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To Emma Abbott by Eugene Field

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Eugene Field wrote this poem as a heartfelt goodbye to Emma Abbott, a renowned American opera singer who passed away at a young age.

Poet
Eugene Field
Core theme
Death
The PoemFull text

To Emma Abbott

Eugene Field

There--let thy hands be folded Awhile in sleep's repose; The patient hands that wearied not, But earnestly and nobly wrought In charity and faith; And let thy dear eyes close-- The eyes that looked alway to God, Nor quailed beneath the chastening rod Of sorrow; Fold thou thy hands and eyes For just a little while, And with a smile Dream of the morrow. And, O white voiceless flower, The dream which thou shalt dream Should be a glimpse of heavenly things, For yonder like a seraph sings The sweetness of a life With faith alway its theme; While speedeth from those realms above The messenger of that dear love That healeth sorrow. So sleep a little while, For thou shalt wake and sing Before thy King When cometh the morrow.

Public domain

Sourced from Project Gutenberg

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§01Quick summary

What this poem is about

Eugene Field wrote this poem as a heartfelt goodbye to Emma Abbott, a renowned American opera singer who passed away at a young age. He envisions her death not as a final chapter but as a short slumber before she awakens to perform for God in heaven. The poem offers gentle comfort — grief expressed through imagery of rest, flowers, and faith.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. There--let thy hands be folded / Awhile in sleep's repose;

    Editor's note

    Field opens by speaking directly to Emma Abbott, urging her to rest her hands — the very hands that dedicated themselves to charity and faith throughout her life. Referring to death as a 'sleep' is a familiar way to provide comfort: it eases the harshness of finality and presents her passing as something temporary. The mention of hands that 'wearied not' honors her unwavering commitment, both to her craft and her charitable efforts.

  2. And let thy dear eyes close-- / The eyes that looked alway to God,

    Editor's note

    The eyes that remained resolute under sorrow's 'chastening rod' are now being asked to close. Field honors her unwavering faith — she endured hardship while keeping her trust in God. The term 'chastening' holds biblical significance, implying that the suffering she experienced was a form of divine discipline that she accepted with grace. The stanza concludes by inviting her to smile and envision tomorrow, subtly alluding to resurrection.

  3. And, O white voiceless flower, / The dream which thou shalt dream

    Editor's note

    Here, Field transitions from mourning to inspiration. He describes Abbott as a 'white voiceless flower' — the white symbolizes purity, while voiceless reflects the silence of her once-celebrated singing voice now lost to death. However, this silence won't last: he envisions her soul already singing in heaven 'like a seraph.' The messenger of divine love is approaching to mend all grief, and the dream she experiences in death offers a glimpse of heavenly splendor.

  4. So sleep a little while, / For thou shalt wake and sing

    Editor's note

    The poem's closing movement offers genuine comfort. The sleep of death is short — just 'a little while' — and what comes next is not silence but song. Abbott, who dedicated her life to singing, will sing once more, this time before her King. The phrase 'when cometh the morrow' recalls the first stanza's 'dream of the morrow,' unifying the poem and presenting death as merely the night before an everlasting morning.

§04Tone & mood

How this poem feels

The tone remains hushed and tender, resembling a soft voice in a room where grief lingers but doesn’t dominate. Field maintains a gentle control over the emotions. While there’s sorrow beneath the surface, the poem doesn’t linger there. Instead, it steadily moves toward comfort and hope, much like a eulogy delivered by someone who truly believes in their words.

§05Symbols & metaphors

Symbols & metaphors

Sleep
Death is repeatedly referred to as sleep in the poem. This choice intentionally portrays death as something temporary and peaceful instead of permanent. It also hints at the idea of waking — resurrection — in the final lines.
White voiceless flower
Field's most striking image for Abbott herself. White symbolizes purity and innocence. The term 'Voiceless' reflects that her renowned singing voice has now fallen silent. Yet, a flower blooms again, so the image subtly conveys hope alongside loss.
The morrow
Used twice, at the end of each stanza, 'the morrow' represents the afterlife — the day that comes after the night of death. It portrays eternity as just the next morning, something familiar and assured instead of remote or intimidating.
Folded hands
Hands folded in rest evoke the traditional image of the deceased laid out in repose, but Field reinterprets this as a sign of hands that have earned their rest through a life of sincere, charitable work. The gesture carries both a funereal and a respectful tone.
The seraph
A seraph is the top rank of angel in Christian tradition, linked to music and a close relationship with God. When the poem compares Abbott's soul to a seraph singing in heaven, it offers the highest praise — suggesting that her voice and spirit truly belong in the divine realm.
The King
God is portrayed as a king in front of whom Abbott will perform. This imagery transforms heaven into a royal court, with Abbott's everlasting singing serving as an act of worship — an ideal afterlife for an opera singer whose craft was rooted in her faith.

§06Historical context

Historical context

Emma Abbott (1850–1891) was a celebrated American opera singer in the nineteenth century, recognized not only for her remarkable voice but also for her strong Christian faith and charitable efforts. She passed away from pneumonia in Salt Lake City at the age of forty, ending a career that had made her widely known. Shortly after her death, Eugene Field, a contemporary poet from Chicago known for his sentimental writing, penned this elegy. Field often gravitated towards poems that navigated the space between sorrow and solace — as seen in his well-known piece, "Little Boy Blue," which explores similar themes. The poem embodies the Victorian tendency to soften death with religious imagery and the comforting language of sleep, a trend that resonated with audiences of that era rather than feeling like an avoidance of the topic. Abbott's role as a singer adds a personal touch to Field's portrayal of heaven as a concert hall, elevating it beyond a typical elegy.

§07FAQ

Questions readers ask

Who was Emma Abbott and why did Field write a poem about her?

Emma Abbott was a renowned American opera singer who passed away in 1891 at the age of forty. Field, a notable poet from Chicago, was her contemporary. In the nineteenth century, it was common for writers to craft memorial poems for public figures, and Field excelled at creating tender verses that resonated with grief. Abbott's blend of artistic acclaim and strong religious faith provided him with profound inspiration.

What is the poem's main message?

The poem's main idea is that death isn't the final chapter. Field portrays Abbott's death as a short sleep, after which she awakens to sing in heaven. He aims for readers — and maybe himself — to believe that a life filled with faith and kindness leads to something beautiful rather than nothing at all.

Why does Field call Abbott a 'white voiceless flower'?

It’s the poem’s most carefully crafted image. White represents purity; voiceless reflects the silence of her renowned singing voice in death; and flower evokes something natural, beautiful, and able to bloom once more. These three qualities unite in a single, compact phrase.

What does 'the morrow' mean in this poem?

'The morrow' refers to the afterlife — the day that comes after the night of death. Field uses this term at the end of both stanzas to build a sense of rhythm and inevitability. Death is simply tonight; heaven awaits us tomorrow morning.

Is this poem religious? Does it require the reader to be Christian to appreciate it?

The poem clearly draws from Christian imagery — featuring God, seraphs, a divine King, and a theme of faith. Field is writing from this tradition for an audience that resonates with it. While a non-Christian reader may find value in the emotional depth and tenderness, the particular comfort the poem provides is grounded in beliefs about resurrection and heaven.

What poetic devices does Field use?

Field directly addresses Abbott with an apostrophe, as if she can hear him. He employs repetition, with 'the morrow' closing both stanzas, which instills a sense of calm certainty. The imagery transitions from the physical (hands, eyes) to the spiritual (seraphs, a heavenly King), charting the soul's ascent. The meter is relaxed yet melodic, which suits a poem about a singer.

How does this poem compare to Field's more famous 'Little Boy Blue'?

'Little Boy Blue' mourns a child, while this poem reflects on an adult woman. Both utilize the sleep metaphor to represent death, are crafted in a gentle, quiet tone, and provide solace with the notion that the deceased are merely resting rather than truly gone. They reveal Field's ongoing tendency to ease sorrow without ignoring its reality.

Why does Field focus so much on Abbott's hands and eyes?

Hands and eyes are the most expressive parts of a person's body, deeply tied to action and emotion. Her hands symbolize her work — her charity and her performances. Her eyes reflect her faith and her inner life. By inviting both to rest, Field honors the entirety of the person: their actions and their beliefs.

Citation

Cite this poem

MLA

Field, Eugene. "To Emma Abbott." Storgy, https://storgy.com/poems/to-emma-abbott-eugene-field/.

APA

Field, E. (n.d.). To emma abbott. Storgy. https://storgy.com/poems/to-emma-abbott-eugene-field/

TeacherAP Lit Q1 scaffold — preview

Row A — Thesis

1 pt

In Eugene Field's elegy 'To Emma Abbott,' the speaker employs the grammar of the lullaby — tender imperatives, softened imagery, and a cyclical promise of resurrection — to convert grief into expectation, suggesting implicitly that death is …

  • Row B — Evidence + Commentary4 pts
  • Row C — Sophistication1 pt
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