The Annotated Edition
King Robert of Sicily by Henry Wadsworth Longfellow
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.
- Core theme
- Faith
Study actions
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Robert of Sicily, brother of Pope Urbane / And Valmond, Emperor of Allemaine,
Editor's note
Longfellow begins by laying out Robert's impressive credentials — he’s the brother of a pope and the brother-in-law of an emperor — to emphasize his high status before it gets stripped away. Robert attends church not for worship but to show off, dressed to the nines and flanked by his entourage. When the choir sings the *Magnificat* and he hears the Latin line about God unseating the mighty, he brushes it off as risky talk meant for priests. He yawns and nods off, which serves as the poem's first subtle jab at him.
When he awoke, it was already night; / The church was empty, and there was no light,
Editor's note
Robert wakes up to darkness in an empty church — the first jolt of dislocation. He pounds on the locked door, curses the saints, and the echoes taunt him. The sight of 'dead priests laughing in their stalls' suggests that the universe has turned against him with its irony. His anger remains that of a man who believes he should be obeyed.
At length the sexton, hearing from without / The tumult of the knocking and the shout,
Editor's note
The sexton confuses Robert for a drunken vagrant — the first person to deny him his identity. Robert rushes out into the night, 'haggard, half naked,' a description that intentionally reflects the bare language of the *Magnificat* verse he disdained. He is already starting to embody the low-degree man mentioned in the psalm.
Robert of Sicily, brother of Pope Urbane / And Valmond, Emperor of Allemaine,
Editor's note
Longfellow echoes the opening lines nearly verbatim, but this time they portray a man who is "stripped of his magnificent attire, bareheaded, breathless, and covered in muck." This repetition serves as the poem's most striking structural choice: the same grand introduction now surrounds a figure in complete despair. He charges into the palace, still behaving like a king, which only amplifies the devastation of what he discovers inside.
There on the dais sat another king, / Wearing his robes, his crown, his signet-ring,
Editor's note
The Angel sits on Robert's throne, wearing Robert's face, but 'transfigured with angelic light.' No one in the room can see through the disguise because the Angel's presence renders the real Robert invisible to them. When Robert furiously claims, 'Nay, not the King, but the King's Jester, thou,' the Angel responds with 'unruffled brow,' making the reply even more cutting than any shouted insult could ever be.
Next morning, waking with the day's first beam, / He said within himself, 'It was a dream!'
Editor's note
Robert's first reaction is to deny it—he thinks it must have been a dream. Yet the straw, the cap and bells, and the chattering ape all prove that this is his new reality. The line 'the world he loved so much / Had turned to dust and ashes at his touch' marks the poem's emotional low point: everything he cherished was founded on pride, and that pride has crumbled away.
Days came and went; and now returned again / To Sicily the old Saturnian reign;
Editor's note
While Robert suffers, Sicily thrives under the Angel. The mention of the Saturnian reign (a golden age) and the giant Enceladus peacefully resting within the volcano hint that divine rule fosters natural harmony. This stanza clearly highlights the contrast: the island is better off without the real Robert.
Meanwhile King Robert yielded to his fate, / Sullen and silent and disconsolate.
Editor's note
Robert endures his humiliation but stands firm. When the Angel occasionally asks, "Are you the King?" — testing him, partly seriously — Robert defiantly replies, "I am, I am the King!" His pride remains unshaken, indicating that his transformation isn't finished yet. Longfellow highlights that this stubbornness is both a flaw and, in an odd way, a source of dignity.
Almost three years were ended; when there came / Ambassadors of great repute and name
Editor's note
The trip to Rome for Holy Week offers Robert one final opportunity to assert his identity before his brother, the Pope, and his brother-in-law, the Emperor. He pushes through the crowd and makes his plea. The Emperor laughs, dismissing him as a mad court fool. The Pope looks troubled but remains silent. Robert is shoved back into the crowd — his most humiliating moment yet.
In solemn state the Holy Week went by, / And Easter Sunday gleamed upon the sky;
Editor's note
Easter marks a significant change. The Angel's light spreads across the city as dawn approaches, and even Robert, resting on his straw, experiences an unfamiliar feeling. He kneels — the first time in the poem he has chosen to bow down — and hears what seems like the garments of God stirring in the air. Pride has finally broken, giving way to true awe.
And now the visit ending, and once more / Valmond returning to the Danube's shore,
Editor's note
Back in Palermo, the Angel pulls Robert close and asks one last time: 'Are you the King?' This time, Robert crosses his arms over his chest and responds with complete submission, only asking for the chance to do penance. The Angel smiles, the monks' chant rises again — the same *Magnificat* verse Robert had once scorned — and a second voice sings, 'I am an Angel, and you are the King.' The lesson is finished.
King Robert, who was standing near the throne, / Lifted his eyes, and lo! he was alone!
Editor's note
The Angel disappears, and Robert is suddenly whole again: his robes, his ermine, his gold are all back. His courtiers discover him kneeling in quiet prayer. The poem concludes just as it started — with a king in a position of power — yet the man has changed completely. The restoration outside reflects the transformation inside.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
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.
§06Historical context
Historical context
§07FAQ
Questions readers ask
What is the moral or lesson of the poem?
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.
Who or what is the Angel, and why does he look like Robert?
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.
Why does nobody recognize Robert, not even his own brother the Pope?
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.
What does the Latin phrase 'Deposuit potentes de sede, et exaltavit humiles' mean?
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.
Why does Robert keep insisting 'I am the King' even after years of humiliation?
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.
What is the significance of Easter Sunday in the poem?
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.
Is this poem based on a real historical king?
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.
What poetic form does Longfellow use, and why does it suit the poem?
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.
Citation
Cite this poem
MLA
Longfellow, Henry Wadsworth. "King Robert of Sicily." Storgy, https://storgy.com/poems/king-robert-of-sicily-henry-wadsworth-longfellow/.
APA
Longfellow, H. W. (n.d.). King robert of sicily. Storgy. https://storgy.com/poems/king-robert-of-sicily-henry-wadsworth-longfellow/
Row A — Thesis
1 ptIn 'King Robert of Sicily,' Longfellow employs the structural symmetry of Robert's fall and restoration, framed by the verbatim return of the Magnificat, to argue that sovereignty stems from the condition of the soul rather than rank. It is …
- Row B — Evidence + Commentary4 pts
- Row C — Sophistication1 pt
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