Credo: Latin, I believe: the first word in the Latin version of by James Russell Lowell: Summary, Meaning & Analysis
**The Courtin'** is a charming poem written in New England dialect that tells the story of a shy young man named Zekle who gathers the courage to pursue a girl named Huldy, and she eventually agrees to be with him.
The poem
the Apostles' Creed, hence used for _creed_. _THE COURTIN'_ This poem first appeared as "a short fragment of a pastoral," in the introduction to the First Series of the _Biglow Papers_. It is said to have been composed merely to fill a blank page, but its popularity was so great that Lowell expanded it to twice its original length, and finally printed it as a kind of introduction to the Second Series of the _Biglow Papers_. It first appeared, however, in its expanded form in a charitable publication, _Autograph Leaves of Our Country's Authors_, reproduced in facsimile from the original manuscript. "This bucolic idyl," says Stedman, "is without a counterpart; no richer juice can be pressed from the wild grape of the Yankee soil." Greenslet thinks that this poem is "perhaps the most nearly perfect of his poems."
**The Courtin'** is a charming poem written in New England dialect that tells the story of a shy young man named Zekle who gathers the courage to pursue a girl named Huldy, and she eventually agrees to be with him. Lowell narrates the tale through the perspective of a rural Yankee, brimming with down-to-earth humor and rich local imagery. While it's a straightforward love story, the dialect and the nuances of farm life bring it to life in a delightful way.
Line-by-line
God makes sech nights, all white an' still...
The house was still ez sleepin'...
The wa'nut logs shot sparkles out...
Zekle crep' up quite unbeknown...
He was six foot o' man, A 1...
Onct, when the vittles wuz put on...
Says he, 'I'd better call agin'...
Wut kept her lips from sayin' 'No'...
Tone & mood
Warm, funny, and affectionate. Lowell clearly enjoys these characters and their world, and that joy shines through in every line. The dialect adds a playful, slightly theatrical touch — like a tale spun by a skilled storyteller around a cozy fire. There's no hint of irony or condescension toward the rural characters; the humor stems from recognition, not mockery.
Symbols & metaphors
- The firelight — The fire in the hearth serves as the emotional heart of the poem. It not only lights up Huldy, enhancing her beauty in Zekle's eyes, but it also symbolizes the warmth of home, domestic life, and a love deeply connected to a particular place.
- The farmhouse interior — The detailed description of the house — with the spinning wheel, the walnut logs, and the everyday objects — represents a complete way of life in rural New England. Lowell aims to preserve what he considers authentic and worthwhile.
- Zekle's size vs. his shyness — The contrast between Zekle's physical strength and his emotional paralysis is the poem's key symbol of how love can humble anyone, regardless of their abilities or dominance in other areas of life.
- The moonlit winter night — The quiet, white night outside highlights the warmth within. It hints that this little drama of courtship is unfolding within something grander and timeless — nature continuing its serene existence around it.
Historical context
James Russell Lowell released the *Biglow Papers* in two series, the first in 1848 and the second in 1867. He created a fictional Yankee farmer named Hosea Biglow to comment on contemporary political issues, starting with the Mexican-American War and later addressing the Civil War. *The Courtin'* was written as a humorous introduction to the work and ended up becoming Lowell's most cherished piece. This poem is part of a tradition of dialect poetry that thrived in 19th-century America, where writers like Lowell used local speech to honor everyday people and their cultures. It reflects the rural New England setting of Lowell's upbringing in Cambridge, Massachusetts, and captures a social custom—the formal "courting call"—that was a significant part of that culture. Critics such as Edmund Clarence Stedman hailed it as the best representation of the Yankee literary spirit.
FAQ
It's a love story set in New England dialect. A bashful farm boy named Zekle goes to visit a girl named Huldy, and he spends the entire evening struggling to find the words. He almost leaves without saying a thing, but at the last moment, she gives him a sign that she accepts him. It's a funny, heartwarming tale, and it's quite brief.
Lowell intentionally used the dialect of rural New England to reflect the voices and character of everyday Yankee folks. The *Biglow Papers*, introduced by this poem, are entirely written in dialect to honor those voices with dignity and humor. This choice also gives the poem a sense of immediacy and authenticity, making it feel more relatable and less like a distant literary work.
They're fictional characters — a young farm laborer and the girl he's trying to win over. They don’t have a lot of backstory; they’re more like archetypes than fully developed individuals, but Lowell brings them to life with vivid physical details and the humor of Zekle’s shyness.
In 19th-century rural New England, 'courting' referred to the traditional practice where a young man would visit a young woman at her family home, intending to propose marriage at some point. This social ritual involved the entire family being present, which is partly why Zekle feels so nervous.
It resonated because it was funny, relatable, and truly warm toward its characters. Critics and readers who might have found the political satire of the *Biglow Papers* a bit too much could simply appreciate this as a delightful little story. The dialect sounded fresh and vibrant instead of patronizing.
The *Biglow Papers* consist of two series of satirical poems published by Lowell in 1848 and 1867. They are written from the perspective of a fictional New England farmer named Hosea Biglow. The first series critiques the Mexican-American War, while the second focuses on the Civil War. *The Courtin'* serves as a lighter introduction to both series.
It has a ballad-like structure—short stanzas, a strong narrative drive, and a simple rhyme scheme—but it's more like a comic pastoral or a dialect idyll. It tells a story like a ballad, but the tone is lighthearted and domestic instead of dramatic or tragic.
Stedman argues that the poem is genuinely American—specifically, it embodies the essence of New England—much like a wild grape thrives in its native soil. He suggests it's not merely a copy of English or European poetry, but rather something that has organically emerged from a distinct American landscape and culture.