CHORUS OF MONKS.
Funde vinum, funde!
Tanquam sint fluminis undae,
Nec quaeras unde,
Sed fundas semper abunde!
The Annotated Edition
CHORUS OF MONKS. by Henry Wadsworth Longfellow
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A lively, cheeky drinking song crafted in mock-Latin, where a chorus of monks cheerfully encourages someone to continuously pour wine, without inquiring about its origins.
- Themes
- art, faith, freedom
§01Quick summary
What this poem is about
A lively, cheeky drinking song crafted in mock-Latin, where a chorus of monks cheerfully encourages someone to continuously pour wine, without inquiring about its origins. This playful and irreverent piece humorously teases the notion of monks enjoying worldly pleasures. Imagine Longfellow sharing a sly wink with the audience.
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Funde vinum, funde! / Tanquam sint fluminis undae,
Editor's note
"Pour the wine, pour it! As if it were the waves of a river" — the monks start with a pressing, repeated call to action and quickly evoke a lavish metaphor: the wine should stream like a river's flow, boundless and relentless. The Latin rhyme scheme (funde / undae / unde / abunde) creates a lively, chant-like rhythm that fits a chorus beautifully.
Nec quaeras unde, / Sed fundas semper abunde!
Editor's note
"And don’t ask where it comes from, but always pour it generously!" — that’s where the punchline hits. The monks aren’t concerned with questions about origin, cost, or propriety; they simply want the cup to stay full. The word *abunde* (abundantly) wraps up the chant with a joyful flourish, and the clever rhyme weaves the whole piece together like a song shared at a communal table.
§04Tone & mood
How this poem feels
The poem is both cheerful and playful, reminiscent of a tavern song cloaked in religious attire — every line carries a playful wink. Longfellow maintains a light and humorous tone throughout, steering clear of any real satire or moral critique.
§05Symbols & metaphors
Symbols & metaphors
- Wine (vinum)
- On the surface, it's just alcohol, but in a monastic context, wine has centuries of layered significance—it's seen as both the sacramental blood of Christ and the earthly pleasure that monks were meant to give up. Longfellow cleverly juxtaposes these meanings for comic effect.
- River waves (fluminis undae)
- The comparison of wine to river waves transforms a fleeting enjoyment into something that feels endless and organic. It reflects the monks' dream of abundance — a realm where the good stuff is always available.
- The chorus itself
- A chorus is a communal, ritual form of speech. By presenting a drinking chant in choral form, Longfellow mirrors the structure of sacred liturgy, amplifying the humor: the monks are channeling their devotional energy into something that is anything but devotional.
§06Historical context
Historical context
Longfellow created this piece for his lengthy dramatic poem *Christus: A Mystery* (1872), which is a trilogy that delves into the history of Christianity through various eras. "Chorus of Monks" is found in the medieval section and draws from a tradition of mock-sacred verse originating from the medieval *Carmina Burana*, a genuine collection of Latin drinking and love songs penned by monks and traveling scholars in the 12th and 13th centuries. As a Harvard professor of modern languages, Longfellow had a deep understanding of medieval Latin literature. This poem serves as his affectionate tribute to that tradition: it’s like a scholar’s inside joke that also stands alone as an entertaining comic lyric. Its four lines demonstrate just how much enjoyment can be packed into a concise rhyme scheme.
§07FAQ
Questions readers ask
It's written in Latin. The title is in English, but the poem is entirely in Latin. Longfellow taught languages at Harvard and felt comfortable writing in Latin, particularly in the mock-medieval style he's using here.
A close translation goes: "Pour the wine, pour it! Like the waves of a river—don’t worry about where it comes from, just pour it generously!" It’s a drinking chant—short, loud, and straight to the point.
This is the joke. Monks were meant to lead lives focused on austerity and prayer, yet in medieval Europe, they also brewed wine and beer, creating a humorous contrast between their ideals and reality. Longfellow taps into a genuine tradition of mock-sacred Latin verse, most notably the *Carmina Burana*, which medieval monks and scholars actually wrote.
All four lines rhyme — funde / undae / unde / abunde. This monorhyme creates a chant-like, repetitive energy in the poem. In Latin poetry, this style of close rhyming was often linked to drinking songs and comedic verse.
It comes from *Christus: A Mystery* (1872), a lengthy three-part dramatic poem that explores the history of Christianity. This small chorus is found in the medieval section, where Longfellow captures the essence of the Middle Ages, including its more down-to-earth and humorous aspects.
It's a joke — a carefully crafted one at that. Longfellow contrasts the seriousness of a monastic chorus with the lightheartedness of a drinking song. The humor is gentle, not harsh; he isn't criticizing religion but playfully teasing human nature.
The *Carmina Burana* is a collection of medieval Latin poems and songs, featuring many racy drinking and love tunes composed by monks and wandering scholars known as *goliards* during the 12th and 13th centuries. Longfellow was familiar with this tradition and essentially crafted his own mini entry into the *Carmina Burana*. Later, in 1937, Carl Orff set selections from the *Carmina Burana* to music, creating his famous cantata.
A drinking chant doesn't have to be lengthy — it just needs to be catchy and easy to repeat. Four lines, one rhyme, and a single clear message. The shortness is essential: this is a song you shout between sips, not something to contemplate. Longfellow gets it right by keeping it concise.
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