The Virgin
And now these clothes, that wrapped Him, take
And keep them precious, for his sake;
Our benediction thus we make,
Naught else have we to give.
She gives them swaddling-clothes and they depart.
The Annotated Edition
The Virgin by Henry Wadsworth Longfellow
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This short poem is spoken by the Virgin Mary as she hands over the swaddling clothes that wrapped the infant Jesus, offering them as a cherished keepsake because she has nothing else to give.
- Core theme
- Faith
§01Quick summary
What this poem is about
This short poem is spoken by the Virgin Mary as she hands over the swaddling clothes that wrapped the infant Jesus, offering them as a cherished keepsake because she has nothing else to give. It captures a moment of quiet, humble devotion — a mother's blessing wrapped in simplicity. The stage direction at the end indicates this is a dramatic scene, likely inspired by a nativity play or mystery-play tradition.
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
And now these clothes, that wrapped Him, take / And keep them precious, for his sake;
Editor's note
Mary speaks to the shepherds, wise men, or pilgrims, asking them to take the swaddling clothes that wrapped the baby Jesus. The term *precious* carries dual meaning: while the cloths aren't worth anything in monetary terms, they have been in contact with the divine, making them invaluable. The phrase *for his sake* emphasizes that the cloth's worth is solely linked to the child, rather than the cloth itself.
Our benediction thus we make, / Naught else have we to give.
Editor's note
Mary presents the gift as a blessing (*benediction*) rather than a mere transaction. The admission that they have *naught else* honestly reflects their poverty, yet it also enhances the significance of the gesture: when you have nothing, giving anything means everything. The straightforwardness of the language matches the simplicity of the scene.
She gives them swaddling-clothes and they depart.
Editor's note
This prose stage direction wraps up the piece and connects it to a dramatic tradition—like a nativity play or mystery play. The departure is silent and conclusive, leaving the reader with a vivid image of the clothes being passed and the visitors disappearing into the night.
§04Tone & mood
How this poem feels
The tone is gentle, respectful, and subtly mournful. Mary communicates with the composed dignity of someone aware of the significance of what she carries, but her acknowledgment of poverty keeps the scene relatable and human instead of lofty. There’s no trace of self-pity—only a sincere, generous gift.
§05Symbols & metaphors
Symbols & metaphors
- Swaddling clothes
- The cloths that wrapped Jesus at birth are the central symbol. They reflect the blend of the ordinary and the sacred — simple fabric transformed into something holy through its connection with the divine. Giving them away is a profound act of generosity, as they are the family's sole treasure.
- Benediction
- A benediction is a formal blessing typically given by a priest or someone in authority. By using this word, Mary subtly affirms her spiritual authority as the mother of Christ, transforming a simple handover into a sacred ritual.
- Naught
- The word *naught* (nothing) represents the Holy Family's poverty, but it also conveys that spiritual gifts are separate from material wealth. When one has nothing to offer, the gift of clothes — and the accompanying blessing — becomes even more meaningful.
§06Historical context
Historical context
Longfellow published this piece as part of his ambitious dramatic poem *Christus: A Mystery* (1872), which is a trilogy that explores the early Christian era through to the medieval church. The nativity section is heavily influenced by the European mystery-play tradition — these were medieval performances that brought biblical events to life for everyday audiences. Longfellow had a strong passion for European literature and translated extensively from Spanish, Italian, and German; the mystery-play format allowed him to present sacred stories in a straightforward, relatable manner. By 1872, he had become the most widely read poet among English speakers, and *Christus* marked his most significant effort at creating a large-scale religious work. The Virgin's speech in this section is purposefully simple, reflecting the humility inherent in the nativity story.
§07FAQ
Questions readers ask
The text doesn’t specify who the recipients are, but the stage direction indicates *they* leave after getting the clothes. In the context of *Christus: A Mystery*, this scene probably features shepherds or other visitors to the manger—characters from the nativity story who come to pay their respects and take away a piece of the moment.
Swaddling clothes are strips of fabric used to snugly wrap a newborn, helping to keep the baby warm and calm. In the Gospel of Luke, the infant Jesus is mentioned as being wrapped in swaddling clothes and placed in a manger. By the time Longfellow wrote his poem, this phrase had become a familiar biblical reference, easily recognized by his audience.
Yes. It comes from *Christus: A Mystery* (1872), a three-part dramatic poem that Longfellow labored over for decades. The first part, *The Divine Tragedy*, tells the story of Christ and features this nativity scene. The stage direction at the end of the poem makes it clear that it's crafted like a dramatic script instead of a lyric poem.
It directly references the poverty of the Holy Family. Joseph worked as a carpenter, and they had little wealth to give as gifts. Longfellow uses this acknowledgment to create an emotionally honest scene — the blessing holds true because it requires them to give everything they possess.
A benediction is a spoken blessing often linked to religious ceremonies. Mary uses it to transform the handover of the clothes into a sacred act rather than just a simple exchange. This also subtly establishes her as a spiritual figure in her own right, rather than merely a bystander in her son's story.
Mystery plays were theatrical performances in medieval Europe that brought Bible stories to life. They took place in town squares and churches, catering to everyday people who couldn't read Latin. Longfellow appreciated this tradition and adopted its style—short dramatic scenes with stage directions—to make the nativity story resonate on a personal level.
The poem explores themes of faith, love, and sorrow. Mary's gesture embodies love and devotion, while the poverty surrounding it brings a subtle sense of sorrow. The entire scene is rooted in religious faith. Longfellow maintains a focused perspective, allowing each of these emotions to resonate without needing explicit explanation.
Brevity is a conscious decision. The scene captures a quiet, personal moment in the midst of a bigger narrative. Longfellow provides Mary with just the right words to lend significance to her gesture, then pulls back. The stage direction takes over, allowing the action to convey more than any additional lines ever could.
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