The Annotated Edition
Barabbas in Prison by Henry Wadsworth Longfellow
Barabbas, the biblical criminal set free in place of Jesus, addresses his fellow prisoners candidly about his identity, his life as a bandit, and the true reason for his chains — not for theft, but for opposing Rome.
- Core theme
- Death
Study actions
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Barabbas is my name, / Barabbas, the Son of Shame,
Editor's note
Barabbas introduces himself with a certain dark pride, explaining what his name means. He doesn't shy away from the label — "Son of Shame" — but quickly counters it by claiming he's no worse than anyone else. This bold opening sets the stage for the poem's central question: who, in the end, is the real criminal here?
I was once, to say it in brief, / A highwayman, a robber-chief,
Editor's note
He openly admits to being a bandit and doesn't apologize for it. However, this admission is quickly undermined by his assertion that "all men, more or less, are robbers in their way." Longfellow uses Barabbas to express a cynical yet insightful truth: theft and exploitation are not exclusive to outlaws.
From my cavern in the crags, / From my lair of leaves and flags,
Editor's note
This stanza vividly depicts Barabbas's existence in the wilderness as he observes trade caravans making their way to Jericho far below. The imagery — crags, lairs, ants — lends him an almost animalistic nature, like a predator surveying its domain. It's a romanticized version of an outlaw's life, and Longfellow fully embraces it.
And I struck them unaware, / As an eagle from the air
Editor's note
The eagle simile transforms Barabbas's raids into actions that feel natural and majestic instead of just criminal. He targeted merchants from Sidon, Tyre, and Damascus—cities known for their wealth—suggesting he preyed on the rich rather than the poor. This geography firmly positions the poem in the ancient Near East.
But it is not for that I fear; / It is not for that I am here
Editor's note
Here the poem takes a turn. Barabbas clarifies that it wasn't robbery that got him locked up — it was his rebellion against Rome. The term "sedition" is significant: it’s a political offense, a challenge to Caesar's power, and he notes that this is what Pontius Pilate truly cannot overlook.
What think ye, would he care / For a Jew slain here or there,
Editor's note
Barabbas exposes Roman imperial logic with stark honesty: the lives of individual Jews hold no value to the occupying force, and stolen caravans are just a small inconvenience. However, defying Caesar is seen as an unpardonable crime. This serves as a biting political commentary wrapped in the guise of ancient times.
Therefore was Herod wroth / With Matthias Margaloth,
Editor's note
Barabbas references historical figures — Matthias Margaloth and Judas the Gaulonite, who are documented by the Jewish historian Josephus — as examples of individuals executed for standing against political oppression. This connection situates his story within a broader history of Roman and Herodian repression, providing context that extends beyond his individual actions.
For that cause and no more, / Am I here, as I said before;
Editor's note
He revisits the details to clarify: it was just one bad night, a confrontation with a Roman cavalry captain named Jucundus, and a dagger plunged into a Roman equerry's chest that decided his fate. The mention of the dagger adds a raw, vivid touch—this is how a life comes to an end, in a street fight that went awry.
I might have fled with the rest, / But my dagger was in the breast
Editor's note
There's a hint of honor here—or maybe just stubbornness. Barabbas didn't flee; he was caught in the middle of a struggle, hands and feet tied. It's up for debate whether this shows courage or recklessness, but it certainly paints a picture of a man who acts on instinct and won't back down.
Who cares for death? Not I! / A thousand times I would die,
Editor's note
The final stanza embodies pure defiance. Barabbas declares he'd rather die a thousand times than endure injustice. The women getting myrrh and wine — a detail rooted in crucifixion traditions — indicate that his execution is near. His last words to his fellow prisoners assert his identity: he is unbroken and unafraid.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The eagle
- Barabbas likens himself to an eagle diving for its prey, presenting his banditry as something instinctive and even admirable instead of merely illegal. This imagery distinguishes him from the merchants below—he is the predator, they are the prey, creating a hierarchy that feels almost like a natural ecosystem.
- Iron fetters
- The chains symbolize the tangible power of Rome. They signify more than just imprisonment; they illustrate the state's authority to determine who qualifies as a criminal. Barabbas highlights that the true criminals, the Roman occupiers, are free of any chains.
- Myrrh and wine
- The women mixing myrrh and wine refers to the drink traditionally given to condemned men before crucifixion in Jewish custom. This detail indicates that Barabbas's execution is near and ties his fate to the larger Passion narrative unfolding nearby.
- The road to Jericho
- This road has biblical significance—it's the same path from the parable of the Good Samaritan, linked to themes of robbery and vulnerability. Longfellow uses it to ground Barabbas in a familiar moral setting, subtly questioning who the true thieves are.
- Sedition
- The word itself symbolizes the divide between Roman law and true justice. Barabbas uses it with a hint of mockery — for Pilate, it’s the charge that holds weight, not murder or theft. It highlights how political power turns resistance into a crime while overlooking the pain of everyday people.
§06Historical context
Historical context
§07FAQ
Questions readers ask
Who is Barabbas in the Bible?
Barabbas is a prisoner referenced in all four Gospels. During Passover, Pontius Pilate presented the crowd with a choice to release one prisoner, and they opted for Barabbas instead of Jesus. The Gospels depict him in different ways—as a robber, a murderer, and someone involved in an insurrection—which aligns closely with Longfellow's portrayal of him.
Is this poem based on a true story?
Barabbas is a biblical figure, and the poem's historical references — Matthias Margaloth, Judas the Gaulonite, Jucundus — come from Josephus's Antiquities of the Jews and The Jewish War. While Longfellow created the specific details of Barabbas's speech, he rooted it in actual historical context.
What is a dramatic monologue?
A dramatic monologue is a poem that takes the form of a speech from one character, typically addressing an unseen audience. Through the speaker's words and manner of speaking, the reader gains insight into their personality. Longfellow employs this technique here to allow Barabbas to express his own voice instead of being shaped by the views of others—a method that Robert Browning popularized during the same period.
Why does Barabbas say all men are robbers?
It's his way of balancing the moral scales. He acknowledges committing highway robbery while pointing out that merchants, rulers, and empires all seize what doesn't belong to them—they just hide behind legal protections. It’s a jaded perspective, but the poem doesn’t fully dismiss it, particularly with the portrayal of Roman imperial power.
What does sedition mean, and why does it matter in the poem?
Sedition refers to the act of encouraging resistance or rebellion against those in power. Barabbas highlights that Rome is indifferent to common crimes — the death of an ordinary Jew or a robbed caravan hardly matters. However, any action that challenges Caesar's authority is viewed as the most serious crime. This serves as a critique of how those in power prioritize their own protection above everything else.
What is the significance of the myrrh and wine at the end?
In Jewish tradition, prisoners who were condemned to death received a mixture of wine and myrrh to numb the pain of their execution. Barabbas notes that the women are already getting it ready, indicating that his crucifixion is just around the corner. This subtle detail adds a sense of immediacy to his impending death and ties his fate to the Passion narrative occurring simultaneously.
What is *Christus: A Mystery*, and where does this poem fit?
Christus: A Mystery is a three-part dramatic work that Longfellow published in 1872. It explores the history of Christianity, starting from Jesus' birth and moving through the medieval period to the Puritan era. The first part, The Divine Tragedy, includes "Barabbas in Prison," which dramatizes events from the Gospels. Longfellow highlights peripheral figures like Barabbas to enrich the human experience surrounding the central narrative.
Is Barabbas meant to be a sympathetic character?
Longfellow doesn’t turn him into a saint, but he does help us understand him. Barabbas confesses to robbery and murder without any regret, yet his rage against Roman injustice feels justified. The poem challenges you to embrace both sides: he is a violent man, but the system that judges him is equally violent and hypocritical. Sympathy might not be the best term — it’s more about acknowledgment.
Citation
Cite this poem
MLA
Longfellow, Henry Wadsworth. "Barabbas in Prison." Storgy, https://storgy.com/poems/barabbas-in-prison-henry-wadsworth-longfellow/.
APA
Longfellow, H. W. (n.d.). Barabbas in prison. Storgy. https://storgy.com/poems/barabbas-in-prison-henry-wadsworth-longfellow/
Row A — Thesis
1 ptIn 'Barabbas in Prison,' Longfellow uses his convicted speaker's unapologetic self-portrait to expose the arbitrary nature of Roman imperial justice: Barabbas is not condemned for the violence Rome tolerates in private men, but for the …
- Row B — Evidence + Commentary4 pts
- Row C — Sophistication1 pt
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