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The Annotated Edition

MY DEAR SIR,-- by James Russell Lowell

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This is the prefatory letter from Hosea Biglow, the fictional Yankee farmer-poet at the center of James Russell Lowell's *Biglow Papers*, written in a hearty New England dialect.

Poet
James Russell Lowell
Themes
art, friendship, memory
The PoemFull text

MY DEAR SIR,--

James Russell Lowell

(an' noticin' by your kiver thet you're some dearer than wut you wuz, I enclose the deffrence) I dunno ez I know Jest how to interdoose this las' perduction of my mews, ez Parson Wilber allus called 'em, which is goin' to _be_ the last an' _stay_ the last onless sunthin' pertikler sh'd interfear which I don't expec' ner I wun't yield tu ef it wuz ez pressin' ez a deppity Shiriff. Sence Mr. Wilbur's disease I hevn't hed no one thet could dror out my talons. He ust to kind o' wine me up an' set the penderlum agoin' an' then somehow I seemed to go on tick as it wear tell I run down, but the noo minister ain't of the same brewin' nor I can't seem to git ahold of no kine of huming nater in him but sort of slide rite off as you du on the eedge of a mow. Minnysteeril natur is wal enough an' a site better'n most other kines I know on, but the other sort sech as Welbor hed wuz of the Lord's makin' an' naterally more wonderfle an' sweet tastin' leastways to me so fur as heerd from. He used to interdooce 'em smooth ez ile athout sayin' nothin' in pertickler an' I misdoubt he didn't set so much by the sec'nd Ceres as wut he done by the Fust, fact, he let on onct thet his mine misgive him of a sort of fallin' off in spots. He wuz as outspoken as a norwester _he_ wuz, but I tole him I hoped the fall wuz from so high up thet a feller could ketch a good many times fust afore comin' bunt onto the ground as I see Jethro

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

This is the prefatory letter from Hosea Biglow, the fictional Yankee farmer-poet at the center of James Russell Lowell's *Biglow Papers*, written in a hearty New England dialect. Hosea is telling the editor why he’s sending one last poem, lamenting the loss of his old mentor Parson Wilbur, who used to "wind him up" and inspire his creativity. Without Wilbur, Hosea feels like a clock nobody takes the time to set anymore.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. (an' noticin' by your kiver thet you're some dearer than wut you wuz, I enclose the deffrence)

    Editor's note

    Hosea starts by mentioning that the magazine's cover price has increased and happily includes the extra payment — a lighthearted detail that quickly portrays him as a straightforward, honest, frugal New England farmer. The dialect spelling ('kiver' for 'cover', 'deffrence' for 'difference') immediately indicates that we're hearing an authentic voice, not a crafted literary one.

  2. I dunno ez I know Jest how to interdoose this las' perduction of my mews

    Editor's note

    'Mews' here is Hosea's twisted take on 'Muse' — the classical goddess of poetic inspiration. The humor lies in his use of a lofty literary idea while acting as if he hardly understands it. He declares this will be his last submission, and he genuinely means it, unless something truly urgent compels him to change his mind.

  3. Sence Mr. Wilbur's disease I hevn't hed no one thet could dror out my talons.

    Editor's note

    'Disease' is Hosea's way of spelling 'decease' — Parson Wilbur has passed away. This forms the emotional heart of the letter. Wilbur was the educated bridge who could draw out ('dror out') Hosea's poetic talents, depicted here with the striking image of talons — sharp, powerful things that require someone skilled to coax them into the open.

  4. He ust to kind o' wine me up an' set the penderlum agoin' an' then somehow I seemed to go on tick as it wear tell I run down

    Editor's note

    Hosea likens himself to a clock that Wilbur would wind up and set ticking. Once it’s wound, it continues to run until it eventually winds down. This is a wonderfully straightforward mechanical metaphor for the creative process — inspiration comes from an external source, gets absorbed internally, and gradually fades away.

  5. but the noo minister ain't of the same brewin' nor I can't seem to git ahold of no kine of huming nater in him but sort of slide rite off as you du on the eedge of a mow.

    Editor's note

    The new minister doesn’t have the warmth and personal touch that Wilbur did. Hosea tries to connect with him, but it’s like trying to hold onto the sloped edge of a haystack — he just slips away. The farm imagery is spot on: it turns the abstract idea of spiritual coldness into something tangible and urgent.

  6. Minnysteeril natur is wal enough an' a site better'n most other kines I know on, but the other sort sech as Welbor hed wuz of the Lord's makin' an' naterally more wonderfle an' sweet tastin'

    Editor's note

    Hosea is careful not to insult ministers in general — he finds their professional clerical nature acceptable, even admirable. However, Wilbur possessed something much rarer: a God-given warmth that Hosea describes as 'sweet tastin''. This sensory word perfectly captures how nourishing that friendship felt to him.

  7. He wuz as outspoken as a norwester _he_ wuz, but I tole him I hoped the fall wuz from so high up thet a feller could ketch a good many times fust afore comin' bunt onto the ground

    Editor's note

    Wilbur had openly expressed concern that the second series of Biglow Papers didn't measure up to the first — he was as straightforward as a nor'west wind about it. Hosea's reply is both generous and humorous: even if the quality dipped, it fell from such a high point that there was still plenty of space to land before reaching the bottom. It’s a loyal friend's way of saying, "you're still amazing."

§04Tone & mood

How this poem feels

Warm, witty, and tinged with sadness. Hosea seems humorous at first glance — with the playful dialect spelling, the amusing comments about subscription prices, and the clock metaphor — but beneath that laughter lies a heartfelt sorrow for a departed friend and mentor, along with a deep uncertainty about his own voice without that person by his side. The tone stays clear of self-pity; Hosea is too grounded and too sardonic for that.

§05Symbols & metaphors

Symbols & metaphors

The wound-up clock
Hosea portrays himself as a clock that Wilbur would wind up and set in motion. This image illustrates the nature of creative inspiration as a relational process — another person initiates the mechanism, and then the poet continues on his own until the energy depletes. Without Wilbur, no one is there to wind the clock.
The Muse ('mews')
Hosea's jumbled take on the classical Muse is both humorous and a sincere recognition that poetry originates from a place beyond the poet's complete control. By mispronouncing it, Lowell grounds this lofty literary idea, making it feel more authentic and relatable instead of snobbish.
The edge of a mow (haystack)
The sloped, slippery side of a haystack symbolizes the new minister's coldness — there's nothing to hold onto, no friction, no real connection. It's a vivid image from farm life that captures a deeper spiritual and emotional issue, showcasing exactly what Lowell's dialect poetry excels at.
The nor'wester wind
Wilbur's straightforward honesty is likened to a nor'west wind — cold, direct, and impossible to overlook. This comparison serves as a compliment disguised as a weather forecast, revealing that Hosea cherished unvarnished truth in his friend more than just about anything else.
Talons
Hosea notes that Wilbur could 'dror out his talons' — which means to unleash his sharp poetic talents. This phrase hints that Hosea's true voice is fierce and captivating, rather than soft, and it requires a skilled touch to reveal it without harm.

§06Historical context

Historical context

James Russell Lowell published the *Biglow Papers* in two series: the first in 1848 criticized the Mexican-American War and American expansionism, while the second in 1867 focused on the Civil War. Both series feature the fictional Yankee farmer Hosea Biglow and his editor Parson Wilbur as a framing device. A Harvard-educated poet and abolitionist, Lowell employed a thick New England dialect to lend his political satire the moral weight of ordinary people. By the time of this prefatory letter, Wilbur has died within the narrative, and Lowell reflects on his own creative fatigue after years of writing about war. The letter also subtly mourns the fading political urgency that had fueled the entire project — with the war ended and slavery abolished, Lowell was uncertain about what his rustic alter ego had left to express.

§07FAQ

Questions readers ask

The *Biglow Papers* is a two-part satirical piece by Lowell featuring a fictional New England farmer named Hosea Biglow, who expresses his thoughts on American politics through dialect poetry. This letter serves as a preface from Hosea to the editor, in which he shares his reasons for submitting what he believes will be his last contribution.

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Themes in this poem

Poems about artPoems about friendshipPoems about memoryPoems about sorrow