Tradin' Joe

By James Whitcomb Riley

    I'm one o' these cur'ous kind o' chaps     You think you know when you don't, perhaps!     I hain't no fool - ner I don't p'tend     To be so smart I could rickommend     Myself fer a CONGERSSMAN my friend! -     But I'm kind o' betwixt-and-between, you know, -     One o' these fellers 'at folks call "slow."     And I'll say jest here I'm kind o' queer     Regardin' things 'at I SEE and HEAR, -     Fer I'm THICK o' hearin' SOMETIMES, and     It's hard to git me to understand;     But other times it hain't, you bet!     Fer I don't sleep with both eyes shet!     I've swapped a power in stock, and so     The neighbers calls me "Tradin' Joe" -     And I'm goin' to tell you 'bout a trade, -     And one o' the best I ever made:     Folks has gone so fur's to say     'At I'm well fixed, in a WORLDLY way,     And BEIN' so, and a WIDOWER,     It's not su'prisin', as you'll infer,     I'm purty handy among the sect -     Widders especially, rickollect!     And I won't deny that along o' late     I've hankered a heap fer the married state -     But some way o' 'nother the longer we wait     The harder it is to discover a mate.     Marshall Thomas, - a friend o' mine,     Doin' some in the tradin' line,     But a'most too YOUNG to know it all -     On'y at PICNICS er some BALL! -     Says to me, in a banterin' way,     As 'we was a-loadin' stock one day, -     "You're a-huntin' a wife, and I want you to see     My girl's mother, at Kankakee! -     She hain't over forty - good-lookin' and spry,     And jest the woman to fill your eye!     And I'm a-goin' there Sund'y, - and now," says he,     "I want to take you along with ME;     And you marry HER, and," he says, "by 'shaw I     You'll hev me fer yer son-in-law!"     I studied a while, and says I, "Well, I'll     First have to see ef she suits my style;     And ef she does, you kin bet your life     Your mother-in-law will be my wife!"     Well, Sundy come; and I fixed up some -     Putt on a collar - I did, by gum! -     Got down my "plug," and my satin vest -     (You wouldn't know me to see me dressed! -     But any one knows ef you got the clothes     You kin go in the crowd wher' the best of 'em goes!)     And I greeced my boots, and combed my hair     Keerfully over the bald place there;     And Marshall Thomas and me that day     Eat our dinners with Widder Gray     And her girl Han'!    *    *    *                 Well, jest a glance     O' the widder's smilin' countenance,     A-cuttin' up chicken and big pot-pies,     Would make a man hungry in Paradise!     And passin' p'serves and jelly and cake     'At would make an ANGEL'S appetite ACHE! -     Pourin' out coffee as yaller as gold -     Twic't as much as the cup could hold -     La! it was rich! - And then she'd say,     "Take some o' THIS!' in her coaxin' way,     Tell ef I'd been a hoss I'd 'a' FOUNDERED, shore,     And jest dropped dead on her white-oak floor!     Well, the way I talked would 'a' done you good,     Ef you'd 'a' been there to 'a' understood;     Tel I noticed Hanner and Marshall, they     Was a-noticin' me in a cur'ous way;     So I says to myse'f, says I, "Now, Joe,     The best thing fer you is to jest go slow!"     And I simmered down, and let them do     The bulk o' the talkin' the evening through.     And Marshall was still in a talkative gait     When he left, that evening - tolable late.     "How do you like her?" he says to me;     Says I, "She suits, to a 'T-Y-TEE'!     And then I ast how matters stood     With him in the OPPOSITE neighberhood?     "Bully!" he says; "I ruther guess     I'll finally git her to say the 'yes.'     I named it to her to-night, and she     Kind o' smiled, and said 'SHE'D SEE' -     And that's a purty good sign!" says he:     "Yes" says I, "you're ahead o' ME!"     And then he laughed, and said, "GO IN!     And patted me on the shoulder ag'in.     Well, ever sense then I've been ridin' a good     Deal through the Kankakee neighberhood;     And I make it convenient sometimes to stop     And hitch a few minutes, and kind o' drop     In at the widder's, and talk o' the crop     And one thing o' 'nother.    And week afore last     The notion struck me, as I drove past,     I'd stop at the place and state my case -     Might as well do it at first as last!     I felt first-rate; so I hitched at the gate,     And went up to the house; and, strange to relate,     MARSHALL THOMAS had dropped in, TOO. -     "Glad to see you, sir, how do you do?"     He says, says he!    Well - it SOUNDED QUEER:     And when Han' told me to take a cheer,     Marshall got up and putt out o' the room -     And motioned his hand fer the WIDDER to come.     I didn't say nothin' fer quite a spell,     But thinks I to myse'f, "There's a dog in the well!"     And Han' SHE smiled so cur'ous at me -     Says I, "What's up?"    And she says, says she,     "Marshall's been at me to marry ag'in,     And I told him 'no,' jest as you come in."     Well, somepin' o' 'nother in that girl's voice     Says to me, "Joseph, here's your choice!"     And another minute her guileless breast     Was lovin'ly throbbin' ag'in my vest! -     And then I kissed her, and heerd a smack     Come like a' echo a-flutterin' back,     And we looked around, and in full view     Marshall was kissin' the widder, too!     Well, we all of us laughed, in our glad su'prise,     Tel the tears come A-STREAMIN' out of our eyes!     And when Marsh said "'Twas the squarest trade     That ever me and him had made,"     We both shuck hands, 'y jucks! and swore     We'd stick together ferevermore.     And old Squire Chipman tuck us the trip:     And Marshall and me's in pardnership!

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Poem Details

Language: English
Keywords: Public Domain
Source: Public Domain Collection
Rights/Permissions: Public Domain

Analysis & Notes:
This poem is a masterful exploration of the complexities of human relationships, identity, and the blurred lines between truth and deception. Through the voice of a self-proclaimed cur'ous kind o' chaps, the poem employs a conversational tone and colloquial language to create a sense of intimacy and familiarity, drawing the reader into the narrator's inner world. The poem's structure, with its irregular meter and lineation, reflects the narrator's unstructured and often chaotic thoughts, mirroring the twists and turns of his relationships. The use of rhyme and assonance adds a layer of musicality, underscoring the emotional intensity of the narrator's experiences. A significant tonal shift occurs when the narrator's plans for marrying Han' are foiled by Marshall's simultaneous courtship of the widder, leading to a moment of awkwardness and hilarity that marks a turning point in the poem. This unexpected turn of events highlights the narrator's growing awareness of his own emotions and the complexity of human relationships.

Understanding Limerick

A limerick is a five-line poem known for its jaunty rhythm, playful tone, and a punchline twist. It’s built for humor—often sly, sometimes downright silly.


Common characteristics of limericks:

  • Five Lines & Rhyme: The standard scheme is AABBA—the first, second, and fifth lines rhyme; the shorter third and fourth lines rhyme with each other.
  • Bouncy Meter: Typically anapestic (two short, one long beat). Lines 1, 2, and 5 are longer; lines 3 and 4 are shorter.
  • Tone & Humor: Lighthearted, mischievous, and built around a final gag or reversal.
  • Subject & Setup: Often starts with “There once was a … from …,” setting place and character before the comic turn.
  • Sound Play: Internal rhyme, alliteration, and rhythmic snap heighten the joke’s delivery.

The best limericks land like a good toast: quick, musical, and clinched by a memorable last line.