COPLAS DE MANRIQUE by Henry Wadsworth Longfellow: Summary, Meaning & Analysis
Longfellow's "Coplas de Manrique" translates and adapts the 15th-century Spanish elegy by Jorge Manrique, which honors his father, Rodrigo Manrique, after his passing.
The poem
O let the soul her slumbers break, Let thought be quickened, and awake; Awake to see How soon this life is past and gone, And death comes softly stealing on, How silently! Swiftly our pleasures glide away, Our hearts recall the distant day With many sighs; The moments that are speeding fast We heed not, but the past,--the past, More highly prize. Onward its course the present keeps, Onward the constant current sweeps, Till life is done; And, did we judge of time aright, The past and future in their flight Would be as one. Let no one fondly dream again, That Hope and all her shadowy train Will not decay; Fleeting as were the dreams of old, Remembered like a tale that's told, They pass away. Our lives are rivers, gliding free To that unfathomed, boundless sea, The silent grave! Thither all earthly pomp and boast Roll, to be swallowed up and lost In one dark wave. Thither the mighty torrents stray, Thither the brook pursues its way, And tinkling rill, There all are equal; side by side The poor man and the son of pride Lie calm and still. I will not here invoke the throng Of orators and sons of song, The deathless few; Fiction entices and deceives, And, sprinkled o'er her fragrant leaves, Lies poisonous dew. To One alone my thoughts arise, The Eternal Truth, the Good and Wise, To Him I cry, Who shared on earth our common lot, But the world comprehended not His deity. This world is but the rugged road Which leads us to the bright abode Of peace above; So let us choose that narrow way, Which leads no traveller's foot astray From realms of love, Our cradle is the starting-place, Life is the running of the race, We reach the goal When, in the mansions of the blest, Death leaves to its eternal rest The weary soul. Did we but use it as we ought, This world would school each wandering thought To its high state. Faith wings the soul beyond the sky, Up to that better world on high, For which we wait. Yes, the glad messenger of love, To guide us to our home above, The Saviour came; Born amid mortal cares and fears. He suffered in this vale of tears A death of shame. Behold of what delusive worth The bubbles we pursue on earth, The shapes we chase, Amid a world of treachery! They vanish ere death shuts the eye, And leave no trace. Time steals them from us, chances strange, Disastrous accident, and change, That come to all; Even in the most exalted state, Relentless sweeps the stroke of fate; The strongest fall. Tell me, the charms that lovers seek In the clear eye and blushing cheek, The hues that play O'er rosy lip and brow of snow, When hoary age approaches slow, Ah; where are they? The cunning skill, the curious arts, The glorious strength that youth imparts In life's first stage; These shall become a heavy weight, When Time swings wide his outward gate To weary age. The noble blood of Gothic name, Heroes emblazoned high to fame, In long array; How, in the onward course of time, The landmarks of that race sublime Were swept away! Some, the degraded slaves of lust, Prostrate and trampled in the dust, Shall rise no more; Others, by guilt and crime, maintain The scutcheon, that without a stain, Their fathers bore. Wealth and the high estate of pride, With what untimely speed they glide, How soon depart! Bid not the shadowy phantoms stay, The vassals of a mistress they, Of fickle heart. These gifts in Fortune's hands are found; Her swift revolving wheel turns round, And they are gone! No rest the inconstant goddess knows, But changing, and without repose, Still hurries on. Even could the hand of avarice save Its gilded baubles till the grave Reclaimed its prey, Let none on such poor hopes rely; Life, like an empty dream, flits by, And where are they? Earthly desires and sensual lust Are passions springing from the dust, They fade and die; But in the life beyond the tomb, They seal the immortal spirits doom Eternally! The pleasures and delights, which mask In treacherous smiles life's serious task, What are they, all, But the fleet coursers of the chase, And death an ambush in the race, Wherein we fall? No foe, no dangerous pass, we heed, Brook no delay, but onward speed With loosened rein; And, when the fatal snare is near, We strive to check our mad career, But strive in vain. Could we new charms to age impart, And fashion with a cunning art The human face, As we can clothe the soul with light, And make the glorious spirit bright With heavenly grace, How busily each passing hour Should we exert that magic power, What ardor show, To deck the sensual slave of sin, Yet leave the freeborn soul within, In weeds of woe! Monarchs, the powerful and the strong, Famous in history and in song Of olden time, Saw, by the stern decrees of fate, Their kingdoms lost, and desolate Their race sublime. Who is the champion? who the strong? Pontiff and priest, and sceptred throng? On these shall fall As heavily the hand of Death, As when it stays the shepherd's breath Beside his stall. I speak not of the Trojan name, Neither its glory nor its shame Has met our eyes; Nor of Rome's great and glorious dead, Though we have heard so oft, and read, Their histories. Little avails it now to know Of ages passed so long ago, Nor how they rolled; Our theme shall be of yesterday, Which to oblivion sweeps away, Like day's of old. Where is the King, Don Juan? Where Each royal prince and noble heir Of Aragon? Where are the courtly gallantries? The deeds of love and high emprise, In battle done? Tourney and joust, that charmed the eye, And scarf, and gorgeous panoply, And nodding plume, What were they but a pageant scene? What but the garlands, gay and green, That deck the tomb? Where are the high-born dames, and where Their gay attire, and jewelled hair, And odors sweet? Where are the gentle knights, that came To kneel, and breathe love's ardent flame, Low at their feet? Where is the song of Troubadour? Where are the lute and gay tambour They loved of yore? Where is the mazy dance of old, The flowing robes, inwrought with gold, The dancers wore? And he who next the sceptre swayed, Henry, whose royal court displayed Such power and pride; O, in what winning smiles arrayed, The world its various pleasures laid His throne beside! But O how false and full of guile That world, which wore so soft a smile But to betray! She, that had been his friend before, Now from the fated monarch tore Her charms away. The countless gifts, the stately walls, The loyal palaces, and halls All filled with gold; Plate with armorial bearings wrought, Chambers with ample treasures fraught Of wealth untold; The noble steeds, and harness bright, And gallant lord, and stalwart knight, In rich array, Where shall we seek them now? Alas! Like the bright dewdrops on the grass, They passed away. His brother, too, whose factious zeal Usurped the sceptre of Castile, Unskilled to reign; What a gay, brilliant court had he, When all the flower of chivalry Was in his train! But he was mortal; and the breath, That flamed from the hot forge of Death, Blasted his years; Judgment of God! that flame by thee, When raging fierce and fearfully, Was quenched in tears! Spain's haughty Constable, the true And gallant Master, whom we knew Most loved of all; Breathe not a whisper of his pride, He on the gloomy scaffold died, Ignoble fall! The countless treasures of his care, His villages and villas fair, His mighty power, What were they all but grief and shame, Tears and a broken heart, when came The parting hour? His other brothers, proud and high, Masters, who, in prosperity, Might rival kings; Who made the bravest and the best The bondsmen of their high behest, Their underlings; What was their prosperous estate, When high exalted and elate With power and pride? What, but a transient gleam of light, A flame, which, glaring at its height, Grew dim and died? So many a duke of royal name, Marquis and count of spotless fame, And baron brave, That might the sword of empire wield, All these, O Death, hast thou concealed In the dark grave! Their deeds of mercy and of arms, In peaceful days, or war's alarms, When thou dost show. O Death, thy stern and angry face, One stroke of thy all-powerful mace Can overthrow. Unnumbered hosts, that threaten nigh, Pennon and standard flaunting high, And flag displayed; High battlements intrenched around, Bastion, and moated wall, and mound, And palisade, And covered trench, secure and deep, All these cannot one victim keep, O Death, from thee, When thou dost battle in thy wrath, And thy strong shafts pursue their path Unerringly. O World! so few the years we live, Would that the life which thou dost give Were life indeed! Alas! thy sorrows fall so fast, Our happiest hour is when at last The soul is freed. Our days are covered o'er with grief, And sorrows neither few nor brief Veil all in gloom; Left desolate of real good, Within this cheerless solitude No pleasures bloom. Thy pilgrimage begins in tears, And ends in bitter doubts and fears, Or dark despair; Midway so many toils appear, That he who lingers longest here Knows most of care. Thy goods are bought with many a groan, By the hot sweat of toil alone, And weary hearts; Fleet-footed is the approach of woe, But with a lingering step and slow Its form departs. And he, the good man's shield and shade, To whom all hearts their homage paid, As Virtue's son, Roderic Manrique, he whose name Is written on the scroll of Fame, Spain's champion; His signal deeds and prowess high Demand no pompous eulogy. Ye saw his deeds! Why should their praise in verse be sung? The name, that dwells on every tongue, No minstrel needs. To friends a friend; how kind to all The vassals of this ancient hall And feudal fief! To foes how stern a foe was he! And to the valiant and the free How brave a chief! What prudence with the old and wise: What grace in youthful gayeties; In all how sage! Benignant to the serf and slave, He showed the base and falsely brave A lion's rage. His was Octavian's prosperous star, The rush of Caesar's conquering car At battle's call; His, Scipio's virtue; his, the skill And the indomitable will Of Hannibal. His was a Trajan's goodness, his A Titus' noble charities And righteous laws; The arm of Hector, and the might Of Tully, to maintain the right In truth's just cause; The clemency of Antonine, Aurelius' countenance divine, Firm, gentle, still; The eloquence of Adrian, And Theodosius' love to man, And generous will; In tented field and bloody fray, An Alexander's vigorous sway And stern command; The faith of Constantine; ay, more, The fervent love Camillus bore His native land. He left no well-filled treasury, He heaped no pile of riches high, Nor massive plate; He fought the Moors, and, in their fall, City and tower and castled wall Were his estate. Upon the hard-fought battle-ground, Brave steeds and gallant riders found A common grave; And there the warrior's hand did gain The rents, and the long vassal train, That conquest gave. And if, of old, his halls displayed The honored and exalted grade His worth had gained, So, in the dark, disastrous hour, Brothers and bondsmen of his power His hand sustained. After high deeds, not left untold, In the stern warfare, which of old 'T was his to share, Such noble leagues he made, that more And fairer regions, than before, His guerdon were. These are the records, half effaced, Which, with the hand of youth, he traced On history's page; But with fresh victories he drew Each fading character anew In his old age. By his unrivalled skill, by great And veteran service to the state, By worth adored, He stood, in his high dignity, The proudest knight of chivalry, Knight of the Sword. He found his cities and domains Beneath a tyrant's galling chains And cruel power; But by fierce battle and blockade, Soon his own banner was displayed From every tower. By the tried valor of his hand, His monarch and his native land Were nobly served; Let Portugal repeat the story, And proud Castile, who shared the glory His arms deserved. And when so oft, for weal or woe, His life upon the fatal throw Had been cast down; When he had served, with patriot zeal, Beneath the banner of Castile, His sovereign's crown; And done such deeds of valor strong, That neither history nor song Can count them all; Then, on Ocana's castled rock, Death at his portal came to knock, With sudden call, Saying, "Good Cavalier, prepare To leave this world of toil and care With joyful mien; Let thy strong heart of steel this day Put on its armor for the fray, The closing scene. "Since thou hast been, in battle-strife, So prodigal of health and life, For earthly fame, Let virtue nerve thy heart again; Loud on the last stern battle-plain They call thy name. "Think not the struggle that draws near Too terrible for man, nor fear To meet the foe; Nor let thy noble spirit grieve, Its life of glorious fame to leave On earth below. "A life of honor and of worth Has no eternity on earth, 'T is but a name; And yet its glory far exceeds That base and sensual life, which leads To want and shame. "The eternal life, beyond the sky, Wealth cannot purchase, nor the high And proud estate; The soul in dalliance laid, the spirit Corrupt with sin, shall not inherit A joy so great. "But the good monk, in cloistered cell, Shall gain it by his book and bell, His prayers and tears; And the brave knight, whose arm endures Fierce battle, and against the Moors His standard rears. "And thou, brave knight, whose hand has poured The life-blood of the Pagan horde O'er all the land, In heaven shalt thou receive, at length, The guerdon of thine earthly strength And dauntless hand. "Cheered onward by this promise sure, Strong in the faith entire and pure Thou dost profess, Depart, thy hope is certainty, The third, the better life on high Shalt thou possess." "O Death, no more, no more delay; My spirit longs to flee away, And be at rest; The will of Heaven my will shall be, I bow to the divine decree, To God's behest. "My soul is ready to depart, No thought rebels, the obedient heart Breathes forth no sigh; The wish on earth to linger still Were vain, when 't is God's sovereign will That we shall die. "O thou, that for our sins didst take A human form, and humbly make Thy home on earth; Thou, that to thy divinity A human nature didst ally By mortal birth, "And in that form didst suffer here Torment, and agony, and fear, So patiently; By thy redeeming grace alone, And not for merits of my own, O, pardon me!" As thus the dying warrior prayed, Without one gathering mist or shade Upon his mind; Encircled by his family, Watched by affection's gentle eye So soft and kind; His soul to Him, who gave it, rose; God lead it to its long repose, Its glorious rest! And, though the warrior's sun has set, Its light shall linger round us yet, Bright, radiant, blest.
Longfellow's "Coplas de Manrique" translates and adapts the 15th-century Spanish elegy by Jorge Manrique, which honors his father, Rodrigo Manrique, after his passing. The poem shifts from grand philosophical themes—like the brevity of life, the swift passage of time, and the fading of earthly glory—to a heartfelt tribute to a courageous knight who met his end honorably. Ultimately, Death arrives to inform the knight that his time has come, and he embraces this moment with complete serenity and faith.
Line-by-line
O let the soul her slumbers break, / Let thought be quickened, and awake;
Swiftly our pleasures glide away, / Our hearts recall the distant day
Onward its course the present keeps, / Onward the constant current sweeps,
Let no one fondly dream again, / That Hope and all her shadowy train
Our lives are rivers, gliding free / To that unfathomed, boundless sea,
Thither the mighty torrents stray, / Thither the brook pursues its way,
I will not here invoke the throng / Of orators and sons of song,
To One alone my thoughts arise, / The Eternal Truth, the Good and Wise,
This world is but the rugged road / Which leads us to the bright abode
Our cradle is the starting-place, / Life is the running of the race,
Did we but use it as we ought, / This world would school each wandering thought
Yes, the glad messenger of love, / To guide us to our home above,
Behold of what delusive worth / The bubbles we pursue on earth,
Time steals them from us, chances strange, / Disastrous accident, and change,
Tell me, the charms that lovers seek / In the clear eye and blushing cheek,
The cunning skill, the curious arts, / The glorious strength that youth imparts
The noble blood of Gothic name, / Heroes emblazoned high to fame,
Some, the degraded slaves of lust, / Prostrate and trampled in the dust,
Wealth and the high estate of pride, / With what untimely speed they glide,
These gifts in Fortune's hands are found; / Her swift revolving wheel turns round,
Even could the hand of avarice save / Its gilded baubles till the grave
Earthly desires and sensual lust / Are passions springing from the dust,
The pleasures and delights, which mask / In treacherous smiles life's serious task,
No foe, no dangerous pass, we heed, / Brook no delay, but onward speed
Could we new charms to age impart, / And fashion with a cunning art
Monarchs, the powerful and the strong, / Famous in history and in song
Who is the champion? who the strong? / Pontiff and priest, and sceptred throng?
I speak not of the Trojan name, / Neither its glory nor its shame
Little avails it now to know / Of ages passed so long ago,
Where is the King, Don Juan? Where / Each royal prince and noble heir
Tourney and joust, that charmed the eye, / And scarf, and gorgeous panoply,
Where are the high-born dames, and where / Their gay attire, and jewelled hair,
Where is the song of Troubadour? / Where are the lute and gay tambour
And he who next the sceptre swayed, / Henry, whose royal court displayed
But O how false and full of guile / That world, which wore so soft a smile
The countless gifts, the stately walls, / The loyal palaces, and halls
His brother, too, whose factious zeal / Usurped the sceptre of Castile,
Spain's haughty Constable, the true / And gallant Master, whom we knew
His other brothers, proud and high, / Masters, who, in prosperity,
So many a duke of royal name, / Marquis and count of spotless fame,
Their deeds of mercy and of arms, / In peaceful days, or war's alarms,
Unnumbered hosts, that threaten nigh, / Pennon and standard flaunting high,
O World! so few the years we live, / Would that the life which thou dost give
Our days are covered o'er with grief, / And sorrows neither few nor brief
Thy goods are bought with many a groan, / By the hot sweat of toil alone,
And he, the good man's shield and shade, / To whom all hearts their homage paid,
His signal deeds and prowess high / Demand no pompous eulogy.
To friends a friend; how kind to all / The vassals of this ancient hall
What prudence with the old and wise: / What grace in youthful gayeties;
His was Octavian's prosperous star, / The rush of Caesar's conquering car
His was a Trajan's goodness, his / A Titus' noble charities
In tented field and bloody fray, / An Alexander's vigorous sway
He left no well-filled treasury, / He heaped no pile of riches high,
Upon the hard-fought battle-ground, / Brave steeds and gallant riders found
And if, of old, his halls displayed / The honored and exalted grade
After high deeds, not left untold, / In the stern warfare, which of old
These are the records, half effaced, / Which, with the hand of youth, he traced
By his unrivalled skill, by great / And veteran service to the state,
He found his cities and domains / Beneath a tyrant's galling chains
By the tried valor of his hand, / His monarch and his native land
And when so oft, for weal or woe, / His life upon the fatal throw
Then, on Ocana's castled rock, / Death at his portal came to knock,
Saying, "Good Cavalier, prepare / To leave this world of toil and care
"Since thou hast been, in battle-strife, / So prodigal of health and life,
"Think not the struggle that draws near / Too terrible for man, nor fear
"A life of honor and of worth / Has no eternity on earth,
"The eternal life, beyond the sky, / Wealth cannot purchase, nor the high
"But the good monk, in cloistered cell, / Shall gain it by his book and bell,
"And thou, brave knight, whose hand has poured / The life-blood of the Pagan horde
"Cheered onward by this promise sure, / Strong in the faith entire and pure
"O Death, no more, no more delay; / My spirit longs to flee away,
"O thou, that for our sins didst take / A human form, and humbly make
As thus the dying warrior prayed, / Without one gathering mist or shade
Tone & mood
The tone shifts through various registers throughout the poem. It starts with an urgent call, reminiscent of a preacher urging you to wake up and take notice. As the poem progresses, it takes on an elegiac and melancholic tone, listing one loss after another with the haunting refrain of 'where are they?' When it shifts to Rodrigo Manrique, the tone transforms into one of genuine admiration, almost pride. In the final exchange between Death and the dying knight, it becomes calm and even luminous, reminiscent of how a room feels when someone departs peacefully. There's no trace of bitterness in the poem. Even its cautionary notes about earthly vanity come across with the assurance of someone who has discovered a better perspective, rather than someone simply venting frustration at the world.
Symbols & metaphors
- The river flowing to the sea — The poem's central image compares human life to a river that flows inevitably into the sea of death. The river can't turn back, can't choose where it goes, and can't stop its journey. Each life — whether grand or humble — is like one of these rivers, and the sea welcomes them all without distinction.
- Fortune's wheel — A classic symbol from medieval times representing the unpredictability of worldly success. Fortune spins her wheel continuously, raising some individuals while bringing others down, regardless of their merits. This imagery strengthens the poem's message that material wealth and status are not worth holding onto.
- The race and the ambush — Life is like a horse race, speeding along recklessly, while death waits as a hidden ambush on the track. We ride with loose reins, overlooking all the warnings, and by the time we notice the trap, it’s too late to halt. This image reflects both the thrill of living and the obliviousness with which we embrace it.
- The narrow way — The narrow way, taken from the Gospel of Matthew, represents the path of virtue and faith that guides one to eternal life, contrasting with the broad road of worldly pleasure. In the poem, it is described as the road that "leads no traveller's foot astray from realms of love."
- Death's mace — Death takes on the form of a warrior wielding a mace — a heavy, blunt weapon that knows no mercy. With a single blow, it topples all: acts of kindness, acts of bravery, titles of nobility. The mace stands in stark contrast to a surgeon's tool; it indiscriminately brings everything down in its wake.
- The garlands on the tomb — The pageantry of medieval chivalry — jousts, plumes, banners, courtly love — can be likened to flowers on a grave. They're lovely, but they're adorning something that's already gone. This image blurs the line between celebration and mourning.
Historical context
Longfellow published this translation in 1833, when he was just starting to make his mark as a scholar of European languages and literatures. The original text is *Coplas por la muerte de su padre* (Verses on the Death of His Father), composed around 1476 by the Spanish poet Jorge Manrique in honor of his father, Rodrigo, a well-known knight and military leader. Manrique's work is regarded as one of the great masterpieces of medieval Spanish poetry. Longfellow discovered it during his studies in Spain and was captivated by its blend of philosophical reflection and personal sorrow. His translation takes some liberties — he expands and adapts the original — but it successfully conveys the poem's journey from a broad contemplation of mortality to a deeply personal elegy. This poem lies at the crossroads of the medieval *contemptus mundi* tradition, which rejects worldly pleasures, and Renaissance humanism. Longfellow's translation introduced it to a wider English-speaking audience for the very first time.
FAQ
No. Longfellow translated and adapted it from *Coplas por la muerte de su padre*, a work by the 15th-century Spanish poet Jorge Manrique. Manrique composed the original around 1476 following the death of his father, Rodrigo. Longfellow released his English version in 1833. The concepts, structure, and imagery belong to Manrique; the English voice reflects Longfellow's style.
*Ubi sunt* translates to 'where are they?' in Latin, and it stands as one of the oldest rhetorical devices in Western poetry. The speaker mentions something that was once beautiful or powerful — like a king, a court lady, or a troubadour's song — and then poses the question of its whereabouts. The answer remains constant: gone, vanished, dead. This repetition is intentional. With each inquiry, the lesson of mortality hits a little harder.
Rodrigo Manrique was the father of poet Jorge Manrique and a prominent military leader in 15th-century Castile. He served as Grand Master of the Order of Santiago and dedicated many years to battling the Moors and competing Spanish factions. At its core, the poem is an elegy for him. The first two-thirds establish a philosophical perspective — life is fleeting, and earthly glory diminishes — allowing us to grasp the essence of Rodrigo’s character and the significance of his death when he is introduced.
In the poem's structure, three types of life are presented. The first is biological life — the physical body. The second is the life of fame and reputation — how people remember you after you pass away. The third is eternal life with God. Death reveals to Rodrigo that his actions on earth have earned him the third and most significant life. This reflects a medieval Christian belief: that virtue in this life is genuine and rewarded, but the true reward awaits in eternity, not in our current world.
This rejects the classical poetic tradition of seeking inspiration from the Muses or renowned writers. The speaker acknowledges that fiction and poetry are lovely, yet misleading—their 'fragrant leaves' conceal 'poisonous dew.' Instead, he looks to God as his sole source of truth. This conveys the message: I’m not crafting a typical poem of praise; I’m expressing something I genuinely believe.
Fortune's wheel is an ancient symbol, tracing back to the Roman philosopher Boethius and spanning the Middle Ages. Fortune is depicted as a goddess perpetually spinning a wheel, lifting some individuals to great heights while sending others tumbling down, indifferent to merit or fairness. In the poem, this imagery serves to illustrate that wealth and status are ultimately not worth chasing; they are mere gifts from a goddess whose spinning wheel guarantees that what she grants will also be taken away in due time.
It honestly addresses suffering without falling into pessimism. The poem posits that life on earth is truly difficult and fleeting — yet this isn't the entire picture. Faith provides an escape, not by ignoring the pain but by leading us beyond it. Rodrigo's death at the end is depicted as a release and a reward, rather than a tragedy. The poem concludes with light instead of darkness.
It’s one of the most striking moments in the poem. By giving Death a voice that is respectful — even admiring — of Rodrigo, the poem shifts death from an enemy role to something more like a messenger. Death doesn’t confront Rodrigo; it invites him instead. Rodrigo doesn’t fight it; he accepts. This dialogue reveals that a life lived with virtue and faith alters the experience of dying itself.