Skip to content
Storgy

The Annotated Edition

THE EVENING STAR by Henry Wadsworth Longfellow

Summary, meaning, line-by-line analysis & FAQ.

Read aloud in ~1 minOpen reading mode →

Longfellow observes the evening star (Venus) descending behind the pine trees at dusk and uses this image to speak to someone dear to him, likening the star's nightly fade to his beloved going to bed and extinguishing her light.

Poet
Henry Wadsworth Longfellow
Themes
beauty, loneliness, love
The PoemFull text

THE EVENING STAR

Henry Wadsworth Longfellow

Lo! in the painted oriel of the West, Whose panes the sunken sun incarnadines, Like a fair lady at her casement, shines The evening star, the star of love and rest! And then anon she doth herself divest Of all her radiant garments, and reclines Behind the sombre screen of yonder pines, With slumber and soft dreams of love oppressed. O my beloved, my sweet Hesperus! My morning and my evening star of love! My best and gentlest lady! even thus, As that fair planet in the sky above, Dost thou retire unto thy rest at night, And from thy darkened window fades the light.

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

Longfellow observes the evening star (Venus) descending behind the pine trees at dusk and uses this image to speak to someone dear to him, likening the star's nightly fade to his beloved going to bed and extinguishing her light. It's a brief, heartfelt love poem wrapped in a nature scene. Essentially, Longfellow is expressing: "Your sleep is as beautiful and definitive as a star setting."

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. Lo! in the painted oriel of the West, / Whose panes the sunken sun incarnadines,

    Editor's note

    Longfellow begins by describing the western sky as a stained-glass window (*oriel*) glowing red from the setting sun (*incarnadines* means to make crimson). This rich imagery transforms the sky into a cathedral or a grand home, preparing the reader for the domestic comparison that comes next.

  2. Like a fair lady at her casement, shines / The evening star, the star of love and rest!

    Editor's note

    Here, the evening star — Venus — shines in the glowing window of the sky, resembling a woman leaning out of a casement window. This comparison serves two purposes: it presents the beloved as a character and connects Venus to her traditional roles as the star of love and the tranquil evening.

  3. And then anon she doth herself divest / Of all her radiant garments, and reclines

    Editor's note

    Venus starts to set. Longfellow portrays this as the star undressing (*divesting her radiant garments* — losing her brightness) and settling down to sleep. The language has a tender sensuality while remaining within the confines of a courtly, idealized femininity characteristic of the time.

  4. Behind the sombre screen of yonder pines, / With slumber and soft dreams of love oppressed.

    Editor's note

    The star vanishes behind a dark line of pine trees. *Oppressed* in this context reflects its older meaning of being weighed down or overcome — so the star is just overtaken by drowsiness and pleasant dreams, not in pain. The octave concludes with Venus completely concealed, preparing the scene for the direct address that comes next.

  5. O my beloved, my sweet Hesperus! / My morning and my evening star of love!

    Editor's note

    The volta arrives. Longfellow shifts from third-person narration and addresses his beloved directly, calling her *Hesperus* — the ancient Greek term for the evening star. Referring to her as both the morning and evening star implies she is his steady point of orientation, always present at the edges of the day.

  6. My best and gentlest lady! even thus, / As that fair planet in the sky above,

    Editor's note

    He makes the comparison clear: *even thus* — just like that planet. The compliment is rich with meaning: she is the best, the gentlest, and as bright and undeniable as Venus itself. The wording is formal and elegant, showcasing Longfellow's Romantic-era style.

  7. Dost thou retire unto thy rest at night, / And from thy darkened window fades the light.

    Editor's note

    The closing couplet wraps up the metaphor neatly. His beloved goes to bed, her window goes dark, reflecting what he just saw the evening star do. The last image—light disappearing from a darkened window—is soft and a bit sad, as if her absence, even for just one night, makes the world feel a little less bright.

§04Tone & mood

How this poem feels

The tone throughout is tender and respectful, with a hint of longing beneath the surface. Longfellow doesn't express anguish; this is admiration rather than heartbreak. Still, there's a gentle wistfulness in witnessing something beautiful fade away. The language is formal and elevated, lending the poem a ceremonial feel, as if the moment of his beloved drifting off to sleep deserves to be acknowledged with true solemnity.

§05Symbols & metaphors

Symbols & metaphors

The Evening Star (Venus / Hesperus)
Venus is the main symbol and represents the beloved directly. As the brightest object in the evening sky and the first to show up after sunset, it is linked to beauty, love, and dependable presence — qualities that Longfellow attributes to the woman he speaks to.
The Oriel Window
The western sky looks like a stained-glass bay window, transforming nature into architectural beauty and evoking the grandeur and sanctity of a cathedral. This imagery also introduces the recurring domestic scene of a woman at her window throughout the poem.
The Darkened Window
At the poem's end, the beloved's window going dark reflects the stars disappearing behind the pines. This symbolizes a temporary absence — not death or loss, but the slight separation that the speaker clearly experiences each night.
The Pine Trees
The *sombre screen of the distant pines* serves as a curtain or veil, creating a boundary between what we can see and what lies hidden. They signify the threshold the star crosses as it sets, much like the line the beloved crosses when she drifts off to sleep.
Radiant Garments
The star's brightness is likened to the clothing she sheds before going to bed. This comparison gives Venus a more human touch and makes her fading away seem like a personal, intimate ritual — which is precisely how Longfellow wants us to perceive his beloved's nightly routine.

§06Historical context

Historical context

Longfellow wrote this sonnet following the Italian (Petrarchan) sonnet style, which is known for celebrating idealized love. By the mid-nineteenth century, American poets were still greatly influenced by European Romanticism, and Longfellow — a Harvard professor of modern languages — immersed himself in Italian, Spanish, and German literary traditions. The evening star, representing love, has connections to Sappho and the ancient Greeks, who referred to it as Hesperus, and to the Romans, who associated it with Venus. Longfellow also experienced deep personal grief: his first wife passed away in 1835, and his second wife, Fanny, whom he cherished, died in a tragic accident in 1861. Whether this poem was meant for Fanny or was simply an exercise in the Petrarchan style, it fits well within the Victorian celebration of idealized womanhood and the Romantic idea of reflecting human emotions in nature.

§07FAQ

Questions readers ask

It's a Petrarchan (Italian) sonnet — 14 lines written in iambic pentameter, split into an octave (8 lines with an ABBAABBA rhyme scheme) and a sestet (6 lines with a CDCDEE rhyme scheme). The octave paints a picture of the evening star setting, while the sestet shifts to speak directly to the beloved. This shift between the two parts is known as the *volta*.

Read next

Poems in the same key

Similar poems

TO A SKYLARK. — Percy Bysshe ShelleyODE TO THE WEST WIND. — Percy Bysshe ShelleyThe Convergence of the Twain — Thomas Hardy

More by Henry Wadsworth Longfellow

Browse all Henry Wadsworth Longfellow poems →

Themes in this poem

Poems about beautyPoems about lonelinessPoems about lovePoems about nature