Cambridge Sketches with a vivid, first-hand account of the morning in April 1865 when news of General Lee's surrender reached Harvard College. He describes the scene in Stoughton Hall, the prayer-bell, and President Hill's declaration that no college tasks should take place that day. The passage immediately establishes Stearns's method: grounding larger historical moments in specific, personal observation. He notes Hawthorne's son as his companion, and mentions Joseph Cook leading a hymn with the Christian Brethren—details that signal the author's insider perspective on Cambridge's intellectual and social circles.
A Portrait Built on Anecdote
Stearns's sketch of Charles Sumner relies not on political analysis but on small, telling incidents. He recounts how Sumner, leaving Dr. Howe's garden, turned with formal gravity to say "Good evening, child" to Howe's young daughter, prompting laughter from Mrs. Howe. This moment, Stearns notes, was later used by L. Maria Child in a storybook. Such anecdotes serve as the book's primary evidence for character. Stearns contrasts Sumner's public grandeur—"every one stared at him as he walked the streets"—with his private sincerity, describing him as "thoroughly real and sincere" and comparing him to a Homeric hero rather than a courtly figure.
The Limits of Acquaintance
Stearns is candid about the boundaries of his knowledge. In the preface, he admits he did not seek out distinguished persons and had no expectation of writing about them. This modesty shapes the sketches: he writes from memory and impression, not exhaustive research. For instance, he observes that Sumner's reserve with political allies stemmed from ignorance of individuals, not lack of sympathy—a claim grounded in Stearns's own experience of Cambridge society. The book does not pretend to be a comprehensive biography; instead, it offers a series of personal glimpses, each anchored by a specific encounter or observation.
Recurring Motifs: Formality and Spontaneity
Across the excerpts, a tension between formal public roles and spontaneous human moments recurs. The surrender announcement triggers an unscripted celebration—students singing hymns, a president canceling classes. Yet Sumner's farewell to the child is stiffly formal, a habit Stearns attributes to the "formalities of the Senate." The author repeatedly highlights such contrasts: Sumner's universal acquaintance with figures from Lord Brougham to a mulatto caterer, yet his coldness toward party members. These patterns suggest Stearns is interested in how public life shapes private behavior, a theme that likely runs through the entire collection.
Voice and Structure: The Conversational Essay
Stearns writes in a relaxed, essayistic style, often addressing the reader directly or inserting wry asides. When discussing complaints about Sumner's lack of graciousness, he quips: "If he will drop the three last letters of his own name the solution will be apparent to him." This conversational tone, combined with the book's organization as a series of independent sketches, makes it suitable for browsing. The contents list includes figures like Francis J. Child, Longfellow, Lowell, and Dr. W. T. G. Morton, suggesting a wide-ranging portrait of Cambridge intellectual life. Readers should expect each chapter to function as a self-contained vignette rather than a linear narrative.
Stearns's Cambridge Sketches rewards readers who value personal testimony over formal history. The author's presence as a witness—a Harvard student who later became a biographer—gives the sketches a distinctive immediacy. Approach each chapter as a conversation with a well-informed contemporary, and note how Stearns uses small gestures and offhand remarks to illuminate character. The book's strength lies not in argument but in the accumulation of such moments, each one a window into a vanished world of nineteenth-century Cambridge.
Reading Frank Preston Stearns’ old Cambridge portraits, I kept thinking how he catches a person in one small gesture—Sumner saying goodbye to a child, Lowell’s quiet laugh—and that’s enough. It reminded me of dipping into the Complete Project Gutenberg Oliver Wendell Holmes, Sr. Works — Background and Themes, where the same era lingers, not as dates but as voices. Some books feel like an afternoon spent with someone who remembers kindly.
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