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The Annotated Edition

BY LOPE DE VEGA by Henry Wadsworth Longfellow

Summary, meaning, line-by-line analysis & FAQ.

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This poem expresses a prayer from a sinner who calls out to Jesus as a shepherd, asking to be guided toward forgiveness and mercy.

Poet
Henry Wadsworth Longfellow
Themes
faith, forgiveness, hope
The PoemFull text

BY LOPE DE VEGA

Henry Wadsworth Longfellow

Shepherd! who with thine amorous, sylvan song Hast broken the slumber that encompassed me, Who mad'st thy crook from the accursed tree, On which thy powerful arms were stretched so long! Lead me to mercy's ever-flowing fountains; For thou my shepherd, guard, and guide shalt be; I will obey thy voice, and wait to see Thy feet all beautiful upon the mountains. Hear, Shepherd! thou who for thy flock art dying, O, wash away these scarlet sins, for thou Rejoicest at the contrite sinner's vow. O, wait! to thee my weary soul is crying, Wait for me! Yet why ask it, when I see, With feet nailed to the cross, thou 'rt waiting still for me! II

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

This poem expresses a prayer from a sinner who calls out to Jesus as a shepherd, asking to be guided toward forgiveness and mercy. At the end, the speaker experiences a powerful emotional realization: Jesus has been waiting — nailed to the cross — all along. It's a brief, impactful sonnet that shifts from desperate pleading to a sense of awe-filled gratitude.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. Shepherd! who with thine amorous, sylvan song / Hast broken the slumber that encompassed me,

    Editor's note

    The speaker begins by referring to Jesus as a shepherd whose gentle and nurturing song has roused them from a spiritual slumber — a condition marked by sin or apathy. The term "amorous" in this context signifies deep, tender love rather than romantic affection, while "sylvan" connects Jesus to the natural, open world of shepherds. Having been spiritually inactive, it is Jesus's voice that awakens the speaker.

  2. Who mad'st thy crook from the accursed tree, / On which thy powerful arms were stretched so long!

    Editor's note

    A shepherd's crook — the hooked staff for guiding and rescuing sheep — is reimagined here as crafted from the wood of the cross. The "accursed tree" refers to the cross, viewed as cursed in the Old Testament tradition (Deuteronomy 21:23). This imagery is striking: the tool of Jesus's suffering transforms into the means he uses to guide souls. "Powerful arms were stretched so long" directly alludes to the crucifixion.

  3. Lead me to mercy's ever-flowing fountains; / For thou my shepherd, guard, and guide shalt be;

    Editor's note

    The speaker now makes a clear request: guide me to mercy. The reference to "ever-flowing fountains" evokes Psalm 23's "still waters" and the broader biblical concept of grace as an endless source. The speaker pledges to follow Jesus as shepherd, protector, and guide — three roles that encompass safety, direction, and companionship.

  4. I will obey thy voice, and wait to see / Thy feet all beautiful upon the mountains.

    Editor's note

    This line references Isaiah 52:7 — "How beautiful upon the mountains are the feet of him that bringeth good tidings." The speaker vows to remain faithful and eagerly anticipates the time of salvation or reunion. In this context, the feet symbolize the messenger delivering peace, creating a stark contrast with the haunting image of feet nailed to the cross.

  5. Hear, Shepherd! thou who for thy flock art dying, / O, wash away these scarlet sins, for thou

    Editor's note

    The sestet begins with a desperate plea. The speaker recognizes that the shepherd is in the midst of dying for the flock — the crucifixion unfolds in the poem's present moment. "Scarlet sins" references Isaiah 1:18, which states that scarlet sins can be transformed into something as pure as snow. The speaker seeks that cleansing.

  6. Rejoicest at the contrite sinner's vow. / O, wait! to thee my weary soul is crying,

    Editor's note

    The speaker highlights the joy Jesus feels when a sinner repents, referencing the parable of the lost sheep (Luke 15). In this story, the shepherd is happier about finding one lost sheep than about the ninety-nine that didn’t go astray. The soul is portrayed as "weary," burdened by sin and far from grace. The plea of "O, wait!" comes across as heartfelt and urgent.

  7. Wait for me! Yet why ask it, when I see, / With feet nailed to the cross, thou 'rt waiting still for me!

    Editor's note

    The poem's emotional turn comes at this point. The speaker asks Jesus to wait but quickly realizes the absurdity of that request since he is literally nailed to the cross and can't move. The reference to "beautiful feet upon the mountains" contrasts sharply with the reality of those feet, which are now fixed in place, waiting. The cross transforms into a symbol of boundless patience and love, not merely suffering. It leaves us with a quietly devastating final image.

§04Tone & mood

How this poem feels

The tone feels both devoted and urgent, shifting from a respectful plea to a deep emotional craving and ultimately to a sense of awed, tearful relief. It lacks any coldness or formality — the speaker truly seems desperate for forgiveness, and the ending lines evoke a heartfelt, choking emotion. Longfellow maintains a warm and personal register throughout, avoiding any stiffness or religious formality.

§05Symbols & metaphors

Symbols & metaphors

The Shepherd
Jesus draws from the rich biblical tradition of the Good Shepherd found in John 10 and Psalm 23. This imagery presents salvation as a means of guidance and rescue, portraying God as approachable rather than fearsome.
The Crook made from the accursed tree
The shepherd's staff, which is traditionally used to guide lost sheep back to safety, is crafted from the wood of the cross. This combines the symbols of suffering and salvation into a single object, implying that the crucifixion serves as the very means of rescue.
Scarlet sins
A direct reference to Isaiah 1:18, which describes sins as scarlet or crimson. This color suggests a vivid, visible guilt that stains — something impossible to conceal and needing an outside action for removal.
The feet
Feet take on contrasting meanings in two instances. Initially, "beautiful feet upon the mountains" (from Isaiah 52:7) symbolize the messenger of good news and the promise of salvation. In contrast, "feet nailed to the cross" depict those same feet as trapped in suffering — shifting the concept of movement and arrival into one of still, enduring waiting.
Ever-flowing fountains
Mercy is often envisioned as an endless spring or fountain — a familiar image in the Bible (Revelation 22:1, Psalm 23:2). This imagery conveys that grace isn’t something to be earned or limited; it flows freely and is always accessible.
Slumber
The speaker has been in a state of spiritual unconsciousness or indifference until awakened by Jesus's call. The metaphor of sleep, representing sin or moral blindness, is a recurring theme in the Bible (Romans 13:11) and signifies the beginning of the speaker's path toward repentance.

§06Historical context

Historical context

This poem is a translation by Longfellow of a sonnet attributed to the Spanish playwright and poet Lope de Vega (1562–1635), who was one of the most prolific writers during the Spanish Golden Age. Alongside his well-known plays, Lope de Vega created hundreds of religious poems, with many of his devotional sonnets gaining popularity throughout Europe. Longfellow, a Harvard professor of modern languages and an accomplished translator, included this version in his 1845 anthology *The Poets and Poetry of Europe*. The original Spanish poem is part of a tradition that emphasizes deep personal devotion—more like a heartfelt conversation with God than a formal liturgy. Longfellow's translation maintains the Petrarchan sonnet structure (an octave followed by a sestet) and effectively conveys the emotional buildup, making the poem's final couplet particularly powerful.

§07FAQ

Questions readers ask

No. Longfellow translated it from a Spanish sonnet that’s attributed to Lope de Vega (1562–1635), a prominent poet and playwright from Spain's Golden Age. By titling it "By Lope de Vega," Longfellow makes it clear that he’s sharing someone else's work in English. The poem is included in his 1845 collection *The Poets and Poetry of Europe*.

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