Maironis' parents were free peasants who maintained close relations with the polonized Lithuanian nobility.

[1] Such a social environment formed the basis of Maironis' personality, leading to his deep religiosity and loyalty to tradition, free from atheistic or liberal influences.

[1] Socially, Maironis was uninvolved in the tensions between nobles and peasants, the rich and the poor, and did not become a representative of either side.

[2] Together with others, he prepared a draft program of the Christian Democratic Party for the Great Seimas of Vilnius of 1905.

[4] In his first public speech, he spoke in Lithuanian, breaking with the tradition of speaking either in Latin or Polish.

[2][4] He aided Roman Catholic Lithuanian cultural organisations by allowing them to establish their headquarters in the former Pac Palace [lt], which Maironis had bought.

[4] Maironis left Kaunas only during short breaks during summer when he went to Palanga or when the seminary was closed during World War I.

[4] He disapproved of the Interwar Land reform in Lithuania [lt] as it was contrary to his social conservativism.

[4] While avoiding the public spotlight, Maironis preferred to frequent the intellectual artist circles, where poetry, song and music predominated.

[4] In 1922, Maironis was elected the Professor of Moral Theology in the Faculty of Theology-Philosophy of the newly-founded University of Lithuania.

Maironis's works also include: poems Lietuva (1888), Tarp skausmų do garbę (1893), Znad Biruty (1904), Jaunoji Lietuva (1907), Raseinių Magdė (1909), Naše vargai (1913), three historical dramas: Kęstučio mirtis (1921), Vytautas pas kryžiuočius (1925), Didysis Vytautas - Karalius (1930), as well as works from the fields of theology, history (Apsakymai apie Lietuvos praeiga, 1886), sociology, literature and journalistic texts.

[4] He personally chose the sentence on his tomb ("Kaip man gaila to balto senelio...", which means "How sorry I am for that white grandfather ...") from his poem Raseinių Magdė.