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1492 by Emma Lazarus

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In 1492, Spain expelled its Jewish population through the Alhambra Decree, forcing hundreds of thousands to flee without a destination.

Poet
Emma Lazarus
Composed
1883 · Victorian
Form
sonnet
Core theme
Exile
The PoemFull text

1492

Emma Lazarus, 1883

Thou two-faced year, Mother of Change and Fate, Didst weep when Spain cast forth with flaming sword, The children of the prophets of the Lord, Prince, priest, and people, spurned by zealot hate. Hounded from sea to sea, from state to state, The West refused them, and the East abhorred. No anchorage the known world could afford, Close-locked was every port, barred every gate. Then smiling, thou unveil'dst, O two-faced year, A virgin world where doors of sunset part, Saying, "Ho, all who weary, enter here! There falls each ancient barrier that the art Of race or creed or rank devised, to rear Grim bulwarked hatred between heart and heart!"

Public domain

Sourced from Project Gutenberg

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§01Quick summary

What this poem is about

In 1492, Spain expelled its Jewish population through the Alhambra Decree, forcing hundreds of thousands to flee without a destination. Emma Lazarus reflects on that year as a coin with two sides: one side mourning the expulsion while the other celebrates the Americas as a new realm of possibility. The poem invites us to embrace both the tragedy and the promise of that pivotal year simultaneously.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. Thou two-faced year, Mother of Change and Fate, / Didst weep when Spain cast forth with flaming sword,

    Editor's note

    Lazarus begins by giving 1492 a dual identity — one filled with sorrow and the other with hope. The "flaming sword" reflects the angel that prevented Adam and Eve from returning to Eden, framing the Spanish expulsion of the Jews as yet another banishment from paradise. The phrase "Mother of Change and Fate" immediately emphasizes that this year didn't just see history unfold; it actively shaped it.

  2. The children of the prophets of the Lord, / Prince, priest, and people, spurned by zealot hate.

    Editor's note

    "Children of the prophets" refers to the expelled Jewish people, who are seen as heirs to a biblical lineage. Lazarus mentions "prince, priest, and people" to emphasize that the expulsion affected everyone, regardless of their status — both the high and the low were equally forced out by religious fanaticism.

  3. Hounded from sea to sea, from state to state, / The West refused them, and the East abhorred.

    Editor's note

    These lines illustrate the complete rejection experienced by the exiles. No part of the known world would accept them. "Hounded" is a harsh term — it turns people into prey chased by dogs. The mirror image of both West and East denying them emphasizes that there was truly nowhere left to go.

  4. No anchorage the known world could afford, / Close-locked was every port, barred every gate.

    Editor's note

    The nautical image of "anchorage" is striking: in the same year Columbus set sail, Jewish exiles found no safe haven. Every port and gate being locked paints a claustrophobic scene of a world closed off to an entire people. The octave concludes here, having crafted a vivid picture of complete, suffocating exclusion.

  5. Then smiling, thou unveil'dst, O two-faced year, / A virgin world where doors of sunset part,

    Editor's note

    The volta arrives with "Then smiling" — the year shows its second face. The Americas emerge as a "virgin world," free from the old hatreds. "Doors of sunset" directs us westward, toward the New World Columbus discovered that same year, suggesting a sense of something bright and expansive unfolding after so many locked gates.

  6. Saying, "Ho, all who weary, enter here! / There falls each ancient barrier that the art

    Editor's note

    The New World speaks plainly, offering a universal invitation — "all who weary" mirrors the welcoming words Lazarus popularized in *The New Colossus*. In this context, "art" refers to skill or ingenuity: the divisions among people were not natural but created, intentionally built by human bias.

  7. Of race or creed or rank devised, to rear / Grim bulwarked hatred between heart and heart!"

    Editor's note

    The poem concludes by identifying the three main sources of persecution: race, creed, and rank. The term "bulwarked," which means fortified like a military wall, illustrates how deeply ingrained hatred was in the structures of the old world. The last image, "between heart and heart," personalizes the impact: these barriers don’t just separate nations; they also tear apart human connections.

§04Tone & mood

How this poem feels

The tone shifts in two distinct directions, reflecting the poem's dual nature. The octave is filled with sorrow and anger—Lazarus doesn't shy away from the harshness of the exile or the brutality of a world that turned its back on those forced to leave. Then the sestet shifts into a nearly triumphant tone, offering relief and an invitation. Yet, beneath it all, a sense of grief lingers; the joy of the New World is deeply intertwined with the pain that brought it about.

§05Symbols & metaphors

Symbols & metaphors

The two-faced year
1492 is depicted as a figure with two faces—one weeping and the other smiling. This directly reflects the Roman god Janus, who gazes both backward and forward. This imagery allows Lazarus to capture both tragedy and hope in one representation, acknowledging that they can coexist without negating each other.
The flaming sword
Borrowed from Genesis, where a flaming sword stands guard at the entrance to Eden after the Fall. By referencing it here, Lazarus portrays the Spanish expulsion as a second exile from paradise, linking the suffering of 15th-century Jews to the ancient tale of loss and displacement in Western tradition.
Locked ports and barred gates
Every closed port and gate symbolizes a world that has opted for exclusion. This imagery deliberately contrasts with the "doors of sunset" that appear in the sestet — the old world closes its doors while the new world opens them.
Doors of sunset
The doors facing west open up to the New World. Sunset points toward the Americas, the very path Columbus took. This image blends a geographic direction with a sense of the sacred — a threshold between the old life and the new.
Bulwarked hatred
A bulwark refers to a defensive wall or military fortification. When we describe hatred as "bulwarked," it indicates that prejudice rooted in race, creed, and social rank isn't merely an emotion; it's been intentionally constructed and reinforced, embedded within the very foundations of civilization.

§06Form & structure

Form & structure

Form
sonnet
Meter
iambic pentameter
Rhyme
ABBA ABBA CDCDC D

§07Historical context

Historical context

Emma Lazarus wrote this sonnet in 1883, the same year she penned *The New Colossus*. Both pieces stemmed from her personal engagement with Jewish refugees escaping pogroms in Czarist Russia, many of whom she encountered at immigration stations in New York. The poem pivots around the Alhambra Decree of 1492, in which Ferdinand and Isabella of Spain expelled all Jews who refused to convert to Christianity. This decision forced between 100,000 and 200,000 people to leave their homes. Lazarus, who had Sephardic Jewish ancestry — which means her own forebears were among those expelled — understood that 1492 was also the year Columbus sailed westward. This made it a year that symbolically closed one chapter while opening another. The poem embodies her argument that America offered a real escape from the persecution found in the Old World.

§08FAQ

Questions readers ask

What historical event is this poem actually about?

The poem focuses on the Alhambra Decree of 1492, which ordered the expulsion of all Jews who didn’t convert to Christianity by Spain's monarchs Ferdinand and Isabella. Lazarus juxtaposes this with Columbus's voyage in the same year, using the coincidence to frame the poem's dual argument.

Why does Lazarus call 1492 "two-faced"?

Because the same year brought two contrasting events: the expulsion of Jews from Spain (a catastrophe) and the European discovery of the Americas (an opportunity). "Two-faced" reflects the Roman god Janus, who gazes in two directions simultaneously, allowing Lazarus to hold both grief and hope in one perspective.

What does "children of the prophets of the Lord" mean?

It's Lazarus's method of recognizing the expelled Jews based on their religious heritage rather than merely their ethnicity. The phrase links them to biblical prophets like Moses, Isaiah, and Jeremiah, highlighting that these individuals possess a profound, ancient spiritual lineage and are not outsiders to be cast aside.

What is the volta in this sonnet and where does it happen?

The volta marks the point in a sonnet where the argument changes direction. In this case, it appears at line 9 with the word "Then" — "Then smiling, thou unveil'dst, O two-faced year." The octave, which consists of the first eight lines, focuses on themes of suffering and exclusion, while the sestet, the last six lines, shifts towards the hopeful promise of the New World.

Is this poem connected to "The New Colossus"?

Yes, very closely. Both were written in 1883 and focus on refuge, welcome, and the concept of America as a sanctuary from Old World persecution. 1492 presents the historical argument, while The New Colossus offers the symbolic perspective. Together, they capture the essence of Lazarus's vision for what America should represent for those who are displaced.

Why does Lazarus use the image of a "flaming sword"?

It's a direct reference to Genesis 3:24, where God puts a flaming sword at the gate of Eden after sending Adam and Eve away. By mentioning this, Lazarus portrays the Spanish expulsion as a second Fall — another banishment from a homeland that had long been a paradise for Jewish culture.

What does Lazarus mean by "the art of race or creed or rank"?

"Art" in this context refers to craft or intentional creation. Lazarus argues that the divisions among people based on race, religion, and social class are not inherent — they were created and reinforced over time by individuals seeking personal gain from the separation. This serves as a sharp political statement conveyed through poetic expression.

Was Emma Lazarus herself Jewish, and does that matter for reading this poem?

Yes, Lazarus came from Sephardic Jewish roots, which means her ancestors were among those who were expelled from Spain in 1492. This detail adds a personal dimension to the poem that goes beyond mere historical commentary—she is reflecting on her own family's narrative, even after four centuries. It also clarifies why the poem's anger feels so direct and unapologetic.

Citation

Cite this poem

MLA

Lazarus, Emma. "1492." 1883. Storgy, https://storgy.com/poems/1492-emma-lazarus/.

APA

Lazarus, E. (1883). 1492. Storgy. https://storgy.com/poems/1492-emma-lazarus/

TeacherAP Lit Q1 scaffold — preview

Row A — Thesis

1 pt

In '1492,' Emma Lazarus harnesses the sonnet's turn to argue that history's cruelest exclusions carry within them the seed of a redemptive opening; her closing exclamation cannot fully silence the irony that the same 'two-faced year' which …

  • Row B — Evidence + Commentary4 pts
  • Row C — Sophistication1 pt
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