Simon Magus by Henry Wadsworth Longfellow

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.