The Annotated Edition
BY JACQUES JASMIN by Henry Wadsworth Longfellow
Longfellow recounts a poignant Occitan folk tale about Baptiste, a young man who leaves his blind sweetheart, Margaret, to marry the more beautiful Angela.
- Themes
- betrayal, loneliness, love
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Only the Lowland tongue of Scotland might / Rehearse this little tragedy aright;
Editor's note
Longfellow begins with a modest disclaimer: he is translating and adapting a poem by the Gascon poet Jacques Jasmin, acknowledging that the rough, earthy dialect of Lowland Scots would better capture the rural essence than refined English. He asks readers to appreciate his good intentions rather than expect a flawless translation. This is a thoughtful way of indicating that what follows is a story grounded in a particular place and community, even if his English version can only strive to convey that sentiment.
At the foot of the mountain height / Where is perched Castel Cuille,
Editor's note
The first section begins on a spring morning in the Gascon countryside. Village girls and their sweethearts sing a wedding song as they make their way down the hillside to the church. The scene is intentionally joyful and picturesque—blossoming trees, a blue sky, and laughing couples—because Longfellow aims to highlight the vibrant spirit of the celebration before introducing darker themes. The repeated bridal chorus ('The roads should blossom...') serves as a catchy folk tune that will reappear throughout the poem.
It is Baptiste, and his affianced maiden, / With garlands for the bridal laden!
Editor's note
The crowd calls out the names of the groom and bride for the first time. The sky is clear, the wind carries the scent of spring, and everything seems perfect on the surface. Yet, Longfellow quickly shifts the tone by questioning why Baptiste remains silent and sighs amidst all this celebration. This question lingers in the air, drawing the reader in.
It is, that half-way up the hill, / In yon cottage, by whose walls
Editor's note
Here the poem conveys its main backstory in a single, concise passage. Baptiste was initially promised to Margaret, a blind orphan girl who lost her sight due to a summer plague. Her father ended the engagement, and Baptiste drifted away, only to return three days ago, now caught up in marrying Angela instead. The phrase 'Love, the deceiver, them ensnared' serves a dual purpose: it first describes how Baptiste and Margaret fell in love, but it also reflects how Baptiste has been drawn into this new marriage.
Then suddenly a maiden cried, / 'Anna, Theresa, Mary, Kate!'
Editor's note
The village fortune-teller, cripple Jane, stands by the fountain. Usually, she’s the cheerful herald of joyous weddings and healthy babies, but today her expression is grave. She targets Baptiste with a piercing glare and warns Angela bluntly: marrying this false bridegroom is like digging her own grave. Her warning hits hard, tears are shed for a brief moment, and then the procession resumes its dance. Only Baptiste turns pale. The crowd's capacity to absorb such a dire prophecy and continue singing is one of the poem's most striking insights.
And by suffering worn and weary, / But beautiful as some fair angel yet,
Editor's note
Part II focuses on Margaret's cottage. Her monologue serves as the emotional core of the poem. She has been counting the days since Baptiste came back to the village, waiting for him to stop by, making excuses for why he hasn't, and convincing herself that he will soon walk through the door. Her blindness is both literal and metaphorical: she cannot recognize what the reader already understands. The line 'Day for the others ever, but for me / Forever night!' clearly expresses her sense of isolation.
And the door ajar is set, / And poor, confiding Margaret
Editor's note
Margaret hears footsteps and rises with open arms, convinced it’s Baptiste. Instead, it’s her brother Paul, who naively wonders why they weren’t invited to the wedding — and then mentions Baptiste as the groom. Margaret’s reaction is striking: her face turns pale, she feels a cold grip on her heart, and she stands still like a wax figure. There’s no screaming or fainting; she just freezes in place.
'Hark! the joyous airs are ringing! / Sister, dost thou hear them singing?
Editor's note
Paul, unaware of the impact of his words, excitedly talks about attending the wedding tomorrow and what outfit he might choose. Margaret responds with subdued grief, suggesting he wear his best doublet and then asking for some space. The stark difference between Paul's youthful enthusiasm and Margaret's quiet sorrow feels harsh, especially because it’s so commonplace. Children often don’t realize when they’ve hurt someone.
Entered Jane, the crippled crone. / 'Holy Virgin! what dreadful heat!'
Editor's note
Jane arrives and instantly sees that Margaret is as cold as ice, despite the warm evening. Margaret puts on an act of happiness: she smiles, reminisces about the wedding cards Jane once read for her, and feigns excitement about her own future joy. She does such a good job that Jane leaves thinking Margaret is clueless and might escape the worst of it. The last lines reveal a bitter irony: Jane, who accurately predicted trouble for Angela this morning, is now completely taken in. Her gift only shines when she doesn’t attempt to shield others from it.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- Blindness
- Margaret's blindness symbolizes her emotional vulnerability and her failure to notice Baptiste's betrayal. It heightens her reliance on him; she calls him 'the star of my night,' the only light in her constant darkness.
- The bridal chorus ('The roads should blossom')
- The recurring wedding song begins as a cheerful folk celebration but slowly turns into a tool of cruelty. Each time it plays, it signifies another phase of Margaret's unknowingly deepening loss. When Paul hums it at the door, that familiar sound is what ultimately pulls her out of shock and into her grief.
- The golden chain
- When Baptiste comes back to the village, the community wraps a 'golden chain' around him and guides him toward Angela. This image reflects the social pressure and community expectation as a beautiful trap — it sparkles, yet it binds him.
- The wax Madonna
- After hearing the news, Margaret stands like a wax Madonna dressed as a peasant. The image blends religious suffering with stillness and a pale complexion. She is likened to a devotional object: something that absorbs pain without flinching, existing solely to be gazed at in sorrow.
- Jane's wand and the sign of the cross
- Jane uses a thin wand to make the sign of the cross over Angela while delivering her warning. This gesture mixes folk magic with Christian ritual, implying that the truth she shares comes from a source beyond what we usually understand — and that it brings both a blessing and a curse.
- The branch of ivy
- Margaret describes herself as "a branch of ivy, dying on the ground," yearning for a bough to wrap around. Ivy traditionally symbolizes faithful attachment and dependence. In this context, it shows that her love is both genuine and clingy, but also that it will wither without support.
§06Historical context
Historical context
§07FAQ
Questions readers ask
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