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PART THE FIRST by Henry Wadsworth Longfellow: Summary, Meaning & Analysis

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.

The poem
I In the Acadian land, on the shores of the Basin of Minas, Distant, secluded, still, the little village of Grand-Pre Lay in the fruitful valley. Vast meadows stretched to the eastward, Giving the village its name, and pasture to flocks without number. Dikes, that the hands of the farmers had raised with labor incessant, Shut out the turbulent tides; but at stated seasons the flood-gates Opened, and welcomed the sea to wander at will o'er the meadows. West and south there were fields of flax, and orchards and cornfields Spreading afar and unfenced o'er the plain; and away to the northward Blomidon rose, and the forests old, and aloft on the mountains Sea-fogs pitched their tents, and mists from the mighty Atlantic Looked on the happy valley, but ne'er from their station descended There, in the midst of its farms, reposed the Acadian village. Strongly built were the houses, with frames of oak and of hemlock, Such as the peasants of Normandy built in the reign of the Henries. Thatched were the roofs, with dormer-windows; and gables projecting Over the basement below protected and shaded the doorway. There in the tranquil evenings of summer, when brightly the sunset Lighted the village street and gilded the vanes on the chimneys, Matrons and maidens sat in snow-white caps and in kirtles Scarlet and blue and green, with distaffs spinning the golden Flax for the gossiping looms, whose noisy shuttles within doors Mingled their sound with the whir of the wheels and the songs of the maidens, Solemnly down the street came the parish priest, and the children Paused in their play to kiss the hand he extended to bless them. Reverend walked he among them; and up rose matrons and maidens, Hailing his slow approach with words of affectionate welcome. Then came the laborers home from the field, and serenely the sun sank Down to his rest, and twilight prevailed. Anon from the belfry Softly the Angelus sounded, and over the roofs of the village Columns of pale blue smoke, like clouds of incense ascending, Rose from a hundred hearths, the homes of peace and contentment. Thus dwelt together in love these simple Acadian farmers,-- Dwelt in the love of God and of man. Alike were they free from Fear, that reigns with the tyrant, and envy, the vice of republics. Neither locks had they to their doors, nor bars to their windows; But their dwellings were open as day and the hearts of their owners; There the richest was poor, and the poorest lived in abundance. Somewhat apart from the village, and nearer the Basin of Minas, Benedict Bellefontaine, the wealthiest farmer of Grand-Pre, Dwelt on his goodly acres: and with him, directing his household, Gentle Evangeline lived, his child, and the pride of the village. Stalworth and stately in form was the man of seventy winters; Hearty and hale was he, an oak that is covered with snow-flakes; White as the snow were his locks, and his cheeks as brown as the oak-leaves. Fair was she to behold, that maiden of seventeen summers. Black were her eyes as the berry that grows on the thorn by the wayside, Black, yet how softly they gleamed beneath the brown shade of her tresses! Sweet was her breath as the breath of kine that feed in the meadows. When in the harvest heat she bore to the reapers at noontide Flagons of home-brewed ale, ah! fair in sooth was the maiden, Fairer was she when, on Sunday morn, while the bell from its turret Sprinkled with holy sounds the air, as the priest with his hyssop Sprinkles the congregation, and scatters blessings upon them, Down the long street she passed, with her chaplet of beads and her missal, Wearing her Norman cap and her kirtle of blue, and the ear-rings, Brought in the olden time from France, and since, as an heirloom, Handed down from mother to child, through long generations. But a celestial brightness--a more ethereal beauty-- Shone on her face and encircled her form, when, after confession, Homeward serenely she walked with God's benediction upon her. When she had passed, it seemed like the ceasing of exquisite music. Firmly builded with rafters of oak, the house of the farmer Stood on the side of a hill commanding the sea; and a shady Sycamore grew by the door, with a woodbine wreathing around it. Rudely carved was the porch, with seats beneath; and a footpath Led through an orchard wide, and disappeared in the meadow. Under the sycamore-tree were hives overhung by a penthouse, Such as the traveller sees in regions remote by the roadside, Built o'er a box for the poor, or the blessed image of Mary. Farther down, on the slope of the hill, was the well with its moss-grown Bucket, fastened with iron, and near it a trough for the horses. Shielding the house from storms, on the north, were the barns and the farm-yard, There stood the broad-wheeled wains and the antique ploughs and the harrows; There were the folds for the sheep; and there, in his feathered seraglio, Strutted the lordly turkey, and crowed the cock, with the selfsame Voice that in ages of old had startled the penitent Peter. Bursting with hay were the barns, themselves a village. In each one Far o'er the gable projected a roof of thatch; and a staircase, Under the sheltering eaves, led up to the odorous corn-loft. There too the dove-cot stood, with its meek and innocent inmates Murmuring ever of love; while above in the variant breezes Numberless noisy weathercocks rattled and sang of mutation. Thus, at peace with God and the world, the farmer of Grand-Pre Lived on his sunny farm, and Evangeline governed his household. Many a youth, as he knelt in the church and opened his missal, Fixed his eyes upon her as the saint of his deepest devotion; Happy was he who might touch her hand or the hem of her garment! Many a suitor came to her door, by the darkness befriended, And, as he knocked and waited to hear the sound of her footsteps, Knew not which beat the louder, his heart or the knocker of iron; Or at the joyous feast of the Patron Saint of the village, Bolder grew, and pressed her hand in the dance as he whispered Hurried words of love, that seemed a part of the music. But, among all who came, young Gabriel only was welcome; Gabriel Lajeunesse, the son of Basil the blacksmith, Who was a mighty man in the village, and honored of all men; For, since the birth of time, throughout all ages and nations, Has the craft of the smith been held in repute by the people. Basil was Benedict's friend. Their children from earliest childhood Grew up together as brother and sister; and Father Felician, Priest and pedagogue both in the village, had taught them their letters Out of the selfsame book, with the hymns of the church and the plain-song. But when the hymn was sung, and the daily lesson completed, Swiftly they hurried away to the forge of Basil the blacksmith. There at the door they stood, with wondering eyes to behold him Take in his leathern lap the hoof of the horse as a plaything, Nailing the shoe in its place; while near him the tire of the cart-wheel Lay like a fiery snake, coiled round in a circle of cinders. Oft on autumnal eves, when without in the gathering darkness Bursting with light seemed the smithy, through every cranny and crevice, Warm by the forge within they watched the laboring bellows, And as its panting ceased, and the sparks expired in the ashes, Merrily laughed, and said they were nuns going into the chapel. Oft on sledges in winter, as swift as the swoop of the eagle, Down the hillside hounding, they glided away o'er the meadow. Oft in the barns they climbed to the populous nests on the rafters, Seeking with eager eyes that wondrous stone, which the swallow Brings from the shore of the sea to restore the sight of its fledglings; Lucky was he who found that stone in the nest of the swallow! Thus passed a few swift years, and they no longer were children. He was a valiant youth, and his face, like the face of the morning, Gladdened the earth with its light, and ripened thought into action. She was a woman now, with the heart and hopes of a woman. "Sunshine of Saint Eulalie" was she called; for that was the sunshine Which, as the farmers believed, would load their orchards with apples She, too, would bring to her husband's house delight and abundance, Filling it full of love and the ruddy faces of children. II Now had the season returned, when the nights grow colder and longer, And the retreating sun the sign of the Scorpion enters. Birds of passage sailed through the leaden air, from the ice-bound, Desolate northern bays to the shores of tropical islands, Harvests were gathered in; and wild with the winds of September Wrestled the trees of the forest, as Jacob of old with the angel. All the signs foretold a winter long and inclement. Bees, with prophetic instinct of want, had hoarded their honey Till the hives overflowed; and the Indian bunters asserted Cold would the winter be, for thick was the fur of the foxes. Such was the advent of autumn. Then followed that beautiful season, Called by the pious Acadian peasants the Summer of All-Saints! Filled was the air with a dreamy and magical light; and the landscape Lay as if new-created in all the freshness of childhood. Peace seemed to reign upon earth, and the restless heart of the ocean Was for a moment consoled. All sounds were in harmony blended. Voices of children at play, the crowing of cocks in the farm-yards, Whir of wings in the drowsy air, and the cooing of pigeons, All were subdued and low as the murmurs of love, and the great sun Looked with the eye of love through the golden vapors around him; While arrayed in its robes of russet and scarlet and yellow, Bright with the sheen of the dew, each glittering tree of the forest Flashed like the plane-tree the Persian adorned with mantles and jewels. Now recommenced the reign of rest and affection and stillness. Day with its burden and heat had departed, and twilight descending Brought back the evening star to the sky, and the herds to the homestead. Pawing the ground they came, and resting their necks on each other, And with their nostrils distended inhaling the freshness of evening. Foremost, bearing the bell, Evangeline's beautiful heifer, Proud of her snow-white hide, and the ribbon that waved from her collar, Quietly paced and slow, as if conscious of human affection. Then came the shepherd back with his bleating flocks from the seaside, Where was their favorite pasture. Behind them followed the watch-dog, Patient, full of importance, and grand in the pride of his instinct, Walking from side to side with a lordly air, and superbly Waving his bushy tail, and urging forward the stragglers; Regent of flocks was he when the shepherd slept; their protector, When from the forest at night, through the starry silence, the wolves howled. Late, with the rising moon, returned the wains from the marshes, Laden with briny hay, that filled the air with its odor. Cheerily neighed the steeds, with dew on their manes and their fetlocks, While aloft on their shoulders the wooden and ponderous saddles, Painted with brilliant dyes, and adorned with tassels of crimson, Nodded in bright array, like hollyhocks heavy with blossoms. Patiently stood the cows meanwhile, and yielded their udders Unto the milkmaid's hand; whilst loud and in regular cadence Into the sounding pails the foaming streamlets descended. Lowing of cattle and peals of laughter were heard in the farm-yard, Echoed back by the barns. Anon they sank into stillness; Heavily closed, with a jarring sound, the valves of the barn-doors, Rattled the wooden bars, and all for a season was silent. In-doors, warm by the wide-mouthed fireplace, idly the farmer Sat in his elbow-chair, and watched how the flames and the smoke-wreaths Struggled together like foes in a burning city. Behind him, Nodding and mocking along the wall, with gestures fantastic, Darted his own huge shadow, and vanished away into darkness. Faces, clumsily carved in oak, on the back of his arm-chair Laughed in the flickering light, and the pewter plates on the dresser Caught and reflected the flame, as shields of armies the sunshine. Fragments of song the old man sang, and carols of Christmas, Such as at home, in the olden time, his fathers before him Sang in their Norman orchards and bright Burgundian vineyards. Close at her father's side was the gentle Evangeline seated, Spinning flax for the loom, that stood in the corner behind her. Silent awhile were its treadles, at rest was its diligent shuttle, While the monotonous drone of the wheel, like the drone of a bagpipe, Followed the old man's songs and united the fragments together. As in a church, when the chant of the choir at intervals ceases, Footfalls are heard in the aisles, or words of the priest at the altar, So, in each pause of the song, with measured motion the clock clicked. Thus as they sat, there were footsteps heard, and, suddenly lifted, Sounded the wooden latch, and the door swung back on its hinges. Benedict knew by the hob-nailed shoes it was Basil the blacksmith, And by her beating heart Evangeline knew who was with him. "Welcome!" the farmer exclaimed, as their footsteps paused on the threshold. "Welcome, Basil, my friend! Come, take thy place on the settle Close by the chimney-side, which is always empty without thee; Take from the shelf overhead thy pipe and the box of tobacco; Never so much thyself art thou as when through the curling Smoke of the pipe or the forge thy friendly and jovial face gleams Round and red as the harvest moon through the mist of the marshes." Then, with a smile of content, thus answered Basil the blacksmith, Taking with easy air the accustomed seat by the fireside:-- "Benedict Bellefontaine, thou hast ever thy jest and thy ballad! Ever in cheerfullest mood art thou, when others are filled with Gloomy forebodings of ill, and see only ruin before them. Happy art thou, as if every day thou hadst picked up a horseshoe." Pausing a moment, to take the pipe that Evangeline brought him, And with a coal from the embers had lighted, he slowly continued:-- "Four days now are passed since the English ships at their anchors Ride in the Gaspereau's mouth, with their cannon pointed against us. What their design may be is unknown; but all are commanded On the morrow to meet in the church, where his Majesty's mandate Will be proclaimed as law in the land. Alas! in the mean time Many surmises of evil alarm the hearts of the people." Then made answer the farmer:--"Perhaps some friendlier purpose Brings these ships to our shores. Perhaps the harvests in England By untimely rains or untimelier heat have been blighted, And from our bursting barns they would feed their cattle and children." "Not so thinketh the folk in the village," said, warmly, the blacksmith, Shaking his head, as in doubt; then, heaving a sigh, he continued:-- "Louisburg is not forgotten, nor Beau Sejour, nor Port Royal. Many already have fled to the forest, and lurk on its outskirts, Waiting with anxious hearts the dubious fate of to-morrow. Arms have been taken from us, and warlike weapons of all kinds; Nothing is left but the blacksmith's sledge and the scythe of the mower." Then with a pleasant smile made answer the jovial farmer:-- "Safer are we unarmed, in the midst of our flocks and our cornfields, Safer within these peaceful dikes, besieged by the ocean, Than our fathers in forts, besieged by the enemy's cannon. Fear no evil, my friend, and to-night may no shadow of sorrow Fall on this house and hearth; for this is the night of the contract. Built are the house and the barn. The merry lads of the village Strongly have built them and well; and, breaking the glebe round about them, Filled the barn with hay, and the house with food for a twelvemonth. Rene Leblanc will be here anon, with his papers and inkhorn. Shall we not then be glad, and rejoice in the joy of our children?" As apart by the window she stood, with her hand in her lover's, Blushing Evangeline heard the words that her father had spoken, And, as they died on his lips, the worthy notary entered.

Public domain · sourced from Project Gutenberg

Quick summary
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. Life in the village is straightforward, loyal, and filled with warmth — yet ominous signs loom as English warships arrive in the harbor. By the end of Part the First, the community finds itself on the brink of a disaster they don't quite grasp yet.
Themes

Line-by-line

In the Acadian land, on the shores of the Basin of Minas, / Distant, secluded, still, the little village of Grand-Pre
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
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
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.
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.
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
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
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.

Tone & mood

The tone feels mournful right from the start — Longfellow describes a world that has already vanished, casting a shadow even over the happiest moments. There's a heartfelt warmth in the domestic scenes, and the vivid pastoral imagery brings genuine sensory delight. Yet, beneath it all, a quiet, persistent sorrow flows, much like the hum of Evangeline's spinning wheel. The hexameter verse lends a deliberate, ceremonial heaviness to the poem, making it feel like a funeral rite for a community that has passed away.

Symbols & metaphors

  • The dikesThe 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 treeThe 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 weathercocksThe "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 heiferThe 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 warshipsThe 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 contractRené 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.

Historical context

The historical backdrop of *Evangeline* is the Grand Dérangement, a tragic event in 1755 when British colonial authorities forcibly deported the Acadian people from Nova Scotia. About 10,000 Acadians were uprooted from their homes, their farms set ablaze, and their families scattered along the Atlantic coast. Longfellow published the poem in 1847, inspired by a tale he learned from his friend Nathaniel Hawthorne, who had heard it from a pastor in Nova Scotia. Written in dactylic hexameter—the same meter used in Homer's *Iliad* and Virgil's *Aeneid*—the choice of this form elevates the Acadian narrative to the stature of a classical epic. It quickly became one of the most popular American poems of the 19th century and still stands as the definitive literary representation of the Acadian expulsion. For many Acadians, it has significantly influenced their understanding of their history and identity.

FAQ

*Evangeline* narrates the tale of Evangeline Bellefontaine, a young Acadian woman whose life changes dramatically when she is torn away from her fiancé, Gabriel, just before their wedding. This separation occurs during the British expulsion of the Acadian community from Nova Scotia in 1755. The first part of the poem paints a picture of their peaceful life before the upheaval, while the remainder chronicles Evangeline's long and tireless quest for Gabriel throughout North America.

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