The Annotated Edition
A Dutch Picture by Henry Wadsworth Longfellow
A retired Dutch privateer, Simon Danz, returns home wealthy from his exploits, but finds it hard to adjust to everyday life—his garden resembles a battlefield, his windmills evoke Spanish towers, and the pull of the sea is ever-present.
- Core theme
- Freedom
Study actions
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Simon Danz has come home again, / From cruising about with his buccaneers;
Editor's note
We meet Simon Danz during his return: a Dutch privateer known for raiding Spanish ships and coasts. The relaxed phrase "come home again" suggests this is a regular occurrence — he sets sail, returns, and then sets out once more. The expression "singeing the beard of the King of Spain" is a genuine historical reference (Francis Drake used it) that Longfellow appropriates to firmly place Simon in the context of the Dutch-Spanish maritime rivalry.
In his house by the Maese, with its roof of tiles,
Editor's note
The Maese is known as the Meuse River in the Netherlands. Simon's house is filled with treasures—silver tankards, carpets, and items taken from convents and castles. Longfellow captures a vivid Dutch domestic scene: tiled roofs, weather vanes, and antique silverware. While the wealth is genuine, it also acts as a cage constructed from history.
In his tulip-garden there by the town, / Overlooking the sluggish stream,
Editor's note
The tulip garden represents everything Dutch, yet Simon views it as more than just a garden. He strolls through in a "waking dream," his thoughts already drifting back to the sea. The term "sluggish," describing the stream, subtly contrasts with the vibrant rush of the ocean he longs for.
A smile in his gray mustachio lurks / Whenever he thinks of the King of Spain,
Editor's note
Simon's imagination turns everyday life into scenes of battle. The rows of tulips morph into Turkish soldiers lined up at attention, while his quiet gardener becomes the captured Dean of Jaen. This reflects how a soldier's or sailor's mind operates—the current reality continuously blends into past conflicts. The smile hints that these memories are cherished, not troubling.
The windmills on the outermost / Verge of the landscape in the haze,
Editor's note
The most famous stanza for its visual trick: Dutch windmills transform into Spanish coastal towers, complete with sentinels. Longfellow reminds us in the last line — "though this is the river Maese" — that reality remains present, yet Simon struggles to perceive it. The haze represents both the literal Dutch weather and the fog of memory and longing.
But when the winter rains begin, / He sits and smokes by the blazing brands,
Editor's note
Winter drives Simon indoors, where he finds himself with his old seafaring friends gathered around the fire. Longfellow paints a warm picture of them: goat-bearded, gray-haired, double-chinned, and adorned with rings on their hands. These men have been molded by years spent at sea, now taking a break on dry land.
They sit there in the shadow and shine / Of the flickering fire of the winter night;
Editor's note
This is the poem's most vivid moment — Longfellow directly references Rembrandt to illustrate the firelit scene. "Half darkness and half light" beautifully captures chiaroscuro, the technique that Rembrandt is known for. The poem truly lives up to its title here: it's a Dutch picture, a genre scene brought to life through words.
And they talk of ventures lost or won, / And their talk is ever and ever the same,
Editor's note
The old men sip stolen Spanish wine and reminisce about past raids. "Ever and ever the same" evokes a sense of sadness; these tales are all that remain of the lives they once cherished. This cycle brings both comfort and entrapment.
Restless at times with heavy strides / He paces his parlor to and fro;
Editor's note
The ship simile in this poem captures its emotional heart. Simon resembles a ship at anchor — seemingly at rest, yet pulling against the rope with every tide. This image transforms his restlessness into something tangible and unavoidable, portraying it not as a character flaw, but as a natural force.
Voices mysterious far and near, / Sound of the wind and sound of the sea,
Editor's note
The sea shifts from mere background to a voice calling Simon's name. This marks the poem's turn toward the supernatural, or at least the mythic — the ocean becomes a siren, softly asking, "Why are you staying here?" It's a question Simon struggles to answer.
So he thinks he shall take to the sea again / For one more cruise with his buccaneers,
Editor's note
The ending circles back to the beginning nearly verbatim — we see the same King of Spain, the same Dean of Jaen, the same Algiers. This circularity is key: Simon is destined to return. A man like him will never find a true homecoming. The poem concludes not with closure but with the assurance of repetition.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The tulip garden
- Tulips are quintessentially Dutch, making the garden a symbol of home, domestic life, and the everyday existence that Simon is expected to desire. However, as he sees Turkish soldiers among the flowers, the garden also reflects how thoroughly the sea has taken over his thoughts — he can’t view peace without envisioning war.
- The windmills
- Windmills are a well-known feature of the Dutch landscape, but Simon sees Spanish coastal towers when he looks at them. They symbolize the fragile line between his current reality and the adventurous life he remembers — the familiar Dutch world feels like it's constantly about to blend into the Spanish Main.
- The ship at anchor
- Longfellow uses a powerful metaphor to describe Simon's condition. A ship at anchor may not be free, but it's also not completely at rest; it sways and pulls with each tide. This imagery conveys the unique suffering of a restless individual striving for stillness: the struggle is ongoing, yet true peace remains elusive.
- The Rembrandt firelight
- The image of old sailors gathered around the fire, captured in chiaroscuro, reflects both the beauty and the constraints of memory. Much like a Rembrandt painting, it feels vibrant and warm yet also static — these men remain caught in their past glories, half illuminated and half slipping into shadow.
- The voice of the sea
- The sea calling Simon by name elevates the poem from a character study to something more mythic. The ocean isn't just a workplace; it's a powerful force with its own will. Simon's struggle to resist it implies that some individuals are deeply tied to a life that they can never truly escape.
§06Form & structure
Form & structure
- Meter
- free verse
- Rhyme
- AABBA AABBA AABBA AABBA AABBA AABBA AABBA AABBA AABBA AABBA AABBA
§07Historical context
Historical context
§08FAQ
Questions readers ask
Who is Simon Danz based on — is he a real person?
Longfellow created Simon Danz as a blend of various traits rather than a depiction of a single privateer. The name has a Dutch ring to it, and the actions — raiding Spanish shores, selling captives in Algiers, and residing along the Meuse — could realistically belong to a Dutch privateer from the 1600s. However, no specific historical figure named Simon Danz has been pinpointed as the inspiration.
What does 'singed the beard of the King of Spain' mean?
It's a historical phrase that refers to a daring and humiliating raid on Spanish land. The English privateer Francis Drake famously used this expression after he attacked the Spanish fleet at Cádiz in 1587. Longfellow takes it to connect Simon to that same audacious tradition and to instantly evoke the spirit of the time in the poem.
Why does Longfellow compare the scene to a Rembrandt painting?
Rembrandt van Rijn mastered chiaroscuro, skillfully depicting figures illuminated by firelight or candlelight set against deep shadows. The scene of old sailors huddled around a winter fire perfectly embodies the kind of intimate, textured moments Rembrandt captured in his paintings. By referencing him, Longfellow suggests that the entire poem aims to achieve in words what Dutch Golden Age painters accomplished on canvas: portraying everyday life with both warmth and precision.
What is the poem's structure and does the form mean anything?
The poem features ballad-like stanzas of five lines, following a lively AABBA rhyme scheme (often referred to as a limerick structure, but here it carries a more dignified tone). This rolling, forward-moving rhythm echoes the sea's motion and maintains a light feel, even as the subject takes a melancholic turn. It's an apt choice for a tale about a man who can never seem to stay still.
What is the poem actually saying about Simon — is it sad or happy?
Both, and that's the point. Simon enjoys comfort, wealth, and the company of friends, yet he feels fundamentally out of place on land. The poem approaches this with warmth instead of sorrow — Longfellow isn't feeling sorry for Simon; he's honoring a man who truly understands himself. The circular ending, where Simon chooses to return to the sea and experience it all once more, feels like a release rather than a loss.
What is the Dean of Jaen, and why does he keep appearing?
Jaén is a city in southern Spain, and its dean was a senior church official — a significant hostage or ransom target for a privateer. Selling him in Algiers meant passing him off to North African buyers, a common practice in the Mediterranean slave trade at the time. The Dean keeps coming to Simon's mind (he sees him in the gardener) because the capture was undoubtedly one of his proudest achievements.
Why does the poem end the same way it begins?
The circular structure is intentional. Longfellow illustrates that Simon's life lacks a final chapter — it simply goes in circles. The same raid, the same king, the same captive. For some individuals, home serves as a brief break between adventures instead of a final destination, and the poem's form reflects that reality by looping back on itself.
What does the title 'A Dutch Picture' mean?
It's a double meaning. On one level, it’s a picture of Dutch life — showing a scene in the Netherlands with a Dutch sea captain. On another level, it represents a picture in the style of Dutch Golden Age painting, especially the genre scenes of daily life that Rembrandt, Vermeer, and their peers are known for. Longfellow is framing the poem as a verbal counterpart to that tradition.
Citation
Cite this poem
MLA
Longfellow, Henry Wadsworth. "A Dutch Picture." Storgy, https://storgy.com/poems/a-dutch-picture-henry-wadsworth-longfellow/.
APA
Longfellow, H. W. (n.d.). A dutch picture. Storgy. https://storgy.com/poems/a-dutch-picture-henry-wadsworth-longfellow/
Row A — Thesis
1 ptLongfellow's 'A Dutch Picture' employs the ekphrastic frame of a Rembrandt-like domestic scene to highlight the psychological cost of a life built on violence: Simon Danz cannot fully inhabit the peace he has purchased with plunder because …
- Row B — Evidence + Commentary4 pts
- Row C — Sophistication1 pt
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