SIMON MAGUS. by Henry Wadsworth Longfellow: Summary, Meaning & Analysis
Simon Magus, a sorcerer mentioned in the New Testament, stands at the foot of the cross, reveling in the crucifixion of Jesus.
The poem
O Nazarene! I find thee here at last! Thou art no more a phantom unto me! This is the end of one who called himself The Son of God! Such is the fate of those Who preach new doctrines. 'T is not what he did, But what he said, hath brought him unto this. I will speak evil of no dignitaries. This is my hour of triumph, Nazarene!
Simon Magus, a sorcerer mentioned in the New Testament, stands at the foot of the cross, reveling in the crucifixion of Jesus. He believes that Christ's death confirms his view that Jesus was a fraud and that it was his bold ideas that led to his execution. This poem takes the form of a dramatic monologue, allowing a villain to voice his thoughts — and in doing so, it reveals just how misguided and insignificant he truly is.
Line-by-line
O Nazarene! I find thee here at last! / Thou art no more a phantom unto me!
This is the end of one who called himself / The Son of God!
Such is the fate of those / Who preach new doctrines.
'T is not what he did, / But what he said, hath brought him unto this.
I will speak evil of no dignitaries. / This is my hour of triumph, Nazarene!
Tone & mood
The tone appears triumphant and sneering — Simon is clearly gloating, and Longfellow reflects that ugliness through sharp, clipped sentences and exclamation points. Yet, beneath the surface, the poem is profoundly ironic. Longfellow refrains from stepping in to correct Simon; he lets the reader recognize how hollow and self-incriminating each line truly is. The overall effect is chilling and unsettling, much like witnessing someone celebrate something they utterly misinterpret.
Symbols & metaphors
- The Nazarene — Simon's choice of name for Jesus removes any divine title and roots him in a specific, everyday location — Nazareth. This is a purposeful act of simplification, transforming a figure of great importance into a local figure.
- The phantom — Simon claims that Jesus is "no more a phantom" now that he is clearly dying. This highlights Simon's fear: Jesus's power had always seemed ghostly and unattainable to him. In Simon's distorted reasoning, the cross renders Jesus *real* by making him mortal and conquered.
- The hour of triumph — Simon sees this moment as his victory, but the phrase reflects the Christian idea of Christ's "hour" — the time of glorification that comes through sacrifice. Simon speaks of triumph without realizing that, in the narrative he is part of, the true victory belongs to the man on the cross.
- New doctrines — Simon views Jesus's teachings as a political blunder instead of a spiritual awakening. Using terms like "new doctrines" reflects the mindset of a bureaucrat or competitor, not that of someone searching for truth — it reveals a lot about Simon's perspective on the world.
Historical context
Simon Magus appears in the Acts of the Apostles as a Samaritan sorcerer who attempts to buy the power of the Holy Spirit from the apostles, which is where the term *simony* comes from. He became a typical villain in early Christian tradition, often portrayed as the first heretic. Longfellow wrote a series of short dramatic monologues featuring biblical and legendary figures, and this poem is part of that collection. By the 1870s, when Longfellow was writing these pieces, the dramatic monologue format had gained popularity thanks to Browning. It became common to depict a morally corrupt speaker during a pivotal historical moment to delve into themes of hypocrisy and self-deception. Longfellow's version of Simon is not just a furious adversary but something even more unsettling: a calculating, self-satisfied individual who observes the crucifixion and sees only the removal of a competitor.
FAQ
Simon Magus appears in the New Testament, particularly in the Acts of the Apostles. He was a sorcerer from Samaria who converted to Christianity but later attempted to bribe the apostles Peter and John for the power to grant the Holy Spirit. Peter responded with a stern rebuke. Over time, Simon became a symbol of corrupt and self-serving religion in Christian tradition, leading to the term *simony*, which refers to the act of buying or selling church offices, being named after him.
It’s a dramatic monologue — one speaker talks to someone who doesn’t reply. The poem is crafted in blank verse (unrhymed iambic pentameter), creating a rhythm that feels conversational and speech-like. Longfellow limits it to eight lines, giving it the impression of a single moment of gloating.
That’s the essence of the dramatic monologue form. Longfellow counts on the reader to catch the irony in Simon's words. By allowing Simon to condemn himself through his own speech—celebrating a death that Christian readers recognize is not a defeat—the poem becomes much more impactful than if Longfellow had intervened to add his own commentary.
It refers to a phrase in Acts 23:5 and the Epistle of Jude, which condemns speaking ill of rulers or dignitaries. Simon employs it as a sort of pious preamble—a way to appear respectable while he revels in a dying man's misfortune. This hypocrisy is evident, and that’s precisely what Longfellow aims to highlight.
Simon thinks he’s seeing the ultimate defeat of an opponent. Anyone familiar with the Christian narrative understands that, within this tradition, the crucifixion symbolizes victory rather than failure. Simon's victorious phrasing — "this is the end," "my hour of triumph" — comes across as tragically misguided. He’s celebrating an event he fundamentally misinterprets.
Simon contends that it was Jesus's *words*—his new teachings—rather than his actions that resulted in the crucifixion. He distinguishes between speech and action, attributing perilous ideas to perilous outcomes. This perspective reflects that of a political strategist rather than a spiritual individual, highlighting how Simon fundamentally overlooks the essence of Jesus's life and death.
It comes from a distinctly Christian viewpoint. Longfellow uses Simon as a contrasting figure — someone whose every statement is misguided — to emphasize what he believes is the real significance of the crucifixion. Instead of arguing for faith outright, the poem illustrates the shortcomings of a faithless, selfish interpretation of the events.
Longfellow crafted a number of short dramatic monologues featuring biblical and legendary characters later in his career. He was captivated by moments when a historical or mythological figure could express a moral truth through their own words. This poem exemplifies that approach: a concise, powerful depiction of a particular type of spiritual blindness.