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The Legend of Zelda: Oracle of Seasons[a] and The Legend of Zelda: Oracle of Ages[b] are 2001 action-adventure games in the Legend of Zelda series. They were developed by Flagship (a subsidiary of Capcom) and published by Nintendo for the Game Boy Color. The player controls Link from an overhead perspective. In Seasons, the Triforce transports Link to the land of Holodrum, where he sees Onox kidnap Din, the Oracle of Seasons. In Ages, the Triforce transports Link to Labrynna, where Veran possesses Nayru. The main plot is revealed once the player finishes both games. Link is armed with a sword and shield as well as a variety of secondary weapons and items for battling enemies and solving puzzles. The central items are the Rod of Seasons, which controls the seasons in Holodrum, and the Harp of Ages, which lets Link travel through time in Labrynna. Before he can infiltrate Onox's castle and Veran's tower, Link must collect the eight Essences of Nature and the eight Essences of Time, which are hidden in dungeons and guarded by bosses. After experimenting with porting the original Legend of Zelda to the Game Boy Color, the Flagship team, supervised by Yoshiki Okamoto, began developing three interconnected Zelda games that could be played in any order. The complexity of this system led the team to cancel one game. Both Seasons and Ages were a critical success, and sold 3.96 million units each. Critics complimented the gameplay, colorful designs and graphic quality, but criticized the inconsistent sound quality. Both games were re-released on the Virtual Console of Nintendo 3DS in May 2013, and on the Nintendo Switch Online service in July 2023.[4][5][6] Gameplay See also: Gameplay of The Legend of Zelda series Four screenshots of the same area of the game in different seasons. Plants are light green in spring, dark green in summer, red and yellow in fall, and white and pale blue in winter. A tree blocks a passage in all seasons but winter, where the leaves have fallen and it is smaller. In Oracle of Seasons, the environment changes with the season. From top left going clockwise: spring, summer, winter, autumn. Gameplay is sometimes affected by the seasons; during the winter for example, a path opens up that cannot be accessed during any other season; or during spring, the flower can be used to access otherwise unreachable ledges. The gameplay of Oracle of Seasons and Ages is similar to that of Link's Awakening (1993) for Game Boy, copying basic controls, graphics, and sounds.[7][8] Like most Legend of Zelda games, exploration and combat take place from an overhead perspective. Link uses a sword for his primary attack, complemented by secondary weapons and items. Basic items such as bombs and a boomerang are common to both games. Other items are exclusive to one game, with a counterpart in the other (e.g., the slingshot in Seasons and the seed shooter in Ages both shoot seeds, while the magnetic gloves in Seasons and the switch hook in Ages are used to access otherwise unreachable areas). Unlike most Zelda games, a sword and shield is not always equipped when the player possesses them; they can be assigned like any other item into either of two available slots. Most of each of the games is spent finding the eight Essences hidden in dungeons—large, usually underground, areas containing enemies and puzzles. Each dungeon culminates with a boss that guards the Essence.[9][10] When not in a dungeon, Link explores the overworld. In Seasons, the overworld consists of Holodrum and the subterranean world of Subrosia inhabited by the dwarf-like Subrosian people. The two worlds are linked by several portals. In Ages, Link travels between present-day Labrynna and the past, connected by Time Holes. In either game, some areas of one world are accessible only from portals from the other and vice versa. Holodrum, Subrosia, and Labrynna contain optional side quests and upgrades for Link and his equipment. One such side quest is ring collection. Rings provide Link with various bonuses and abilities, such as improved defense. Other rings have no practical uses or effects, e.g. rings that weaken Link's attack or defense, or transform Link into an enemy creature. Another side quest is the optional trading game, in which Link receives and delivers special items to certain people throughout the land. Once completed, Link receives an upgraded sword. In both games, there are many circumstances when a previous item can be upgraded into a more useful form. The latter three dungeons in both games will hold a more powerful version of an item received earlier in the game. Both the sword's offensive power and the shield's defensive abilities can be upgraded twice.[11] The central item of Oracle of Seasons is the Rod of Seasons. By standing on a stump and swinging the rod, Link can change the season and affect his surroundings.[12] For example, to cross a body of water, Link can change the season to winter and walk on the ice. Changing the season to summer causes vines to flourish, which Link can use to scale cliffs. When Link obtains the rod, he initially cannot use it.[13] In the course of the game, Link visits four towers that house the four spirits of the seasons; each tower Link visits allows him to switch to an additional season.[13] In Oracle of Ages, the central item is the Harp of Ages, which Link uses to manipulate time and travel between the past and the present.[14] In the course of the game, Link learns three tunes to play on the harp. The Tune of Echoes activates Time Portals at fixed locations, the Tune of Currents enables Link to travel from the past to the present without a Time Portal, and the Tune of Ages allows Link to switch between the two time periods at almost any location on the map.[citation needed] Interaction Although the two are built on the same game engine, Oracle of Ages concentrates on puzzles, while Oracle of Seasons focuses on action.[7] Each is a complete game capable of interacting with the other, via passwords[15] or a Game Link Cable.[15] Upon completing either game, players receive a password that can be used to play an alternative version of the other.[15] In this version, some characters mention passwords that can be given to characters in the first game in exchange for an item or upgrade. By taking a new password back into the linked game, the item or upgrade can be transferred.[15] Rings can be traded by this password system or randomly created by connecting two games with a Game Link Cable.[16] In the alternative version, plot points are changed or expanded upon to allow the game to serve as a sequel. It also features an extended ending in which Twinrova kidnaps Zelda, and lights the third Flame of Despair to revive Ganon.[17] The player can then enter Twinrova's lair and battle Twinrova and Ganon.[17] Upon completing the alternative game, another password gives the player the Victory Ring, commemorating the defeat of Ganon.[18] Plot Further information: Fictional chronology of The Legend of Zelda Oracle of Seasons Seasons begins as the Triforce calls out to Link from within Hyrule Castle. Link approaches it, and is transported to a dark forest where he encounters a traveling group led by a dancer named Din. After Din welcomes Link to Holodrum, the sky becomes covered in black clouds. A voice from the clouds calls Din the Oracle of Seasons and refers to himself as Onox, General of Darkness. A funnel cloud drops from the sky, taking Din into its dark heights. Onox seals Din in a crystal and sinks the Temple of Seasons into the subterranean land of Subrosia, sending the seasons of Holodrum into disarray and causing them to change rapidly.[19] Din's attendant, Impa, tells Link that they were headed for Hyrule; she instructs him to see the Maku Tree in Horon Village, the capital of Holodrum.[20] Link finds a sword in a cave and makes his way to the tree. The Maku Tree tells Link he will need the eight Essences of Nature and gives him the Gnarled Key, which unlocks the dungeon holding the first Essence. Link retrieves the eight Essences from eight dungeons throughout Holodrum and Subrosia and brings them to the Maku Tree, who uses them to create a Huge Maku Seed, a sacred evil-cleansing seed that allows Link to enter Onox's castle.[21] Link enters the castle, defeats Onox, and rescues Din, who tells him that he is now a true hero and must face a new trial soon.[22] Twinrova, watching the scene remotely, states that the Flame of Destruction has been powered by the havoc Onox has wrought.[23] Oracle of Ages As with Seasons, the Triforce calls out to Link. Link is transported to a forest in the land of Labrynna, where he hears screaming. In a clearing, Link finds Impa, surrounded by monsters, but the monsters flee when they see Link. Impa then asks Link to help her find a singer in the forest.[24] The two find Nayru, a young blue-haired woman singing on a tree stump surrounded by forest creatures. A shadow emerges from Impa and reveals itself as Veran, the Sorceress of Shadows. Veran possesses Nayru, the Oracle of Ages; this disrupts the flow of time. Through Nayru, Veran manipulates Queen Ambi into forcibly conscripting every capable man in Labrynna to construct a large Black Tower.[24] Link receives a sword from Impa and makes his way to the Maku Tree in Lynna City, the capital of Labrynna.[25] Veran orders that the Maku Tree be killed; Link uses a time portal to travel to the past to prevent this. The Maku Tree tells Link he will need the eight Essences of Time to defeat Veran. Link sets out to retrieve the eight Essences, hidden in eight dungeons throughout Labrynna's past and present. After getting the sixth Essence, Link is told he can save Nayru. He invades Queen Ambi's castle and removes Veran's spirit from Nayru, but Veran then possesses Queen Ambi. Link gathers the remaining Essences and brings them to the Maku Tree, who uses them to create a Huge Maku Seed that allows Link to enter Veran's Black Tower.[26] Link ascends the tower and defeats Veran, rescues Queen Ambi, and Nayru tells him that all has returned to normal.[27] Twinrova, watching the scene remotely, states that Veran has lit the Flame of Sorrow.[28] Linked ending If one game is played as a sequel to the other by a linked password, Twinrova captures Princess Zelda, lighting the Flame of Despair.[29] Link enters a warp point by the Maku Tree and faces Twinrova, who is attempting to use the three Flames to revive Ganon. Link defeats Twinrova, who sacrifice themselves in place of Zelda, resulting in Ganon being revived as a mindless raging beast that Link kills.[30] He frees Zelda and together, they exit the crumbling castle. After the credits, Link waves to a crowd from a sailboat off the shore of a land with a castle in the background. Development This section's factual accuracy is disputed. Relevant discussion may be found on the talk page. Please help to ensure that disputed statements are reliably sourced. (February 2024) (Learn how and when to remove this template message) In early 1999, Yoshiki Okamoto, then head of Capcom's screenwriter subsidiary Flagship, proposed remaking the original The Legend of Zelda for the Game Boy Color to Shigeru Miyamoto, the game designer at Nintendo who created the series.[3][31][32][33] Okamoto wanted to remake the original game so that young children could play it, but also as a test for the development team to move on to a more ambitious sequel if it was successful.[3][34][35] Okamoto wanted to work on games and follow them up with sequels in four to five months, including Zelda games in this workflow.[34] According to reporting by IGN, Okamoto was asked to develop six Zelda games for the Game Boy Color: two based on earlier installments and four original entries,[36] but Okamoto disputed this.[37] Contrary to Miyamoto's design mentality of creating the gameplay system first, development started out with the scenario writing, which Flagship was in charge of.[35] Some of the staff members, including the team led by director and designer Hidemaro Fujibayashi that was responsible for tasks other than the storyline, wanted to skip the remake and create an original Zelda game right away.[3][36][35] As the original game was deemed too difficult for the new generation of players, more and more changes were applied to the point where it had an entirely different world map.[31] As a result, the team ran into problems because the scenario and the maps had to be reworked constantly to make all the modifications match.[35] The Game Boy Color's screen presented an additional hurdle when attempting to rework the earlier Zelda game as it was narrower than that of a television; players could not view an entire room without scrolling, which made it easy to overlook stairways or clues on walls.[35] Dismayed by the lack of progress, Okamoto asked Miyamoto for help, who proposed a trilogy of games, each with a different focus on gameplay elements.[31][35] This trilogy was referred to as the "Triforce Series",[38] named after the Triforce,[39] a relic that plays a role in many Zelda games. The Triforce is composed of three parts: the Triforces of Power, Wisdom, and Courage; each game in the trilogy was going to be associated with a piece of the Triforce, with one game being the conversion of the original The Legend of Zelda.[39][40] The first game was demonstrated at Nintendo's SpaceWorld trade show in 1999, under the working title Fushigi no Kinomi – Chikara no Shō (ふしぎの木の実 ~力の章~).[41] This action-oriented game concerned Ganon's theft of Princess Zelda and the "Rod of the Seasons", which threw the seasons of Hyrule into chaos[42][43]—a precursor to the plot of Oracle of Seasons. In the playable demonstration, Link solved puzzles by using the Rod of the Seasons to manipulate the environment and change the current season. Chie no Shō, which focused on color-based puzzles, and Yūki no Shō, which used the times of day to solve puzzles in a mechanic similar to the use of seasons, were not shown.[38][39] In the US, the games became Mystical Seed of Power, Mystical Seed of Wisdom, and Mystical Seed of Courage.[44] The games interacted with each other: players could begin with any of the three games and have the actions of the first game affect the story of the other two, a concept conceived by Okamoto.[31][45] More than ten of Flagship's scenarists, among them Resident Evil writer Junichi Miyashita, worked on the three stories.[31][46][47] The developers considered using a cell phone adapter to transfer data, but decided on a password system.[38] The limitations of this system and the difficulty of coordinating three games proved too complicated, so the project was scaled back to two games at Miyamoto's suggestion.[35][48] Condensing the games into a single cartridge was never considered, as the prospect of multiple endings and the added replay value afforded by the ability to play the games in either order was too important.[35] Oracle of Seasons was adapted from Mystical Seed of Power, Oracle of Ages was adapted from Mystical Seed of Courage, and Mystical Seed of Wisdom was canceled.[38] These sweeping design changes pushed the release dates closer to the release of the Game Boy Advance (GBA), the next system in the Game Boy line that is backward compatible with Game Boy Color games. The team considered adding special functionality to the game triggered only when played on a GBA, but was afraid that the additional development time required for the addition would cause the games to be released after the GBA.[35] When the release date of the GBA was postponed, the team was able to incorporate GBA functionality and release the games approximately a month before the GBA was released.[35] Staggered releases were abandoned in favor of releasing the games simultaneously. This made it easier for the team to test the interaction between the games and keep the style consistent.[35] Each game was shipped on an 8-megabit (16-megabit in Europe) cartridge.[49][50] The music was composed by two employees of the Japanese music and sound effect production company Pure Sound, credited under the pseudonyms "M-Adachi" and "Kyopi".[51] Nintendo artist and series regular Yusuke Nakano designed the characters, and incorporated previous creations from Ocarina of Time into Oracle of Seasons and characters from Majora's Mask into Oracle of Ages.[51][52] During the 5th Annual Interactive Achievement Awards, the Academy of Interactive Arts & Sciences nominated Oracle of Seasons for "Hand-Held Game of the Year", while Oracle of Ages was nominated for "Console Role-Playing Game of the Year".[74] Critics enjoyed the graphics; GamePro called Seasons "bright and colorful" with "surprisingly expressive and well-designed" animations,[58] and Gaming Target said Ages is "beautiful and creative", with "meticulous attention to detail".[75] Gaming Age called both games "the pinnacle of good graphics on the Game Boy Color system".[66] Although the two share graphics to a large extent, Seasons is distinguished by swapping the color palette to reflect the current season. IGN felt that the expressive colors used for the changing seasons made Seasons the more graphically impressive of the two.[60] Reviews of the audio were mixed. Reviewers noted that the sound was hampered by the poor quality of the Game Boy Color's speakers,[58] although it fared favorably compared with other games for the system.[59] The selection of songs was praised for complementing familiar Zelda songs and sounds with new music. The Zelda theme and the traditional sound effect played upon solving a puzzle were considered welcome additions,[66][75][76][77] but other sound effects were criticized as simplistic "beeps".[76][78][79] Gamebooks Two game books were released based on the games as part of the Nintendo You Decide on the Adventure series by Scholastic. Both were written by Craig Wessel and based on the events in the games with few minor differences. The first one, based on Oracle of Seasons, was published in October 2001.[80] The second, based on Oracle of Ages, was published in January 2002.[81]

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sexta-feira, 26 de abril de 2024

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James Russell Lowell was an American Romantic poet, critic, editor, and diplomat. He is associated with the fireside poets, a group of New England writers who were among the first American poets that rivaled the popularity of British poets. These writers usually used conventional forms and meters in their poetry, making them suitable for families entertaining at their fireside. Lowell graduated from Harvard College in 1838, despite his reputation as a troublemaker, and went on to earn a law degree from Harvard Law School. He published his first collection of poetry in 1841 and married Maria White in 1844. The couple had several children, though only one survived past childhood. He became involved in the movement to abolish slavery. Lowell used poetry to express his anti-slavery views and took a job in Philadelphia, Pennsylvania, as the editor of an abolitionist newspaper. After moving back to Cambridge, Lowell was one of the founders of a journal called The Pioneer, which lasted only three issues. He gained notoriety in 1848 with the publication of A Fable for Critics, a book-length poem satirizing contemporary critics and poets. The same year, he published The Biglow Papers, which increased his fame. He went on to publish several other poetry collections and essay collections throughout his literary career. Maria died in 1853, and Lowell accepted a professorship of languages at Harvard in 1854. He traveled to Europe before officially assuming his teaching duties in 1856, and married Frances Dunlap shortly thereafter in 1857. That year, Lowell also became editor of The Atlantic Monthly. He continued to teach at Harvard for twenty years. He received his first political appointment, the ambassadorship to the Kingdom of Spain 20 years later. He was later appointed ambassador to the Court of St. James's. He spent his last years in Cambridge in the same estate where he was born, and died there in 1891. Lowell believed that the poet played an important role as a prophet and critic of society. He used poetry for reform, particularly in abolitionism. However, his commitment to the anti-slavery cause wavered over the years, as did his opinion on African-Americans. He attempted to emulate the true Yankee accent in the dialogue of his characters, particularly in The Biglow Papers. This depiction of the dialect, as well as his many satires, was an inspiration to writers such as Mark Twain and H. L. Mencken. Biography Early life Elmwood, birthplace and longtime home of James Russell Lowell in Cambridge, Massachusetts James Russell Lowell was born February 22, 1819.[1] He was a member of the eighth generation of the Lowell family,[2] the descendants of Percival Lowle who settled in Newbury, Massachusetts, in 1639.[3] His parents were the Reverend Charles Lowell (1782–1861), a minister at a Unitarian church in Boston who had previously studied theology at Edinburgh, and Harriett Brackett Spence Lowell.[4] By the time that James was born, the family owned a large estate in Cambridge called Elmwood.[5] He was the youngest of six children; his siblings were Charles, Rebecca, Mary, William, and Robert.[6] Lowell's mother built in him an appreciation for literature at an early age, especially in poetry, ballads, and tales from her native Orkney.[4] He attended school under Sophia Dana, who later married George Ripley; he later studied at a school run by a particularly harsh disciplinarian, where one of his classmates was Richard Henry Dana Jr.[7] Lowell attended Harvard College beginning at age 15 in 1834, though he was not a good student and often got into trouble.[8] In his sophomore year, he was absent from required chapel attendance 14 times and from classes 56 times.[9] In his last year there, he wrote, "During Freshman year, I did nothing, during Sophomore year I did nothing, during Junior year I did nothing, and during Senior year I have thus far done nothing in the way of college studies."[8] In his senior year, he became one of the editors of Harvardiana literary magazine, to which he contributed prose and poetry that he admitted was of low quality. As he said later, "I was as great an ass as ever brayed & thought it singing."[10] During his undergraduate years, Lowell was a member of Hasty Pudding and served both as secretary and poet. Lowell was elected the poet of the class of 1838[11] and, as was tradition, was asked to recite an original poem on Class Day, the day before Commencement on July 17, 1838.[9] He was suspended, however, and not allowed to participate. Instead, his poem was printed and made available thanks to subscriptions paid by his classmates.[11] He had composed the poem in Concord,[12] where he had been exiled by the Harvard faculty to the care of the Rev. Barzallai Frost because of his neglect of his studies.[13] During his stay in Concord, he became friends with Ralph Waldo Emerson and got to know the other Transcendentalists. His Class Day poem satirized the social movements of the day; abolitionists, Thomas Carlyle, Emerson, and the Transcendentalists were treated.[12] Lowell did not know what vocation to choose after graduating, and he vacillated among business, the ministry, medicine, and law. He ultimately enrolled at Harvard Law School in 1840 and was admitted to the bar two years later.[14] While studying law, however, he contributed poems and prose articles to various magazines. During this time, he was admittedly depressed and often had suicidal thoughts. He once confided to a friend that he held a cocked pistol to his forehead and considered killing himself at the age of 20.[15] Marriage and family In late 1839, Lowell met Maria White through her brother William, a classmate at Harvard,[16] and the two became engaged in the autumn of 1840. Maria's father Abijah White, a wealthy merchant from Watertown, insisted that their wedding be postponed until Lowell had gainful employment.[17] They were finally married on December 26, 1844,[18] shortly after the groom published Conversations on Some of the Old Poets, a collection of his previously published essays.[19] A friend described their relationship as "the very picture of a True Marriage".[20] Lowell himself believed that she was made up "half of earth and more than half of Heaven".[17] She, too, wrote poetry, and the next twelve years of Lowell's life were deeply affected by her influence. He said that his first book of poetry A Year's Life (1841) "owes all its beauty to her", though it only sold 300 copies.[17] Maria's character and beliefs led her to become involved in the movements directed against intemperance and slavery. She was a member of the Boston Female Anti-Slavery Society and persuaded her husband to become an abolitionist.[21] James had previously expressed antislavery sentiments, but Maria urged him towards more active expression and involvement.[22] His second volume of poems Miscellaneous Poems expressed these antislavery thoughts, and its 1,500 copies sold well.[23] Maria was in poor health, and the couple moved to Philadelphia shortly after their marriage, thinking that her lungs could heal there.[24] In Philadelphia, he became a contributing editor for the Pennsylvania Freeman, an abolitionist newspaper.[25] In the spring of 1845, the Lowells returned to Cambridge to make their home at Elmwood. They had four children, though only one (Mabel, born 1847) survived past infancy. Blanche was born December 31, 1845, but lived only fifteen months; Rose, born in 1849, survived only a few months as well; their only son Walter was born in 1850 but died in 1852.[26] Lowell was very affected by the loss of almost all of his children. His grief over the death of his first daughter in particular was expressed in his poem "The First Snowfall" (1847).[27] He again considered suicide, writing to a friend that he thought "of my razors and my throat and that I am a fool and a coward not to end it all at once".[26] Literary career Lowell's earliest poems were published without remuneration in the Southern Literary Messenger in 1840.[28] He was inspired to new efforts towards self-support and joined with his friend Robert Carter in founding the literary journal The Pioneer.[20] The periodical was distinguished by the fact that most of its content was new rather than material that had been previously published elsewhere, and by the inclusion of very serious criticism, which covered not only literature but also art and music.[29] Lowell wrote that it would "furnish the intelligent and reflecting portion of the Reading Public with a rational substitute for the enormous quantity of thrice-diluted trash, in the shape of namby-pamby love tales and sketches, which is monthly poured out to them by many of our popular Magazines."[20] William Wetmore Story noted the journal's higher taste, writing that "it took some stand & appealled to a higher intellectual Standard than our puerile milk or watery namby-pamby Mags with which we are overrun".[30] The first issue of the journal included the first appearance of "The Tell-Tale Heart" by Edgar Allan Poe.[31] Lowell was treated for an eye disease in New York shortly after the first issue, and in his absence Carter did a poor job of managing the journal.[23] The magazine ceased publication after three monthly numbers beginning in January 1843, leaving Lowell $1,800 (~$56,533 in 2022) in debt.[31] Poe mourned the journal's demise, calling it "a most severe blow to the cause—the cause of a Pure Taste".[30] Despite the failure of The Pioneer, Lowell continued his interest in the literary world. He wrote a series on "Anti-Slavery in the United States" for the Daily News, though his series was discontinued by the editors after four articles in May 1846.[32] He had published these articles anonymously, believing that they would have more impact if they were not known to be the work of a committed abolitionist.[33] In the spring of 1848, he formed a connection with the National Anti-Slavery Standard of New York, agreeing to contribute weekly either a poem or a prose article. After only one year, he was asked to contribute half as often to the Standard to make room for contributions from Edmund Quincy, another writer and reformer.[34] First trip to Europe In 1850, Lowell's mother died unexpectedly, as did his third daughter, Rose. Her death left Lowell depressed and reclusive for six months, despite the birth of his son Walter by the end of the year. He wrote to a friend that death "is a private tutor. We have no fellow-scholars, and must lay our lessons to heart alone."[40] These personal troubles as well as the Compromise of 1850 inspired Lowell to accept an offer from William Wetmore Story to spend a winter in Italy.[41] To pay for the trip, Lowell sold land around Elmwood, intending to sell off further acres of the estate over time to supplement his income, ultimately selling off 25 of the original 30 acres (120,000 m2).[42] Walter died suddenly in Rome of cholera, and Lowell and his wife, with their daughter Mabel, returned to the United States in October 1852.[43] Lowell published recollections of his journey in several magazines, many of which would be collected years later as Fireside Travels (1867). He also edited volumes with biographical sketches for a series on British Poets.[44] His wife Maria, who had been suffering from poor health for many years, became very ill in the spring of 1853 and died on October 27[45] of tuberculosis.[26] Just before her burial, her coffin was opened so that her daughter Mabel could see her face while Lowell "leaned for a long while against a tree weeping", according to Henry Wadsworth Longfellow and his wife, who were in attendance.[46] In 1855, Lowell oversaw the publication of a memorial volume of his wife's poetry, with only fifty copies for private circulation.[44] Despite his self-described "naturally joyous" nature,[47] life for Lowell at Elmwood was further complicated by his father becoming deaf in his old age, and the deteriorating mental state of his sister Rebecca, who sometimes went a week without speaking.[48] He again cut himself off from others, becoming reclusive at Elmwood, and his private diaries from this time period are riddled with the initials of his wife.[49] On March 10, 1854, for example, he wrote: "Dark without & within. M.L. M.L. M.L."[50] Longfellow, a friend and neighbor, referred to Lowell as "lonely and desolate".[51] Professorship and second marriage At the invitation of his cousin John Amory Lowell, James Russell Lowell was asked to deliver a lecture at the prestigious Lowell Institute.[52] Some speculated the opportunity was because of the family connection, offered as an attempt to bring him out of his depression.[53] Lowell chose to speak on "The English Poets", telling his friend Briggs that he would take revenge on dead poets "for the injuries received by one whom the public won't allow among the living".[52] The first of the twelve-part lecture series was to be on January 9, 1855, though by December, Lowell had only completed writing five of them, hoping for last-minute inspiration.[54] His first lecture was on John Milton and the auditorium was oversold; Lowell had to give a repeat performance the next afternoon.[55] Lowell, who had never spoken in public before, was praised for these lectures. Francis James Child said that Lowell, whom he deemed was typically "perverse", was able to "persist in being serious contrary to his impulses and his talents".[54] While his series was still in progress, Lowell was offered the Smith Professorship of Modern Languages at Harvard, a post vacated by Longfellow, at an annual salary of $1,200, though he never applied for it.[56] The job description was changing after Longfellow; instead of teaching languages directly, Lowell would supervise the department and deliver two lecture courses per year on topics of his own choosing.[57] Lowell accepted the appointment, with the proviso that he should have a year of study abroad. He set sail on June 4 of that year,[58] leaving his daughter Mabel in the care of a governess named Frances Dunlap.[56] Abroad, he visited Le Havre, Paris, and London, spending time with friends including Story, Robert Browning and Elizabeth Barrett Browning, and Leigh Hunt. Primarily, however, Lowell spent his time abroad studying languages, particularly German, which he found difficult. He complained: "The confounding genders! If I die I shall have engraved on my tombstone that I died of der, die, das, not because I caught them but because I couldn't."[58] He returned to the United States in the summer of 1856 and began his college duties.[59] Towards the end of his professorship, then-president of Harvard Charles William Eliot noted that Lowell seemed to have "no natural inclination" to teach; Lowell agreed, but retained his position for twenty years.[60] He focused on teaching literature, rather than etymology, hoping that his students would learn to enjoy the sound, rhythm, and flow of poetry rather than the technique of words.[61] He summed up his method: "True scholarship consists in knowing not what things exists, but what they mean; it is not memory but judgment."[62] Still grieving the loss of his wife, during this time Lowell avoided Elmwood and instead lived on Kirkland Street in Cambridge, an area known as Professors' Row. He stayed there, along with his daughter Mabel and her governess Frances Dunlap, until January 1861.[63] Lowell had intended never to remarry after the death of his wife Maria White. However, in 1857, surprising his friends, he became engaged to Frances Dunlap, whom many described as simple and unattractive.[64] Dunlap, niece of the former governor of Maine Robert P. Dunlap,[65] was a friend of Lowell's first wife and formerly wealthy, though she and her family had fallen into reduced circumstances.[56] Lowell and Dunlap married on September 16, 1857, in a ceremony performed by his brother.[66] Lowell wrote, "My second marriage was the wisest act of my life, & as long as I am sure of it, I can afford to wait till my friends agree with me."[59] War years and beyond The Atlantic Monthly, 1857 In the autumn of 1857, The Atlantic Monthly was established, and Lowell was its first editor. With its first issue in November of that year, he at once gave the magazine the stamp of high literature and of bold speech on public affairs.[67] In January 1861, Lowell's father died of a heart attack, inspiring Lowell to move his family back to Elmwood. As he wrote to his friend Briggs, "I am back again to the place I love best. I am sitting in my old garret, at my old desk, smoking my old pipe ... I begin to feel more like my old self than I have these ten years."[68] Shortly thereafter, in May, he left The Atlantic Monthly when James T. Fields took over as editor; the magazine had been purchased by Ticknor and Fields for $10,000 two years before.[69] Lowell returned to Elmwood by January 1861 but maintained an amicable relationship with the new owners of the journal, continuing to submit his poetry and prose for the rest of his life.[68] His prose, however, was more abundantly presented in the pages of the North American Review during the years 1862–1872. For the Review, he served as a coeditor along with Charles Eliot Norton.[70] Lowell's reviews for the journal covered a wide variety of literary releases of the day, though he was writing fewer poems.[71] One essay of his for the North American Review, an acerbic review of the life and work of the recently deceased Henry David Thoreau titled "Letters to Various Persons,"[72] contributed to a decades-long critical consensus of disdain for Thoreau.[73] As early as 1845, Lowell had predicted the debate over slavery would lead to war[74] and, as the Civil War broke out in the 1860s, Lowell used his role at the Review to praise Abraham Lincoln and his attempts to maintain the Union.[70] Lowell lost three nephews during the war, including Charles Russell Lowell Jr., who became a brigadier general and fell at the Battle of Cedar Creek. Lowell himself was generally a pacifist. Even so, he wrote, "If the destruction of slavery is to be a consequence of the war, shall we regret it? If it be needful to the successful prosecution of the war, shall anyone oppose it?"[75] His interest in the Civil War inspired him to write a second series of The Biglow Papers,[68] including one specifically dedicated to the preliminary Emancipation Proclamation called "Sunthin' in the Pastoral Line" in 1862.[76] Shortly after Lincoln's assassination, Lowell was asked to present a poem at Harvard in memory of graduates killed in the war. His poem, "Commemoration Ode", cost him sleep and his appetite, but was delivered on July 21, 1865,[77] after a 48-hour writing binge.[78] Lowell had high hopes for his performance but was overshadowed by the other notables presenting works that day, including Ralph Waldo Emerson and Oliver Wendell Holmes. "I did not make the hit I expected", he wrote, "and am ashamed at having been tempted again to think I could write poetry, a delusion from which I have been tolerably free these dozen years."[79] Despite his personal assessment, friends and other poets sent many letters to Lowell congratulating him. Emerson referred to his poem's "high thought & sentiment" and James Freeman Clarke noted its "grandeur of tone".[80] Lowell later expanded it with a strophe to Lincoln.[78] In the 1860s, Lowell's friend Longfellow spent several years translating Dante Alighieri's Divine Comedy and regularly invited others to help him on Wednesday evenings.[81] Lowell was one of the main members of the so-called "Dante Club", along with William Dean Howells, Charles Eliot Norton and other occasional guests.[82] Shortly after serving as a pallbearer at the funeral of friend and publisher Nathaniel Parker Willis on January 24, 1867,[83] Lowell decided to produce another collection of his poetry. Under the Willows and Other Poems was released in 1869,[71] though Lowell originally wanted to title it The Voyage to the Vinland and Other Poems. The book, dedicated to Norton, collected poems Lowell had written within the previous twenty years and was his first poetry collection since 1848.[84]