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Swett from the meetin' house steeple up to th' old perrish, an' took by James Russell Lowell

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This is a comic prose-poem monologue crafted in a rich New England dialect, featuring a rural Yankee narrator who meanders through topics like introductions, arguments, and the importance of thinking before acting.

Poet
James Russell Lowell
Core theme
Art
The PoemFull text

Swett from the meetin' house steeple up to th' old perrish, an' took

James Russell Lowell

up for dead but he's alive now an' spry as wut you be. Turnin' of it over I recelected how they ust to put wut they called Argymunce onto the frunts of poymns, like poorches afore housen whare you could rest ye a spell whilst you wuz concludin' whether you'd go in or nut espeshully ware tha wuz darters, though I most allus found it the best plen to go in fust an' think afterwards an' the gals likes it best tu. I dno as speechis ever hez any argimunts to 'em, I never see none thet hed an' I guess they never du but tha must allus be a B'ginnin' to everythin' athout it is Etarnity so I'll begin rite away an' anybody may put it afore any of his speeches ef it soots an' welcome. I don't claim no paytent.

Public domain

Sourced from Project Gutenberg

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§01Quick summary

What this poem is about

This is a comic prose-poem monologue crafted in a rich New England dialect, featuring a rural Yankee narrator who meanders through topics like introductions, arguments, and the importance of thinking before acting. The speaker humorously suggests that speeches rarely contain real arguments and that the best way to navigate life (and woo girls) is to jump right in and ponder afterward. It’s a lighthearted, self-aware work that playfully critiques formal literary conventions, such as the "argument" preface often found in serious poems.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. up for dead but he's alive now an' spry as wut you be.

    Editor's note

    The narrator starts in the middle of a thought, filling us in on someone everyone believed was dead but is actually alive. This casual, gossipy introduction sets the tone with the laid-back, meandering style typical of a rural New Englander.

  2. Turnin' of it over I recelected how they ust to put wut they called Argymunce onto the frunts of poymns

    Editor's note

    The speaker recalls the tradition of starting poems with a formal "Argument," which summarizes the poem's content. Lowell uses phonetic spellings like ("Argymunce," "poymns") to reflect the Yankee dialect and playfully poke fun at the divide between high literary culture and everyday language.

  3. like poorches afore housen whare you could rest ye a spell whilst you wuz concludin' whether you'd go in or nut

    Editor's note

    The narrator likens these prefaces to porches on houses — spots to hang out before deciding to step inside. It's a charming metaphor that cuts through the pretentiousness of formal literary introductions, making them feel as familiar as a front step.

  4. espeshully ware tha wuz darters, though I most allus found it the best plen to go in fust an' think afterwards

    Editor's note

    Here, the porch metaphor shifts into courtship humor: when there are daughters in the house, the speaker suggests it's best to walk right in and think about it later. This captures the comic essence of the passage — impulsiveness is portrayed as a form of practical wisdom, relevant in both love and rhetoric.

  5. I dno as speechis ever hez any argimunts to 'em, I never see none thet hed

    Editor's note

    The speaker bluntly states that speeches rarely contain genuine arguments. It's a clever, self-mocking joke that undermines the very idea of the preface he's meant to be writing, while also subtly criticizing political speeches.

  6. tha must allus be a B'ginnin' to everythin' athout it is Etarnity so I'll begin rite away

    Editor's note

    The narrator concludes that everything must have a starting point—except for eternity—so he might as well just get going. Capitalizing "B'ginnin'" and "Etarnity" adds a humorous philosophical flair, making it seem like the speaker is momentarily pondering the cosmic before quickly returning to the practical.

  7. anybody may put it afore any of his speeches ef it soots an' welcome. I don't claim no paytent.

    Editor's note

    The closing offer showcases a delightful mix of Yankee generosity and humor: everyone is invited to use this non-argument as an intro to their own speeches, at no cost. The punchline, "I don't claim no paytent," has the speaker happily denying ownership of what essentially adds up to nothing at all.

§04Tone & mood

How this poem feels

The tone is warm, comic, and intentionally self-deprecating. Lowell writes as a good-natured country wit who knows the humor in his own rambling. Beneath the folksy humor lies a dry skepticism about formal rhetoric and literary pretension, but it never becomes mean-spirited — the speaker remains too cheerful and too engaged in his own digressions for that.

§05Symbols & metaphors

Symbols & metaphors

The porch
The porch acts like a literary preface or formal introduction—intended to get you ready before you step inside, yet the speaker implies you can easily bypass it. It connects an abstract literary idea to something familiar and concrete.
The Argument (preface)
The traditional practice of printing a prose summary before a poem often feels like a relic of stuffy literary formality. However, by using a thick dialect and weaving in humor, Lowell flips this convention on its head and makes it accessible to everyone.
Eternity
Eternity is mentioned as something without a beginning, creating a humorous contrast to the speaker's ordinary job of beginning a speech. This mock-philosophical touch emphasizes how the narrator turns trivial choices into something monumental.

§06Form & structure

Form & structure

Meter
free verse

§07Historical context

Historical context

James Russell Lowell published *The Biglow Papers* in two series (1848 and 1867), featuring the fictional Yankee farmer Hosea Biglow and his neighbors to offer political and social satire in New England dialect, both in verse and prose. This passage reflects that tradition — the "argument" preface was a common feature in 17th- and 18th-century poetry (Milton included it in *Paradise Lost*, for example), and Lowell humorously tears it apart by having an uneducated but sharp-witted rural narrator explain it in the simplest terms. The dialect spelling serves as both a comic tool and a genuine effort to represent authentic regional speech. Through the Papers, Lowell commented on the Mexican-American War, slavery, and later the Civil War, but passages like this one are all about comic performance, celebrating the straightforward intelligence of ordinary New Englanders over the pretentiousness of educated rhetoric.

§08FAQ

Questions readers ask

What is this poem actually about?

It's a mock preface — the narrator pretends to write a formal "Argument" that would typically precede serious poems, but he does so in a meandering Yankee dialect, ultimately concluding that arguments are pointless. The humor lies in the preface's self-undermining nature.

Why is everything spelled so strangely?

Lowell writes in a phonetic New England dialect to reflect how a rural Yankee farmer from the 1840s to the 1860s would actually sound. Words like "poymns" (poems), "recelected" (recollected), and "paytent" (patent) are his way of capturing the accent in writing.

What is an "Argymunt" or Argument in the literary sense?

After the 19th century, long poems frequently included a prose summary at the beginning known as an "Argument," which outlined the poem's content before the reader dove in. Milton's Paradise Lost features one for every book. Lowell pokes fun at this tradition by having his narrator craft an Argument that ultimately conveys very little.

Who is the speaker?

The speaker is a fictional farmer from New England, one of the characters Lowell crafted for The Biglow Papers. He may lack formal education, but he's witty, clever, and brimming with practical knowledge. Lowell employs him to convey ideas that a more refined narrator wouldn't be able to express.

What does the porch metaphor mean?

The speaker likens literary prefaces to porches — spots where you can pause and consider whether to enter. He then quickly adds that he prefers to walk right in, particularly if there are girls inside. This joke carries an underlying truth: too much preparation can lead to unnecessary hesitation.

Is this a poem or prose?

It sits right on the line. The Biglow Papers blend verse and prose, and this passage is prose that carries the rhythm and comic timing of poetry. Lowell approached the dialect prose sections with the same seriousness as the verse, and the voice is so finely tuned that the distinction between the two becomes unclear.

What is Lowell making fun of?

Mainly formal literary and political rhetoric—the elaborate, grandiose language often used by educated individuals in speeches and published poems. By having a straightforward farmer casually break down these conventions, Lowell implies that everyday common sense always prevails over pretension.

What does "I don't claim no paytent" mean?

It means the speaker isn't asserting any copyright or ownership over his preface — it's available for anyone to use. This is the punchline of the entire passage: he's generously offering something that had little value to start with, and he’s fully aware of it.

Citation

Cite this poem

MLA

Lowell, James Russell. "Swett from the meetin' house steeple up to th' old perrish, an' took." Storgy, https://storgy.com/poems/swett-from-the-meetin-house-steeple-up-to-th-old-perrish-an-took-james-russell-lowell/.

APA

Lowell, J. R. (n.d.). Swett from the meetin' house steeple up to th' old perrish, an' took. Storgy. https://storgy.com/poems/swett-from-the-meetin-house-steeple-up-to-th-old-perrish-an-took-james-russell-lowell/

TeacherAP Lit Q1 scaffold — preview

Row A — Thesis

1 pt

In this prefatory prose-poem, Lowell utilizes eye dialect — the deliberate misspelling of words to transcribe Yankee rural speech — not merely as comic local color but as a sustained argument about who owns the right to deliberate, delay, …

  • Row B — Evidence + Commentary4 pts
  • Row C — Sophistication1 pt
  • Common student errors
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