FRITHIOF'S TEMPTATION by Henry Wadsworth Longfellow: Summary, Meaning & Analysis
A Norse hero named Frithiof faces temptation in two forms: first, his love for a stunning queen who is married to another man, and second, the opportunity to kill the sleeping king who blocks his path.
The poem
Spring is coming, birds are twittering, forests leaf, and smiles the sun, And the loosened torrents downward, singing, to the ocean run; Glowing like the cheek of Freya, peeping rosebuds 'gin to ope, And in human hearts awaken love of life, and joy, and hope. Now will hunt the ancient monarch, and the queen shall join the sport: Swarming in its gorgeous splendor, is assembled all the Court; Bows ring loud, and quivers rattle, stallions paw the ground alway, And, with hoods upon their eyelids, scream the falcons for their prey. See, the Queen of the Chase advances! Frithiof, gaze not at the sight! Like a star upon a spring-cloud sits she on her palfrey white. Half of Freya, half of Rota, yet more beauteous than these two, And from her light hat of purple wave aloft the feathers blue. Gaze not at her eyes' blue heaven, gaze not at her golden hair! Oh beware! her waist is slender, full her bosom is, beware! Look not at the rose and lily on her cheek that shifting play, List not to the voice beloved, whispering like the wind of May. Now the huntsman's band is ready. Hurrah! over hill and dale! Horns ring, and the hawks right upward to the hall of Odin sail. All the dwellers in the forest seek in fear their cavern homes, But, with spear outstretched before her, after them the Valkyr comes. . . . . . . . . . . Then threw Frithiof down his mantle, and upon the greensward spread, And the ancient king so trustful laid on Frithiof's knee his head, Slept as calmly as the hero sleepeth, after war's alarm, On his shield, or as an infant sleeps upon its mother's arm. As he slumbers, hark! there sings a coal-black bird upon the bough; "Hasten, Frithiof, slay the old man, end your quarrel at a blow: Take his queen, for she is thine, and once the bridal kiss she gave, Now no human eye beholds thee, deep and silent is the grave," Frithiof listens; hark! there sings a snow-white bird upon the bough: "Though no human eye beholds thee, Odin's eye beholds thee now. Coward! wilt thou murder sleep, and a defenceless old man slay! Whatsoe'er thou winn'st, thou canst not win a hero's fame this way." Thus the two wood-birds did warble: Frithiof took his war-sword good, With a shudder hurled it from him, far into the gloomy wood. Coal-black bird flies down to Nastrand, but on light, unfolded wings, Like the tone of harps, the other, sounding towards the sun, upsprings. Straight the ancient king awakens. "Sweet has been my sleep," he said; "Pleasantly sleeps one in the shadow, guarded by a brave man's blade. But where is thy sword, O stranger? Lightning's brother, where is he? Who thus parts you, who should never from each other parted be?" "It avails not," Frithiof answered; "in the North are other swords: Sharp, O monarch! is the sword's tongue, and it speaks not peaceful words; Murky spirits dwell in steel blades, spirits from the Niffelhem; Slumber is not safe before them, silver locks but anger them." IV
A Norse hero named Frithiof faces temptation in two forms: first, his love for a stunning queen who is married to another man, and second, the opportunity to kill the sleeping king who blocks his path. Two birds—one dark and one light—debate his next move, but Frithiof decides to uphold his honor over his desire, discarding his sword instead of committing murder.
Line-by-line
Spring is coming, birds are twittering, forests leaf, and smiles the sun,
Now will hunt the ancient monarch, and the queen shall join the sport:
See, the Queen of the Chase advances! Frithiof, gaze not at the sight!
Gaze not at her eyes' blue heaven, gaze not at her golden hair!
Now the huntsman's band is ready. Hurrah! over hill and dale!
Then threw Frithiof down his mantle, and upon the greensward spread,
As he slumbers, hark! there sings a coal-black bird upon the bough;
Frithiof listens; hark! there sings a snow-white bird upon the bough:
Thus the two wood-birds did warble: Frithiof took his war-sword good,
Straight the ancient king awakens. "Sweet has been my sleep," he said;
"It avails not," Frithiof answered; "in the North are other swords:
Tone & mood
The tone shifts through three clear registers. The opening stanzas are lively and full of joy, bursting with the energy of spring. The middle section grows urgent and cautionary — the narrator almost yells at Frithiof to avert his gaze. Finally, the last half transitions into a quieter, more serious mood: a moral test unfolding in near-silence, interrupted only by the calls of two birds. By the end, the tone is somber and respectful, reflecting a man who made the right choices and is aware of it.
Symbols & metaphors
- The coal-black bird — Temptation and moral corruption. It argues for self-interest — take what you want when no one is looking. Its fall to **Nastrand** at the end reinforces its role as a symbol of dishonor and the road to ruin.
- The snow-white bird — Conscience and divine witness. It serves as a reminder to Frithiof that Odin observes everything and that a true heroic reputation cannot stem from cowardice. Its ascent toward the sun signifies the reward of virtue and the soul's journey upward.
- The sword — Frithiof's struggle with his violent tendencies and the lure of murder. By throwing the sword into the forest, he makes his moral decision tangible. The king's innocent inquiry about the missing sword highlights just how near the danger was.
- The sleeping king — Absolute vulnerability and trust. A sleeping man can't protect himself, making it the ultimate act of cowardice to kill him. The king's peaceful slumber serves as a moral test, hidden within the guise of an opportunity.
- Spring — Desire, awakening, and the risky shedding of restraint. Spring isn't just a backdrop; it ignites longing in our hearts, which is what makes Frithiof vulnerable to temptation in the first place.
- Freya and the Valkyrie (Rota) — The queen is portrayed as a mix of the love goddess and the goddess of battle-death, making her both alluring and deadly. She embodies a beauty that can drive a man to ruin himself and those around him.
Historical context
Longfellow published this poem as part of his exploration of Norse mythology and Scandinavian literature, inspired by the medieval Icelandic *Friðþjófs saga* (Frithiof's Saga). This saga had previously been adapted into a well-known verse cycle by the Swedish poet Esaias Tegnér in 1825. Tegnér's version gained immense popularity throughout Europe, and Longfellow translated parts of it while also crafting his own original responses. The saga follows Frithiof, a Norse hero of humble origins, who loves Ingeborg, the daughter of a king, and faces numerous challenges that force him to choose between personal desire and honor. Longfellow was particularly fascinated by how ancient heroic ideals—especially the Norse belief that a man's reputation endures beyond his death—related to 19th-century American views on moral character. This poem reflects a blend of Romantic medievalism, which was trendy in the 1830s to 1850s, and Longfellow's ongoing interest in ethical self-discipline.
FAQ
Frithiof is a Norse hero featured in an Icelandic saga. He is in love with the queen, who was once promised to him but ended up marrying the old king instead. This king now serves as Frithiof's romantic rival, standing in the way of his love. Frithiof's urge to kill him stems from desire rather than hatred.
They're a classic literary device for illustrating an internal moral struggle. The **black bird** represents temptation — selfish and practical, urging Frithiof that no one will find out. The **white bird** embodies conscience and honor — reminding him that Odin sees all and that a true hero doesn't kill men while they sleep. Together, they dramatize the conflict unfolding in Frithiof's mind.
In Norse mythology, Nastrand is a shore in the underworld meant for the most infamous dead — murderers, oath-breakers, and those who have lost their honor. When the black bird descends to Nastrand at the end, it signifies that this path leads to damnation.
The physical act is significant. Choosing not to act is delicate — you can always reconsider. Tossing the sword into the forest is a definitive commitment. It also demonstrates that Frithiof lacks confidence in his ability to keep resisting while the weapon remains in his grasp. This gesture reflects self-awareness as much as it does honor.
Yes, that’s exactly the point. The warnings are presented alongside the descriptions, so both the reader and Frithiof can’t help but see what they’re being warned against. It’s a rhetorical tactic that makes the temptation feel urgent and tangible. The narrator understands that the warnings won’t be effective; they’re included to highlight just how strong the attraction is.
It's inspired by the *Friðþjófs saga*, a medieval saga from Iceland. Longfellow drew from a well-known Swedish adaptation by Esaias Tegnér, which was translated into English and quite popular in the 19th century. This means it's a genuine Norse legend, shaped by centuries of retelling.
The white bird's argument boils down to this: even if you manage to escape the consequences, you'll still know what you did, and so will Odin. In Norse heroism, a man's reputation — his *fame* — is the only thing that endures beyond death. Killing a sleeping, defenseless man is far from heroic, regardless of any benefits you might gain. Frithiof prioritizes his identity as a hero over his longing for the queen.
He's using mythological language, but he’s being straightforward. The 'murky spirits from Niffelhem' represent his dark impulses — the part of him that wished to use the sword on the sleeping king. He’s indirectly telling the king that the sword was a threat because *he* was a threat at that moment, and he eliminated that danger by getting rid of the weapon.