The Annotated Edition
Section IV by Henry Wadsworth Longfellow
This part of Longfellow's *Evangeline* begins with a cheerful betrothal feast in the Acadian village of Grand-Pré, only to have that joy crushed when British soldiers force the men into the church and declare that the whole community is being removed from their homeland.
- Core theme
- Exile
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Pleasantly rose next morn the sun on the village of Grand-Pre. / Pleasantly gleamed in the soft, sweet air the Basin of Minas,
Editor's note
Longfellow begins with a vivid, almost idyllic scene. The word *pleasantly* is used repeatedly, creating a sense of ease and plenty — a calm that makes the impending disaster feel even more impactful. The Basin of Minas and the anchored ships appear peaceful in this moment; soon, those very ships will take the Acadians into exile.
Now from the country around, from the farms and neighboring hamlets, / Came in their holiday dresses the blithe Acadian peasants.
Editor's note
The community comes together for Evangeline and Gabriel's betrothal celebration. Longfellow emphasizes the collective — *group after group*, *everyone was welcomed and feasted*, *everything was shared*. This paints a picture of an ideal, almost utopian society, making its downfall feel like a real loss rather than just a plot twist.
Under the open sky, in the odorous air of the orchard, / Stript of its golden fruit, was spread the feast of betrothal.
Editor's note
The orchard is *devoid of its golden fruit* — a detail that seems like a simple seasonal observation but subtly hints at the loss of everything the Acadians have created. Michael the fiddler, glowing like a coal in the ashes, stands as a small yet significant image: warmth that is already starting to fade.
Merrily, merrily whirled the wheels of the dizzying dances / Under the orchard-trees and down the path to the meadows;
Editor's note
The dance reaches its height—old and young, with Evangeline as the most beautiful of all and Gabriel as the most noble. Longfellow takes a moment to allow the reader to fully experience this joy before taking it away. The superlatives (*fairest*, *noblest*) grant the couple a nearly mythical presence, elevating them beyond the everyday life of the village.
So passed the morning away. And lo! with a summons sonorous / Sounded the bell from its tower, and over the meadows a drum beat.
Editor's note
The focus of the entire section. The bell, once used to call people to prayer, now summons men to the church under military orders. The drum harshly intrudes upon this sacred, communal space, asserting military power. Women are kept outside in the churchyard, further separating them from the men.
Then uprose their commander, and spake from the steps of the altar, / Holding aloft in his hands, with the seals, the royal commission.
Editor's note
The British commander stands on the altar steps, reading the deportation order—a clear act of desecration. His words, though almost polite, are laced with cruelty, presenting dispossession as the king’s *clement and kind* intent. Longfellow aims to evoke the outrage of using bureaucratic language to shatter lives.
As, when the air is serene in the sultry solstice of summer, / Suddenly gathers a storm, and the deadly sling of the hailstones
Editor's note
Longfellow employs an extended epic simile comparing the sudden summer hailstorm that devastates a farmer's crops to illustrate the impact of the decree on the crowd. This simile is particularly apt: it reflects something natural, unstoppable, and indifferent, much like the colonial power imposing its will on these individuals.
Rose, with his arms uplifted, the figure of Basil the blacksmith, / As, on a stormy sea, a spar is tossed by the billows.
Editor's note
Basil's furious outburst — *Down with the tyrants of England!* — captures the essence of political rage. A soldier's fist quickly silences him. The image of him as a spar tossed by waves illustrates both his intense passion and his helplessness; personal defiance can't hold back the tide of empire.
Lo! the door of the chancel opened, and Father Felician / Entered, with serious mien, and ascended the steps of the altar.
Editor's note
Father Felician responds to Basil's anger by urging forgiveness, drawing on the teachings of the Gospels. His calm, rhythmic voice stands out against the turmoil of the crowd. While he acknowledges the injustice, he implores his people not to allow hatred to erode their remaining humanity. The crowd is moved to tears and prayer — a moment of shared spiritual dignity amid their humiliation.
Then came the evening service. The tapers gleamed from the altar; / Fervent and deep was the voice of the priest, and the people responded,
Editor's note
The Ave Maria and the image of souls rising *like Elijah ascending to heaven* illustrate how faith acts as the community's final refuge. Despite their world crumbling around them, the Acadians manage to come together in prayer. Longfellow frames this not as a sign of passive resignation but as a demonstration of their collective strength.
Meanwhile had spread in the village the tidings of ill, and on all sides / Wandered, wailing, from house to house the women and children.
Editor's note
The scene shifts to the village streets, where women and children have learned what happened in the church. Evangeline stands at her father's door, waiting. The table is set, the meal untouched, and the armchair sits empty. These domestic details—the wheaten loaf, the honey, the tankard of ale—underscore the intimate and heartbreaking absence of the men.
Ah! on her spirit within a deeper shadow had fallen, / And from the fields of her soul a fragrance celestial ascended,--
Editor's note
Longfellow shifts his focus to Evangeline's character. Instead of succumbing to her sorrow, she reaches out to comfort the other women. The *fragrance celestial* — charity, meekness, love, hope, forgiveness, patience — presents her as nearly saintly, embodying grace amidst overwhelming turmoil.
Meanwhile, amid the gloom, by the church Evangeline lingered. / All was silent within; and in vain at the door and the windows
Editor's note
Evangeline calls out to Gabriel in the dark silence. *No answer / Came from the graves of the dead, nor the gloomier grave of the living* — this line stands out in the poem. The imprisoned men are likened to the dead, and the church feels like a tomb.
Slowly at length she returned to the tenantless house of her father. / Smouldered the fire on the hearth, on the board was the supper untasted.
Editor's note
The empty house is depicted with a calm clarity: a smouldering fire, an untouched meal, and the sound of footsteps reverberating. The night storm — with its lightning, thunder, and rain falling on sycamore leaves — reflects Evangeline's sorrow. Yet, the thunder also *whispers to her that God is in heaven*, giving her just enough faith to drift off to sleep. The section concludes not in hopelessness but in a weary, delicate trust.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The feast / betrothal table
- The spread table — loaf, honey, ale, cheese — captures the essence of Acadian domestic life. When Evangeline comes back to find it untouched, that same table transforms into a symbol of all that has been lost: family, future, and home.
- The church
- The soldiers violate a sacred space. The altar, which should be a place for a priest to speak of grace, is turned into a platform for a colonial decree. This act of desecration symbolizes the larger destruction of the community's spiritual and civic life.
- The storm
- The hailstorm simile conveys the abrupt and detached brutality of the deportation order. The night storm at the end reflects Evangeline's inner turmoil while also, through the thunder, hinting at a higher divine order — a blend of grief and faith intertwined.
- Michael's fiddle and the dance
- The fiddler and the whirling dancers embody the vibrant culture of the Acadians—their joy, their community ties, their identity. When the drum beats stop, that music fades away, and the culture it represents risks being lost.
- The orchard stripped of golden fruit
- The stripped orchard, presented as a seasonal detail, subtly foreshadows the loss of the Acadians' land, harvest, and livelihood at the hands of the British crown.
- The setting sun
- The sun sets during the second half of the section, casting long shadows and a warm golden light that is beautiful yet fading. This signifies the end of the Acadians' way of life just as much as it signals the end of the day.
§06Historical context
Historical context
§07FAQ
Questions readers ask
Citation
Cite this poem
MLA
Longfellow, Henry Wadsworth. "Section IV." Storgy, https://storgy.com/poems/section-iv-henry-wadsworth-longfellow/.
APA
Longfellow, H. W. (n.d.). Section iv. Storgy. https://storgy.com/poems/section-iv-henry-wadsworth-longfellow/
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