HIAWATHA'S DEPARTURE by Henry Wadsworth Longfellow: Summary, Meaning & Analysis
Hiawatha, a revered Native American leader, stands on the shores of Lake Superior, greeting Christian missionaries as they arrive by canoe from the east.
The poem
By the shore of Gitche Gumee, By the shining Big-Sea-Water, At the doorway of his wigwam, In the pleasant Summer morning, Hiawatha stood and waited. All the air was full of freshness, All the earth was bright and joyous, And before him, through the sunshine, Westward toward the neighboring forest Passed in golden swarms the Ahmo, Passed the bees, the honey-makers, Burning, singing in the sunshine. Bright above him shone the heavens, Level spread the lake before him; From its bosom leaped the sturgeon, Sparkling, flashing in the sunshine; On its margin the great forest Stood reflected in the water, Every tree-top had its shadow, Motionless beneath the water. From the brow of Hiawatha Gone was every trace of sorrow, As the fog from off the water, As the mist from off the meadow. With a smile of joy and triumph, With a look of exultation, As of one who in a vision Sees what is to be, but is not, Stood and waited Hiawatha. Toward the sun his hands were lifted, Both the palms spread out against it, And between the parted fingers Fell the sunshine on his features, Flecked with light his naked shoulders, As it falls and flecks an oak-tree Through the rifted leaves and branches. O'er the water floating, flying, Something in the hazy distance, Something in the mists of morning, Loomed and lifted from the water, Now seemed floating, now seemed flying, Coming nearer, nearer, nearer. Was it Shingebis the diver? Or the pelican, the Shada? Or the heron, the Shuh-shuh-gah? Or the white goose, Waw-be-wawa, With the water dripping, flashing, From its glossy neck and feathers? It was neither goose nor diver, Neither pelican nor heron, O'er the water floating, flying, Through the shining mist of morning, But a birch canoe with paddles, Rising, sinking on the water, Dripping, flashing in the sunshine; And within it came a people From the distant land of Wabun, From the farthest realms of morning Came the Black-Robe chief, the Prophet, He the Priest of Prayer, the Pale-face, With his guides and his companions. And the noble Hiawatha, With his hands aloft extended, Held aloft in sign of welcome, Waited, full of exultation, Till the birch canoe with paddles Grated on the shining pebbles, Stranded on the sandy margin, Till the Black-Robe chief, the Pale-face, With the cross upon his bosom, Landed on the sandy margin. Then the joyous Hiawatha Cried aloud and spake in this wise: "Beautiful is the sun, O strangers, When you come so far to see us! All our town in peace awaits you, All our doors stand open for you; You shall enter all our wigwams, For the heart's right hand we give you. "Never bloomed the earth so gayly, Never shone the sun so brightly, As to-day they shine and blossom When you come so far to see us! Never was our lake so tranquil, Nor so free from rocks, and sand-bars; For your birch canoe in passing Has removed both rock and sand-bar. "Never before had our tobacco Such a sweet and pleasant flavor, Never the broad leaves of our cornfields Were so beautiful to look on, As they seem to us this morning, When you come so far to see us!' And the Black-Robe chief made answer, Stammered in his speech a little, Speaking words yet unfamiliar: "Peace be with you, Hiawatha, Peace be with you and your people, Peace of prayer, and peace of pardon, Peace of Christ, and joy of Mary!" Then the generous Hiawatha Led the strangers to his wigwam, Seated them on skins of bison, Seated them on skins of ermine, And the careful old Nokomis Brought them food in bowls of basswood, Water brought in birchen dippers, And the calumet, the peace-pipe, Filled and lighted for their smoking. All the old men of the village, All the warriors of the nation, All the Jossakeeds, the Prophets, The magicians, the Wabenos, And the Medicine-men, the Medas, Came to bid the strangers welcome; "It is well", they said, "O brothers, That you come so far to see us!" In a circle round the doorway, With their pipes they sat in silence, Waiting to behold the strangers, Waiting to receive their message; Till the Black-Robe chief, the Pale-face, From the wigwam came to greet them, Stammering in his speech a little, Speaking words yet unfamiliar; "It is well," they said, "O brother, That you come so far to see us!" Then the Black-Robe chief, the Prophet, Told his message to the people, Told the purport of his mission, Told them of the Virgin Mary, And her blessed Son, the Saviour, How in distant lands and ages He had lived on earth as we do; How he fasted, prayed, and labored; How the Jews, the tribe accursed, Mocked him, scourged him, crucified him; How he rose from where they laid him, Walked again with his disciples, And ascended into heaven. And the chiefs made answer, saying: "We have listened to your message, We have heard your words of wisdom, We will think on what you tell us. It is well for us, O brothers, That you come so far to see us!" Then they rose up and departed Each one homeward to his wigwam, To the young men and the women Told the story of the strangers Whom the Master of Life had sent them From the shining land of Wabun. Heavy with the heat and silence Grew the afternoon of Summer; With a drowsy sound the forest Whispered round the sultry wigwam, With a sound of sleep the water Rippled on the beach below it; From the cornfields shrill and ceaseless Sang the grasshopper, Pah-puk-keena; And the guests of Hiawatha, Weary with the heat of Summer, Slumbered in the sultry wigwam. Slowly o'er the simmering landscape Fell the evening's dusk and coolness, And the long and level sunbeams Shot their spears into the forest, Breaking through its shields of shadow, Rushed into each secret ambush, Searched each thicket, dingle, hollow; Still the guests of Hiawatha Slumbered in the silent wigwam. From his place rose Hiawatha, Bade farewell to old Nokomis, Spake in whispers, spake in this wise, Did not wake the guests, that slumbered. "I am going, O Nokomis, On a long and distant journey, To the portals of the Sunset. To the regions of the home-wind, Of the Northwest-Wind, Keewaydin. But these guests I leave behind me, In your watch and ward I leave them; See that never harm comes near them, See that never fear molests them, Never danger nor suspicion, Never want of food or shelter, In the lodge of Hiawatha!" Forth into the village went he, Bade farewell to all the warriors, Bade farewell to all the young men, Spake persuading, spake in this wise: "I am going, O my people, On a long and distant journey; Many moons and many winters Will have come, and will have vanished, Ere I come again to see you. But my guests I leave behind me; Listen to their words of wisdom, Listen to the truth they tell you, For the Master of Life has sent them From the land of light and morning!" On the shore stood Hiawatha, Turned and waved his hand at parting; On the clear and luminous water Launched his birch canoe for sailing, From the pebbles of the margin Shoved it forth into the water; Whispered to it, "Westward! westward!" And with speed it darted forward. And the evening sun descending Set the clouds on fire with redness, Burned the broad sky, like a prairie, Left upon the level water One long track and trail of splendor, Down whose stream, as down a river, Westward, westward Hiawatha Sailed into the fiery sunset, Sailed into the purple vapors, Sailed into the dusk of evening: And the people from the margin Watched him floating, rising, sinking, Till the birch canoe seemed lifted High into that sea of splendor, Till it sank into the vapors Like the new moon slowly, slowly Sinking in the purple distance. And they said, "Farewell forever!" Said, "Farewell, O Hiawatha!" And the forests, dark and lonely, Moved through all their depths of darkness, Sighed, "Farewell, O Hiawatha!" And the waves upon the margin Rising, rippling on the pebbles, Sobbed, "Farewell, O Hiawatha!" And the heron, the Shuh-shuh-gah, From her haunts among the fen-lands, Screamed, "Farewell, O Hiawatha!" Thus departed Hiawatha, Hiawatha the Beloved, In the glory of the sunset,. In the purple mists of evening, To the regions of the home-wind, Of the Northwest-Wind, Keewaydin, To the Islands of the Blessed, To the Kingdom of Ponemah, To the Land of the Hereafter!
Hiawatha, a revered Native American leader, stands on the shores of Lake Superior, greeting Christian missionaries as they arrive by canoe from the east. After hosting them, listening to their message, and encouraging his people to embrace their teachings, he quietly departs in his birch canoe, gliding west into the sunset toward the land of the dead — and as he leaves, the entire world, including the forests, waves, and birds, bids him farewell.
Line-by-line
By the shore of Gitche Gumee, / By the shining Big-Sea-Water,
From the brow of Hiawatha / Gone was every trace of sorrow,
O'er the water floating, flying, / Something in the hazy distance,
And the noble Hiawatha, / With his hands aloft extended,
Then the Black-Robe chief, the Prophet, / Told his message to the people,
Heavy with the heat and silence / Grew the afternoon of Summer;
From his place rose Hiawatha, / Bade farewell to old Nokomis,
On the shore stood Hiawatha, / Turned and waved his hand at parting;
Tone & mood
Ceremonial and mournful, the poem follows a steady, drum-like rhythm thanks to its trochaic tetrameter, which lends even the simplest lines a sense of ritual importance. The opening stanzas feel joyful and bright, yet there's an underlying inevitability — Hiawatha's smile hints at someone who has glimpsed the future in a vision. By the end, the tone shifts to pure lament, as the entire natural world seems to join in a farewell chorus. It avoids sentimentality because the grief is so broadly shared: rather than a single voice crying out, everything around us mourns.
Symbols & metaphors
- The westward journey / sunset — West symbolizes death in many Indigenous traditions, and Longfellow fully embraces this idea. Hiawatha sailing into the sunset signifies his departure from the living world toward 'the Land of the Hereafter.' The burning sky is both beautiful and a final farewell.
- The birch canoe — It carries the arriving missionaries and the departing Hiawatha, serving as a symbol of transition and change. When Hiawatha's canoe fades into the mist, it's likened to a new moon setting—something that may come back in a new cycle, or possibly never return.
- Light and sunshine — Sunshine fills the poem's opening — bees buzz in it, the sturgeon glimmers in it, light slips through Hiawatha's fingers. It captures the richness of the world Hiawatha is leaving behind. As he moves on, the light shifts into fire and then into deep purple darkness, marking his journey from life to death.
- The Black-Robe chief / missionaries — The missionaries symbolize the introduction of European Christianity, suggesting the end of the world that Hiawatha has known. While Longfellow portrays their arrival as peaceful and almost divinely appointed, the reality is that Hiawatha departs right after welcoming them—his world and theirs simply cannot coexist.
- The peace-pipe (calumet) — Lit and shared with strangers, the calumet represents hospitality and a sacred agreement. Its presence at the welcome ceremony shows that Hiawatha's people are beginning this new relationship with good intentions.
- The heron (Shuh-shuh-gah) — The heron shows up two times: first as one of the birds that the canoe might encounter, and then as the last voice to say goodbye. It frames the poem and allows nature to have a voice in Hiawatha's tale.
Historical context
Longfellow published *The Song of Hiawatha* in 1855, the same year that Whitman released *Leaves of Grass*—two contrasting visions of American poetry. Longfellow drew inspiration from the ethnographic work of Henry Rowe Schoolcraft, who documented Ojibwe oral traditions in the 1830s and 1840s, and he adapted the poem's unique meter from the Finnish national epic *Kalevala*. "Hiawatha's Departure" is the poem's concluding canto. In it, Longfellow presents the arrival of Jesuit missionaries as an event welcomed and even orchestrated by Hiawatha himself, reflecting the paternalistic views of his time rather than the actual historical context. The poem was a massive hit during its release, selling out its first printing in just a few days. However, later generations have justifiably critiqued its romantic portrayal of Indigenous cultures and its depiction of colonization as a peaceful, divinely sanctioned transition.
FAQ
He is sailing west, heading toward death—or at least the afterlife. Longfellow refers to it as 'the Islands of the Blessed,' 'the Kingdom of Ponemah,' and 'the Land of the Hereafter.' The westward journey holds meaning: in numerous Indigenous traditions, west signifies the realm of the dead. Hiawatha isn't escaping; he is fulfilling his purpose and moving on.
In Longfellow's version, Hiawatha has a vision that foretells the arrival of the missionaries, which he believes is intended by 'the Master of Life.' He feels responsible for getting his people ready for this new reality. This portrayal reflects Longfellow's 19th-century idealism, glossing over the violence and coercion that truly marked the interactions between missionaries and Indigenous peoples.
The poem uses trochaic tetrameter, which consists of four stressed-unstressed pairs that begin with a stressed syllable. It has a sound like: *BY the SHORE of GIT-che GU-mee*. Longfellow borrowed this meter from the Finnish epic *Kalevala*. The consistent, falling rhythm resembles a drumbeat or chant, contributing to the poem's ceremonial feel and making it both memorable and easy to parody.
There was a real Hiawatha — a leader from the Haudenosaunee (Iroquois) who played a role in establishing the Iroquois Confederacy, likely in the 15th or 16th century. However, Longfellow's Hiawatha draws from Ojibwe legends gathered by Henry Rowe Schoolcraft, making the two figures largely unrelated. Longfellow took the name of one historical individual and merged it with stories from a completely different cultural background.
Longfellow portrays the situation as harmonious and almost fated. Hiawatha urges his people to heed the missionaries, claiming that the Master of Life has sent them. This aligns with a prevalent 19th-century notion that Indigenous peoples would naturally embrace conversion. However, it overlooks the coercion, disease, and cultural devastation that often accompanied actual missionary interactions, a point modern readers should keep in mind.
Longfellow employs a technique known as pathetic fallacy, where nature mirrors human emotions. By having the forest, the waves, and the heron all call out Hiawatha's name, he transforms the departure from a personal loss into a cosmic event. The entire natural world grieves because Hiawatha was a part of it — he acted as its steward and voice — and now that world is coming to an end.
Gitche Gumee is the Ojibwe name for Lake Superior, the largest of the Great Lakes. Longfellow translates it right after as 'the shining Big-Sea-Water.' The lake serves as the poem's anchor — it's Hiawatha's home, the arrival point for the missionaries, and the water he sails across.
Longfellow intentionally leaves the ending open to interpretation. Hiawatha doesn’t die in the narrative — he sails away. While he heads toward the Land of the Hereafter, the poem presents it as a journey instead of a final death. This reflects the pattern found in many hero legends, where the great leader departs for a blessed place, leaving the chance for a return.