The Annotated Edition
Part the First by Henry Wadsworth Longfellow
This is the opening section of Longfellow's epic poem *Evangeline*, introducing the serene Acadian village of Grand-Pré and its two young lovers, Evangeline and Gabriel.
- Core theme
- Exile
Study actions
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
In the Acadian land, on the shores of the Basin of Minas, / Distant, secluded, still, the little village of Grand-Pre
Editor's note
Longfellow begins with a sweeping, almost cinematic view of Grand-Pré in Nova Scotia. The three adjectives — "distant, secluded, still" — create an atmosphere that feels untouched and timeless. The dikes, meadows, and sea-fogs combine to depict a place that is both fertile and safe, resembling an earthly paradise. Mentioning Norman peasants constructing their homes "in the reign of the Henries" connects the community to its French roots and suggests that these individuals bring an old-world identity with them into the New World.
Somewhat apart from the village, and nearer the Basin of Minas, / Benedict Bellefontaine, the wealthiest farmer of Grand-Pre
Editor's note
Here, Longfellow introduces the two main characters: Benedict, a wealthy and satisfied father, and Evangeline, his seventeen-year-old daughter. The descriptions are so idealized that they border on mythical — her eyes are as black as berries, her breath as sweet as meadow flowers, and after confession, she shines with a "celestial brightness." Longfellow intentionally portrays her as a symbol of near-sacred beauty and goodness, which makes the impending loss even more heartbreaking.
Firmly builded with rafters of oak, the house of the farmer / Stood on the side of a hill commanding the sea
Editor's note
The farmhouse is depicted with affection and architectural precision — the sycamore, the beehives, the well, the barns, and the strutting turkey. Each element suggests a sense of abundance and order. The rooster, whose crow "in ages of old had startled the penitent Peter," serves as a quiet biblical reference that connects this modest farm to sacred history. The weathercocks "rattling and singing of mutation" introduce a hint of instability into an otherwise perfectly ordered scene — change is on the horizon, though no one inside the house is aware of it yet.
Thus, at peace with God and the world, the farmer of Grand-Pre / Lived on his sunny farm, and Evangeline governed his household.
Editor's note
This passage introduces Gabriel Lajeunesse and the childhood friendship that has blossomed into love. The scenes at Basil's forge—watching sparks fade in the ashes, sledding in the winter, and climbing barn rafters to search for the legendary swallow's stone—are depicted with genuine warmth and detail. The closing lines illustrate the shift from childhood to adulthood clearly and without sentimentality: "Thus passed a few swift years, and they no longer were children." The community already views Evangeline as a future wife and mother, a symbol of abundance.
Now had the season returned, when the nights grow colder and longer, / And the retreating sun the sign of the Scorpion enters.
Editor's note
Section II opens with the arrival of autumn, and Longfellow imbues the season with a sense of foreboding. The Scorpion in the zodiac, birds migrating south, foxes growing thicker coats, and bees storing honey all signal that nature is preparing for something harsh. However, this is quickly followed by the "Summer of All-Saints" (Indian summer), a short, enchanting break of warmth and tranquility. The stark contrast between these ominous signs and the golden calm is intentional—it reflects the community's situation perfectly.
Now recommenced the reign of rest and affection and stillness. / Day with its burden and heat had departed
Editor's note
The evening return of the herds is one of the most beautiful moments in the poem. Evangeline's heifer leads the way, "proud of her snow-white hide"; the shepherd's dog walks by with a sense of importance; the hay-wains arrive late beneath the rising moon. This scene captures a community in perfect harmony with the land and the seasons. Longfellow offers the reader something valuable to cherish, knowing he will soon take it all away.
In-doors, warm by the wide-mouthed fireplace, idly the farmer / Sat in his elbow-chair
Editor's note
The fireside scene feels cozy and domestic. Benedict sings traditional Norman carols while Evangeline spins, and the clock ticks during their pauses. When Basil arrives, the atmosphere is filled with warmth and friendship. However, Basil brings troubling news: English warships are anchored in the harbor, and everyone must meet at the church tomorrow for a royal proclamation. Benedict's cheerful optimism—perhaps they just need grain—is gently but firmly challenged by Basil's more somber take on the situation. The section concludes with the arrival of the notary, René Leblanc, who has come to finalize Evangeline and Gabriel's betrothal contract. In that moment, joy and dread coexist in the same space.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The dikes
- The earthen dikes that Acadian farmers constructed to hold back the tides are the poem's main symbol of human effort and community. They reflect the hard work of generations and the capacity to create a livable environment from an unforgiving landscape. When the English arrive, the dikes turn into a bitter irony — the Acadians managed to keep the sea at bay but couldn’t stop the advance of empire.
- The sycamore tree
- The sycamore by Benedict's door, wrapped in woodbine, represents rootedness, shelter, and the connection between two lives. It signifies the home as a space of permanence and natural growth—everything the deportation will tear apart.
- The weathercocks
- The "numberless noisy weathercocks" that "rattled and sang of mutation" are the only jarring element in the farm's serene beauty. They indicate that change is always present and that no human structure — no matter how sturdy its oak rafters — lasts forever.
- Evangeline's white heifer
- The snow-white heifer at the front of the herd is closely tied to Evangeline — pure, gentle, and cherished. It represents a pastoral symbol of innocence and a life in sync with nature, both of which are about to face a harsh disruption.
- The English warships
- The ships anchored at the mouth of the Gaspereau, their cannons aimed at the village, symbolize the intrusion of imperial power into a self-contained world. They mark the arrival of history, crashing in without warning and indifferent to the lives it will disrupt.
- The betrothal contract
- René Leblanc arrives with his papers and inkhorn to formalize the marriage contract, representing the community's belief in a stable future and the rule of law. The timing—just the night before the proclamation—turns it into a bittersweet symbol of hope teetering on the brink of disaster.
§06Historical context
Historical context
§07FAQ
Questions readers ask
Citation
Cite this poem
MLA
Longfellow, Henry Wadsworth. "Part the First." Storgy, https://storgy.com/poems/part-the-first-henry-wadsworth-longfellow/.
APA
Longfellow, H. W. (n.d.). Part the first. Storgy. https://storgy.com/poems/part-the-first-henry-wadsworth-longfellow/
Row A — Thesis
1 ptIn 'Part the First' from Evangeline, Longfellow constructs an Acadian Eden so deliberately ordered and abundant that its very perfection becomes an elegiac instrument: the poem's pastoral idealism does not simply celebrate a lost world but …
- Row B — Evidence + Commentary4 pts
- Row C — Sophistication1 pt
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