Poems List

The Revenge of Rain-in-the-Face

The Revenge of Rain-in-the-Face

In that desolate land and lone,
Where the Big Horn and Yellowstone
Roar down their mountain path,
By their fires the Sioux Chiefs
Muttered their woes and griefs
And the menace of their wrath.


"Revenge!" cried Rain-in-the-Face,
"Revenue upon all the race
Of the White Chief with yellow hair!"
And the mountains dark and high
From their crags re-echoed the cry
Of his anger and despair.


In the meadow, spreading wide
By woodland and riverside
The Indian village stood;
All was silent as a dream,
Save the rushing a of the stream
And the blue-jay in the wood.


In his war paint and his beads,
Like a bison among the reeds,
In ambush the Sitting Bull
Lay with three thousand braves
Crouched in the clefts and caves,
Savage, unmerciful!


Into the fatal snare
The White Chief with yellow hair
And his three hundred men
Dashed headlong, sword in hand;
But of that gallant band
Not one returned again.


The sudden darkness of death
Overwhelmed them like the breath
And smoke of a furnace fire:
By the river's bank, and between
The rocks of the ravine,
They lay in their bloody attire.


But the foemen fled in the night,
And Rain-in-the-Face, in his flight
Uplifted high in air
As a ghastly trophy, bore
The brave heart, that beat no more,
Of the White Chief with yellow hair.


Whose was the right and the wrong?
Sing it, O funeral song,
With a voice that is full of tears,



And say that our broken faith
Wrought all this ruin and scathe,
In the Year of a Hundred Years.
355

The Sea Diver

The Sea Diver

My way is on the bright blue sea,
My sleep upon its rocking tide;
And many an eye has followed me
Where billows clasp the worn seaside.


My plumage bears the crimson blush,
When ocean by the sun is kissed!
When fades the evening's purple flush,
My dark wing cleaves the silver mist.


Full many a fathom down beneath
The bright arch of the splendid deep
My ear has heard the sea-shell breathe
O'er living myriads in their sleep.


They rested by the coral throne,
And by the pearly diadem;
Where the pale sea-grape had o'ergrown
The glorious dwellings made for them.


At night upon my storm-drench'd wing,
I poised above a helmless bark,
And soon I saw the shattered thing
Had passed away and left no mark.


And when the wind and storm were done,
a ship, that had rode out the gale,
Sunk down, without a signal-gun,
And none was left to tell the tale.


I saw the pomp of day depart--
The cloud resign its golden crown,
When to the ocean's beating heart
The sailor's wasted corse went down.


Peace be to those whose graves are made
Beneath the bright and silver sea!
Peace - that their relics there were laid
With no vain pride and pageantry.
389

The Rainbow

The Rainbow

My heart leaps up when I behold
A rainbow in the sky;
So was it when my life began;
So is it now I am a man;
So be it when I shall grow old,
Or let me die!
The Child is father of the Man;
And I could wish my days to be
Bound each to each by natural piety.
313

The Reaper And The Flowers

The Reaper And The Flowers

There is a Reaper whose name is Death,
And, with his sickle keen,
He reaps the bearded grain at a breath,
And the flowers that grow between.


``Shall I have nought that is fair?'' saith he;
``Have nought but the bearded grain?
Though the breath of these flowers is sweet to me,
I will give them all back again.''


He gazed at the flowers with tearful eyes,
He kissed their drooping leaves;
It was for the Lord of Paradise
He bound them in his sheaves.


``My Lord has need of these flowerets gay,''
The Reaper said, and smiled;
``Dear tokens of the earth are they,
Where he was once a child.


``They shall all bloom in fields of light,
Transplanted by my care,
And saints, upon their garments white,
These sacred blossoms wear.''


And the mother gave, in tears and pain,
The flowers she most did love;
She knew she should find them all again
In the fields of light above.


O, not in cruelty, not in wrath,
The Reaper came that day;
'Twas an angel visited the green earth,
And took the flowers away.
417

The Psalm Of Life

The Psalm Of Life

What the heart of the young man said to the psalmist
Tell me not, in mournful numbers,
Life is but an empty dream!--
For the soul is dead that slumbers,
And things are not what they seem.


Life is real! Life is earnest!
And the grave is not its goal;
Dust thou art, to dust returnest,
Was not spoken of the soul.


Not enjoyment, and not sorrow,
Is our destined end or way;
But to act, that each to-morrow
Find us farther than to-day.


Art is long, and Time is fleeting,
And our hearts, though stout and brave,
Still, like muffled drums, are beating
Funeral marches to the grave.


In the world's broad field of battle,
In the bivouac of Life,
Be not like dumb, driven cattle!
Be a hero in the strife!


Trust no future, howe'er pleasant!
Let the dead Past bury its dead!
Act,--act in the living present!
Heart within, and God o'erhead!


Lives of great men all remind us
We can make our lives sublime,
And departing, leave behind us
Footprints on the sands of time;


Footprints, that perhaps another,
Sailing o'er life's solemn main,
A forlorn and shipwrecked brother,
Seeing, shall take heart again.


Let us, then, be up and doing,
With a heart for any fate;
Still achieving, still pursuing,
Learn to labor and to wait.
379

The Poets

The Poets

O ye dead Poets, who are living still
Immortal in your verse, though life be fled,
And ye, O living Poets, who are dead
Though ye are living, if neglect can kill,
Tell me if in the darkest hours of ill,
With drops of anguish falling fast and red
From the sharp crown of thorns upon your head
Ye were not glad your errand to fulfill?
Yes; for the gift and ministry of Song
Have something in them so divinely sweet,
It can assuage the bitterness of wrong;
Not in the clamour of the crowded street,
Not in the shouts and plaudits of the throng,
But in ourselves, are triumph and defeat.
407

The Phantom Ship. (Birds Of Passage. Flight The First)

The Phantom Ship. (Birds Of Passage. Flight The First)

In Mather's Magnalia Christi,
Of the old colonial time,
May be found in prose the legend
That is here set down in rhyme.
A ship sailed from New Haven,
And the keen and frosty airs,
That filled her sails at parting,
Were heavy with good men's prayers.
'O Lord! if it be thy pleasure'--
Thus prayed the old divine-'
To bury our friends in the ocean,
Take them, for they are thine!'
But Master Lamberton muttered,
And under his breath said he,
'This ship is so crank and walty
I fear our grave she will be!'
And the ships that came from England,
When the winter months were gone,
Brought no tidings of this vessel
Nor of Master Lamberton.
This put the people to praying
That the Lord would let them hear
What in his greater wisdom
He had done with friends so dear.
And at last their prayers were answered:--
It was in the month of June,
An hour before the sunset
Of a windy afternoon,
When, steadily steering landward,
A ship was seen below,
And they knew it was Lamberton, Master,
Who sailed so long ago.
On she came, with a cloud of canvas,
Right against the wind that blew,
Until the eye could distinguish
The faces of the crew.
Then fell her straining topmasts,
Hanging tangled in the shrouds,
And her sails were loosened and lifted,
And blown away like clouds.
And the masts, with all their rigging,
Fell slowly, one by one,
And the hulk dilated and vanished,
As a sea-mist in the sun!
And the people who saw this marvel
Each said unto his friend,
That this was the mould of their vessel,
And thus her tragic end.
And the pastor of the village
Gave thanks to God in prayer,
That, to quiet their troubled spirits,
He had sent this Ship of Air.
403

The Old Clock on the Stairs

The Old Clock on the Stairs

Somewhat back from the village street
Stands the old-fashioned country-seat.
Across its antique portico
Tall poplar-trees their shadows throw;
And from its station in the hall
An ancient timepiece says to all, -


"Forever -- never!
Never -- forever!"


Half-way up the stairs it stands,
And points and beckons with its hands
From its case of massive oak,
Like a monk, who, under his cloak,
Crosses himself, and sighs, alas!
With sorrowful voice to all who pass, -


"Forever -- never!
Never -- forever!"


By day its voice is low and light;
But in the silent dead of night,
Distinct as a passing footstep's fall,
It echoes along the vacant hall,
Along the ceiling, along the floor,
And seems to say, at each chamber-door, -


"Forever -- never!
Never -- forever!"


Through days of sorrow and of mirth,
Through days of death and days of birth,
Through every swift vicissitude
Of changeful time, unchanged it has stood,
And as if, like God, it all things saw,
It calmly repeats those words of awe, -


"Forever -- never!
Never -- forever!"


In that mansion used to be
Free-hearted Hospitality;
His great fires up the chimney roared;
The stranger feasted at his board;
But, like the skeleton at the feast,
That warning timepiece never ceased, -


"Forever -- never!
Never -- forever!"


There groups of merry children played,
There youths and maidens dreaming strayed;
O precious hours! O golden prime,
And affluence of love and time!
Even as a miser counts his gold,
Those hours the ancient timepiece told, -


"Forever -- never!
Never -- forever!"



From that chamber, clothed in white,
The bride came forth on her wedding night;
There, in that silent room below,
The dead lay in his shroud of snow;
And in the hush that followed the prayer,
Was heard the old clock on the stair, -


"Forever -- never!
Never -- forever!"


All are scattered now and fled,
Some are married, some are dead;
And when I ask, with throbs of pain,
"Ah! when shall they all meet again?"
As in the days long since gone by,
The ancient timepiece makes reply, -


"Forever -- never!
Never -- forever!"


Never here, forever there,
Where all parting, pain, and care,
And death, and time shall disappear, -Forever
there, but never here!
The horologe of Eternity
Sayeth this incessantly, -


"Forever -- never!
Never -- forever!"
356

The Norman Baron

The Norman Baron

et plus profonde, ou l'interet et l'avarice parlent moins haut
que la raison, dans les instants de chagrin domestique, de
maladie, et de peril de mort, les nobles se repentirent de
posseder des serfs, comme d'une chose peu agreable a Dieu, qui
avait cree tous les hommes a son image.--THIERRY, Conquete de
l'Angleterre.


In his chamber, weak and dying,
Was the Norman baron lying;
Loud, without, the tempest thundered
And the castle-turret shook,


In this fight was Death the gainer,
Spite of vassal and retainer,
And the lands his sires had plundered,
Written in the Doomsday Book.


By his bed a monk was seated,
Who in humble voice repeated
Many a prayer and pater-noster,
From the missal on his knee;


And, amid the tempest pealing,
Sounds of bells came faintly stealing,
Bells, that from the neighboring kloster
Rang for the Nativity.


In the hall, the serf and vassal
Held, that night their Christmas wassail;
Many a carol, old and saintly,
Sang the minstrels and the waits;


And so loud these Saxon gleemen
Sang to slaves the songs of freemen,
That the storm was heard but faintly,
Knocking at the castle-gates.


Till at length the lays they chanted
Reached the chamber terror-haunted,
Where the monk, with accents holy,
Whispered at the baron's ear.


Tears upon his eyelids glistened,
As he paused awhile and listened,
And the dying baron slowly
Turned his weary head to hear.


"Wassail for the kingly stranger
Born and cradled in a manger!
King, like David, priest, like Aaron,
Christ is born to set us free!"



And the lightning showed the sainted
Figures on the casement painted,
And exclaimed the shuddering baron,
"Miserere, Domine!"


In that hour of deep contrition
He beheld, with clearer vision,
Through all outward show and fashion,
Justice, the Avenger, rise.


All the pomp of earth had vanished,
Falsehood and deceit were banished,
Reason spake more loud than passion,
And the truth wore no disguise.


Every vassal of his banner,
Every serf born to his manor,
All those wronged and wretched creatures,
By his hand were freed again.


And, as on the sacred missal
He recorded their dismissal,
Death relaxed his iron features,
And the monk replied, "Amen!"


Many centuries have been numbered
Since in death the baron slumbered
By the convent's sculptured portal,
Mingling with the common dust:


But the good deed, through the ages
Living in historic pages,
Brighter grows and gleams immortal,
Unconsumed by moth or rust.
388

The Old Bridge At Florence

The Old Bridge At Florence

Taddeo Gaddi built me. I am old,
Five centuries old. I plant my foot of stone
Upon the Arno, as St. Michael's own
Was planted on the dragon. Fold by fold
Beneath me as it struggles. I behold
Its glistening scales. Twice hath it overthrown
My kindred and companions. Me alone
It moveth not, but is by me controlled.
I can remember when the Medici
Were driven from Florence; longer still ago
The final wars of Ghibelline and Guelf.
Florence adorns me with her jewelry;
And when I think that Michael Angelo
Hath leaned on me, I glory in myself.
261

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Identification and basic context

Henry Wadsworth Longfellow was an American poet and educator. He was born in Portland, Maine, and his family had deep roots in New England. He wrote in English.

Childhood and education

Longfellow's early life was shaped by a comfortable family background and a strong emphasis on education. He entered Bowdoin College at the age of 14, where he developed a passion for literature and languages. He was a gifted student, excelling in his studies and beginning to publish his early verses during this time. His education provided him with a broad knowledge of classical literature and European traditions.

Literary trajectory

Longfellow's literary career began with the publication of early poems in magazines. After extensive travel and study in Europe, he returned to the United States and embarked on a prolific writing career. His fame grew steadily with collections like 'Voices of the Night' and 'The Song of Hiawatha.' He also became a respected professor, teaching at Bowdoin and later at Harvard University, where he influenced generations of students. His later works continued to explore historical and legendary themes.

Works, style, and literary characteristics

Longfellow's major works include 'Voices of the Night' (1839), 'Ballads and Other Poems' (1841), 'The Spanish Student' (1843), 'Evangeline' (1847), 'The Song of Hiawatha' (1855), and 'The Courtship of Miles Standish' (1858). His poetry is characterized by its narrative quality, lyrical beauty, and often moralistic or sentimental tone. He frequently employed traditional forms, such as the ballad and the sonnet, but also experimented with longer narrative poems. Themes explored include love, loss, domestic life, heroism, American history and legend, and the passage of time. His language is generally clear, accessible, and rich in imagery, aiming for emotional resonance with a broad audience.

Cultural and historical context

Longfellow lived and wrote during a period of significant national growth and change in the United States, a time often referred to as the American Renaissance. He was part of the so-called 'Fireside Poets,' a group of American writers whose work was popular and widely read in American homes. His poetry often reflected and shaped American identity, drawing on national myths and historical events. He was aware of European literary trends but sought to create a distinctly American literary voice.

Personal life

Longfellow experienced significant personal tragedies, including the deaths of both his wives. These losses deeply affected him and are often reflected in the elegiac and melancholic strains found in some of his poetry. He maintained friendships with many prominent literary figures of his day and was a respected academic.

Recognition and reception

Longfellow was immensely popular during his lifetime, both in the United States and internationally, particularly in Britain. His poems were widely recited, set to music, and studied in schools. While lauded for his accessibility and emotional appeal by the general public, some later critics found his work overly sentimental or conventional. However, his place as a foundational figure in American poetry remains secure.

Influences and legacy

Longfellow was influenced by European Romantic poets, particularly German and English writers. He, in turn, influenced many subsequent American poets and helped to establish a tradition of narrative and lyrical poetry in the United States. His works were instrumental in shaping a sense of national identity and cultural heritage.

Interpretation and critical analysis

Critical interpretations of Longfellow's work often focus on his role in popularizing poetry, his engagement with American history and myth, and the balance between his accessible style and the deeper emotional currents in his verse. Debates sometimes arise regarding the perceived sentimentality versus genuine pathos in his work.

Curiosities and lesser-known aspects

Longfellow was a gifted linguist and professor, fluent in several languages. He was also known for his considerable literary fame, which sometimes presented challenges, as he struggled to find quiet moments for composition amidst public demands. His home in Cambridge, Massachusetts, a former headquarters of George Washington, became a literary landmark.

Death and memory

Longfellow died in Cambridge, Massachusetts. His death was widely mourned, and he was remembered as one of America's greatest poets. His works continue to be read and studied, maintaining his status as a significant figure in American literary history.