The Annotated Edition
PART THE SECOND by Henry Wadsworth Longfellow
This is the second part of Longfellow's epic poem *Evangeline*, which tells the story of an Acadian heroine wandering across North America in search of her lost love, Gabriel, after their people were forced from their homeland.
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Many a weary year had passed since the burning of Grand-Pre, / When on the falling tide the freighted vessels departed,
Editor's note
Longfellow begins by zooming out to condense years of wandering into just a few lines. The Acadians are portrayed as an entire nation forced into exile, scattered "like flakes of snow" — a simile that reflects their vulnerability and the randomness of their dispersal. The landscape they traverse is vast and uncaring: cold northern lakes, southern savannas, the Mississippi. Amid this collective suffering, Evangeline emerges as a solitary figure who continues to walk and wait when others have lost hope.
Long among them was seen a maiden who waited and wandered, / Lowly and meek in spirit, and patiently suffering all things.
Editor's note
Here, the poem shifts its attention from the nation to Evangeline herself. Longfellow presents a vivid image: her life resembles a June morning that lingers in the sky before fading back into the east without ever fully arriving. She wanders through churchyards, sits beside unnamed graves, and wonders if Gabriel might already lie in one of them. The people she encounters encourage her to move on and marry another man — Baptiste Leblanc is suggested as a sensible option — but she declines, stating that her hand can only go where her heart has gone.
Thereupon the priest, her friend and father-confessor, / Said, with a smile, "O daughter! thy God thus speaketh within thee!"
Editor's note
Father Felician presents the poem's key spiritual message: love is never in vain. Even if it doesn't reach its intended target, it returns and nourishes the one who experiences it, much like rain falling back to its source. He portrays Evangeline's perseverance not as a form of foolishness but as a divine act of cleansing. This reflects Longfellow's intention to grant her suffering a sacred significance — she isn't merely a victim; she is on the path to becoming a saint.
Let me essay, O Muse! to follow the wanderer's footsteps;-- / Not through each devious path, each changeful year of existence;
Editor's note
Longfellow takes on the role of narrator and speaks directly to the Muse, following a traditional epic style. He outlines his approach: he will trace Evangeline's journey like a traveler follows a stream — not always in close proximity, but always tuned to its sound. This serves as both a structural reminder (he's skipping over years) and a poetic declaration: the poem will capture the emotional flow of her life rather than every single detail of her biography.
It was the month of May. Far down the Beautiful River, / Past the Ohio shore and past the mouth of the Wabash,
Editor's note
The poem transforms into a vivid travelogue as Evangeline and a group of Acadian exiles drift down the Mississippi toward Louisiana. Longfellow paints lush, cinematic scenes—pelicans resting on silver sandbars, planters' homes shaded by china trees, the river gracefully bending in a grand curve. While the beauty of the landscape is undeniable, it also highlights the exiles' sense of being uprooted: this stunning land is not where they belong.
Over their heads the towering and tenebrous boughs of the cypress / Met in a dusky arch, and trailing mosses in mid-air
Editor's note
Entering the Bayou of Plaquemine, the mood of the poem shifts to a darker tone. The cypress branches create a cathedral-like arch, the silence feels lifeless, and an owl welcomes the moon with its "demoniac laughter." Longfellow employs the mimosa plant as a symbol: just as its leaves fold at the slightest touch, the heart also shuts down in anticipation of impending sorrow. Yet, Evangeline finds strength in her vision of Gabriel just ahead — each stroke of the oar pulls her closer to him.
Nearer, ever nearer, among the numberless islands, / Darted a light, swift boat, that sped away o'er the water,
Editor's note
This is the emotional climax of Part the Second. Gabriel is in that passing boat, heading north, while Evangeline sleeps hidden in the willows on the opposite bank. They are separated only by a screen of palmettos and unfortunate timing. Longfellow captures the cruelty vividly: "Angel of God was there none to awaken the slumbering maiden." When she finally wakes, she senses something — she tells Father Felician that she feels Gabriel is close — and she is right, but it’s too late.
With these words of cheer they arose and continued their journey. / Softly the evening came. The sun from the western horizon
Editor's note
Father Felician informs Evangeline that Gabriel has indeed been spotted not far away, along the banks of the Teche, referring to the area as the "Eden of Louisiana." The evening that follows features one of the poem's most exquisite passages: the sun resembling a magician, the boat suspended between two skies, and a mockingbird filling the air with music that shifts from sorrow to frenzy to delicate notes. This section concludes with a hint of cautious hope — smoke rising from a chimney, the sound of a horn, and the lowing of cattle — as they near what could finally mark the end of their search.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The river
- The Mississippi and its tributaries represent both a physical path and a metaphor for time and destiny—constantly flowing, unconcerned with the lives of those along its banks. Longfellow directly likens his narrative approach to tracing a stream, connecting the river to the very structure of the poem.
- The cypress cathedral
- The cypress branches of the bayou create a natural cathedral, draped with moss like banners and filtered moonlight that resembles stained glass. This scene blends the sacred with something foreboding — it resembles a church, yet it feels more like a silent tomb, hinting that Evangeline's devotion is being challenged in a space that seems more like a grave than a refuge.
- The mimosa plant
- The mimosa folds its leaves when it hears hoofbeats approaching, and Longfellow employs this as a direct symbol of the human heart preparing for trouble. It's one of the poem's sharpest images: the body senses impending grief before the mind catches up.
- The lamp
- Evangeline shares with her potential suitors that "when the heart leads the way, like a lamp lighting the path, many things become clear." The lamp symbolizes loyal love as a guide — not a promise of reward, but a source of guidance and clarity during uncertain times.
- The mockingbird
- The mockingbird's song near the end of the section shifts from a mournful sorrow to wild frenzy, then to scattered notes before going quiet. It reflects Evangeline's emotional journey — from grief and desperate searching to the delicate stillness of renewed hope — serving as a musical commentary on all that she has faced.
- Gabriel's passing boat
- The moment Gabriel's boat glides past the sleeping Evangeline stands out as the poem's key symbol of fate's cruelty. Two people who love each other are just inches apart, separated only by a screen of palmettos. The boat represents all the near-misses that define a life filled with longing.
§06Historical context
Historical context
§07FAQ
Questions readers ask
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