KING ROBERT OF SICILY by Henry Wadsworth Longfellow: Summary, Meaning & Analysis
A proud king dozes off in church, only to awaken without anything, forced to live as a court jester while an angel occupies his throne.
The poem
Robert of Sicily, brother of Pope Urbane And Valmond, Emperor of Allemaine, Apparelled in magnificent attire, With retinue of many a knight and squire, On St. John’s eve, at vespers, proudly sat And heard the priests chant the Magnificat, And as he listened, o’er and o’er again Repeated, like a burden or refrain, He caught the words, “Deposuit potentes De sede, et exaltavit humiles;” And slowly lifting up his kingly head He to a learned clerk beside him said, “What mean these words?” The clerk made answer meet, “He has put down the mighty from their seat, And has exalted them of low degree.” Thereat King Robert muttered scornfully, “’T is well that such seditious words are sung Only by priests and in the Latin tongue; For unto priests and people be it known, There is no power can push me from my throne!” And leaning back, he yawned and fell asleep, Lulled by the chant monotonous and deep. When he awoke, it was already night; The church was empty, and there was no light, Save where the lamps, that glimmered few and faint, Lighted a little space before some saint. He started from his seat and gazed around, But saw no living thing and heard no sound. He groped towards the door, but it was locked; He cried aloud, and listened, and then knocked, And uttered awful threatenings and complaints, And imprecations upon men and saints. The sounds re-echoed from the roof and walls As if dead priests were laughing in their stalls. At length the sexton, hearing from without The tumult of the knocking and the shout, And thinking thieves were in the house of prayer, Came with his lantern, asking, “Who is there?” Half choked with rage, King Robert fiercely said, “Open: ’tis I, the King! Art thou afraid?” The frightened sexton, muttering, with a curse, “This is some drunken vagabond, or worse!” Turned the great key and flung the portal wide; A man rushed by him at a single stride, Haggard, half naked, without hat or cloak, Who neither turned, nor looked at him, nor spoke, But leaped into the blackness of the night, And vanished like a spectre from his sight. Robert of Sicily, brother of Pope Urbane And Valmond, Emperor of Allemaine, Despoiled of his magnificent attire, Bareheaded, breathless, and besprent with mire, With sense of wrong and outrage desperate, Strode on and thundered at the palace gate; Rushed through the courtyard, thrusting in his rage To right and left each seneschal and page, And hurried up the broad and sounding stair, His white face ghastly in the torches’ glare. From hall to hall he passed with breathless speed; Voices and cries he heard, but did not heed, Until at last he reached the banquet-room, Blazing with light and breathing with perfume. There on the dais sat another king, Wearing his robes, his crown, his signet-ring, King Robert’s self in features, form, and height, But all transfigured with angelic light! It was an Angel; and his presence there With a divine effulgence filled the air, An exaltation, piercing the disguise, Though none the hidden Angel recognize. A moment speechless, motionless, amazed, The throneless monarch on the Angel gazed, Who met his look of anger and surprise With the divine compassion of his eyes; Then said, “Who art thou? and why com’st thou here?” To which King Robert answered, with a sneer, “I am the King, and come to claim my own From an impostor, who usurps my throne!” And suddenly, at these audacious words, Up sprang the angry guests, and drew their swords; The Angel answered, with unruffled brow, “Nay, not the King, but the King’s Jester, thou Henceforth shall wear the bells and scalloped cape, And for thy counsellor shalt lead an ape; Thou shalt obey my servants when they call, And wait upon my henchmen in the hall!” Deaf to King Robert’s threats and cries and prayers, They thrust him from the hall and down the stairs; A group of tittering pages ran before, And as they opened wide the folding door, His heart failed, for he heard, with strange alarms, The boisterous laughter of the men-at-arms, And all the vaulted chamber roar and ring With the mock plaudits of “Long live the King!” Next morning, waking with the day’s first beam, He said within himself, “It was a dream!” But the straw rustled as he turned his head, There were the cap and bells beside his bed, Around him rose the bare, discolored walls, Close by, the steeds were champing in their stalls, And in the corner, a revolting shape, Shivering and chattering sat the wretched ape. It was no dream; the world he loved so much Had turned to dust and ashes at his touch! Days came and went; and now returned again To Sicily the old Saturnian reign; Under the Angel’s governance benign The happy island danced with corn and wine, And deep within the mountain’s burning breast Enceladus, the giant, was at rest. Meanwhile King Robert yielded to his fate, Sullen and silent and disconsolate. Dressed in the motley garb that Jesters wear, With look bewildered and a vacant stare, Close shaven above the ears, as monks are shorn, By courtiers mocked, by pages laughed to scorn, His only friend the ape, his only food What others left,—he still was unsubdued. And when the Angel met him on his way, And half in earnest, half in jest, would say Sternly, though tenderly, that he might feel The velvet scabbard held a sword of steel, “Art thou the King?” the passion of his woe Burst from him in resistless overflow, And, lifting high his forehead, he would fling The haughty answer back, “I am, I am the King!” Almost three years were ended; when there came Ambassadors of great repute and name From Valmond, Emperor of Allemaine, Unto King Robert, saying that Pope Urbane By letter summoned them forthwith to come On Holy Thursday to his city of Rome. The Angel with great joy received his guests, And gave them presents of embroidered vests, And velvet mantles with rich ermine lined, And rings and jewels of the rarest kind. Then he departed with them o’er the sea Into the lovely land of Italy, Whose loveliness was more resplendent made By the mere passing of that cavalcade, With plumes, and cloaks, and housings, and the stir Of jewelled bridle and of golden spur. And lo! among the menials, in mock state, Upon a piebald steed, with shambling gait, His cloak of fox-tails flapping in the wind, The solemn ape demurely perched behind, King Robert rode, making huge merriment In all the country towns through which they went. The Pope received them with great pomp and blare Of bannered trumpets, on Saint Peter’s square, Giving his benediction and embrace, Fervent, and full of apostolic grace. While with congratulations and with prayers He entertained the Angel unawares, Robert, the Jester, bursting through the crowd, Into their presence rushed, and cried aloud, “I am the King! Look, and behold in me Robert, your brother, King of Sicily! This man, who wears my semblance to your eyes, Is an impostor in a king’s disguise. Do you not know me? does no voice within Answer my cry, and say we are akin?” The Pope in silence, but with troubled mien, Gazed at the Angel’s countenance serene; The Emperor, laughing, said, “It is strange sport To keep a mad man for thy Fool at court!” And the poor, baffled Jester in disgrace Was hustled back among the populace. In solemn state the Holy Week went by, And Easter Sunday gleamed upon the sky; The presence of the Angel, with its light, Before the sun rose, made the city bright, And with new fervor filled the hearts of men, Who felt that Christ indeed had risen again. Even the Jester, on his bed of straw, With haggard eyes the unwonted splendor saw, He felt within a power unfelt before, And, kneeling humbly on his chamber floor, He heard the rushing garments of the Lord Sweep through the silent air, ascending heavenward. And now the visit ending, and once more Valmond returning to the Danube’s shore, Homeward the Angel journeyed, and again The land was made resplendent with his train, Flashing along the towns of Italy Unto Salerno, and from thence by sea. And when once more within Palermo’s wall, And, seated on the throne in his great hall, He heard the Angelus from convent towers, As if the better world conversed with ours, He beckoned to King Robert to draw nigher, And with a gesture bade the rest retire; And when they were alone, the Angel said, “Art thou the King?” Then, bowing down his head, King Robert crossed both hands upon his breast, And meekly answered him: “Thou knowest best! My sins as scarlet are; let me go hence, And in some cloister’s school of penitence, Across those stones, that pave the way to heaven, Walk barefoot, till my guilty soul be shriven!” The Angel smiled, and from his radiant face A holy light illumined all the place, And through the open window, loud and clear, They heard the monks chant in the chapel near, Above the stir and tumult of the street: “He has put down the mighty from their seat, And has exalted them of low degree!” And through the chant a second melody Rose like the throbbing of a single string: “I am an Angel, and thou art the King!” King Robert, who was standing near the throne, Lifted his eyes, and lo! he was alone! But all apparelled as in days of old, With ermined mantle and with cloth of gold; And when his courtiers came, they found him there Kneeling upon the floor, absorbed in, silent prayer.
A proud king dozes off in church, only to awaken without anything, forced to live as a court jester while an angel occupies his throne. For nearly three years, he endures humiliation yet insists he is still a king — until a moment of true wonder on Easter Sunday finally breaks through his pride. The poem serves as a medieval-style morality tale that explores the cost of learning humility.
Line-by-line
Robert of Sicily, brother of Pope Urbane / And Valmond, Emperor of Allemaine,
When he awoke, it was already night; / The church was empty, and there was no light,
At length the sexton, hearing from without / The tumult of the knocking and the shout,
Robert of Sicily, brother of Pope Urbane / And Valmond, Emperor of Allemaine,
There on the dais sat another king, / Wearing his robes, his crown, his signet-ring,
Next morning, waking with the day's first beam, / He said within himself, 'It was a dream!'
Days came and went; and now returned again / To Sicily the old Saturnian reign;
Meanwhile King Robert yielded to his fate, / Sullen and silent and disconsolate.
Almost three years were ended; when there came / Ambassadors of great repute and name
In solemn state the Holy Week went by, / And Easter Sunday gleamed upon the sky;
And now the visit ending, and once more / Valmond returning to the Danube's shore,
King Robert, who was standing near the throne, / Lifted his eyes, and lo! he was alone!
Tone & mood
The tone is serious and ceremonial, reminiscent of a story being recited in a grand hall. Longfellow employs the steady rhythm of heroic couplets, lending the poem the quality of a medieval chronicle or a saint's life. There's a touch of dry irony in the early stanzas — the king who dismisses a psalm about humility is on the verge of experiencing it himself — but this irony doesn't cross over into mockery. By the end, the tone transforms into something truly reverent, as if the poem itself has softened along with its protagonist.
Symbols & metaphors
- The cap and bells — The jester's costume embodies Robert's humiliation. It takes the place of his crown and robes as symbols of his identity, and each time he puts it on, he has to play the fool — a stark contrast to being a sovereign. The bells mimic the church bells he chose to ignore, transforming a sacred sound into something mocking.
- The ape — Robert's only companion during his years as a jester is an ape — a creature that imitates human actions without truly grasping them. It reflects what Robert himself was: someone who donned the trappings of kingship (robes, throne, power) without possessing the inner qualities that define a true ruler.
- The Magnificat / 'Deposuit potentes' — The Latin verse from the Virgin Mary's song — 'He has put down the mighty from their seat and has exalted them of low degree' — serves as the backbone of the poem. Robert hears it, brushes it off, and eventually embodies it. By the time it's sung again at the end, it has transformed from a threat into a reflection of his own journey.
- The Angel's light — The Angel is often portrayed through descriptions of radiance — 'angelic light,' 'divine effulgence,' 'holy light.' This light is what Robert's pride kept him from recognizing in himself or in others. On Easter morning, when Robert finally kneels, he experiences the light for the first time.
- Robes and attire — Clothing reflects Robert's spiritual journey in the poem. He starts off in 'magnificent attire,' moves to near-nakedness, dons the motley of a jester, and ultimately returns to 'ermined mantle and cloth of gold.' The garments represent more than just fabric — they are a clear indication of his identity, or perhaps his perception of it.
Historical context
Longfellow published this poem in 1863 as part of *Tales of a Wayside Inn*, a collection inspired by Chaucer's *Canterbury Tales*, where a group of travelers shares stories in turn. The Sicilian traveler recounts the tale of King Robert, which is based on a well-known medieval legend that can be found in Latin, French, German, and Italian versions. Written during the American Civil War, the poem's message that power without humility leads to self-destruction resonates strongly with the time, even though Longfellow doesn't spell out the allegory. Additionally, the poem showcases his deep interest in European Catholic tradition and medieval literature, subjects he explored extensively during his tenure as a professor of modern languages at Harvard.
FAQ
The poem suggests that pride — particularly the idea that your power makes you invulnerable — leads to a kind of blindness. Robert is unable to heed the psalm's warning because he's too preoccupied with his role as king to fulfill it well. The takeaway isn’t merely to 'be humble' in a general sense; rather, it emphasizes that true humility must be earned through experience and hardship, not just spoken about.
The Angel acts as a divine messenger, tasked with teaching Robert an important lesson. He adopts Robert's exact appearance — 'King Robert's self in features, form, and height' — to illustrate that the throne, the robes, and the face of a king are meaningless without the right character to embody them. The Angel wears this disguise flawlessly because he possesses the inner qualities that Robert does not.
Longfellow presents this as a supernatural condition: the Angel's divine presence renders Robert invisible to those around him in a significant way. It also serves as a psychological truth — without his robes and title, Robert has no way to establish his identity, and a tattered, raving man asserting he is king appears just like a madman.
It comes from the *Magnificat*, the song that Mary sings in the Gospel of Luke. It translates to, "He has brought down the powerful from their thrones and lifted up the humble." This line presents the theological core of the entire poem, introduced at the start and echoed at the end after Robert has experienced it.
Longfellow portrays this as Robert's tragic flaw and an odd form of integrity. He truly is the king — that's the reality — but he asserts this role for misguided reasons, driven by wounded pride instead of true self-awareness. His transformation reaches completion only when he can express 'thou knowest best' instead, relinquishing the claim while the Angel affirms it.
Easter is the Christian celebration of resurrection and transformation, making it the perfect time for Robert's inner change. He senses what seems like God's presence moving through the air and kneels willingly for the first time. The timing is intentional: just as Easter signifies death leading to new life, Robert's old, prideful self starts to fade away.
The historical Robert of Sicily (Robert I, King of Naples and Sicily, 1309–1343) was indeed a real medieval ruler, but the story of his angelic double is purely legendary. Variants of this tale spread throughout medieval Europe long before Longfellow, and it was probably never intended to be a biography; rather, it serves as a moral fable that used a well-known royal name to add significance.
The poem uses heroic couplets—two rhyming lines in iambic pentameter—just like epic and narrative poetry has for centuries. This form creates a rhythmic, forward-moving feel that matches the story's nearly three-year span. The consistent beat also echoes the monks' chanting, which is the poem's main sound.