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“Paul Revere’s Ride” is set on the night of the Battle of Lexington and Concord, April 1775. Henry Wadsworth Longfellow wrote it in 1860 or 1861, just as the Civil War was breaking out. The painting above was done by the one of the great American illustrators, N.C. Wyeth, to illustrate “Paul Revere’s Ride” in a 1923 anthology.

You probably haven’t read this since you were forced to do so in high school. Take time to read it slowly and enjoy the imagery.

Listen, my children, and you shall hear

Of the midnight ride of Paul Revere,

On the eighteenth of April, in Seventy-five;

Hardly a man is now alive

Who remembers that famous day and year.

He said to his friend, “If the British march

By land or sea from the town to-night,

Hang a lantern aloft in the belfry arch

Of the North Church tower as a signal light,—

One, if by land, and two, if by sea;

And I on the opposite shore will be,

Ready to ride and spread the alarm

Through every Middlesex village and farm,

For the country folk to be up and to arm.”

Then he said, “Good night!” and with muffled oar

Silently rowed to the Charlestown shore,

Just as the moon rose over the bay,

Where swinging wide at her moorings lay

The Somerset, British man-of-war;

A phantom ship, with each mast and spar

Across the moon like a prison bar,

And a huge black hulk, that was magnified

By its own reflection in the tide.

Meanwhile, his friend, through alley and street,

Wanders and watches with eager ears,

Till in the silence around him he hears

The muster of men at the barrack door,

The sound of arms, and the tramp of feet,

And the measured tread of the grenadiers,

Marching down to their boats on the shore.

Then he climbed the tower of the Old North Church,

By the wooden stairs, with stealthy tread,

To the belfry-chamber overhead,

And startled the pigeons from their perch

On the sombre rafters, that round him made

Masses and moving shapes of shade, —

By the trembling ladder, steep and tall,

To the highest window in the wall,

Where he paused to listen and look down

A moment on the roofs of the town,

And the moonlight flowing over all.

Beneath, in the churchyard, lay the dead,

In their night-encampment on the hill,

Wrapped in silence so deep and still

That he could hear, like a sentinel’s tread,

The watchful night-wind, as it went

Creeping along from tent to tent,

And seeming to whisper, “All is well!”

A moment only he feels the spell

Of the place and the hour, and the secret dread

Of the lonely belfry and the dead;

For suddenly all his thoughts are bent

On a shadowy something far away,

Where the river widens to meet the bay, —

A line of black that bends and floats

On the rising tide, like a bridge of boats.

Meanwhile, impatient to mount and ride,

Booted and spurred, with a heavy stride

On the opposite shore walked Paul Revere.

Now he patted his horse’s side,

Now gazed at the landscape far and near,

Then, impetuous, stamped the earth,

And turned and tightened his saddle girth;

But mostly he watched with eager search

The belfry-tower of the Old North Church,

As it rose above the graves on the hill,

Lonely and spectral and sombre and still.

And lo! as he looks, on the belfry’s height

A glimmer, and then a gleam of light!

He springs to the saddle, the bridle he turns,

But lingers and gazes, till full on his sight

A second lamp in the belfry burns!

A hurry of hoofs in a village street,

A shape in the moonlight, a bulk in the dark,

And beneath, from the pebbles, in passing, a spark

Struck out by a steed flying fearless and fleet:

That was all! And yet, through the gloom and the light,

The fate of a nation was riding that night;

And the spark struck out by that steed, in his flight,

Kindled the land into flame with its heat.

He has left the village and mounted the steep,

And beneath him, tranquil and broad and deep,

Is the Mystic, meeting the ocean tides;

And under the alders, that skirt its edge,

Now soft on the sand, now loud on the ledge,

Is heard the tramp of his steed as he rides.

It was twelve by the village clock,

When he crossed the bridge into Medford town.

He heard the crowing of the cock,

And the barking of the farmer’s dog,

And felt the damp of the river fog,

That rises after the sun goes down.

It was one by the village clock,

When he galloped into Lexington.

He saw the gilded weathercock

Swim in the moonlight as he passed,

And the meeting-house windows, blank and bare,

Gaze at him with a spectral glare,

As if they already stood aghast

At the bloody work they would look upon.

It was two by the village clock,

When he came to the bridge in Concord town.

He heard the bleating of the flock,

And the twitter of birds among the trees,

And felt the breath of the morning breeze

Blowing over the meadows brown.

And one was safe and asleep in his bed

Who at the bridge would be first to fall,

Who that day would be lying dead,

Pierced by a British musket-ball.

You know the rest. In the books you have read,

How the British Regulars fired and fled, —

How the farmers gave them ball for ball,

From behind each fence and farm-yard wall,

Chasing the red-coats down the lane,

Then crossing the fields to emerge again

Under the trees at the turn of the road,

And only pausing to fire and load.

So through the night rode Paul Revere;

And so through the night went his cry of alarm

To every Middlesex village and farm, —

A cry of defiance and not of fear,

A voice in the darkness, a knock at the door,

And a word that shall echo forevermore!

For, borne on the night-wind of the Past,

Through all our history, to the last,

In the hour of darkness and peril and need,

The people will waken and listen to hear

The hurrying hoof-beats of that steed,

And the midnight message of Paul Revere.

More

• This YouTube video has some nice 19th-c. illustrations, although the speaker reads a bit faster than I would like.
• In 1922, N.C. Wyeth was commissioned to do 23 paintings to illustrate Brander Matthews’ Poems of American Patriotism, which included Longfellow’s “Paul Revere’s Ride,” Oliver Wendell Holmes’ “Grandmother’s Story of Bunker Hill Battle,” John Greenleaf Whittier’s “Barbara Frietchie,” and Walt Whitman’s “O Captain! My Captain!” (ViaLibri isn’t offering any first editions of that book right now, but there are many print-on-demand copies. Make sure you’re ordering an edition of 1923 or later, and that its illustrations are in color.) In 1923, the paintings for the book were donated to The Hill School in Pottstown, Pennsylvania. The paintings don’t seem to be described on The Hill’s website; details above come from an exhibition at the Farnsworth Museum in Maine in 2010.
• As a child I read my way through the local public library, but I’m quite certain that the first time an illustrator blew me away was when I saw paintings by N.C. Wyeth at the Brandywine River Museum of Art in Chadds Ford, Pennsylvania. They have the world’s largest collection of his paintings, plus a multitude of works by his son Andrew (famous for Christina’s World and the Helga paintings) and grandson Jamie. The Brandywine’s bio of N.C. Wyeth is here.
• The Metropolitan Museum has far more Andrews than N.C.s; bad taste on their part. Not surprisingly, the one rather unexciting N.C. Wyeth that they do have is not on view.