THE COURTIN' by James Russell Lowell: Summary, Meaning & Analysis
A young man named Zekle quietly approaches a farmhouse window on a snowy, moonlit night and sees Huldy, the girl he loves, peeling apples by the fire.
The poem
God makes sech nights, all white an' still Fur 'z you can look or listen, Moonshine an' snow on field an' hill, All silence an' all glisten. Zekle crep' up quite unbeknown An' peeked in thru' the winder, An' there sot Huldy all alone, 'ith no one nigh to hender. A fireplace filled the room's one side With half a cord o' wood in-- There warn't no stoves (tell comfort died) To bake ye to a puddin'. The wa'nut logs shot sparkles out Towards the pootiest, bless her, An' leetle flames danced all about The chiny on the dresser. Agin the chimbley crook-necks hung, An' in amongst 'em rusted The ole queen's-arm thet gran'ther Young Fetched back f'om Concord busted. The very room, coz she was in, Seemed warm f'om floor to ceilin', An' she looked full ez rosy agin Ez the apples she was peelin'. 'Twas kin' o' kingdom come to look On sech a blessed cretur, A dogrose blushin' to a brook Ain't modester nor sweeter. He was six foot o' man, A 1, Clear grit an' human natur', None couldn't quicker pitch a ton Nor dror a furrer straighter. He'd sparked it with full twenty gals, Hed squired 'em, danced 'em, druv 'em, Fust this one, an' then thet, by spells-- All is, he couldn't love 'em. But long o' her his veins 'ould run All crinkly like curled maple, The side she breshed felt full o' sun Ez a south slope in Ap'il. She thought no v'ice hed sech a swing Ez hisn in the choir; My! when he made Ole Hunderd ring, She _knowed_ the Lord was nigher. An' she'd blush scarlit, right in prayer, When her new meetin'-bunnet Felt somehow thru' its crown a pair O' blue eyes sot upon it. Thet night, I tell ye, she looked _some!_ She seemed to've gut a new soul, For she felt sartin-sure he'd come, Down to her very shoe-sole. She heered a foot, an' knowed it tu, A-raspin' on the scraper,-- All ways to once, her feelins flew Like sparks in burnt-up paper. He kin' o' l'itered on the mat, Some doubtfle o' the sekle, His heart kep' goin' pity-pat, But hern went pity Zekle. An' yit she gin her cheer a jerk Ez though she wished him furder, An' on her apples kep' to work, Parin' away like murder. 'You want to see my Pa, I s'pose?' 'Wal ... no ... I come dasignin'-- 'To see my Ma? She's sprinklin' clo'es Agin to-morrer's i'nin'.' To say why gals acts so or so, Or don't, 'ould be persumin'; Mebby to mean _yes_ an' say _no_ Comes nateral to women. He stood a spell on one foot fust, Then stood a spell on t'other, An' on which one he felt the wust He couldn't ha' told ye nuther. Says he, 'I'd better call agin:' Says she, 'Think likely, Mister:' Thet last word pricked him like a pin, An' ... Wal, he up an' kist her. When Ma bimeby upon 'em slips, Huldy sot pale ez ashes, All kin' o' smily roun' the lips An' teary roun' the lashes. For she was jes' the quiet kind Whose naturs never vary, Like streams that keep a summer mind Snowhid in Jenooary. The blood clost roun' her heart felt glued Too tight for all expressin', Tell mother see how metters stood, An' gin 'em both her blessin'. Then her red come back like the tide Down to the Bay o' Fundy, An' all I know is they was cried In meetin' come nex' Sunday.
A young man named Zekle quietly approaches a farmhouse window on a snowy, moonlit night and sees Huldy, the girl he loves, peeling apples by the fire. After some nervous shuffling and a bit of awkward small talk, he gathers the courage to kiss her. By the next Sunday, their engagement is announced at church.
Line-by-line
God makes sech nights, all white an' still / Fur 'z you can look or listen,
Zekle crep' up quite unbeknown / An' peeked in thru' the winder,
A fireplace filled the room's one side / With half a cord o' wood in--
The wa'nut logs shot sparkles out / Towards the pootiest, bless her,
Agin the chimbley crook-necks hung, / An' in amongst 'em rusted
The very room, coz she was in, / Seemed warm f'om floor to ceilin',
'Twas kin' o' kingdom come to look / On sech a blessed cretur,
He was six foot o' man, A 1, / Clear grit an' human natur',
He'd sparked it with full twenty gals, / Hed squired 'em, danced 'em, druv 'em,
But long o' her his veins 'ould run / All crinkly like curled maple,
She thought no v'ice hed sech a swing / Ez hisn in the choir;
An' she'd blush scarlit, right in prayer, / When her new meetin'-bunnet
Thet night, I tell ye, she looked _some!_ / She seemed to've gut a new soul,
She heered a foot, an' knowed it tu, / A-raspin' on the scraper,--
He kin' o' l'itered on the mat, / Some doubtfle o' the sekle,
An' yit she gin her cheer a jerk / Ez though she wished him furder,
'You want to see my Pa, I s'pose?' / 'Wal ... no ... I come dasignin'--'
To say why gals acts so or so, / Or don't, 'ould be persumin';
He stood a spell on one foot fust, / Then stood a spell on t'other,
Says he, 'I'd better call agin:' / Says she, 'Think likely, Mister:'
When Ma bimeby upon 'em slips, / Huldy sot pale ez ashes,
For she was jes' the quiet kind / Whose naturs never vary,
The blood clost roun' her heart felt glued / Too tight for all expressin',
Then her red come back like the tide / Down to the Bay o' Fundy,
Tone & mood
Warm, humorous, and full of affection, Lowell writes like a friendly neighbor who views the ups and downs of young love as both silly and beautiful. There's a gentle irony in how Zekle and Huldy act indifferent while being head over heels, yet the narrator never ridicules them — he’s cheering them on all the way. The dialect adds to this tone: it’s grounded and particular, preventing the emotion from slipping into over-sentimentality.
Symbols & metaphors
- The fireplace and its light — The fire serves as the emotional heart of the poem. Its warmth and flickering light represent the comfort of love and home. The sparks it sends toward Huldy reflect the feelings shared between the two young people.
- The apples Huldy is peeling — The apples have long represented temptation and romance, dating back to Eden. Huldy peels them rapidly, pretending she's not interested in Zekle — they help her act nonchalant. They also tie her to the domestic life and the home she and Zekle will one day share.
- The grandfather's musket from Concord — The rusted old Revolutionary War musket hanging by the chimney connects this private love story to American history and the community. It suggests that this family — and, by extension, this romance — belongs to a larger narrative that extends beyond a single winter evening.
- The moonlit snow — The opening scene of white silence feels like a blessing on the events of the night. The snow in the poem symbolizes purity and stillness, capturing the world holding its breath as something significant unfolds inside the farmhouse.
- The Bay of Fundy tide — The Bay of Fundy is known for having the highest tides in the world. When Huldy's color 'comes back like the tide,' it signals an overwhelming wave of relief and happiness — nature's strongest force capturing an emotion that can't be restrained.
- The church choir and Old Hundredth — The hymn and the choir reflect the community's shared faith, but they also serve as the means for Huldy's love for Zekle to express itself. Her sense that God feels nearer when Zekle sings illustrates how deeply intertwined her spiritual and romantic emotions are.
Historical context
James Russell Lowell first published "The Courtin'" in *The Biglow Papers* (First Series, 1848), which is a collection of satirical dialect poems that initially aimed to criticize the Mexican-American War. However, this particular poem stands apart from the political commentary — it’s a delightful comic romance. Lowell continually revised and expanded it over the years, with the final version appearing in the Second Series in 1867. The Biglow Papers feature a fictional New England farmer named Hosea Biglow as the narrator, and Lowell crafted the dialect to accurately reflect rural Massachusetts speech. "The Courtin'" became one of the most cherished pieces in the collection, widely reprinted and memorized throughout the 19th century. It belongs to a tradition of American vernacular poetry that would later encompass the works of Paul Laurence Dunbar and, in a different style, Robert Frost — poets who demonstrated that everyday speech could express genuine emotion and keen insight without sacrificing artistic quality.
FAQ
A young farmer named Zekle has fallen for a girl named Huldy. One snowy night, he quietly approaches her window, gathers his courage to enter, stumbles through an awkward chat, and eventually kisses her. Just then, her mother walks in, offers her blessing, and the next Sunday, they announce their engagement at church. It's a charming courtship tale filled with humor and warmth.
Lowell used a phonetic spelling of rural New England speech to give the characters an authentic and relatable voice — this reflects how people in the Massachusetts countryside spoke in the mid-1800s. At first, it might seem odd on the page, but reading it aloud helps it make sense quickly. Words like 'sech' (such), 'pootiest' (prettiest), and 'kist' (kissed) are the primary challenges, but the context usually clarifies their meanings.
It's a play on the term 'pity-pat,' which mimics the sound of a nervous heartbeat. Zekle's heart goes 'pity-pat' out of anxiety, while Huldy's heart goes 'pity Zekle' — indicating that her heartbeat is calling his name. This is Lowell's way of showing us that even though Huldy acts indifferent, she's already head over heels for him.
The Old Hundredth is one of the most well-known Protestant hymns, set to Psalm 100 ('All people that on earth do dwell'). It's a robust, powerful hymn meant for congregational singing — the kind where a strong voice truly shines. Huldy listening to Zekle sing it loudly in the choir and feeling a deeper connection to God is both heartfelt and subtly amusing.
Having your banns read aloud in church was the traditional way to announce an upcoming marriage. The congregation would hear the couple's names mentioned on three consecutive Sundays, allowing anyone with an objection to voice their concerns. So, the last line tells us that Zekle and Huldy are officially engaged and on their way to marriage.
Yes. "The Courtin'" is included in Lowell's *Biglow Papers*, a two-series collection of dialect poems released between 1848 and 1867. While much of the collection consists of political satire targeting the Mexican-American War and later reflecting on the Civil War, "The Courtin'" stands out as a humorous romance and has become the most beloved piece in the entire collection.
The Battle of Concord in 1775 was one of the first fights of the American Revolution — the 'shot heard round the world.' Grandfather Young returned with his musket broken, proving he was there and fought. Hanging it by the chimney shows that this family has deep roots in American history. It adds a quiet sense of heritage and continuity to the cozy domestic scene.
By today's standards, the stanza where the narrator casually mentions that women say no when they actually mean yes highlights a noticeable stereotype. In this context, Lowell is humorously critiquing the entire courtship ritual — both Zekle and Huldy are acting out roles that don't reflect their true feelings. Earlier in the poem, we also see Huldy's perspective, revealing her nervousness and hopefulness, rather than any intention to manipulate. The narrator's remark serves more as a comedic aside regarding social performance than as a serious statement about women's honesty.