The Annotated Edition
To the Editors of the Atlantic Monthly by James Russell Lowell
A farmer from New England named Hosea Biglow strolls through the night near Concord and Bunker Hill, where it feels like the ghosts of the Revolutionary War are stirring all around him.
- Core theme
- Freedom
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§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
JAALAM, 6th Jan., 1862. / Gentlemen,--I was highly gratified by the insertion of a portion of my letter...
Editor's note
The opening letter comes from Reverend Homer Wilbur, a fictional parson created by Lowell, known for his pedantic style. He expresses gratitude to the *Atlantic Monthly* for publishing his earlier submission, gripes about the small font size, and introduces a new poem by his parishioner, Hosea Biglow. The humor arises from Wilbur's pompous tone and frequent use of Latin—he’s a self-important windbag who truly believes he matters. Through him, Lowell cleverly satirizes a specific type of New England intellectual who embellishes straightforward opinions with classical references.
'But nowadays the Bridge ain't wut they show, / So much ez Em'son, Hawthorne, an' Thoreau...'
Editor's note
These verses were cut from the main poem by Biglow, but Wilbur keeps them. They set the scene in Concord and mention Emerson, Hawthorne, and Thoreau as the town's true landmarks now. The 'punkin-seed' digression is Lowell teasing Wilbur for his tendency to explain everything — the reverend can't help but add a footnote, even within a footnote.
As respects the settlement of the Mason and Slidell question...
Editor's note
Wilbur turns to the Trent Affair of late 1861, when the Union Navy captured two Confederate diplomats from a British ship, almost sparking a war with England. He believes, along with Lowell, that America made the right choice in backing down and letting the men go, but condemns Britain's condescending attitude during the crisis as unacceptable. The phrase "I was wrong" emerges as a key point: admitting it is difficult, yet it demonstrates national maturity.
The sore points on both sides have been skilfully exasperated by interested and unscrupulous persons...
Editor's note
Wilbur points to Confederate sympathizers and war profiteers as the ones most eager to incite conflict between Britain and America. He references a comic couplet about being pushed away after pretending not to care for someone — a jab at Britain’s inconsistent stance towards America. This passage represents Lowell's clearest political stance: a war between the Anglo-Saxon nations would merely benefit the slaveholding Confederacy.
And now all respectable England is wondering at our irritability...
Editor's note
Wilbur sharpens his critique of British arrogance by quoting Sir John Mandeville and a French satirist, pointing out that English self-congratulation isn’t a recent phenomenon. He cleverly applies the Latin phrase *habet fænum in cornu* ('he has hay on his horn' — a Roman warning that a bull is dangerous) to Britain. Ultimately, Lowell aims his criticism at the British press and politicians who deemed the Union cause ignoble while romanticizing the idea of Confederate 'independence.'
It is time for Englishmen to consider whether there was nothing in the spirit of their press...
Editor's note
Wilbur outlines several specific provocations from Britain: granting belligerent rights to the Confederacy, taking an aggressive stance in the Trent case, and equipping Confederate raiders. He then shifts to the dramatic change in British sentiment — the Prince of Wales's friendly visit just months earlier, quickly followed by disdain as the war erupted. The Latin verse from Walter Mapes and its translation underscore this sentiment: fair-weather cousins aren't cousins at all.
Let us strengthen the hands of those in authority over us...
Editor's note
Wilbur ends his letter by urging patience and trust in the Union's leaders, referencing Plutarch's Paulus Emilius to illustrate the foolishness of civilians directing their commanders. He cautions against leaking military secrets to the press, pointing to a 1745 letter from General Pepperell at Louisbourg as evidence that this issue has been around since the nation's early days. The tone resembles that of a sermon—sincere, somewhat lengthy, but heartfelt.
I love to start out arter night's begun, / An' all the chores about the farm are done...
Editor's note
Here the actual Biglow poem starts, written in Yankee dialect. Hosea talks about wrapping up his farm work and going for a walk at night—this straightforward opening instantly sets itself apart from Wilbur's ornate prose. The image of Nancy darning by the kerosene lamp grounds us in a typical, everyday New England life. For Hosea, the walk is a chance to clear his mind and shake off the 'dregs' of his daily routine.
Now, bein' born in Middlesex, you know, / There's certin spots where I like best to go...
Editor's note
Hosea lists his favorite landmarks: the Concord road, which he humorously refers to as 'John Bull's Run'—a nod to the British retreat in 1775—Lexington, and Concord Bridge. Each of these places is a battlefield from the Revolutionary War, and Hosea speaks of them with a relaxed, possessive pride. His mention of 'shun-pikes'—the toll-evading side roads—leads to a lesson: a soul that shies away from sacrifice loses out on the path to heaven and recognition.
But the' 's a walk thet's hendier, a sight, / An' suits me fust-rate of a winter's night...
Editor's note
Hosea chooses Prospect Hill as his favorite spot. As he hangs out there in the dark, the village lights flicker out one by one, dogs bark at shadows, and a rooster confuses the rising moon for dawn. The rooster serves as a humorous dig at Secretary of State Seward, who kept insisting that the war would wrap up in three months. Hosea's grandfather's saying — 'Don't never prophesy — unless ye know' — stands out as the poem's most memorable line.
I love to muse there till it kind o' seems / Ez ef the world went eddyin' off in dreams...
Editor's note
The poem features its most atmospheric stanza here. The northwest wind, the December moon, and the old rail-fence posts blend together until Hosea perceives the ghostly encampments of General Putnam's Revolutionary lines. Soldiers transform into shadows, a sentry's firelock glimmers in the moonlight, and the call-and-response of the night watch reverberates through time. The Civil War present and the Revolutionary past unite in a single vigil.
Ez I was settin' so, it warn't long sence, / Mixin' the puffict with the present tense...
Editor's note
Hosea hears two voices in the air — a sound reminiscent of wind rustling through pine trees that slowly transforms into speech. He recognizes the speakers as Concord Bridge and the 'Stone Spike' driven through Bunker Hill (a granite monument marker). The uncertainty — 'Whether 'twas so, or ef I on'y dreamed' — reflects Lowell's approach to keeping the supernatural lighthearted and folksy rather than heavy. The stage is set for the two monuments to engage in a debate about the current war.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- Concord Bridge and Bunker Hill
- These two Revolutionary War sites represent the foundational promise of American democracy. By giving them a voice, Lowell suggests that the Civil War is essentially a continuation of the Revolution — the same principles are involved, and the same bravery is needed.
- The nighttime walk
- Hosea's lonely walk through the dark New England countryside captures the essence of clear thinking, free from the clamor of politics and war. The night removes distractions and allows history to resonate.
- The rooster crowing at moonrise
- The rooster that confuses the moon for dawn serves as a humorous representation of misguided predictions and overconfidence—specifically targeting Secretary Seward's persistent claims of a swift Union victory. Being overconfident during wartime is as silly as a bird that can't distinguish between night and morning.
- The rail-fence posts turned to ghost soldiers
- The fence posts that transform into ghostly Revolutionary War troops illustrate how the landscape holds memory. The typical New England farm is infused with the presence of the men who fought there, and this presence serves as a moral duty for the living.
- The three words 'I was wrong'
- In Wilbur's letter, acknowledging mistakes is portrayed as a sign of national maturity. America's admission regarding the Trent Affair is framed as a display of true strength, whereas Britain's failure to acknowledge its own actions is depicted as immature pride.
- The fair-weather cousin
- The Latin verse suggests that prosperity attracts insincere friends, while the portrayal of Britain as a cousin who claims kinship only when it suits them highlights the emptiness of international goodwill that lacks a foundation in shared values.
§06Historical context
Historical context
§07FAQ
Questions readers ask
Who is actually speaking in this poem — is it Lowell himself?
Not directly. Lowell employs two fictional characters. Reverend Homer Wilbur is a pompous country parson who quotes Latin and acts as the editor and introducer. Hosea Biglow is a straightforward Yankee farmer who writes in dialect verse. Lowell hides behind both voices, allowing him to be satirically sharp through Wilbur's pretentiousness and genuinely moving through Hosea's simpler emotions. It's a ventriloquist act, with Lowell as the one pulling the strings.
What is the Trent Affair and why does it matter to the poem?
In November 1861, a Union warship intercepted the British mail steamer Trent and captured two Confederate diplomats, James Mason and John Slidell, who were headed to Europe to seek recognition for the Confederacy. Britain was outraged and threatened to go to war. Lincoln's government ultimately decided to release the men to ease tensions. Lowell believed this retreat was the right decision, but he was infuriated by Britain's condescending attitude during the crisis — and that frustration fuels much of Wilbur's lengthy letter.
Why is the poem written partly in dialect? Is it supposed to be funny?
Yes, partly — but it's also a political choice. Yankee dialect in the 1860s represented straightforward common sense in contrast to elite pretension. By assigning the most genuine emotional insights to a farmer who drops his g's and spells 'against' as 'aginst,' Lowell suggests that regular Americans grasp their own history and their own war better than British lords or American loudmouths do. The humor helps make the political message more palatable.
What does Hosea mean by calling the Concord road 'John Bull's Run'?
'John Bull' is the classic symbol of England, much like 'Uncle Sam' symbolizes America. 'Bull's Run' was also the site of a Civil War battle (First Bull Run, 1861) where Union forces faced a significant defeat. Hosea is cleverly making a double joke: the Concord road is where the British fled in 1775, and the name reflects the Union's own recent humiliation. It captures a wry, self-aware kind of patriotism.
Who are Putnam and the other historical figures mentioned in the poem?
Israel Putnam was an American general during the Battle of Bunker Hill in 1775 — the lines he drew are like the ghostly encampments that Hosea pictures on Prospect Hill. The poem also mentions Secretary of State William Seward (the rooster who keeps insisting that the war will wrap up soon), Earl Russell (the British Foreign Secretary who advised Lincoln about his own Constitution), and makes a brief nod to Emerson, Hawthorne, and Thoreau as the living monuments of Concord.
What is the point of all the Latin phrases Wilbur keeps using?
They poke fun at Wilbur — he can't help but flaunt his education. However, Lowell uses them to highlight a significant point: the American tradition is intertwined with the broader Western tradition, and Americans quoting Horace or Plutarch deserve that cultural inheritance just as much as any English lord. The Latin serves as both humor and a subtle assertion of cultural equality.
The poem seems to end abruptly — is this the whole thing?
No. This is the first part of a longer poem by Biglow titled 'Mason and Slidell: A Yankee Idyll.' The text concludes just as Hosea is on the verge of hearing Concord Bridge and the Bunker Hill monument converse. Lowell published the Biglow Papers, Second Series in installments in the Atlantic Monthly, and this section lays the groundwork for the dialogue that unfolds in later issues.
What does Lowell mean when he says England 'played the boy' while America 'quit themselves like men'?
He is highlighting the difference between emotional immaturity and adult self-control. In his opinion, Britain threw a tantrum over the Trent Affair and used it as an opportunity to lecture and intimidate. By admitting its mistake and releasing the Confederate diplomats, America showcased the tougher, more mature quality of putting aside pride for a greater goal. For Lowell, saying 'I was wrong' isn't a sign of weakness — it’s the strongest evidence of strength.
Citation
Cite this poem
MLA
Lowell, James Russell. "To the Editors of the Atlantic Monthly." Storgy, https://storgy.com/poems/to-the-editors-of-the-atlantic-monthly-james-russell-lowell/.
APA
Lowell, J. R. (n.d.). To the editors of the atlantic monthly. Storgy. https://storgy.com/poems/to-the-editors-of-the-atlantic-monthly-james-russell-lowell/
Row A — Thesis
1 ptIn 'To the Editors of the Atlantic Monthly,' James Russell Lowell constructs Homer Wilbur as a figure of elaborate, self-defeating irony: the parson's compulsive digressions, inflated classical allusions, and comic pedantry collectively …
- Row B — Evidence + Commentary4 pts
- Row C — Sophistication1 pt
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