The Annotated Edition
In New Orleans by Eugene Field
A traveler in New Orleans strolls into an antique shop and, against his better judgment, drops twenty dollars on some curiosities — a pewter tankard, Bohemian bottles, a platter, and silver salts — all before nine in the morning.
- Poet
- Eugene Field
- Core theme
- Family
Study actions
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
'Twas in the Crescent City not long ago befell / The tear-compelling incident I now propose to tell;
Editor's note
Field opens with a mock-heroic fanfare, referring to what is essentially a shopping spree as a "tear-compelling incident." The term "Crescent City" is a well-known nickname for New Orleans, and the theatrical invitation — "listen while I sing" — indicates that the entire poem is meant to be a comic performance rather than a heartfelt confession.
Let critic folk the poet's use of vulgar slang upbraid, / But, when I'm speaking by the card, I call a spade a spade;
Editor's note
Here, Field defends his straightforward, everyday language by brushing off potential literary critics. The main joke lies in his definition of the collector's vice: a collector doesn't *spend* money; he *blows it in* — a slang term from that era for extravagant spending that Field will echo repeatedly throughout the poem.
In Royal street (near Conti) there's a lovely curio-shop, / And there, one balmy, fateful morn, it was my chance to stop;
Editor's note
The scene is anchored in specific local geography — Royal Street near Conti Street is the center of New Orleans' antique district, a detail that offers a knowing nod to anyone who knows the city. "To stop was hesitation — in a moment I was lost" stands out as the poem's funniest line: the narrator realizes that stopping means giving in.
Three quaint Bohemian bottles, too, of yellow and of green, / Cut in archaic fashion that I ne'er before had seen;
Editor's note
Field catalogs the purchases with care — Bohemian glass bottles, a gravy platter, silver salt cellars — and the way he describes each item reveals that his "regret" isn’t genuine at all. The clock in the old St. Louis Cathedral, showing eight a.m., serves as a real New Orleans landmark, anchoring the comedy in a specific, familiar location.
With twenty dollars, one who is a prudent man, indeed, / Can buy the wealth of useful things his wife and children need;
Editor's note
This stanza serves as both the poem's moral reckoning and its sharpest comedy. Field enumerates everything twenty dollars *should* have bought: shoes, stockings, and a longed-for gown for his wife. The term "spectres" fits perfectly; these are the ghosts of responsible choices that now linger in his mind. The list makes the curios seem even more absurdly frivolous by comparison.
Oh, mean advantage conscience takes (and one that I abhor!) / In asking one this question: "What _did_ you buy it for?"
Editor's note
The narrator reflects on his own conscience, expressing frustration that it only appears *after* the damage is done instead of beforehand. This encapsulates the poem's philosophical essence presented with humor: the collector's urge acts quicker than reason, and conscience always arrives fashionably late.
Ah me! now that the deed is done, how penitent I am! / I _was_ a roaring lion--behold a bleating lamb!
Editor's note
The final stanza hits with the punchline. The narrator's so-called "penitence" turns out to be sending the treasures back home to his wife — which isn’t much of a sacrifice — and then keeping himself away from her reaction. The closing line, "means to keep his distance — for his health," offers a classic comic deflation: the lion who once blew twenty dollars is now a lamb hiding from his spouse.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The curio shop
- The shop on Royal Street embodies temptation — a spot where grown-up priorities fade away the moment you step inside. Field presents it almost as a trap or a shrine, a realm beyond the usual flow of time and responsibility.
- The twenty dollars
- The specific sum serves as the poem's running joke and its moral anchor. Twenty dollars in the 1890s represented a significant amount — enough for basic household needs — so it carries real significance even as Field presents it as a humorous sacrifice in the name of collecting.
- The clock in old St. Louis
- St. Louis Cathedral's clock shows eight a.m. during the moment of temptation and nine a.m. at the moment of ruin. Time acts as both witness and judge here — the clock doesn't interrupt the narrator; it simply notes how swiftly he fell.
- The pewter tankard and Bohemian bottles
- The specific objects showcase the collector's passionate affection for the antique and the aesthetically pleasing. Their lack of utility is intentional: they embody pure desire without any practical reason, which makes them all the more alluring.
- The bleating lamb
- The change from "roaring lion" to "bleating lamb" in the final stanza symbolizes a humorous deflation — a once bold spender is now a timid husband who keeps his distance. This shift lightly pokes fun at masculine bravado while recognizing the true dynamics of power at home.
§06Form & structure
Form & structure
- Meter
- iambic heptameter
- Rhyme
- AABBCC AABBCC AABBCC AABBCC AABBCC AABBCC AABBCC
§07Historical context
Historical context
§08FAQ
Questions readers ask
What is the poem actually about?
A man visiting New Orleans drops by an antique shop on Royal Street, spending twenty dollars on collectibles: a pewter tankard, some Bohemian glass bottles, a decorative platter, and silver salt cellars—all before nine in the morning. The rest of the poem humorously explores his guilt about the money he should have spent on his family, culminating in the revelation that he sent the items home to his wife and is now dodging her response.
What does "blows it in" mean?
"Blows it in" was 19th-century American slang for spending money recklessly or wastefully, similar to blowing out a candle — quick, careless, and irreversible. Field uses it to intentionally contrast with the more respectable word "spend," repeating it as a humorous refrain throughout the poem.
Is the narrator actually sorry about his purchases?
Not really. The "penitence" comes across as something he does rather than something he truly experiences. His affectionate descriptions of each object — like the yellow and green Bohemian bottles and the "lovely, hideous platter" — show just how much he cherishes them. Plus, sending them back to his wife instead of keeping them for himself isn't exactly a hardship. The guilt here is more of a punchline than a central theme.
What is the "Crescent City"?
It's a nickname for New Orleans, Louisiana, highlighting the crescent-shaped bend in the Mississippi River that shaped the city's development. Field uses it in the opening line to add a bit of local flavor to the scene.
Why does Field mention the clock in old St. Louis?
He's talking about the clock on St. Louis Cathedral in Jackson Square, a well-known landmark in New Orleans. By mentioning it directly, Field anchors the poem in a real location and employs the clock as a humorous element—it shows eight a.m. when temptation hits and nine a.m. when the consequences kick in, allowing the entire disaster to happen within just one hour.
What does Field mean when he says conscience takes "mean advantage"?
He's saying his conscience only chimes in after he's already made all his purchases, which is pretty unhelpful. The humor lies in how quickly the collector's urge kicks in, leaving rational thought — and moral judgment — struggling to catch up. It’s a funny way to point out his lack of self-control, while also shifting the blame to his conscience's timing instead of his own weakness.
Why does the narrator say he's "keeping his distance — for his health" at the end?
It's the poem's final punchline. After sending the curios back home to his wife, he's now avoiding her — probably because she’ll be furious about the twenty dollars. "For his health" is a clever way of saying he's scared of a domestic confrontation. This one line cuts down all his earlier mock-heroic posturing.
Is this poem autobiographical?
Almost certainly in spirit, if not in every detail. Field was known for his extensive collection of books and antiques, often spending more than he should on new finds. He penned the poem for his newspaper column, where his signature style was a confessional, first-person comic voice. While the specifics of this shopping trip may not have unfolded exactly as he described, the emotional truth behind the collector's obsession is clearly based on real experiences.
Citation
Cite this poem
MLA
Field, Eugene. "In New Orleans." Storgy, https://storgy.com/poems/in-new-orleans-eugene-field/.
APA
Field, E. (n.d.). In new orleans. Storgy. https://storgy.com/poems/in-new-orleans-eugene-field/
Row A — Thesis
1 ptIn 'In New Orleans,' Eugene Field employs comic self-deprecation, tightly controlled repetition, and a mock-confessional speaker to argue that the collector's compulsion is not mere weakness but a kind of pleasurable, self-aware moral …
- Row B — Evidence + Commentary4 pts
- Row C — Sophistication1 pt
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