The Annotated Edition
Joachim by Henry Wadsworth Longfellow
A monk named Joachim, residing in a hilltop convent in Italy, contemplates his life's work: writing three sacred books that he believes outline a significant three-part plan for human history, beginning with the age of God the Father, moving through the age of the Son, and anticipating a future age of the Holy Spirit and Love.
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§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
The wind is rising; it seizes and shakes / The doors and window-blinds and makes
Editor's note
Joachim starts by depicting a real windstorm hitting his convent. But he quickly elevates the moment to a spiritual level — the moaning chimneys transform into trumpets heralding a heavenly army. The wind represents both the weather and the Holy Spirit, referencing the biblical image of the Spirit moving like breath or wind. This scene establishes the mood: something commonplace is infused with divine significance.
O breath of God! O my delight / In many a vigil of the night,
Editor's note
Joachim speaks to the Holy Spirit in a direct and personal way — it is his *delight*, not merely an abstract theological idea. He likens his experience to that of John the Apostle on the island of Patmos, who received a voice instructing him to write the Book of Revelation. The command Joachim hears — *Write the things that thou hast seen* — is nearly identical to Revelation 1:11, positioning Joachim within the same prophetic tradition.
This convent, on the rocky crest / Of the Calabrian hills, to me
Editor's note
Joachim refers to his hilltop convent as his own personal Patmos — a spot for solitude, inspiration, and divine connection. The white mists rolling beneath him resemble a sea, drawing a parallel: just as John was enveloped by water, Joachim is enveloped by clouds. He describes the world below as dark and enigmatic, something he's transcended. The stanza concludes with a vivid image of the world as a roadside inn — a fleeting place he has no intention of returning to.
Thus, in the hollow of God's hand / I dwelt on sacred Tabor's height,
Editor's note
Joachim reminisces about his youth, recalling his journey as a young acolyte to the Holy Land. On Mount Tabor, the traditional site of Christ's Transfiguration, he heard the divine call to write for the first time. The lightning metaphor in this poem is particularly striking: a sudden flash that lights up the entire landscape, etching the image into memory forever. For Joachim, this is what divine inspiration feels like — abrupt, complete, and lasting.
And I have written. These volumes three, / The Apocalypse, the Harmony
Editor's note
Joachim identifies his three genuine historical works: the *Book of Concordance* (referred to here as the Harmony), the *Exposition on the Apocalypse*, and the *Psalterium Decem Chordarum* (Psalter with Ten Strings). He likens his concealed doctrines to the leaven mentioned in the parable from Matthew 13—a small element that will ultimately change everything. He believes his ideas will gain traction, even if they aren't completely grasped at this stage.
Open and manifest to me / The truth appears, and must be told;
Editor's note
Joachim presents the foundation of his theology: all sacred truth comes in threes. The Trinity consists of three persons; human history unfolds in three ages; and Scripture contains three testaments that correspond to Fear, Wisdom, and Love. This is his well-known doctrine of the three ages, which sparked significant debate and influence in medieval theology. He describes it as a progression — Fear leads to Wisdom, and Wisdom culminates in Love.
In the first Age, the early prime / And dawn of all historic time,
Editor's note
Joachim walks through the first two ages in sequence. The Age of the Father was marked by raw power — lightning, floods, earthquakes, and the awe-inspiring presence of God in the Old Testament. The Age of the Son introduced law, peace, and the illuminating light of the New Testament. Longfellow paints the Son's age with a warmer, more radiant quality: divine light shining across the centuries, reaching church spires. Both ages are now reflected upon as things of the past.
These Ages now are of the Past; / And the Third Age begins at last.
Editor's note
The Third Age — the Age of the Holy Spirit — is unfolding during Joachim's lifetime. He observes signs such as monks populating convents and men abandoning the hustle of commerce for prayer and reflection. The sight of convent walls, white as snow throughout the land, represents both the literal spread of monastic life and a symbol of purity, marking the beginning of a new spiritual era. Joachim interprets his historical moment as the realization of prophecy.
Eternal benedictions rest / Upon thy name, Saint Benedict!
Editor's note
Joachim ends with a prayer to Saint Benedict, the founder of Western monasticism, asking for faithfulness in his own calling. He wishes to pass away like Benedict — in prayer, with his arms outstretched like a cross. The poem then shifts into its most passionate tone: a declaration that his work is complete, rooted in faith, hope, and charity. The closing lines take on a creedal quality — Love is life, Hate is death, and anyone who teaches otherwise betrays Christ just like Judas did.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The wind
- The opening windstorm represents both actual weather and the Holy Spirit — the Greek word *pneuma* refers to both wind and spirit. The wind shaking the convent is the same breath of God that flows through history and the prophet's soul.
- Lightning
- The flash of lightning that sears a landscape into memory is Longfellow's metaphor for divine inspiration: abrupt, involuntary, all-encompassing, and lasting. It illustrates how one fleeting moment of insight can shape a whole career.
- Patmos
- The island where John wrote Revelation serves as a model for any site of sacred solitude. Joachim's hilltop in Calabria is his Patmos — a place removed from everyday life where he can hear the divine voice distinctly.
- The three ages
- Fear, Wisdom, and Love correspond to the Father, Son, and Holy Spirit, respectively. They aren't merely theological concepts; they represent a narrative of human history evolving from fear to freedom and from law to grace.
- The leaven
- Borrowed from Christ's parable in Matthew 13, the hidden leaven symbolizes Joachim's own doctrines — small and hidden, yet set to change everything around them. He implies: the world may not grasp what I have written yet, but it will.
- Love and Hate
- In the final stanza, these concepts turn into cosmic opposites: Love represents the Holy Spirit, life itself, and light; Hate embodies death, smoke, and the abyss where serpents coil. The poem concludes by reducing all of Joachim's complex theology into this simple binary.
§06Historical context
Historical context
§07FAQ
Questions readers ask
Who is Joachim in this poem?
He is Joachim of Fiore, a genuine 12th-century monk and mystic from Italy. He resided in a monastery in Calabria, located at the toe of Italy's boot, and authored three significant theological works that propose human history is divided into three ages, mirroring the Trinity. Longfellow crafts a dramatic monologue for him, allowing him to address the reader directly.
What are the three ages Joachim describes?
The Age of the Father refers to the Old Testament era, characterized by fear, power, and law. The Age of the Son is the New Testament era, marked by wisdom, peace, and light. Joachim thought he was witnessing the beginning of the upcoming Age of the Holy Spirit, which will be defined by love, grace, and contemplation.
Why does Joachim compare himself to John on Patmos?
John the Apostle wrote the Book of Revelation while he was on the Greek island of Patmos, where he was exiled. He heard a divine voice telling him to write down what he saw. Similarly, Joachim receives the same command and views his secluded convent on the hilltop as his own Patmos—a place cut off from the world where he can gain prophetic insight.
What are the three books Joachim mentions?
These are his genuine historical writings: the Liber Concordiae (Harmony of the Scriptures), the Expositio in Apocalypsim (commentary on the Apocalypse), and the Psalterium Decem Chordarum (Psalter with Ten Strings). All three have survived and had a real impact on medieval theology.
What does the lightning image mean?
Joachim likens a moment of divine inspiration to a flash of lightning cutting through the darkness of night — in that brief instant, everything is laid bare with complete clarity: the tower, the town, the hill, the plain, all seared into memory forever. This image stands out in the poem, illustrating how a single spiritual experience can shape a whole life.
Why does the poem end so forcefully with Love versus Hate?
After pages of detailed theology, Joachim simplifies everything to its essence: Love represents the Holy Spirit, the source of life; Hate signifies death and the one sin that cannot be forgiven. The last line — Who preaches otherwise than this / Betrays his Master with a kiss — references Judas, raising the stakes significantly. This reflects Joachim's belief that his intricate doctrine boils down to a single idea.
What is the significance of Saint Benedict at the end?
Benedict of Nursia established Western monasticism in the 6th century, and his Rule shaped the convent life that Joachim experienced. By praying to Benedict and wishing to die as he did — arms spread wide in prayer like a crucified figure — Joachim aligns himself with a long line of holy men who devoted their lives completely to God. This act reflects humility following a poem brimming with prophetic confidence.
Is this poem a dramatic monologue?
Yes. Longfellow writes completely in Joachim's voice, allowing the monk to share his theology, memories, and beliefs directly. This excerpt is from Christus: A Mystery, a lengthy dramatic piece meant to be read as if a character is speaking—similar to a soliloquy in a play.
Citation
Cite this poem
MLA
Longfellow, Henry Wadsworth. "Joachim." Storgy, https://storgy.com/poems/joachim-henry-wadsworth-longfellow/.
APA
Longfellow, H. W. (n.d.). Joachim. Storgy. https://storgy.com/poems/joachim-henry-wadsworth-longfellow/
Row A — Thesis
1 ptIn 'JOACHIM.' Longfellow uses the monk's visionary autobiography to argue that divine inspiration is not a gentle whisper but a violent, world-shattering command that obliterates the boundary between the physical and the sacred and compels …
- Row B — Evidence + Commentary4 pts
- Row C — Sophistication1 pt
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