THE DEMONIAC. by Henry Wadsworth Longfellow: Summary, Meaning & Analysis
In this brief dramatic poem, a tormented speaker pleads with Aschmedai—a demon from Jewish folklore—for mercy.
The poem
O Aschmedai! Thou angel of the bottomless pit, have pity! It was enough to hurl King Solomon, On whom be peace! two hundred leagues away Into the country, and to make him scullion In the kitchen of the King of Maschkemen! Why dost thou hurl me here among these rocks, And cut me with these stones?
In this brief dramatic poem, a tormented speaker pleads with Aschmedai—a demon from Jewish folklore—for mercy. The speaker likens his own pain to the famous humiliation of King Solomon, who was allegedly cast out from his kingdom by the very same demon. It comes across as a raw, anguished cry from someone who feels completely overwhelmed by an unyielding force.
Line-by-line
O Aschmedai! / Thou angel of the bottomless pit, have pity!
It was enough to hurl King Solomon, / On whom be peace! two hundred leagues away
Into the country, and to make him scullion / In the kitchen of the King of Maschkemen!
Why dost thou hurl me here among these rocks, / And cut me with these stones?
Tone & mood
The tone remains anguished and pleading, underpinned by a sense of bitter logic. Instead of raging at the demon, the speaker attempts to reason with him, advocating for mercy. The language carries an almost liturgical quality, featuring formal addresses and traditional honorifics, which makes the raw physical complaint at the end hit even harder.
Symbols & metaphors
- Aschmedai — In Jewish folklore, Aschmedai (or Asmodeus) is known as the king of demons. He represents any overpowering, malicious force that a person can't negotiate with or evade — a symbol of senseless cruelty and authority.
- King Solomon as scullion — Solomon's decline from the greatest king to the lowest kitchen servant represents a complete reversal of fortune. The speaker points to this as proof that no one, no matter how powerful, is immune to such destruction.
- Rocks and stones — The rocks the speaker is thrown against are both literal and symbolic—they embody the harsh, uncaring world that the demoniac is cast into, a realm devoid of softness or refuge.
- The bottomless pit — A classic depiction of hell or the abyss, taken from Jewish and Christian traditions. It suggests that Aschmedai's power is boundless — there's always a deeper level to descend.
Historical context
Longfellow had a profound interest in world mythology, folklore, and various religious traditions beyond Christianity, and this poem taps into the rich demonology found in the Talmud and later Jewish mystical writings. Aschmedai (or Asmodeus) is mentioned in the Book of Tobit and the Talmudic tractate Gittin, where he famously tricks and overthrows King Solomon. Longfellow was well-versed in European languages and extensively read German Romantic literature, which often engaged with Jewish legends. The poem likely takes the form of a dramatic monologue—it features a character's voice rather than a personal reflection—following the tradition of Browning-era character studies. While it may be a minor work, it is striking and showcases Longfellow's versatility beyond the patriotic and sentimental poetry for which he is best known. In the mid-19th century, the American literary scene was captivated by the ancient and the exotic, and poems like this contributed to that fascination.
FAQ
Aschmedai is known as the king of demons in Jewish folklore, originating from the Talmud and Kabbalistic tradition. He is most famously featured in the Talmudic tractate Gittin, where he deceives King Solomon, steals his magic ring, and assumes his throne while Solomon is banished. He is also connected to the character of Asmodeus in the Book of Tobit.
According to the Talmud, King Solomon captured Aschmedai and compelled him to assist in building the Temple in Jerusalem. However, Aschmedai managed to deceive Solomon into surrendering his magic ring, after which he cast Solomon two hundred leagues away and took on his identity as king. As a result, Solomon found himself wandering as a beggar and working as a servant until he ultimately regained his throne. Longfellow draws on this legend as the main argument for the speaker’s call for mercy.
A scullion is the lowest kitchen worker, responsible for washing pots, scrubbing floors, and handling the dirtiest tasks. This role represents the bottom tier of household staff. Longfellow uses this term to illustrate the extent of Solomon's humiliation: from the wisest king on earth to someone scrubbing dishes in an unfamiliar kitchen.
The title 'The Demoniac' implies that the speaker is someone thought to be possessed — a marginalized individual who experiences torment and rejection. It's unclear whether Longfellow means this literally or if he uses it as a metaphor for mental anguish and social isolation. The poem takes the form of a dramatic monologue, positioning the speaker as a character distinct from Longfellow.
Maschkemen comes from a Talmudic legend about Solomon, referring to the foreign kingdom where he becomes a servant after being exiled by Aschmedai. Longfellow uses this name straight from the source, adding an authentic folkloric feel to the poem.
'On whom be peace' (or 'peace be upon him') is a traditional honorific found in both Jewish and Islamic cultures, used when mentioning a revered prophet or holy figure. Longfellow incorporates it to indicate that the speaker is rooted in that religious tradition, adding a solemn, liturgical rhythm that stands in stark contrast to the raw pain expressed at the poem's conclusion.
Not quite. Longfellow is primarily recognized for his lengthy narrative poems such as *Evangeline* and *The Song of Hiawatha*, along with his sentimental lyric pieces. This particular work is shorter, more unusual, and carries a greater dramatic intensity than his well-known pieces. It reveals a side of Longfellow that was genuinely interested in non-Christian religious traditions and open to exploring a distinctly different voice.
A dramatic monologue is a poem crafted as a speech by a single character, who isn't the poet. The reader eavesdrops on the character's words — typically directed at someone who remains silent — and uncovers the character's situation through their speech. While Robert Browning popularized this form, Longfellow also employed it. In this poem, the demoniac addresses Aschmedai directly, allowing us to understand his suffering through this one-sided dialogue.