Skip to content
Storgy

The Annotated Edition

MAY 23, 1864 by Henry Wadsworth Longfellow

Summary, meaning, line-by-line analysis & FAQ.

Read aloud in ~2 minOpen reading mode →

Longfellow wrote this poem on the day of his friend Nathaniel Hawthorne's funeral, reflecting the surreal experience of navigating a beautiful spring day while feeling utterly empty from loss.

Poet
Henry Wadsworth Longfellow
Themes
art, death, memory
The PoemFull text

MAY 23, 1864

Henry Wadsworth Longfellow

How beautiful it was, that one bright day In the long week of rain! Though all its splendor could not chase away The omnipresent pain. The lovely town was white with apple-blooms, And the great elms o'erhead Dark shadows wove on their aerial looms Shot through with golden thread. Across the meadows, by the gray old manse, The historic river flowed: I was as one who wanders in a trance, Unconscious of his road. The faces of familiar friends seemed strange; Their voices I could hear, And yet the words they uttered seemed to change Their meaning to my ear. For the one face I looked for was not there, The one low voice was mute; Only an unseen presence filled the air, And baffled my pursuit. Now I look back, and meadow, manse, and stream Dimly my thought defines; I only see--a dream within a dream-- The hill-top hearsed with pines. I only hear above his place of rest Their tender undertone, The infinite longings of a troubled breast, The voice so like his own. There in seclusion and remote from men The wizard hand lies cold, Which at its topmost speed let fall the pen, And left the tale half told. Ah! who shall lift that wand of magic power, And the lost clew regain? The unfinished window in Aladdin's tower Unfinished must remain!

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

Longfellow wrote this poem on the day of his friend Nathaniel Hawthorne's funeral, reflecting the surreal experience of navigating a beautiful spring day while feeling utterly empty from loss. He paints a picture of Concord, Massachusetts in full bloom, yet none of it touches him because the one person he longs to see is no longer there. The poem concludes with a heartfelt tribute to Hawthorne as a literary genius, emphasizing that his significant work — *The Dolliver Romance* — remains unfinished due to his passing.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. How beautiful it was, that one bright day / In the long week of rain!

    Editor's note

    Longfellow begins with a brief moment of sunshine breaking through a period of rain — a fitting metaphor for grief. The day is undeniably beautiful, yet that beauty seems almost harsh when contrasted with the experience of loss. Here, he establishes the main tension of the poem: the world is beautiful, but it doesn’t change anything.

  2. The lovely town was white with apple-blooms, / And the great elms o'erhead

    Editor's note

    This is Concord, Massachusetts in May, and Longfellow paints a vivid picture — apple blossoms, towering elms, sunlight streaming through leaves like golden thread on a loom. The imagery is vibrant and alive, which makes the speaker's emotional numbness even more striking. Nature carries on, completely indifferent to human sorrow.

  3. Across the meadows, by the gray old manse, / The historic river flowed:

    Editor's note

    The 'gray old manse' refers to the Old Manse in Concord, known for its connection to Hawthorne, who both lived and wrote there. The 'historic river' is the Concord River, where the first battle of the American Revolution took place. Longfellow strolls through a landscape rich with personal, literary, and national significance, yet he feels like a sleepwalker, detached from it all.

  4. The faces of familiar friends seemed strange; / Their voices I could hear,

    Editor's note

    Grief does this: it creates a pane of glass between you and everyone around you. Longfellow is surrounded by familiar faces at this funeral gathering, but their words feel distant. He hears them, yet the meaning doesn’t quite reach him. This captures the essence of acute grief with striking honesty.

  5. For the one face I looked for was not there, / The one low voice was mute;

    Editor's note

    Here's the emotional core of the poem. Every face he sees feels wrong because it isn't Hawthorne's. Every voice sounds off because it isn't Hawthorne's soft voice. He senses a ghostly 'presence' in the air, but it's elusive — the cruel trick of grief, making him feel someone who is no longer there.

  6. Now I look back, and meadow, manse, and stream / Dimly my thought defines;

    Editor's note

    The poem changes tense at this point. Longfellow steps back a bit, reflecting on that day. The vibrant landscape he painted earlier has faded in his memory — now, all he can distinctly picture is the hilltop cemetery where Hawthorne lies, surrounded by pine trees like a dark crown.

  7. I only hear above his place of rest / Their tender undertone,

    Editor's note

    The pines above Hawthorne's grave create a gentle, steady sound in the wind — an 'undertone.' Longfellow perceives that sound as a whisper of Hawthorne's own voice, capturing the unexpressed yearning and restlessness that fueled his writing. It's a lovely, serene moment of imagined connection with the departed.

  8. There in seclusion and remote from men / The wizard hand lies cold,

    Editor's note

    Longfellow describes Hawthorne's hand as a 'wizard hand' — a hand that could create entire worlds through writing. That hand now lies cold and still. The phrase 'left the tale half told' directly points to *The Dolliver Romance*, the novel Hawthorne was working on when he passed away, leaving it unfinished.

  9. Ah! who shall lift that wand of magic power, / And the lost clew regain?

    Editor's note

    Longfellow poses a question that has no real answer: who could possibly continue the legacy Hawthorne created? The answer, naturally, is no one. He finishes with the image of the 'unfinished window in Aladdin's tower' — a reference from the Arabian Nights — a mystical structure that, according to the tale, must remain incomplete for all time. This serves as Longfellow's way of expressing that Hawthorne's brilliance was unique and that the void he left behind is unfillable.

§04Tone & mood

How this poem feels

The tone carries a mournful yet controlled feeling—this is grief held delicately rather than let loose. Longfellow doesn't cry out; he simply observes. There's a quiet, almost dreamlike quality in the middle stanzas, which shifts to reverence and resignation by the end. The final exclamation ("Ah!") is the one moment where composure breaks, hitting hard because everything leading up to it has been so restrained.

§05Symbols & metaphors

Symbols & metaphors

The one bright day in the long week of rain
The single sunny day captures how grief twists our perception — beauty is there, but it can't break through the numbness of loss. It also reflects the funeral: a moment of clarity in the midst of darkness.
Apple-blooms and golden thread
The vibrant spring imagery highlights how the world remains indifferent to personal sorrow. Life flourishes while Hawthorne is dead—nature doesn’t stop, making the speaker's pain feel even more isolating.
The hill-top hearsed with pines
'Hearsed' refers to being draped or surrounded, much like a hearse. The pine-ringed hilltop of Sleepy Hollow Cemetery visually represents death — dark, evergreen, and enduring.
The wizard hand / wand of magic power
Hawthorne's writing hand is portrayed as a magician's tool, capable of conjuring entire realities. Describing it as 'cold' highlights the finality of death and the permanent silence of a powerful creative force.
The unfinished window in Aladdin's tower
From the Arabian Nights, there's a magical tower that can never be completed through ordinary efforts. Longfellow uses this imagery to express that Hawthorne's unfinished novel — and the emptiness left by his passing — can't be filled by anyone else. This sense of incompleteness is forever.
The unseen presence
The ghostly feeling of Hawthorne's presence, which Longfellow senses but cannot quite capture, illustrates how grief allows the dead to linger in the thoughts of their loved ones — near enough to feel, yet unreachable.

§06Historical context

Historical context

Nathaniel Hawthorne passed away on May 19, 1864, while on a trip in New Hampshire with his friend Franklin Pierce. His funeral took place in Concord, Massachusetts, on May 23 — the same date as this poem's title. Longfellow was there, along with notable figures like Ralph Waldo Emerson, Oliver Wendell Holmes, and James Russell Lowell, making it a significant gathering of 19th-century American literary icons. Hawthorne had been battling health issues and struggling with his writing for several years, leaving his last novel, *The Dolliver Romance*, unfinished. Longfellow and Hawthorne had maintained their friendship since their time together at Bowdoin College in the 1820s, marking the end of a friendship that lasted four decades. The poem was published in *Flower-de-Luce* in 1867.

§07FAQ

Questions readers ask

The poem reflects on Nathaniel Hawthorne, the writer behind *The Scarlet Letter* and *The House of the Seven Gables*. Longfellow composed it on the day of Hawthorne's funeral, which took place on May 23, 1864, in Concord, Massachusetts.

Read next

Poems in the same key

Similar poems

ADONAIS. — Percy Bysshe ShelleyLycidas — John MiltonThe Raven — Edgar Allan PoeElegy Written in a Country Churchyard — Thomas Gray

More by Henry Wadsworth Longfellow

Browse all Henry Wadsworth Longfellow poems →

Themes in this poem

Poems about artPoems about deathPoems about memoryPoems about sorrow