The Annotated Edition
THE FALCON OF SER FEDERIGO by Henry Wadsworth Longfellow
A down-and-out Italian nobleman named Ser Federigo once squandered his entire wealth in a bid to win the heart of a woman named Monna Giovanna, who ended up marrying another man.
- Themes
- love, memory, sorrow
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
One summer morning, when the sun was hot, / Weary with labor in his garden-plot,
Editor's note
Longfellow begins by depicting Ser Federigo in his diminished state—a former wealthy man now toiling in the fields under the hot sun. The setting is intentionally modest: a rough bench, a thatched cottage, and a vine climbing above. In the distance, Florence sparkles, but to Federigo, it resembles a marble tomb, symbolizing all he sacrificed in pursuit of Monna Giovanna's affection.
Then he withdrew, in poverty and pain, / To this small farm, the last of his domain,
Editor's note
This stanza presents the falcon as Federigo's sole true companion. With the money gone, all those who once gathered at his palace have disappeared. Only the falcon remains loyal. Longfellow emphasizes that Federigo's love—whether directed towards a woman or a bird—is complete and unwavering, foreshadowing the tragedy that lies ahead.
And so the empty-handed years went round, / Vacant, though voiceful with prophetic sound,
Editor's note
Time seems to linger in a state of quiet sorrow. Federigo sits with his hands folded, lost in thoughts of Monna Giovanna. The falcon awakens and appears to wonder if they will go hunting today — a brief, vibrant burst of energy from the bird cutting through the man's deep sadness. The bells on the falcon's jesses chime "like mass-bells in a church," lending the bird an almost divine presence.
Ser Federigo thought not of the chase; / The tender vision of her lovely face,
Editor's note
A child appears in the garden, and Federigo instantly recognizes Monna Giovanna's face in the boy's features. The child is captivated by the falcon, and his voice has the same resonance as his mother's. Longfellow employs the image of an aeolian harp in a dilapidated building to illustrate how that voice evokes old emotions: beautiful, untamed, and a touch sorrowful.
"Who is thy mother, my fair boy?" he said, / His hand laid softly on that shining head.
Editor's note
The boy shares that he is Monna Giovanna's son and lives just beyond the garden wall. Federigo, still caught up in his thoughts, floats through the conversation like a sailor stranded on calm waters — Longfellow's nautical metaphor perfectly illustrates the confusion of having the past unexpectedly reappear in the present. After a moment, Federigo regains his composure and lifts the boy onto his knee, sharing tales about the falcon.
Monna Giovanna, widowed in her prime, / Had come with friends to pass the summer time
Editor's note
We learn about Monna Giovanna's situation: recently widowed, she has withdrawn to her grand villa overlooking Florence. She is slowly reclaiming her life through her son, seeing her deceased husband reflected in the boy's face. Meanwhile, the boy has noticed Federigo's falcon from the villa grounds and has become captivated by it — which is what drew him to the cottage in the first place.
And now a shadow and a terror fell / On the great house, as if a passing-bell
Editor's note
The boy becomes seriously ill. His only wish is to have Federigo's falcon. Monna Giovanna feels conflicted: she understands that asking for the falcon means she’s essentially forcing Federigo to give it up, as his deep affection for her makes it hard for him to say no. She also realizes that the falcon is his most treasured possession and vital for his livelihood. However, a mother's love prevails, and she assures her son that she will make the request.
The morrow was a bright September morn; / The earth was beautiful as if new-born;
Editor's note
The morning of Monna Giovanna's visit is depicted in vivid, almost ironic detail — the world is filled with beauty while her purpose is urgent. She and a friend stroll through the garden in striking contrast: Monna Giovanna, cloaked and somber, alongside her companion, who is bright and youthful. This contrast highlights the heavy burden of grief that Giovanna bears, even on such a lovely day.
They found Ser Federigo at his toil, / Like banished Adam, delving in the soil;
Editor's note
When Federigo sees Monna Giovanna, he immediately imagines his ruined farm as a paradise, like Eden. The Arno turns into the Euphrates, and everything feels renewed. This is Longfellow at his most romantic — love truly changes how the lover perceives the world. Giovanna greets him kindly, recognizing their past unkindness, and he graciously accepts all the blame, showing remarkable humility.
And after further compliment and talk, / Among the asters in the garden walk
Editor's note
Federigo steps inside to make breakfast but quickly realizes he’s in a bind: there’s nothing to eat in the house. No food at all, and no way to treat his guest. The falcon, with its remarkable intelligence, appears to present itself as a solution. Longfellow captures the killing with deep emotion — recounting the bells, the jesses, the scarlet hood, and all the trappings of falconry that are coming to a close. The bird, once Federigo's final companion, becomes his last offering.
Then on the board a snow-white cloth he spread, / Laid on its wooden dish the loaf of bread,
Editor's note
The meal that Federigo prepares is straightforward yet presented with thoughtfulness and respect. As the women take their seats, Federigo envisions the cottage as a grand banquet hall — a love that rises above the limitations of poverty. The narrator interjects with a bittersweet comment: "Ser Federigo, would not these suffice / Without thy falcon stuffed with cloves and spice?" — an instance of direct address that sharpens the irony.
When the repast was ended, they arose / And passed again into the garden-close.
Editor's note
After the meal, Monna Giovanna finally asks for the falcon. Federigo's response is one of the poem's standout moments: he tells her that just an hour ago, he would have given it to her without hesitation, but he already served it as her breakfast since he had nothing else worthy of her. This sacrifice came from love, without realizing what she truly desired. The irony here is both complete and heartbreaking.
In mute contrition, mingled with dismay, / The gentle lady tuned her eyes away,
Editor's note
Monna Giovanna experiences a mix of emotions: sorrow that he gave up his cherished bird for her and a quiet pride in his unwavering devotion, willing to grant any request she makes. She departs slowly, her heart weighed down. Longfellow provides her with genuine depth—she is not merely a plot device, but a woman truly affected and complex in her response to what she has seen.
Three days went by, and lo! a passing-bell / Tolled from the little chapel in the dell;
Editor's note
The boy dies. Three months later, the poem shifts dramatically to Christmas and a wedding. Federigo and Monna Giovanna get married; he returns to the grand villa. The poem ends with the carved falcon on the back of the chair she sits in, inscribed with: "All things come round to him who will but wait." It's a bittersweet conclusion — fortune restored, love achieved, but at the expense of a child's life and a bird's.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The falcon
- The falcon is the main symbol in the poem, embodying multiple meanings simultaneously. It signifies Federigo's love — loyal, proud, and ultimately given up for the one he cherishes. It also stands as his final treasured possession, making its death an act of complete selflessness. The carved wooden falcon at the end, placed on the chair, serves as a reminder of both the love that led to this loss and the grief that follows.
- Florence / the Arno
- Florence in the distance represents Federigo's lost past—his wealth, his social life, and his unfulfilled courtship. When Monna Giovanna arrives, the Arno turns into the Euphrates, and the farm transforms into Eden, illustrating how love can temporarily overshadow reality. The river serves as a constant reminder of what was and what could have been.
- The passing-bell
- The tolling bell shows up twice: first as a metaphor for the fear that grips the household when the boy gets sick, and then as the actual bell that signals his death. It signifies the price of the story's happy ending — the child's life is the cost of the union between Federigo and Giovanna.
- The cottage vs. the villa
- The two dwellings illustrate the poem's journey. The modest cottage represents poverty, solitude, and deep devotion. In contrast, the grand villa symbolizes wealth, social status, and the life Federigo once had. The poem concludes with him returning to the villa, but the falcon's image carved into the furniture makes sure the cottage — and everything that took place there — remains unforgettable.
- The inscription on the chair
- "All things come round to him who will but wait" captures the essence of the poem's moral in one line. It highlights Federigo's enduring patience as the quality that ultimately brings him success. However, positioned beneath the image of the dead falcon, it also conveys a somber truth: the things lost along the journey cannot be reclaimed.
- Eden / Paradise
- Longfellow draws a clear parallel between Federigo and "banished Adam" toiling on his small plot of land, and when Giovanna arrives, the farm transforms into a restored Paradise. This biblical framework elevates the love story to a mythic level — Federigo's loss of wealth and love mirrors a Fall, while Giovanna's return symbolizes redemption.
§06Historical context
Historical context
§07FAQ
Questions readers ask
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