MARY, MOTHER OF JAMES.
Lo, this is the garden,
And yonder is the sepulchre. But who
Shall roll away the stone for us to enter?
The Annotated Edition
MARY, MOTHER OF JAMES. by Henry Wadsworth Longfellow
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This brief poem envisions Mary, the mother of James, at the entrance of Jesus's tomb on Easter morning, wondering who will roll away the heavy stone that blocks it.
- Themes
- faith, loneliness, mortality
§01Quick summary
What this poem is about
This brief poem envisions Mary, the mother of James, at the entrance of Jesus's tomb on Easter morning, wondering who will roll away the heavy stone that blocks it. In just three lines, Longfellow conveys the sorrow and powerlessness of a woman mourning her loved one, unable to access his body. Her question is both practical and profoundly human — a heartfelt expression of grief intertwined with a simple task.
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Lo, this is the garden, / And yonder is the sepulchre.
Editor's note
Mary highlights the garden of Gethsemane and its tomb. The word "Lo" serves as an ancient way to draw attention — she’s inviting someone (a companion, the reader, or even herself) to take a look. The scene is tranquil and detailed, anchoring us in a tangible location before the emotional depth unfolds.
§04Tone & mood
How this poem feels
The tone is soft and sorrowful, nearly silent. There are no cries or dramatic outbursts — just the weary, quiet voice of a grieving woman handling what must be done. The question at the end conveys a feeling of helplessness without despair, embodying a type of grief that continues to push ahead, even when the way forward is unclear.
§05Symbols & metaphors
Symbols & metaphors
- The garden
- Gardens in the Gospel accounts hold significant meaning—Gethsemane is where Jesus prayed before his arrest, and the tomb is located in a garden. In this context, the garden represents sacred, sorrowful ground: a space of life that has transformed into a place of death.
- The sepulchre
- The sealed tomb represents finality and loss. It acts as a physical barrier between the living and the dead, separating Mary's grief from any hope of closure or reunion.
- The stone
- The stone blocking the tomb's entrance represents both a physical barrier and a symbol of the burdens grief imposes on us—the heavy weight that those who mourn cannot lift by themselves.
§06Historical context
Historical context
Longfellow published this poem as part of his ambitious dramatic sequence *Christus: A Mystery* (1872), a trilogy he labored over for decades that dramatizes the history of Christianity from the Nativity to the Puritan era. This particular piece is included in *The Divine Tragedy*, the first part of the trilogy, which retells the Passion narrative through a series of short dramatic monologues and dialogues based on the Gospels. Mary, mother of James (also known as Mary of Clopas), is one of the women who visits the tomb on Easter morning to anoint Jesus's body, as noted in Mark 16. Longfellow was intrigued by these marginal, grieving figures—ordinary people swept up in world-changing events—and he captures her voice with his usual restraint and empathy. By 1872, Longfellow had experienced profound personal loss, including the death of his second wife in a fire, which gives his portrayal of grief a deep authenticity.
§07FAQ
Questions readers ask
She is a figure in the Gospels—different from Mary, the mother of Jesus—who witnessed the crucifixion and was one of the women who visited the tomb on Easter morning. Sometimes, she is referred to as Mary of Clopas. Longfellow provides her with this brief but impactful voice as one of the witnesses to the resurrection story.
Longfellow created this as a dramatic fragment in *Christus: A Mystery*, which is a lengthy theatrical piece. These brief sections act like stage directions or snippets of conversation — they provide a fleeting glimpse rather than a complete scene. Their conciseness reflects the raw, disoriented nature of grief.
The question "But who will roll away the stone for us to enter?" is taken straight from Mark 16:3, where the women voice their concern on their way to the tomb. It reflects not just a practical issue but also a feeling of helplessness. Longfellow leaves it open-ended, allowing it to transcend the biblical context and serve as a universal inquiry into the barriers that grief presents in our lives.
*Christus: A Mystery* is a three-part dramatic poem that Longfellow published in 1872. It explores the life of Christ, the medieval church, and the Puritan settlement in New England. This poem is part of *The Divine Tragedy*, the first section, which brings to life the Passion and resurrection through various short scenes and monologues.
The poem is composed in blank verse — unrhymed iambic pentameter — but the lines are short enough to give it a loose, conversational feel. The absence of rhyme matches the straightforward nature of the speaker's grief; a tidy rhyme would feel out of place in this context.
At its core, the poem explores sorrow and faith—the grief that comes from loss and the choice to continue despite obstacles. It also reflects on mortality, as the tomb serves as the poem's central image, and the isolation felt by those who are grieving.
Longfellow often focused on ordinary individuals amid significant historical events — this theme recurs throughout his work. Mary, the mother of James, isn’t a well-known figure, which makes her sorrow resonate more deeply. She isn’t portrayed as a saint or a symbol; she’s simply a woman who loved someone and is unable to reach his body.
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