The Annotated Edition
Mary Magdalene by Henry Wadsworth Longfellow
This poem features a dramatic monologue by Mary Magdalene, the biblical figure, as she sits alone in a tower, contemplating her past life of sin.
- Core theme
- Faith
Study actions
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Companionless, unsatisfied, forlorn, / I sit here in this lonely tower, and look
Editor's note
Longfellow begins with Mary isolated in a tower, gazing out at the landscape as memories of her entire past unfold in her mind like a scroll being unrolled. The three initial adjectives — companionless, unsatisfied, forlorn — strike a strong note, quickly revealing that, despite her wealth and visitors, she lacks what truly matters.
The princes and the merchants come to me, / Merchants of Tyre and Princes of Damascus.
Editor's note
Her clients are influential and affluent men from well-known trading cities, yet they only leave behind their merchandise and their disdain — both for her and, implicitly, for themselves. The fig metaphor that follows is striking: she is so overwhelmed by this lifestyle that even thinking about it makes her feel nauseous, much like the sensation you get after indulging in too much sweetness.
What if hereafter, in the long hereafter / Of endless joy or pain, or joy in pain,
Editor's note
Mary envisions a nightmarish afterlife where she is doomed to spend eternity alongside the men she once entertained, now distorted by age and vice, continuing to make demands of her. This horrifying image reflects her current life extended indefinitely, revealing her profound awareness that her present existence feels like a form of damnation.
I look upon this raiment that I wear, / These silks, and these embroideries, and they seem
Editor's note
Her fine clothes feel like funeral shrouds, her jeweled rings sting like hot coals, and the serpent bracelet on her wrist appears to writhe with life. Longfellow layers the imagery of opulence turned into suffering: everything that once signified her allure now represents her imprisonment. The serpent serves as a sharp symbol—it recalls Eden and the notion of sin cloaked in beauty.
But yesterday,--and yet it seems to me / Something remote, like a pathetic song
Editor's note
She shifts to the pivotal moment: just the day before, she saw a group of people walk beneath her tower, led by a man in white who had a powerful presence. When he glanced up at her, she felt overwhelmed with light and love. The experience felt almost surreal, and by the time she regained her composure, he had vanished — but the seven demons that had tormented her were gone with him.
This morning, when the first gleam of the dawn / Made Lebanon a glory in the air,
Editor's note
At dawn, she sees a vision: a figure walking on the lake, and she knows it’s the same man. This scene closely mirrors the Gospel story of Jesus walking on water and Peter's terrified cry as he starts to sink. Longfellow presents it as something Mary hears rather than takes part in, creating a sense of a half-waking dream that nonetheless fully convinces her.
Thou box of alabaster, in whose walls / The souls of flowers lie pent, the precious balm
Editor's note
In the final stanza, Mary speaks directly to her alabaster jar of ointment, describing it in almost spiritual terms — the essence of flowers, delicate natures nurtured by sun and dew. She expresses her intention to embark on a pilgrimage with the jar to find him and anoint his feet. She concludes with the striking image of both of them being emptied out, broken vessels that once contained something valuable. This represents a total surrender of self.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The tower
- Mary's tower serves as both her home and a representation of her loneliness. While she looks down on everyday life, observed and yearned for by others, she remains disconnected from real human relationships. The tower also provides her the perspective to witness Jesus passing by and to see the dawn breaking over the lake.
- The serpent bracelet
- The jeweled serpent on her wrist, which appears to come to life, directly mirrors the serpent in Eden — a symbol of temptation and sin adorned in a stunning, decorative shape. Its lifelike sensation to her reveals just how profoundly she has absorbed her guilt.
- The alabaster box of ointment
- The alabaster jar of precious spikenard, taken directly from the Gospels, symbolizes Mary's most renowned act of devotion. In this portrayal, Longfellow gives it life as a companion on her journey, and the depiction of the shattered casket at the end implies a complete self-emptying—offering everything until there's nothing left.
- Silks, jewels, and perfumes
- The luxury goods left by her clients symbolize a life focused on outward beauty rather than inner depth. When they begin to feel like burial clothes and burning coals, Longfellow illustrates Mary's awakening: she's now able to recognize these items for what they truly are.
- The man in white
- Jesus isn't named in the poem; instead, he's depicted through the impact he has on Mary — the overwhelming light and love, the healing of her struggles, the image of someone walking on water. By leaving him unnamed, the poem maintains the personal, visionary essence of her experience and emphasizes her transformation over any religious doctrine.
- Dawn over Lebanon
- The sunrise that brightens Lebanon at the beginning of the final vision section represents a powerful symbol of spiritual awakening and a fresh start. It highlights Mary's choice to leave her old life, signifying both a literal and metaphorical emergence into the light.
§06Form & structure
Form & structure
- Meter
- blank verse
§07Historical context
Historical context
§08FAQ
Questions readers ask
Is this poem based on the Bible?
Yes, closely. Longfellow references several Gospel passages: the story of Mary Magdalene, who had seven demons cast out of her (Luke 8:2), the account of a sinful woman anointing Jesus's feet with expensive ointment from an alabaster jar (Luke 7:37–38), and the moment when Jesus walks on water and Peter starts to sink (Matthew 14:25–31). Longfellow combines these moments into a single dramatic monologue delivered by Mary.
Why does Longfellow never name Jesus in the poem?
Keeping Jesus unnamed is a purposeful decision that centers the poem on Mary's inner experience instead of a theological statement. We perceive him solely through her perspective — as a presence, a feeling, a voice carried by the wind. This approach makes the poem resonate more as a personal testimony rather than a religious lesson.
What does the seven demons detail mean?
It comes straight from Luke 8:2, which states that Jesus cast seven demons out of Mary Magdalene. In the poem, Longfellow uses this to shed light on her past: the demons symbolize the forces that pushed her into prostitution and held her captive. The moment Jesus gazes at her and they leave is the poem's key miracle.
What is the alabaster box, and why does she talk to it?
The alabaster box is a jar filled with costly perfumed ointment — spikenard — that the Gospels recount a woman using to anoint Jesus's feet. Longfellow portrays Mary as speaking to it as if it were a companion, the only pure and precious possession she has. By talking to the jar, she signals her choice to leave: she and the jar will set out together to find Jesus and pour themselves out before him.
What does 'broken caskets that once held us' mean at the end?
It depicts total self-giving. Once the ointment is poured out, the jar becomes an empty, broken container. Mary is expressing that after she has given everything to Jesus — her devotion, her past, her very self — what’s left of her will resemble that empty jar. It’s a powerful image of complete spiritual surrender.
What kind of poem is this — what is a dramatic monologue?
A dramatic monologue is a poem crafted as a speech by one character, distinct from the poet. The reader gets a glimpse of the speaker's thoughts during a particular moment. Longfellow was following the style that Robert Browning popularized with works such as My Last Duchess. This format suits Mary Magdalene perfectly, allowing Longfellow to explore her mindset without needing to narrate from an external perspective.
What is *Christus: A Mystery*, and where does this poem fit in it?
Christus: A Mystery is an extensive three-part drama that Longfellow dedicated decades to crafting, with its complete publication occurring in 1872. The first part, The Divine Tragedy, explores the life of Christ through a collection of scenes and monologues. This poem is included in that section, allowing Mary Magdalene to express her own perspective within the broader narrative.
Why does Mary describe her clothes and jewelry as burning and suffocating?
Because she is undergoing a conversion experience. The luxury items that once defined her life now seem torturous — the silks feel like burial wrappings, the rings like burning coals. Longfellow captures the intense moment when someone first sees their old life clearly and can no longer bear it. This physical revulsion reflects a profound inner transformation.
Citation
Cite this poem
MLA
Longfellow, Henry Wadsworth. "Mary Magdalene." Storgy, https://storgy.com/poems/mary-magdalene-henry-wadsworth-longfellow/.
APA
Longfellow, H. W. (n.d.). Mary magdalene. Storgy. https://storgy.com/poems/mary-magdalene-henry-wadsworth-longfellow/
Row A — Thesis
1 ptIn 'Mary Magdalene,' Longfellow constructs a speaker whose physical opulence has become a form of entombment, and whose single encounter with a figure 'of royal aspect, clothed in white' ruptures that entombment by replacing the weight of …
- Row B — Evidence + Commentary4 pts
- Row C — Sophistication1 pt
- Common student errors
Available on any Storgy plan — model paragraphs, band callouts, and common student errors for every poem.
The study desk
Teaching materials and reference tools prepared for this poem.
Adjacent texts in the archive
Read next
- Romantic · 1842
My Last Duchess
Robert Browning
Read & analyze - Modernist · 1915
The Love Song of J. Alfred Prufrock
T. S. Eliot
Read & analyze - In the same key
Goblin Market
Christina Rossetti
Read & analyze - In the same key
The Hound of Heaven
Francis Thompson
Read & analyze - In the same key
Pied Beauty
Gerard Manley Hopkins
Read & analyze - Modernist · 1922
The Waste Land
T. S. Eliot
Read & analyze