BY CHARLES D'ORLEANS by Henry Wadsworth Longfellow: Summary, Meaning & Analysis
Spring has arrived, and Time is depicted shedding a heavy winter cloak for bright, sunny attire.
The poem
Now Time throws off his cloak again Of ermined frost, and wind, and rain, And clothes him in the embroidery Of glittering sun and clear blue sky. With beast and bird the forest rings, Each in his jargon cries or sings; And Time throws off his cloak again. Of ermined frost, and wind, and rain. River, and fount, and tinkling brook Wear in their dainty livery Drops of silver jewelry; In new-made suit they merry look; And Time throws off his cloak again Of ermined frost, and wind, and rain.
Spring has arrived, and Time is depicted shedding a heavy winter cloak for bright, sunny attire. Every element of nature — animals, birds, rivers, and streams — joins in the celebration of the new season. It's a brief, joyful poem that compares the transition of seasons to a costume change at a party.
Line-by-line
Now Time throws off his cloak again / Of ermined frost, and wind, and rain,
And clothes him in the embroidery / Of glittering sun and clear blue sky.
River, and fount, and tinkling brook / Wear in their dainty livery
Tone & mood
The tone is light, celebratory, and playfully cheerful. There's no hint of sadness here — Longfellow fully embraces the joy of renewal. The repeated refrain lends it a song-like, chant-like feel, reminiscent of a toast to spring. The language is elegant and ornate, fitting the extended metaphor of Time as a nobleman preparing for a new season.
Symbols & metaphors
- The cloak of ermined frost — Winter is depicted as a heavy, fur-trimmed cloak worn by a nobleman. The white ermine fur serves as a visual representation of snow and frost. Shedding this cloak becomes a purposeful and almost triumphant gesture, transforming the end of winter into a choice rather than merely a date on the calendar.
- Embroidery of glittering sun — Sunlight transformed into decorative needlework on fine fabric. It implies that the beauty of spring is crafted and purposeful, not haphazard — the world has been thoughtfully adorned for the season.
- Silver jewelry on the water — Light sparkles on rivers and streams, resembling drops of silver jewelry adorning a livery uniform. This imagery reflects the shimmering beauty of sunlit water while maintaining the poem's central metaphor of nature getting dressed for spring.
- Livery — The uniform that household servants wear is now applied to rivers and brooks. This brings the natural world into the poem's broader courtly scene — even the water has dressed up and embraced its part in the seasonal celebration.
Historical context
This poem is Longfellow's translation of a rondel by Charles d'Orléans (1394–1465), a French prince and poet who spent 25 years as a prisoner in England after the Battle of Agincourt. During his captivity, d'Orléans wrote extensively, and his spring poems—light, musical, and featuring repeating refrains—became some of the most admired lyrics of medieval French poetry. Longfellow, writing in 19th-century America, had a strong interest in European literary traditions and created numerous translations to share that heritage with American readers. By naming the poem "By Charles d'Orléans," he emphasizes that he is acting as a faithful translator rather than presenting an original work. The rondel form, with its required refrains, gives the poem a circular, song-like quality—the same lines that open it keep coming back, just like spring does each year.
FAQ
It's a spring poem. Time is depicted as a nobleman who sheds his winter cloak — woven from frost, wind, and rain — and dons bright sunshine and a blue sky instead. The entire natural world, from birds to rivers, takes part in this seasonal celebration.
Not quite. Longfellow translated it from a medieval French rondel written by Charles d'Orléans, a 15th-century French prince and poet. The title "By Charles d'Orléans" is Longfellow's way of acknowledging the original author. While Longfellow crafted the English version, the ideas and structure are rooted in d'Orléans's work.
A rondel is a specific French verse form that features a repeating refrain. The first two lines return at the end of the first stanza and again at the poem's conclusion. For example, "Now Time throws off his cloak again / Of ermined frost, and wind, and rain" appears three times, which creates a looping, musical quality throughout the poem.
Ermine refers to a white fur that has historically adorned the robes of royalty and nobility. The term "ermined frost" describes frost that resembles ermine — white, cold, and blanketing everything — while also maintaining Time's appearance as a nobleman. It's a single image serving two purposes simultaneously.
That repetition is part of the rondel form. However, it also serves a thematic purpose: the poem focuses on winter's departure, so each reminder of what has been shed — frost, wind, rain — enhances the warmth of spring and makes it feel even more inviting with each return of the lines.
Livery refers to the uniform worn by servants in affluent households. In this context, the rivers and streams are adorned in their spring livery — glimmering with silver light — as though they are attendants in the grand seasonal court overseen by Time. This imagery reinforces the poem's central metaphor of nature as a theatrical, courtly celebration.
Pure joy. There’s no sadness, no complexity, no darkness. The poem is all about celebrating the arrival of spring with vibrant colors and lively music. Even the structure — the repeating refrain, the vivid imagery — feels like a dance.
It's an excellent resource for teaching. It features clear examples of personification (like Time portrayed as a nobleman), extended metaphor (nature compared to a wardrobe change), vivid imagery (silver jewelry on water and embroidered sunlight), and a specific fixed form (the rondel). The language is approachable, and the literary devices are easy to spot without feeling oversimplified.