THE FALCON OF SER FEDERIGO by Henry Wadsworth Longfellow: Summary, Meaning & Analysis
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.
The poem
One summer morning, when the sun was hot, Weary with labor in his garden-plot, On a rude bench beneath his cottage eaves, Ser Federigo sat among the leaves Of a huge vine, that, with its arms outspread, Hung its delicious clusters overhead. Below him, through the lovely valley flowed The river Arno, like a winding road, And from its banks were lifted high in air The spires and roofs of Florence called the Fair; To him a marble tomb, that rose above His wasted fortunes and his buried love. For there, in banquet and in tournament, His wealth had lavished been, his substance spent, To woo and lose, since ill his wooing sped, Monna Giovanna, who his rival wed, Yet ever in his fancy reigned supreme, The ideal woman of a young man’s dream. Then he withdrew, in poverty and pain, To this small farm, the last of his domain, His only comfort and his only care To prune his vines, and plant the fig and pear; His only forester and only guest His falcon, faithful to him, when the rest, Whose willing hands had found so light of yore The brazen knocker of his palace door, Had now no strength to lift the wooden latch, That entrance gave beneath a roof of thatch. Companion of his solitary ways, Purveyor of his feasts on holidays, On him this melancholy man bestowed The love with which his nature overflowed. And so the empty-handed years went round, Vacant, though voiceful with prophetic sound, And so, that summer morn, he sat and mused With folded, patient hands, as he was used, And dreamily before his half-closed sight Floated the vision of his lost delight. Beside him, motionless, the drowsy bird Dreamed of the chase, and in his slumber heard The sudden, scythe-like sweep of wings, that dare The headlong plunge thro’ eddying gulfs of air, Then, starting broad awake upon his perch, Tinkled his bells, like mass-bells in a church, And, looking at his master, seemed to say, “Ser Federigo, shall we hunt to-day?” Ser Federigo thought not of the chase; The tender vision of her lovely face, I will not say he seems to see, he sees In the leaf-shadows of the trellises, Herself, yet not herself; a lovely child With flowing tresses, and eyes wide and wild, Coming undaunted up the garden walk, And looking not at him, but at the hawk. “Beautiful falcon!” said he, “would that I Might hold thee on my wrist, or see thee fly!” The voice was hers, and made strange echoes start Through all the haunted chambers of his heart, As an æolian harp through gusty doors Of some old ruin its wild music pours. “Who is thy mother, my fair boy?” he said, His hand laid softly on that shining head. “Monna Giovanna. Will you let me stay A little while, and with your falcon play? We live there, just beyond your garden wall, In the great house behind the poplars tall.” So he spake on; and Federigo heard As from afar each softly uttered word, And drifted onward through the golden gleams And shadows of the misty sea of dreams, As mariners becalmed through vapors drift, And feel the sea beneath them sink and lift, And hear far off the mournful breakers roar, And voices calling faintly from the shore! Then, waking from his pleasant reveries He took the little boy upon his knees, And told him stories of his gallant bird, Till in their friendship he became a third. Monna Giovanna, widowed in her prime, Had come with friends to pass the summer time In her grand villa, half-way up the hill, O’erlooking Florence, but retired and still; With iron gates, that opened through long lines Of sacred ilex and centennial pines, And terraced gardens, and broad steps of stone, And sylvan deities, with moss o’ergrown, And fountains palpitating in the heat, And all Val d’Arno stretched beneath its feet. Here in seclusion, as a widow may, The lovely lady whiled the hours away, Pacing in sable robes the statued hall, Herself the stateliest statue among all, And seeing more and more, with secret joy, Her husband risen and living in her boy, Till the lost sense of life returned again, Not as delight, but as relief from pain. Meanwhile the boy, rejoicing in his strength, Stormed down the terraces from length to length; The screaming peacock chased in hot pursuit, And climbed the garden trellises for fruit. But his chief pastime was to watch the flight Of a gerfalcon, soaring into sight, Beyond the trees that fringed the garden wall, Then downward stooping at some distant call; And as he gazed full often wondered he Who might the master of the falcon be, Until that happy morning, when he found Master and falcon in the cottage ground. And now a shadow and a terror fell On the great house, as if a passing-bell Tolled from the tower, and filled each spacious room With secret awe, and preternatural gloom; The petted boy grew ill, and day by day Pined with mysterious malady away. The mother’s heart would not be comforted; Her darling seemed to her already dead, And often, sitting by the sufferer’s side, “What can I do to comfort thee?” she cried. At first the silent lips made no reply, But moved at length by her importunate cry, “Give me,” he answered, with imploring tone, “Ser Federigo’s falcon for my own!” No answer could the astonished mother make; How could she ask, e’en for her darling’s sake, Such favor at a luckless lover’s hand, Well knowing that to ask was to command? Well knowing, what all falconers confessed, In all the land that falcon was the best, The master’s pride and passion and delight, And the sole pursuivant of this poor knight. But yet, for her child’s sake, she could no less Than give assent to soothe his restlessness, So promised, and then promising to keep Her promise sacred, saw him fall asleep. The morrow was a bright September morn; The earth was beautiful as if new-born; There was that nameless splendor everywhere, That wild exhilaration in the air, Which makes the passers in the city street Congratulate each other as they meet. Two lovely ladies, clothed in cloak and hood, Passed through the garden gate into the wood, Under the lustrous leaves, and through the sheen Of dewy sunshine showering down between. The one, close-hooded, had the attractive grace Which sorrow sometimes lends a woman’s face; Her dark eyes moistened with the mists that roll From the gulf-stream of passion in the soul; The other with her hood thrown back, her hair Making a golden glory in the air, Her cheeks suffused with an auroral blush, Her young heart singing louder than the thrush. So walked, that morn, through mingled light and shade, Each by the other’s presence lovelier made, Monna Giovanna and her bosom friend, Intent upon their errand and its end. They found Ser Federigo at his toil, Like banished Adam, delving in the soil; And when he looked and these fair women spied, The garden suddenly was glorified; His long-lost Eden was restored again, And the strange river winding through the plain No longer was the Arno to his eyes, But the Euphrates watering Paradise! Monna Giovanna raised her stately head, And with fair words of salutation said: “Ser Federigo, we come here as friends, Hoping in this to make some poor amends For past unkindness. I who ne’er before Would even cross the threshold of your door, I who in happier days such pride maintained, Refused your banquets, and your gifts disdained, This morning come, a self-invited guest, To put your generous nature to the test, And breakfast with you under your own vine.” To which he answered: “Poor desert of mine, Not your unkindness call it, for if aught Is good in me of feeling or of thought, From you it comes, and this last grace outweighs All sorrows, all regrets of other days.” And after further compliment and talk, Among the asters in the garden walk He left his guests; and to his cottage turned, And as he entered for a moment yearned For the lost splendors of the days of old, The ruby glass, the silver and the gold, And felt how piercing is the sting of pride, By want embittered and intensified. He looked about him for some means or way To keep this unexpected holiday; Searched every cupboard, and then searched again, Summoned the maid, who came, but came in vain; “The Signor did not hunt to-day,” she said, “There’s nothing in the house but wine and bread.” Then suddenly the drowsy falcon shook His little bells, with that sagacious look, Which said, as plain as language to the ear, “If anything is wanting, I am here!” Yes, everything is wanting, gallant bird! The master seized thee without further word. Like thine own lure, he whirled thee round; ah me! The pomp and flutter of brave falconry, The bells, the jesses, the bright scarlet hood, The flight and the pursuit o’er field and wood, All these forevermore are ended now; No longer victor, but the victim thou! Then on the board a snow-white cloth he spread, Laid on its wooden dish the loaf of bread, Brought purple grapes with autumn sunshine hot, The fragrant peach, the juicy bergamot; Then in the midst a flask of wine he placed, And with autumnal flowers the banquet graced. Ser Federigo, would not these suffice Without thy falcon stuffed with cloves and spice? When all was ready, and the courtly dame With her companion to the cottage came, Upon Ser Federigo’s brain there fell The wild enchantment of a magic spell! The room they entered, mean and low and small, Was changed into a sumptuous banquet-hall, With fanfares by aerial trumpets blown; The rustic chair she sat on was a throne; He ate celestial food, and a divine Flavor was given to his country wine, And the poor falcon, fragrant with his spice, A peacock was, or bird of paradise! When the repast was ended, they arose And passed again into the garden-close. Then said the lady, “Far too well I know Remembering still the days of long ago, Though you betray it not with what surprise You see me here in this familiar wise. You have no children, and you cannot guess What anguish, what unspeakable distress A mother feels, whose child is lying ill, Nor how her heart anticipates his will. And yet for this, you see me lay aside All womanly reserve and check of pride, And ask the thing most precious in your sight, Your falcon, your sole comfort and delight, Which if you find it in your heart to give, My poor, unhappy boy perchance may live.” Ser Federigo listens, and replies, With tears of love and pity in his eyes: “Alas, dear lady! there can be no task So sweet to me, as giving when you ask. One little hour ago, if I had known This wish of yours, it would have been my own. But thinking in what manner I could best Do honor to the presence of my guest, I deemed that nothing worthier could be Than what most dear and precious was to me, And so my gallant falcon breathed his last To furnish forth this morning our repast.” In mute contrition, mingled with dismay, The gentle lady tuned her eyes away, Grieving that he such sacrifice should make, And kill his falcon for a woman’s sake, Yet feeling in her heart a woman’s pride, That nothing she could ask for was denied; Then took her leave, and passed out at the gate With footstep slow and soul disconsolate. Three days went by, and lo! a passing-bell Tolled from the little chapel in the dell; Ten strokes Ser Federigo heard, and said, Breathing a prayer, “Alas! her child is dead!” Three months went by; and lo! a merrier chime Rang from the chapel bells at Christmas time; The cottage was deserted, and no more Ser Federigo sat beside its door, But now, with servitors to do his will, In the grand villa, half-way up the hill, Sat at the Christmas feast, and at his side Monna Giovanna, his beloved bride, Never so beautiful, so kind, so fair, Enthroned once more in the old rustic chair, High-perched upon the back of which there stood The image of a falcon carved in wood, And underneath the inscription, with date, “All things come round to him who will but wait.”
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. Years later, after becoming a widow, she approaches him to request his beloved falcon to help save her ailing son — but Federigo has already killed and prepared the bird to serve her as an esteemed guest. Sadly, the boy passes away regardless, but touched by Federigo's selfless act, Monna Giovanna eventually marries him, restoring his fortunes.
Line-by-line
One summer morning, when the sun was hot, / Weary with labor in his garden-plot,
Then he withdrew, in poverty and pain, / To this small farm, the last of his domain,
And so the empty-handed years went round, / Vacant, though voiceful with prophetic sound,
Ser Federigo thought not of the chase; / The tender vision of her lovely face,
"Who is thy mother, my fair boy?" he said, / His hand laid softly on that shining head.
Monna Giovanna, widowed in her prime, / Had come with friends to pass the summer time
And now a shadow and a terror fell / On the great house, as if a passing-bell
The morrow was a bright September morn; / The earth was beautiful as if new-born;
They found Ser Federigo at his toil, / Like banished Adam, delving in the soil;
And after further compliment and talk, / Among the asters in the garden walk
Then on the board a snow-white cloth he spread, / Laid on its wooden dish the loaf of bread,
When the repast was ended, they arose / And passed again into the garden-close.
In mute contrition, mingled with dismay, / The gentle lady tuned her eyes away,
Three days went by, and lo! a passing-bell / Tolled from the little chapel in the dell;
Tone & mood
The tone is both mournful and romantic, underpinned by a subtle irony. Longfellow narrates the tale with warmth and empathy for each character — Federigo's steadfast love, Giovanna's sorrowful longing, and even the falcon's noble loyalty — without allowing sentiment to drift into sentimentality. A quiet sadness pervades, evoking the sense of time slipping away and opportunities lost, interspersed with flashes of beauty when love momentarily turns the mundane into something radiant.
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.
Historical context
Longfellow published this poem in *Tales of a Wayside Inn* (1863–1874), a collection inspired by Chaucer's *Canterbury Tales*, where a group of travelers shares stories. The poem's source is Boccaccio's *Decameron* (Day 5, Tale 9), written in the 1350s, and it's one of the most famous tales in Italian literature. Longfellow had a deep appreciation for Italian culture; he translated Dante's *Divine Comedy* and taught Italian at Harvard. This poem is part of the larger narrative of the Wayside Inn tales, told by a character from Sicily. While writing during the Civil War, Longfellow faced significant personal loss, having lost his wife Fanny in a fire in 1861. The poem reflects on themes of patient grief, sacrifice, and eventual healing, carrying a depth that transcends its medieval Italian origins.
FAQ
It retells the ninth story from the fifth day of Boccaccio's *Decameron* (c. 1353), which is one of the most well-known tales in Italian literature. Longfellow followed Boccaccio's original plot but developed it into a complete narrative poem, adding detailed descriptions and exploring the characters' psychological nuances.
He has nothing else in the house to offer Monna Giovanna for breakfast, and he can’t stand the thought of hosting her with just bread and wine. The falcon is his most treasured possession, so he believes it’s the only thing fitting for the occasion. He doesn’t realize yet that she has come specifically to request the bird.
Both. Federigo finally wins the heart of the woman he's loved for years, and his fortunes are restored — that's true happiness. Yet, the boy is dead, the falcon is gone, and the carved image on the chair serves as a constant reminder of the price of that joy. Longfellow makes sure the reader remembers the losses that linger beneath the surface of the celebration.
It is the poem's closing moral: patient, faithful love is eventually rewarded. However, there's a quiet irony here. Federigo spent years in poverty and sorrow, sacrificing his only companion, and the boy died — making the "waiting" a heavy burden. The inscription honors endurance, while the carved falcon below reflects on the toll that endurance took.
It gives the falcon a sacred quality, setting it apart from just being a hunting bird. The mention of church bells hints at the passing-bell that will ring for the boy's death later in the poem. Longfellow weaves bell imagery throughout to signify the passage of time and the heaviness of loss.
She grieves for the innocent creature that died and for the loss of Federigo's last treasure—knowing it won't save her son. At the same time, she feels a sense of pride because Federigo's sacrifice shows his unwavering devotion; there's nothing she could ask for that he wouldn't give. Longfellow honestly portrays these conflicting emotions within her, making her a more genuine and compelling character.
It is part of *Tales of a Wayside Inn* (published in installments from 1863 to 1874), a collection by Longfellow that uses a frame narrative, inspired by Chaucer's *Canterbury Tales*. The poem is narrated by a Sicilian traveler, making it a story within a story. This structure lends it a somewhat formal, once-upon-a-time feel, inviting us to experience a tale that's been passed down through the ages.
Throughout the poem, the outside world reflects Federigo's feelings. His farm appears barren and humble when he's alone and grieving. The September morning of Giovanna's visit shines brightly, mirroring the fresh hope her presence ignites. Upon seeing her, the Arno transforms into the Euphrates, and the farm turns into Eden. Longfellow consistently uses the landscape to convey emotion.