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On Being Brought from Africa to America by Phillis Wheatley

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

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A young enslaved woman contemplates her journey from Africa to America, viewing it as a spiritual path toward Christianity.

Poet
Phillis Wheatley
Composed
1773 · Long 18th century
Core theme
Faith
The PoemFull text

On Being Brought from Africa to America

Phillis Wheatley, 1773

'T was mercy brought me from my pagan land, Taught my benighted soul to understand That there's a God — that there's a Saviour too; Once I redemption neither sought nor knew. Some view our sable race with scornful eye— 'Their color is a diabolic dye.' Remember, Christians, Negroes black as Cain May be refined, and join the angelic train.

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

A young enslaved woman contemplates her journey from Africa to America, viewing it as a spiritual path toward Christianity. At the same time, she firmly confronts white Christians who belittle Black individuals, asserting that Black souls are equally deserving of salvation. This brief poem accomplishes two things: it resonates with the language of its era while subtly challenging the racism embedded within that same language.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. 'T was mercy brought me from my pagan land, / Taught my benighted soul to understand

    Editor's note

    Wheatley begins by referring to her forced removal from Africa as an act of "mercy"—a term her Christian audience was likely to accept. She uses phrases like "pagan land" and "benighted soul" (with "benighted" meaning left in darkness or ignorance), which were common in 18th-century Christian discourse about non-Christian peoples. Scholars discuss whether Wheatley genuinely believed these ideas or if she used them strategically to ensure her poem reached an audience. Regardless, she adopts the voice that her audience trusted, allowing her to present the poem's true argument effectively later on.

  2. That there's a God — that there's a Saviour too; / Once I redemption neither sought nor knew.

    Editor's note

    These lines wrap up the conversion story: she recognizes God and Christ now, admitting she was unaware before. The straightforward, almost catechism-like phrasing ("there's a God — that there's a Saviour too") reflects the fundamental teachings of Christianity. The dash after "God" creates a brief pause, suggesting that this revelation still holds significance. This marks the turning point of the poem — the "before" and "after" of her spiritual journey.

  3. Some view our sable race with scornful eye— / 'Their color is a diabolic dye.'

    Editor's note

    Here, the poem takes a turn. Wheatley moves from sharing her personal experience to making a social critique. "Sable" refers to black, and "diabolic dye" was an actual slur used at the time — suggesting that dark skin was associated with the devil or the curse of Cain. By placing this phrase in quotation marks, Wheatley distances herself from it and invites readers to reflect on it. She mirrors their own ugliness back to them.

  4. Remember, Christians, Negroes black as Cain / May be refined, and join the angelic train.

    Editor's note

    The final couplet is the poem's most striking moment. Wheatley speaks directly to white Christians — "Remember" is a command, not just a suggestion. She brings up Cain, the biblical figure whose "mark" some have used to justify the enslavement of Black people, and then turns the argument on its head: even Cain's descendants can be "refined" (purified, saved) and attain heaven. If Christianity's own teachings claim that all souls can be redeemed, then racism within the church becomes a contradiction. She uses the Bible to challenge the way it's been misused.

§04Tone & mood

How this poem feels

The tone is both measured and complex. At first glance, it appears devout and thankful—the voice of a converted Christian expressing gratitude. However, there’s an underlying sharpness and challenge. Wheatley doesn’t shout, but the last couplet hits like a subtle reprimand. This restraint adds to its strength: she builds her case using the very moral standards her audience professes to uphold, making it difficult to disregard.

§05Symbols & metaphors

Symbols & metaphors

Pagan land / benighted soul
These phrases reflect the colonial Christian belief that Africa was spiritually dark and in need of salvation. Wheatley uses them to engage with her audience, but their inclusion also highlights how deeply the ideology of slavery influenced the language she had at her disposal.
Sable race
**After (Humanized):** "Sable" (black) is Wheatley's respectful term for her own people. It steers clear of the derogatory language of her time while directly acknowledging race. This phrase emphasizes a shared identity during a period when enslaved individuals were often seen as isolated rather than part of a community. **Summary of Changes Made:** - Replaced "dignified word" with "respectful term" for a more natural tone. - Changed "avoids the slurs of the day" to "steers clear of the derogatory language of her time" for clarity. - Altered "asserts collective identity" to "emphasizes a shared identity" for a smoother flow. - Substituted "routinely treated as individuals without community" with "often seen as isolated rather than part of a community" for a more relatable expression.
Diabolic dye
Quoted directly from the racist logic of the time, this phrase reflects the false theology that dehumanizes Black people. By using quotation marks, Wheatley presents it as something to be scrutinized and dismissed instead of accepted.
Cain
The biblical figure Cain was referenced in pro-slavery theology as the alleged ancestor of Black Africans, with his "mark" being reinterpreted as dark skin and his curse portrayed as enslavement. Wheatley flips this symbol on its head: even if one accepts the comparison to Cain, Christian doctrine asserts that redemption is accessible to everyone — which ultimately undermines the racist argument.
Angelic train
The procession of angels entering heaven symbolizes complete spiritual equality in the afterlife—a realm free from the racial hierarchies that defined colonial America. Wheatley argues that if heaven is accessible to everyone, then the earthly disdain for Black individuals contradicts Christian principles.

§06Form & structure

Form & structure

Meter
iambic pentameter
Rhyme
AABBCCDD

§07Historical context

Historical context

Phillis Wheatley was kidnapped from West Africa when she was about seven years old and sold into slavery in Boston in 1761. The Wheatley family bought her and, unusually for the time, supported her education. She became the first African American and one of the first American women to publish a book of poetry, *Poems on Various Subjects, Religious and Moral* (1773). Among the poems in that collection is "On Being Brought from Africa to America." Wheatley wrote in the neoclassical style that was popular in 18th-century England and America, drawing heavy inspiration from Alexander Pope. Her poetry reflects a reality where enslaved people had to carefully navigate strict limits on what they could express and how. Wheatley’s use of Christian rhetoric was both heartfelt and calculated—it was the only framework that allowed her any credibility to speak in the public sphere of colonial Boston.

§08FAQ

Questions readers ask

This is the main debate surrounding the poem. Some readers believe her when she claims to be a devout Christian who genuinely valued her conversion. Others interpret the opening lines as a calculated performance designed to please her white audience before she could present her true argument in the final couplet. Most modern scholars acknowledge that both perspectives can coexist: Wheatley's faith was authentic, and her rhetorical skill was genuine, and she used one to safeguard the other.

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