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BINDO. by Henry Wadsworth Longfellow

Summary, meaning, line-by-line analysis & FAQ.

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This short poem expresses a deep sorrow from the perspective of someone living under a tyrant's rule in Renaissance Florence.

Poet
Henry Wadsworth Longfellow
Themes
despair, freedom, justice
The PoemFull text

BINDO.

Henry Wadsworth Longfellow

Nothing new; The same old tale of violence and wrong. Since the disastrous day at Monte Murlo, When in procession, through San Gallo's gate, Bareheaded, clothed in rags, on sorry steeds, Philippo Strozzi and the good Valori Were led as prisoners down the streets of Florence, Amid the shouts of an ungrateful people, Hope is no more, and liberty no more. Duke Cosimo, the tyrant, reigns supreme.

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

This short poem expresses a deep sorrow from the perspective of someone living under a tyrant's rule in Renaissance Florence. Following a devastating military loss, two champions of freedom were publicly humiliated as they were paraded through the city, while the crowd cheered instead of grieving. The speaker laments that hope and liberty have vanished — erased by a single terrible day and a cruel ruler.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. Nothing new; / The same old tale of violence and wrong.

    Editor's note

    The speaker begins with a weary sense of acceptance. The phrase "nothing new" indicates that tyranny isn't unexpected — it's a recurring theme in human history. This line establishes a mood of bitter fatigue even before any particular event is mentioned.

  2. Since the disastrous day at Monte Murlo, / When in procession, through San Gallo's gate,

    Editor's note

    The Battle of Montemurlo in 1537 marked the moment when the Medici forces decisively defeated the Florentine republicans. Longfellow ties the poem's sense of grief to this specific historical event—it's not just general sorrow, but a deep wound that can be pinpointed in time and place.

  3. Bareheaded, clothed in rags, on sorry steeds, / Philippo Strozzi and the good Valori

    Editor's note

    Filippo Strozzi and Francesco Valori were prominent members of the republican opposition. Forcing them from their dignified attire and placing them on shabby horses was a deliberate act of public humiliation — the victors aimed to show that resistance was not only defeated but also made to look foolish.

  4. Were led as prisoners down the streets of Florence, / Amid the shouts of an ungrateful people,

    Editor's note

    The word "ungrateful" hits hardest in the poem. The crowd that cheers for the tyrant is the same one whose freedom Strozzi and Valori fought to protect. The speaker's sorrow extends beyond the prisoners; it encompasses a city that has turned its back on its own best interests.

  5. Hope is no more, and liberty no more. / Duke Cosimo, the tyrant, reigns supreme.

    Editor's note

    The closing couplet strikes a stark and final note. It offers no consolation or appeal for future resistance — only a clear declaration of defeat. Referring to Cosimo de' Medici as "the tyrant" is a political statement in itself, denying the legitimacy that his official titles would provide.

§04Tone & mood

How this poem feels

The tone reflects a cold, exhausted grief — not a fiery anger, but a sorrow that has consumed its rage and emerged as bleak resignation. Beneath the surface, there’s a quiet contempt directed at both the tyrant and the crowd that embraced him.

§05Symbols & metaphors

Symbols & metaphors

The procession through San Gallo's gate
A triumphal procession has traditionally celebrated victory and power. In this case, however, it is turned on its head: the heroes are the ones being paraded in shame. The gate serves as a boundary between a world where liberty was possible and one where it is not.
Rags and sorry steeds
Clothing and horses represented social rank in Renaissance Italy. By removing these from the prisoners, the act intentionally strips away their status and dignity — the tyrant is not only imprisoning them but also symbolically diminishing them in front of the public.
The shouts of an ungrateful people
The crowd's cheers reflect how ordinary citizens are complicit in their own oppression. This shows how tyranny persists—not just through force, but also because those it harms willingly take part in it.
Duke Cosimo
Cosimo I de' Medici represents the essence of absolute, illegitimate power. By directly naming him and labeling him "the tyrant" in the final line, Longfellow transforms this historical figure into a symbol of all rulers who oppress freedom through force.

§06Historical context

Historical context

Longfellow wrote this poem for his dramatic work *Michael Angelo*, which was published posthumously in 1883. The poem delves into the life and times of Michelangelo Buonarroti. The Battle of Montemurlo, fought in August 1537, marked a significant moment in Florentine history: it effectively ended the last serious republican challenge to Medici power in one decisive clash. Filippo Strozzi, a leading opponent of the Medici and one of the wealthiest figures of his time, was captured and later died in prison, likely murdered. Cosimo I de' Medici subsequently ruled Florence for many years and eventually became the Grand Duke of Tuscany. Throughout his career, Longfellow had a deep interest in Italian history and culture, and this poem showcases his empathy for republican ideals, viewing the Italian Renaissance as a saga marked by the loss of civic freedom.

§07FAQ

Questions readers ask

"Bindo" is a character in Longfellow's dramatic poem *Michael Angelo*, where he expresses his sorrow. The name is a Florentine nickname derived from Ildebrando. The poem takes the form of a dramatic monologue, featuring one speaker who conveys the grief of the defeated republicans.

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