RAHAB.
May maledictions fall and blast
Thyself and lineage to the last
Of all thy kith and kin!
The Annotated Edition
RAHAB. by Henry Wadsworth Longfellow
Read aloud in ~1 min
This intense, compact poem serves as a curse — the speaker wishes destruction upon someone and their entire lineage.
- Themes
- anger, betrayal, death
§01Quick summary
What this poem is about
This intense, compact poem serves as a curse — the speaker wishes destruction upon someone and their entire lineage. It's direct and harsh, offering no comfort or rationale. The title "Rahab" references a character from the Bible and ancient mythology, giving the curse significant historical depth.
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
May maledictions fall and blast / Thyself and lineage to the last / Of all thy kith and kin!
Editor's note
The entire poem reads like a three-line curse. "Maledictions" just refers to curses or ill wishes. The speaker desires destruction — "blast" — aimed not at just one person but at every single member of their family tree, down to the last relative. The exclamation mark hits hard, like a fist on a table: there's no hesitation, no mercy, no softening. Longfellow reduces the curse to its essence, creating the vibe of an ancient incantation.
§04Tone & mood
How this poem feels
The tone is icy, filled with rage. There's no sorrow in it, no request — just a clear, intentional desire for destruction. It sounds less like an emotional outburst and more like an official statement, adding to its unsettling nature.
§05Symbols & metaphors
Symbols & metaphors
- Maledictions
- The word itself, with its Latin roots and formal, nearly liturgical tone, indicates that this isn't just casual anger. It presents the curse as a serious, almost ritualistic act rather than merely a flash of temper.
- Lineage / kith and kin
- The curse affects not just an individual but the entire bloodline. In biblical and ancient cultures, a curse on a family line represented the ultimate form of destruction — erasing not only a life but also its legacy.
- Rahab (the title)
- Rahab is depicted in the Bible as a Canaanite woman who protected Israelite spies and was spared during the fall of Jericho. In earlier Hebrew poetry and mythology, "Rahab" refers to a sea monster or symbolizes chaos and pride brought low. Longfellow’s use of the name connects the poem to both meanings — a character linked to survival, betrayal, and cosmic defiance.
§06Historical context
Historical context
Longfellow wrote this poem as part of a larger collection that delves into biblical and mythological figures. By the mid-19th century, American poets often looked to scripture for dramatic inspiration, and Longfellow was among them—his longer works like "Evangeline" and "The Song of Hiawatha" reflect his taste for grand, ancient themes. "Rahab" pulls from two different biblical traditions: the tale in Joshua 2 about Rahab the harlot who concealed the Israelite spies, and the older poetic tradition where "Rahab" refers to a primordial sea creature symbolizing chaos, pride, and the foes of God. Its brevity is a departure from Longfellow's typical style, known for long narrative poems, and this compression gives the curse a striking, almost epigrammatic impact. The formal, archaic language—such as "maledictions" and "kith and kin"—anchors the poem in the tone of the King James Bible.
§07FAQ
Questions readers ask
There are two different uses of the name in the Bible. In Joshua 2, Rahab is a Canaanite woman living in Jericho who hides two Israelite spies sent by Joshua. She is spared when the city is destroyed. In older Hebrew poetry — especially in Job and Psalms — "Rahab" refers to a sea monster or dragon symbolizing chaos, which God overcomes. Longfellow's title likely draws on both meanings.
Longfellow typically wrote long, flowing narratives, which makes this three-line poem a notable shift. The brevity is intentional—a curse doesn't require elaboration or embellishment. Reducing it to three lines lends it the gravity of a formal declaration, akin to something etched in stone.
It refers to curses—formal expressions wishing harm or evil upon someone. The term originates from Latin (*male* = badly, *dicere* = to speak). Choosing this word over the simpler "curses" adds a solemn, almost ceremonial tone to the poem.
"Kin" refers to family by blood. "Kith" is an older term for friends, neighbors, or acquaintances—people you know well. When combined, "kith and kin" encompasses all those connected to a person, whether by blood or through close relationships. The speaker intends for the curse to affect every single one of them.
The poem leaves us in the dark. We're not informed about who the speaker is or what the target did to provoke such intense anger. This silence contributes to the poem's unsettling nature — the anger is complete, yet the reason remains hidden, forcing the reader to experience the weight of the curse without any reassuring background.
Not really. Longfellow is primarily recognized for his lengthy, melodic narrative poems that carry a gentle, moral tone. This poem, however, is brief and stark, lacking any moral resolution. It reveals a darker, more condensed aspect of his writing that is frequently overlooked.
The three lines use an AAB rhyme scheme — "blast" and "last" rhyme, while "kin" is the final word that doesn't rhyme. That unrhymed ending hits hard, like a door slamming shut on the curse.
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