A month later he writes his friend a lively account of a town and gown row, and notes his progress in reading Shakespeare. “I was surprised on looking over Shakespeare to find that I had read all his plays but two or three, among them ‘Hamlet.’ Only think, I haven’t read Hamlet.’ I will go at it instanter.” At the beginning of 1836, on returning to college after the holidays, he writes with a boyish bibliomaniac enthusiasm of the Milton and Coleridge which had been given him, and passes into comment on the books he is reading and those he means to buy. He grows more literary and political in the subjects of his letters, disclosing already not only a warm interest in public affairs, but a generous judgment. “I suppose you heard of the Seminoles massacring, as it is called, those companies of American troops. I think they are in the right of it; by ‘they’ I mean the Seminoles. Not much danger of war with France now.” Then follows an odd jumble of frank confessions of his likes and dislikes for his fellows, and his boyish passions, with a return to his hunt for books in special editions. His letter of 22 April, 1836, is taken up with a long discussion in a semi-philological vein of love and friendship, but what would strike a reader of these letters most is the distinct change which now takes place in the handwriting, which has passed from a not always neat copy-book hand to one which suggests the delicacy of the hand he afterward wrote, though not its elegance; it is still constrained with the air of being the result of close attention. These gradual changes in style of handwriting rarely fail to mark a maturing of character, and it is interesting to observe, in Lowell’s case, how they register a long period of vacillation and immaturity. There is a gap of nearly a year in this correspondence as preserved, and the next letter, under date of 26 February, 1837, is filled with extracts from a long poem he is writing, in Spenserian stanza, and even occasionally with a word borrowed from Spenser; but the spirit that stirs the lines is Campbell. The theme is an imaginary journey up the Hudson, and West Point suggests the two stanzas: “Follow this narrow path to where the grass Grows fresher on yon gently-rising mound, To that lone brook, whose ripples as they pass Spread to the air a sleep-compelling sound; Here, Poland’s hero erst a refuge found. Go ask whose good right arm hurl’d back the slave, When Russia’s eagle o’er his country frown’d, Who led her little band of patriots brave; And weeping Freedom points to Kosciusko’s grave.