INSCRIPTION ON THE SHANKLIN FOUNTAIN
O traveller, stay thy weary feet;
Drink of this fountain, pure and sweet;
It flows for rich and poor the same.
Then go thy way, remembering still
The wayside well beneath the hill,
The cup of water in His name.
The Annotated Edition
INSCRIPTION ON THE SHANKLIN FOUNTAIN by Henry Wadsworth Longfellow
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A brief poem inscribed on a public drinking fountain in Shanklin on the Isle of Wight, this piece encourages weary travelers to pause and drink freely, no matter their wealth.
- Meter
- iambic tetrameter
- Rhyme
- AABCCB
- Themes
- faith, freedom, hope
§01Quick summary
What this poem is about
A brief poem inscribed on a public drinking fountain in Shanklin on the Isle of Wight, this piece encourages weary travelers to pause and drink freely, no matter their wealth. Longfellow connects the humble act of drinking water to a Christian notion of charity, reflecting Jesus's promise that even giving a cup of water in His name holds spiritual significance. It's a small poem with a significant impact: transforming a stone fountain into a symbol of equality and grace.
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
O traveller, stay thy weary feet; / Drink of this fountain, pure and sweet;
Editor's note
The poem begins with a direct address, as if the fountain is speaking to anyone who passes by. "Stay thy weary feet" invites a moment of pause, while describing the water as "pure and sweet" suggests it’s more of a gift than just a utility. The use of the archaic "thy" adds a timeless, inscribed-in-stone quality that fits the fountain perfectly.
It flows for rich and poor the same. / Then go thy way, remembering still
Editor's note
This is the moral heart of the poem. The fountain doesn't differentiate between a wealthy merchant and a penniless wanderer — the water is the same for both. "Then go thy way" softly encourages the traveler to continue their journey, but asks them to take away something more than just the water: a memory, a thought.
The wayside well beneath the hill, / The cup of water in His name.
Editor's note
The closing couplet anchors the poem in Christian tradition. "The cup of water in His name" references Matthew 10:42, where Jesus teaches that giving a cup of cold water to someone in need is a righteous act. The fountain is portrayed not merely as civic infrastructure but as an expression of faith and charity. "The wayside well beneath the hill" also subtly evokes the biblical moment of Jesus at the well of Samaria, enhancing the religious significance.
§04Tone & mood
How this poem feels
The tone is gentle, welcoming, and quietly devout. There's no drama or urgency—just a calm, steady voice that feels solid and enduring, which it indeed is. Longfellow keeps it warm instead of preachy, allowing the religious note to emerge softly at the end rather than front-loading it.
§05Symbols & metaphors
Symbols & metaphors
- The fountain / flowing water
- Water here embodies its timeless symbols: life, refreshment, and grace offered without reservation. It also ties into baptism and Christ's promise of "living water" in the Gospel of John, turning the physical fountain into a representation of spiritual nourishment.
- The weary traveller
- The traveller represents everyone — whether they are wealthy or struggling, devout or indifferent. The weariness described is both physical (tired feet on a long journey) and metaphorical (the overall fatigue of life). Speaking to the traveller directly engages the reader, drawing them into the poem.
- The cup of water
- The cup of water, referenced in Matthew 10:42, represents the simplest act of kindness. The poem suggests that even this small gesture, performed in Christ's name, carries significant meaning. It turns a regular drink into a charitable act.
- The wayside well beneath the hill
- The specific, humble location — not a grand cathedral fountain but a simple well by the road — highlights the poem's message about equality and everyday grace. It also brings to mind the well of Samaria, where Jesus spoke to an outcast woman, strengthening the theme of welcome for all.
§06Form & structure
Form & structure
- Meter
- iambic tetrameter
- Rhyme
- AABCCB
§07Historical context
Historical context
Longfellow wrote this poem as an inscription for a public drinking fountain in Shanklin, a village on the Isle of Wight, England. These public fountains were common in Victorian civic life, often funded by philanthropists or temperance societies aiming to provide free, clean water as an alternative to alcohol. Longfellow visited the Isle of Wight and felt inspired enough to contribute these lines. The poem is part of a long tradition of inscriptional verse—short poems meant to be read on objects, monuments, or buildings—dating back to ancient Greece and Rome. By the 1870s, Longfellow was the most widely read poet among English speakers, so his name on a fountain would have held significant cultural significance. The biblical reference to Matthew 10:42 would have been easily recognized by a Victorian audience.
§08FAQ
Questions readers ask
It's an inscription meant for a public drinking fountain in Shanklin on the Isle of Wight. The poem encourages weary travelers to pause and take a drink, emphasizing that the water is free for all, no matter their wealth. It concludes by linking this simple act of drinking to the idea of Christian charity.
It's a reference to Matthew 10:42 in the Bible, where Jesus mentions that giving even a cup of cold water to someone in need—in His name—counts as a meaningful and righteous act. Longfellow suggests that the fountain embodies this idea by providing a small act of kindness to strangers, highlighting that even this little gesture holds spiritual importance.
The poem speaks to "the traveller" — anyone who strolls by the fountain. Since it’s inscribed on a physical object, the intended audience is literally anyone who takes a moment to read it, giving the address a personal touch for every reader.
The poem features a compact AABCCB rhyme scheme throughout its six lines: *feet/sweet* (AA), *same* (B), *still/hill* (CC), *name* (B). The repetition of the B rhyme at the end creates a satisfying, closed feeling—similar to a door softly closing.
This line makes a practical and a moral statement. On a practical level, public fountains in the Victorian era were truly democratic—anyone could access them for a drink. Morally, Longfellow reflects a Christian belief that grace and charity are for everyone, without discrimination. The fountain serves as a miniature representation of how he believes the world should function.
Yes, quietly. The religious content unfolds gradually and culminates in the final line. Longfellow doesn't preach; instead, he allows the biblical echo to emerge naturally. Victorian readers would have recognized the reference to Matthew 10:42 right away, but even without that context, the poem serves as a straightforward and generous invitation.
Inscriptional poetry refers to verse created to be carved or displayed on physical objects like fountains, gravestones, monuments, or sundials. This form of poetry dates back to ancient Greece and Rome, making it one of the oldest types of poetic expression. The guidelines are quite strict: it needs to be brief, clear, and meaningful for someone encountering it without prior context.
It's not one of his most famous works—those would be lengthier pieces like *The Song of Hiawatha* or *Paul Revere's Ride*. However, this brief inscription has endured because it accomplishes its purpose so effectively. It perfectly illustrates how a poet can convey something truly touching in just six lines.
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