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.
- Themes
- death, freedom, identity
§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
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