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Bartolome by Henry Wadsworth Longfellow

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This scene from Longfellow's verse play *The Spanish Student* is intense.

Poet
Henry Wadsworth Longfellow
Core theme
Betrayal
The PoemFull text

Bartolome

Henry Wadsworth Longfellow

Cruz. And so, Bartolome, the expedition failed. But where wast thou for the most part? Bart. In the Guadarrama mountains, near San Ildefonso. Cruz. And thou bringest nothing back with thee? Didst thou rob no one? Bart. There was no one to rob, save a party of students from Segovia, who looked as if they would rob us; and a jolly little friar, who had nothing in his pockets but a missal and a loaf of bread. Cruz. Pray, then, what brings thee back to Madrid? Bart. First tell me what keeps thee here? Cruz. Preciosa. Bart. And she brings me back. Hast thou forgotten thy promise? Cruz. The two years are not passed yet. Wait patiently. The girl shall be thine. Bart. I hear she has a Busne lover. Cruz. That is nothing. Bart. I do not like it. I hate him,--the son of a Busne harlot. He goes in and out, and speaks with her alone, and I must stand aside, and wait his pleasure. Cruz. Be patient, I say. Thou shalt have thy revenge. When the time comes, thou shalt waylay him. Bart. Meanwhile, show me her house. Cruz. Come this way. But thou wilt not find her. She dances at the play to-night. Bart. No matter. Show me the house. [Exeunt. SCENE VIII. -- The Theatre. The orchestra plays the cachucha. Sound of castanets behind the scenes. The curtain rises, and discovers PRECIOSA in the attitude of commencing the dance. The cachucha. Tumult; hisses; cries of "Brava!" and "Afuera!" She falters and pauses. The music stops. General confusion. PRECIOSA faints. SCENE IX. -- The COUNT OF LARA'S chambers. LARA and his friends at supper. Lara. So, Caballeros, once more many thanks! You have stood by me bravely in this matter. Pray fill your glasses. Don J. Did you mark, Don Luis, How pale she looked, when first the noise began, And then stood still, with her large eyes dilated! Her nostrils spread! her lips apart! Her bosom Tumultuous as the sea! Don L. I pitied her. Lara. Her pride is humbled; and this very night I mean to visit her. Don J. Will you serenade her? Lara. No music! no more music! Don L. Why not music? It softens many hearts. Lara. Not in the humor She now is in. Music would madden her. Don J. Try golden cymbals. Don L. Yes, try Don Dinero; A mighty wooer is your Don Dinero. Lara. To tell the truth, then, I have bribed her maid. But, Caballeros, you dislike this wine. A bumper and away; for the night wears. A health to Preciosa. (They rise and drink.) All. Preciosa. Lara. (holding up his glass). Thou bright and flaming minister of Love! Thou wonderful magician! who hast stolen My secret from me, and mid sighs of passion Caught from my lips, with red and fiery tongue, Her precious name! O nevermore henceforth Shall mortal lips press thine; and nevermore A mortal name be whispered in thine ear. Go! keep my secret! (Drinks and dashes the goblet down.) Don J. Ite! missa est! (Scene closes.) SCENE X. -- Street and garden wall. Night. Enter CRUZADO and

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§01Quick summary

What this poem is about

This scene from Longfellow's verse play *The Spanish Student* is intense. It centers on Bartolome, a jealous Romani man who has come back to Madrid to win over a young dancer named Preciosa. However, he discovers she's being pursued by a rival — the cunning Count of Lara. Recently, the Count has orchestrated a public humiliation for Preciosa at the theatre and is now planning to visit her privately after bribing her maid. The excerpt concludes with Lara raising a glass in a dramatic toast to Preciosa, only to shatter it, blending his obsession with a threatening undertone.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. Cruz. And so, Bartolome, the expedition failed. But where / wast thou for the most part?

    Editor's note

    The opening exchange between Cruzado and Bartolome quickly sets the scene: a group of Romani men who survive by their wits, returning from an unsuccessful venture in the Guadarrama mountains. Bartolome's remark that there was no one worth robbing — except for students who seemed like they might rob *him* — creates a darkly comic vibe and reveals that these are men living on the fringes of Spanish society.

  2. Bart. I hear she has a Busne lover. / Cruz. That is nothing.

    Editor's note

    "Busne" is a Romani term for someone who is not part of their community. Bartolome's hatred for Preciosa's suitor is instant and intense — he insults the man's mother by calling her a harlot, which reflects more on Bartolome's own territorial anger than on her. Cruzado's dismissive response, "That is nothing," indicates his dominance over Bartolome by wielding control over the promise of Preciosa, and he does so with a sense of calm authority.

  3. Cruz. Come this way. But thou wilt not find her. She dances / at the play to-night.

    Editor's note

    This brief closing exchange in Scene VII serves two purposes: it shifts the plot to the theatre and highlights Preciosa's role as a public performer, with her body and talent laid bare for audiences who feel they have the right to judge and claim her. The stage direction "Exeunt" concludes the scene as the two men move toward her world.

  4. SCENE VIII. -- The Theatre. The orchestra plays the cachucha.

    Editor's note

    Scene VIII consists mostly of stage directions, yet it stands out as one of the most impactful sections in the excerpt. Preciosa starts the cachucha — an energetic Spanish dance — but the audience reacts with hisses and shouts. She stumbles and faints, and the scene concludes in "general confusion." Her voice remains unheard. The harm inflicted upon her is both social and public, and Longfellow conveys this through silence and disarray instead of dialogue.

  5. Lara. So, Caballeros, once more many thanks! / You have stood by me bravely in this matter.

    Editor's note

    The supper scene shows that Lara's friends orchestrated the theatre riot, rather than it being spontaneous. Don Juan's lingering and almost voyeuristic portrayal of Preciosa's fear ("her nostrils spread! her lips apart! her bosom tumultuous as the sea!") is unsettling as he turns her distress into something aesthetic. Lara's intention to see her "this very night" while she's vulnerable makes his motives obvious.

  6. Don J. Try golden cymbals. / Don L. Yes, try Don Dinero

    Editor's note

    "Don Dinero" — which translates to "Sir Money" — serves as a biting commentary on how these aristocrats perceive women: as commodities to acquire. Lara reinforces this notion by revealing that he has already bribed Preciosa's maid. The exchange, carried out over wine, reflects the casual cruelty and normalization of predatory behavior within this social circle.

  7. Lara. Thou bright and flaming minister of Love! / Thou wonderful magician!

    Editor's note

    Lara's toast to his wine glass is the emotional high point of the excerpt. He speaks to the goblet as if it were a priest or sorcerer that has called Preciosa's name from his lips. The speech is overblown and theatrical — Lara portrays himself as a man overwhelmed by passion — but the shattering of the glass at the end undermines any sense of romance. It’s the act of a man who tears apart what he professes to love.

§04Tone & mood

How this poem feels

The tone shifts throughout the excerpt in a way that feels intentional. The opening scenes between Bartolome and Cruzado are straightforward and conspiratorial, laced with a dry, almost morbid humor. Scene VIII transitions into near-silence, creating a tense and pitying atmosphere. The supper scene with Lara is particularly unsettling: it exudes the surface warmth of male camaraderie and good wine, but beneath that, it feels cold and predatory. Lara's final monologue veers into theatrical self-pity, which Longfellow immediately undermines with the smashed goblet. The overall impact is one of rising dread cloaked in social refinement.

§05Symbols & metaphors

Symbols & metaphors

The cachucha (dance)
Preciosa's dance is not just her art; it's her livelihood and how she presents herself to the world. When the audience turns against her during the performance, that disruption symbolizes how society can quickly take away a woman's agency and dignity in a single, coordinated moment.
The smashed goblet
Lara's dramatic shattering of his wine glass after the toast reflects his possessive and self-destructive passion. He claims the glass will "keep his secret" before smashing it — a glimpse into how he handles anything he professes to value.
Don Dinero (Sir Money)
The playful idea of money as a suitor strips away any illusion of romance. It highlights the true currency of power: wealth grants access to women, pays off maids, and creates public embarrassment.
The bribed maid
The maid embodies the betrayal of trust within the home. Preciosa's private world — her home, her sense of safety — is already under threat before Lara even steps foot inside. This indicates that there is no space that she can truly call her own.
The Guadarrama mountains
The mountains where Bartolome has been hiding symbolize the untamed, chaotic edges of Spanish society where the Romani characters live. His return to Madrid marks a shift from that freedom into a realm filled with social competition and fixation.

§06Historical context

Historical context

Longfellow published *The Spanish Student* in 1843 as a closet drama—a play meant for reading rather than performance—after working on it since his travels in Europe during the 1830s. His fascination with Spanish culture, especially Romani life and flamenco, grew during his time in Spain. The play's central character, Preciosa, a Romani dancer of mysterious origin, is inspired by Cervantes's novella *La Gitanilla* (The Little Gypsy Girl). The American context of the 1840s is significant as well; Longfellow was writing during a time when issues of race, class, and societal belonging were hotly debated. His compassionate depiction of Romani characters was quite rare for the time, even if seen through a Romantic lens. The cachucha, a stylish Spanish dance that had captivated European audiences in the 1830s, would have been instantly recognizable to contemporary readers.

§07FAQ

Questions readers ask

What is 'The Spanish Student' and is 'Bartolome' a separate poem?

"Bartolome" isn't a standalone poem; it's a part of Longfellow's verse drama The Spanish Student (1843), which is a complete play crafted in both blank verse and prose. This excerpt encompasses scenes from Act I or II, showcasing various characters whose lives revolve around the dancer Preciosa.

Who is Preciosa and why does everyone want her?

Preciosa is a young Romani dancer who performs in Madrid. With her beauty, talent, and independence, she attracts men who seek to possess her instead of truly understanding her. Bartolome thinks Cruzado has promised her to him. The Count of Lara sees her as a prize to win. Unfortunately, her own desires are mostly overlooked by both of them.

What does 'Busne' mean?

"Busne" (sometimes spelled busné) is a Romani term for a non-Romani individual — an outsider or gadjo. Bartolome uses it derogatorily when talking about Preciosa's other suitor, expressing both ethnic disdain and personal jealousy.

Did Lara actually cause the riot at the theatre?

Yes. Scene IX shows that Lara and his friends deliberately disrupted Preciosa's performance. He expresses gratitude for "standing by him bravely in this matter," and his intention to visit her right after — when she's feeling vulnerable — confirms that the riot was a cruel, calculated move aimed at breaking her spirit.

Why does Lara smash his wine glass?

It’s a moment of theatrical self-dramatization. Lara has just delivered an elaborate speech, referring to the glass as a magical vessel bearing Preciosa's name. When he smashes it, he embodies the notion that his consuming passion destroys everything in its path. This act also hints at his destructive intentions toward Preciosa herself.

What is the cachucha?

The cachucha is an energetic solo dance from Andalusia, accompanied by castanets, that gained immense popularity throughout Europe during the 1830s and 1840s. Longfellow's original audience would have been quite familiar with it. Its connection to passion and Spanish exoticism makes it an ideal choice for Preciosa's public performance — and her subsequent public humiliation.

Is Longfellow sympathetic to the Romani characters?

More than many writers of his time, yes. Bartolome is both violent and possessive, but Longfellow presents him with genuine grievances and a relatable human jealousy. Cruzado comes off as shrewd instead of outright villainous. However, the play's strongest sympathy lies with Preciosa, who maneuvers through a world where both her own community and the Spanish aristocracy view her as mere property.

Where does Longfellow get the story from?

The primary source is La Gitanilla ("The Little Gypsy Girl"), a novella by Miguel de Cervantes that came out in 1613. Longfellow took the main character and setting but introduced new subplots and characters, like the Count of Lara and the student Victorian, who serves as Preciosa's romantic interest in another part of the play.

Citation

Cite this poem

MLA

Longfellow, Henry Wadsworth. "Bartolome." Storgy, https://storgy.com/poems/bartolome-henry-wadsworth-longfellow/.

APA

Longfellow, H. W. (n.d.). Bartolome. Storgy. https://storgy.com/poems/bartolome-henry-wadsworth-longfellow/

TeacherAP Lit Q1 scaffold — preview

Row A — Thesis

1 pt

In this excerpt from Longfellow's verse drama, the theatre itself becomes an instrument of male domination: Preciosa's body is put on display, sabotaged, and then quietly auctioned off among men who never once consult her. The play's …

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