FRIAR PAUL.
He who is sitting there,
With a rollicking,
Devil may care,
Free and easy look and air,
As if he were used to such feasting and frolicking?
The Annotated Edition
FRIAR PAUL. by Henry Wadsworth Longfellow
This short poem paints a lively picture of Friar Paul, a monk whose laid-back, easygoing demeanor at the dinner table shows that he enjoys feasting and celebrating more than practicing pious restraint.
§01Quick summary
What this poem is about
This short poem paints a lively picture of Friar Paul, a monk whose laid-back, easygoing demeanor at the dinner table shows that he enjoys feasting and celebrating more than practicing pious restraint. Longfellow reveals his character in just a few lines, allowing the friar's body language to convey the message. It feels like a quick, playful snapshot of a man whose way of life subtly contradicts his religious title.
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
He who is sitting there, / With a rollicking,
Editor's note
Longfellow starts mid-scene, highlighting a figure already relaxed at a table. The word *rollicking* appears before we understand what it refers to, reflecting how the friar bursts into a room — with energy upfront and explanations following.
Devil may care, / Free and easy look and air,
Editor's note
The phrase *devil may care* is a playful nod; a friar, of all people, ought to be quite concerned about the devil. Longfellow uses it to suggest that Friar Paul has come to terms with his earthly pleasures. *Free and easy* reinforces this idea—this is a man who shows no guilt or self-awareness.
As if he were used to such feasting and frolicking?
Editor's note
The closing line delivers the punchline perfectly. *As if he were used to* is a polite way of putting it—he's clearly used to it; his entire demeanor shows that. The alliterative *feasting and frolicking* creates a lively, almost humorous rhythm that reflects the friar's own joyful indulgence.
§04Tone & mood
How this poem feels
Playful and subtly satirical, Longfellow appears more amused than angry, maintaining a light tone throughout — it’s more about a raised eyebrow and a grin than delivering a moral lecture. The lively, uneven meter reflects the friar's spirited personality.
§05Symbols & metaphors
Symbols & metaphors
- The friar's posture and air
- His relaxed and settled body language is the central image of the poem. It represents everything that goes unsaid: a life of comfort, a casual approach to monastic vows, and a clear conscience about it all.
- Feasting and frolicking
- These two activities embody worldly pleasure overall. For a friar, they hold even more significance — they are exactly what the religious life is meant to moderate. Here, they are displayed like a badge of honor.
- The title 'Friar'
- The religious title is ironically opposed to everything the poem depicts. Longfellow keeps reminding us of this, as the entire humor hinges on the difference between what a friar is expected to be and what this particular one clearly represents.
§06Historical context
Historical context
Longfellow crafted character sketches and dramatic monologues throughout his career, often pulling from European religious and medieval settings to bring to life figures that felt both historically grounded and instantly relatable. "Friar Paul" fits into a long literary tradition of the cheerful, rule-bending friar—a character type that dates back at least to Chaucer's Canterbury Tales, where the Friar stands out as one of the most notably corrupt pilgrims. By Longfellow's time in mid-19th century America, these figures had a familiar, almost theatrical quality for readers well-versed in English literature. The poem is short enough to be read as a toast, a caption, or a playful aside—more like a quick comic stroke than a detailed portrait. Longfellow's light touch here reveals his versatility, contrasting with the more serious and grand works like *Evangeline* or *The Song of Hiawatha*.
§07FAQ
Questions readers ask
It's a brief comic portrayal of a friar—a monk—sitting comfortably at a feast. The humor lies in the fact that friars are meant to live simply and shun excess, yet this one seems to be doing the opposite.
Almost certainly not referring to a specific historical figure. Longfellow employs the name to add a personal, almost theatrical touch to the sketch — akin to introducing a character on stage. 'Paul' is common enough to feel generic yet still retains an individual quality.
The phrase suggests that there’s absolutely no concern for the consequences. The humor lies in the context: a friar, whose whole role is to care deeply about sin and the devil, is depicted with a phrase that literally brings to mind the devil’s indifference. It’s a subtle, dry joke.
The poem features a playful and irregular rhyme scheme with words like *there*, *rollicking*, *care*, *air*, and *frolicking*, forming an ABABA pattern. The B rhymes, *rollicking* and *frolicking*, serve as humorous bookends. The varied line lengths enhance the lively, slightly off-balance vibe.
Mostly just laughter. The tone leans more towards affectionate satire than moral condemnation. Longfellow appears charmed by the friar's shamelessness instead of being troubled by it.
The cheerful, well-traveled friar is a familiar character in European literature, dating back to Chaucer's *Canterbury Tales* in the 14th century. Longfellow's readers would have instantly recognized this type, which is why the poem can be so brief — it relies on a shared cultural understanding.
The uneven line lengths reflect the friar's lively and unpredictable energy. A rigid, regular meter wouldn’t suit a character characterized by ease and indulgence. The structure aligns perfectly with the personality.
It acts as a character sketch or *ekphrasis*—a verbal portrait of a person or scene. It also includes aspects of light verse and comic poetry. Its refusal to fit into just one formal category adds to its appeal.
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