The Annotated Edition
A THIRD LETTER FROM B. SAWIN, ESQ. by James Russell Lowell
Birdofredum Sawin, a clumsy veteran of the Mexican-American War, writes home to explain why he’s stepping back from the presidential race and backing Zachary Taylor — mainly because Taylor is so ambiguous that anyone can project their own beliefs onto him.
- Themes
- freedom, identity, justice
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
I spose you recollect thet I explained my gennle views / In the last billet thet I writ, 'way down frum Veery Cruze,
Editor's note
Sawin begins by reminding us that he's previously written from Veracruz (during the Mexican War) about his 'spontaneous' run for president. His self-deprecating humor is heavy; he acts like he was reluctantly pulled into the race, despite his vanity being clear in every line. The misspellings and dialect spelling ('spose,' 'thet,' 'gennle') instantly indicate that Lowell is channeling a specific type of loud, semi-literate American political voice.
Fact is, they udged the matter so, I couldn't help admittin' / The Father o' his Country's shoes no feet but mine 'ould fit in,
Editor's note
Sawin genuinely compares himself to George Washington — the 'Father of his Country.' Lowell's satire hits hardest in this moment: the difference between Washington's greatness and Sawin's is vast, yet Sawin is oblivious to it. The joke about needing just one shoe because he lost a leg in the war is darkly humorous, contrasting the inflated self-image with a stark reminder of the true cost of the war that Sawin has already overlooked.
I wuz agoin' on to say thet wen at fust I saw / The masses would stick to 't I wuz the Country's father-'n-law,
Editor's note
Sawin opts for 'father-in-law' of the country instead of 'father,' since Washington has already claimed that title. Here, Lowell is poking fun at the entire process of turning war heroes into presidential candidates — a clear dig at the Zachary Taylor campaign, which was doing just that in 1848. This stanza highlights how candidates are shaped more by public excitement than by real qualifications.
Sence I've come hum, though, an' looked round, I think I seem to find / Strong argimunts ez thick ez fleas to make me change my mind;
Editor's note
Sawin announces he’s stepping back from the race, presenting it as a noble self-sacrifice for the nation’s benefit. However, as the editor’s preface suggests, the truth is that he’s been promised something in return — perhaps a cabinet position or a foreign assignment. Lowell is taking aim at the typical act of the 'reluctant' politician who bows out while secretly negotiating for a better offer.
Next thing you'll want to know, I spose, wut argimunts I seem / To see thet makes me think this ere'll be the strongest team;
Editor's note
Sawin shares his reasons for supporting Zachary Taylor, affectionately nicknamed 'Ole Rough an' Ready.' First, he cites a bar-room poll, noting he's been talking to folks in saloons. His second, more telling point is that Taylor hasn't made any promises or taken firm positions, which allows voters to envision him however they please. Lowell identifies a persistent issue in democratic politics: the allure of the blank-slate candidate.
Another pint thet influences the minds o' sober jedges / Is thet the Gin'ral hezn't gut tied hand an' foot with pledges;
Editor's note
This is the satirical core of the poem. Sawin praises Taylor specifically *because* he stands for nothing. The reasoning — 'I want free trade, you don't, and he hasn't taken a stance, so we're both satisfied' — is framed as wisdom. Lowell illustrates how ambiguity turns into a political asset and how voters participate in their own deception.
Webster sot matters right in thet air Mashfiel' speech o' his'n; / 'Taylor,' sez he, 'aint nary ways the one thet I'd a chizzen,
Editor's note
Sawin references Daniel Webster's well-known Marshfield speech, where Webster — despite deeming Taylor unfit — encouraged his supporters to vote for him regardless. Lowell's Sawin sees this as brilliant. The satire is sharp: Webster, one of America's most revered speakers, is depicted as someone who convinces himself to support a candidate he openly calls a 'bullethead.' Sawin's respect for this logic highlights how completely party loyalty has supplanted principle.
I spose it's time now I should give my thoughts upon the plan, / Thet chipped the shell at Buffalo, o' settin' up ole Van.
Editor's note
Sawin turns to Martin Van Buren, the Free Soil Party candidate nominated at the Buffalo convention. His objections reveal a stunning lack of sincerity: Van Buren isn't anti-slavery *enough*, yet Sawin clearly doesn't care about slavery at all. His true objection comes to light quickly — a Free Soil speaker once asked him to sign a temperance pledge. Lowell illustrates how voters disguise trivial personal grievances as noble political stances.
Ez fer the niggers, I've ben South, an' thet hez changed my min'; / A lazier, more ongrateful set you couldn't nowers fin',
Editor's note
The poem features its most unsettling and significant section. Sawin recounts the pursuit of an enslaved man named Pomp, framing it in terms of sport ('gunnin'') and commerce (calculating the auction value of Pomp's children). Lowell presents Sawin with every pro-slavery justification of the time — paternalism, Biblical arguments, and the notion that enslaved individuals are 'ungrateful' — allowing these views to expose their own contradictions through the speaker's ignorance. The remark 'Not but wut I hate Slavery, in th' abstract' sharply critiques Northern complicity.
Wal, I jest gut 'em into line, an' druv 'em on afore me; / The pis'nous brutes, I'd no idee o' the ill-will they bore me;
Editor's note
The tables turn: Pomp outsmarts Sawin, steals his wooden leg, and holds him hostage until Sawin gives up his weapons. This twist is both funny and sharp — the man who intended to enslave others ends up doing forced labor for six months. Lowell makes the irony clear: Sawin is treated just as he planned to treat Pomp, and he sees it as monstrous.
Pomp gethered all the weapins up, an' then he come an' grinned, / He showed his ivory some, I guess, an' sez, 'You're fairly pinned;
Editor's note
Pomp's dialogue is dignified and calm, which sharply contrasts with Sawin's bluster. He refers to himself as a "family man" with responsibilities, echoing the same domestic language Sawin used to justify his recapture. Lowell portrays Pomp as having the moral high ground without sentimentalizing him; Pomp is simply competent, rational, and able to act freely in ways that Sawin cannot understand.
He made me larn him readin', tu (although the crittur saw / How much it hut my morril sense to act agin the law),
Editor's note
Sawin has to teach Pomp to read — which is against slave codes — and help him locate the North Star for navigation. When Sawin tries to undermine this by pointing to the wrong star, it reveals a small, petty act of defiance that Lowell uses to demonstrate that Sawin's character remains unchanged. The 'morril sense' that Sawin talks about is purely for his own benefit; he doesn’t actually oppose slavery, just the personal inconvenience it causes him.
Now is there anythin' on airth'll ever prove to me / Thet renegader slaves like him air fit fer bein' free?
Editor's note
Sawin concludes that Pomp's intelligence, courage, and self-sufficiency indicate he is *unfit* for freedom, which serves as the poem's final, harsh irony. Each quality Pomp displayed—strategic thinking, leadership, literacy, and devotion to family—is twisted by Sawin into proof of dangerous insubordination. Lowell prompts the reader to connect the dots: these are precisely the attributes that not only make freedom attainable but also warranted.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The wooden leg
- Sawin lost his leg in the Mexican War, and Lowell uses it throughout the *Biglow Papers* to highlight the genuine human cost of imperial ventures — a cost that Sawin himself seems to have forgotten as he promotes the next conflict. When Pomp steals the leg, it transforms into a symbol of liberation: the very instrument of Sawin's military pride is turned against him.
- The plough
- Sawin's 'return to the plough' refers to the Roman ideal of Cincinnatus — the citizen-soldier who relinquishes power to go back to farming. However, Lowell's editor-narrator quickly deflates this notion: Sawin possesses neither a plough nor a farm, and he shows no genuine appreciation for hard work. The plough is merely a piece of political theater, a prop in the act of pretending to embrace civic virtue.
- Ole Rough an' Ready (Zachary Taylor)
- Taylor embodies the concept of the blank-slate candidate — a figure whose charm lies in not having defined positions. He illustrates how democratic politics can confuse ambiguity with strength and fame with competence.
- The North Star
- When Pomp asks Sawin to identify the North Star — the guiding star that freedom-seekers relied on during their journey on the Underground Railroad — Sawin intentionally leads him astray. The North Star represents freedom and self-determination in the poem, and Sawin's deception is his final effort to exert control.
- The bar-room poll
- Sawin's approach to measuring public opinion—canvassing saloons—reflects a distortion of democratic deliberation. According to Lowell, public sentiment is shaped in environments filled with misinformation and distractions, and this is then wrongly perceived as the people's will.
- Pomp's children
- The 'woolly-headed cubs' Sawin meets at the hut's door are quickly given dollar values. This reflects the dehumanizing logic of slavery boiled down to its economic essence. The fact that Sawin makes this calculation instinctively—despite claiming to despise slavery 'in the abstract'—highlights Lowell's strongest critique of Northern complicity.
§06Historical context
Historical context
§07FAQ
Questions readers ask
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