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Raud the Strong by Henry Wadsworth Longfellow

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This poem narrates the tale of King Olaf of Norway, who is determined to spread Christianity throughout his realm.

Poet
Henry Wadsworth Longfellow
Core theme
Faith
The PoemFull text

Raud the Strong

Henry Wadsworth Longfellow

"All the old gods are dead, All the wild warlocks fled; But the White Christ lives and reigns, And throughout my wide domains His Gospel shall be spread!" On the Evangelists Thus swore King Olaf. But still in dreams of the night Beheld he the crimson light, And heard the voice that defied Him who was crucified, And challenged him to the fight. To Sigurd the Bishop King Olaf confessed it. And Sigurd the Bishop said, "The old gods are not dead, For the great Thor still reigns, And among the Jarls and Thanes The old witchcraft still is spread." Thus to King Olaf Said Sigurd the Bishop. "Far north in the Salten Fiord, By rapine, fire, and sword, Lives the Viking, Raud the Strong; All the Godoe Isles belong To him and his heathen horde." Thus went on speaking Sigurd the Bishop. "A warlock, a wizard is he, And lord of the wind and the sea; And whichever way he sails, He has ever favoring gales, By his craft in sorcery." Here the sign of the cross Made devoutly King Olaf. "With rites that we both abhor, He worships Odin and Thor; So it cannot yet be said, That all the old gods are dead, And the warlocks are no more," Flushing with anger Said Sigurd the Bishop. Then King Olaf cried aloud: "I will talk with this mighty Raud, And along the Salten Fiord Preach the Gospel with my sword, Or be brought back in my shroud!" So northward from Drontheim Sailed King Olaf! XI

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Sourced from Project Gutenberg

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§01Quick summary

What this poem is about

This poem narrates the tale of King Olaf of Norway, who is determined to spread Christianity throughout his realm. However, he discovers from his bishop that a formidable Viking chieftain named Raud the Strong remains devoted to the ancient Norse gods and wields control over the sea through magic. Motivated and somewhat unsettled by his own nightmares of the old gods, Olaf resolves to sail north and convert Raud by force—or die in the attempt. It depicts a clash between two worlds: the emerging Christian faith asserting itself and the enduring Norse religion resisting its decline.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. "All the old gods are dead, / All the wild warlocks fled;"

    Editor's note

    King Olaf starts with a strong statement: the Norse gods are gone, and Christianity has triumphed. He swears by the Evangelists — the writers of the four Gospels — that he will promote the new faith throughout his realm. It's a king making a public promise, sure and determined. The rhyme scheme (AABBA) creates a chant-like rhythm, reminiscent of a battle cry.

  2. But still in dreams of the night / Beheld he the crimson light,

    Editor's note

    The word "But" instantly shakes Olaf's confidence. Even with his strong speech, he lies awake at night, tormented by visions of red light and a voice that directly confronts Christ. The old world isn't truly gone — it's alive in his mind. He admits this to his bishop, Sigurd, revealing that he's troubled enough to ask for guidance.

  3. And Sigurd the Bishop said, / "The old gods are not dead,"

    Editor's note

    Sigurd reflects back Olaf's own nightmare: the old gods are very much alive. Thor continues to hold power among the Norse nobility—the Jarls and Thanes—and ancient magic is still in play. The bishop's honesty is remarkable; he isn't comforting his king but delivering a difficult truth. The mirroring of Olaf's initial lines, now flipped, introduces a clear structural irony.

  4. "Far north in the Salten Fiord, / By rapine, fire, and sword,"

    Editor's note

    Sigurd gets down to details. He identifies the threat: Raud the Strong, a Viking chieftain who rules the Godoe Isles with violence and leads a "heathen horde." The setting — the Salten Fiord in northern Norway — firmly places the poem in actual Norse land. Raud isn’t just some abstract spiritual danger; he’s a specific, real, and menacing figure.

  5. "A warlock, a wizard is he, / And lord of the wind and the sea;"

    Editor's note

    Raud's power is clear: he controls the weather with sorcery, ensuring he always sails with favorable winds. This gives him an almost supernatural quality, presenting him as a true rival to divine power. Olaf's reaction — making the sign of the cross — shows that he views this threat seriously. The gesture combines piety with a hint of fear.

  6. "With rites that we both abhor, / He worships Odin and Thor;"

    Editor's note

    Sigurd's anger comes to the forefront here. He and Olaf both feel disgust toward the old worship, but the bishop's reddening face indicates he's personally offended, rather than merely disagreeing on theology. He revisits Olaf's initial claim — that the old gods are dead — and demonstrates that it's an overstatement. Raud stands as living proof that the old world is still alive.

  7. Then King Olaf cried aloud: / "I will talk with this mighty Raud,"

    Editor's note

    Olaf's response has a grim humor to it: he mentions he'll "talk" with Raud, only to quickly clarify that "talk" really means he'll be preaching with his sword. The stark contrast between "talk" and the imagery of a sword highlights the harsh reality of forced conversion. His concluding line — "Or be brought back in my shroud" — indicates he understands the gravity of the situation. He sets sail north, and the poem concludes on that intense, forward-driving note.

§04Tone & mood

How this poem feels

The tone is bold and assertive — this poem has a rhythm like a war drum. Longfellow uses straightforward and impactful language, featuring short lines and a tight AABBA rhyme scheme that makes each stanza feel like a declaration. Beneath the surface, there's a layer of dramatic irony: Olaf claims the old gods are dead, yet the poem continually contradicts him, stanza after stanza. By the end, the tone shifts to something nearly reckless — Olaf's final speech reflects the bravado of someone who has convinced himself to enter a fight he's uncertain about winning.

§05Symbols & metaphors

Symbols & metaphors

The crimson light in Olaf's dreams
The red light Olaf sees at night symbolizes the old Norse world resisting his Christian beliefs. It’s an unspoken acknowledgment that the gods he thought were long gone still exist — at least in the thoughts and fears of the people, including the king.
The sword as Gospel
When Olaf declares he will "preach the Gospel with my sword," the sword symbolizes forced conversion — highlighting the violent and coercive aspects of Christian expansion in medieval Scandinavia. It blurs the line between faith and conquest.
The Salten Fiord
The fiord represents more than just a geographical feature. As a secluded waterway in the north, it embodies the untamed wilderness that remains untouched and unconverted — a realm where the old world persists. Heading north toward it signifies a journey toward fulfilling Olaf's long-standing vow.
The sign of the cross
Olaf's instinctive reaction upon hearing about Raud's sorcery shows how faith and fear are intertwined. The cross is intended to repel evil, indicating that Olaf only partially dismisses the very power he tries to deny.
Raud's favorable winds
The winds that consistently favor Raud symbolize the pagan power still at work in the natural world. They imply that the old gods continue to hold sway over creation — directly challenging the sovereignty of the Christian God, which Olaf has based his reign upon.

§06Historical context

Historical context

This poem is Canto XI from Longfellow's 1863 narrative work *Tales of a Wayside Inn*, specifically part of "The Musician's Tale: The Saga of King Olaf." Longfellow based it on the *Heimskringla*, a chronicle of Norwegian kings by Snorri Sturluson from the 13th century. The historical King Olaf Tryggvason ruled Norway from about 995 to 1000 AD, and he is known for his forceful efforts to Christianize Scandinavia, often using aggression or intimidation. Longfellow wrote during the American Civil War, a time filled with intense discussions about power, belief, and conviction, sometimes violent. The poem reflects a broader Victorian interest in Norse mythology—similar to the cultural backdrop of Wagner's Ring Cycle—capturing both admiration and discomfort regarding the ancient Norse world.

§07FAQ

Questions readers ask

Who was the real King Olaf that this poem is based on?

The poem tells the story of Olaf Tryggvason, who ruled Norway around 995 to 1000 AD. He is recognized for his role in converting Norway to Christianity, often using force — threatening, torturing, or even killing those who would not give up the old Norse faith. He met his end at the Battle of Svolder, where he was surrounded by enemies. Longfellow's account is based on the Heimskringla, a Norse chronicle from the 13th century.

Was Raud the Strong a real person?

Yes. Raud the Strong is depicted in the Heimskringla as a wealthy chieftain from the Godey islands in northern Norway who declined to convert to Christianity. The saga tells that Olaf eventually captured him and had him executed when he refused baptism. Longfellow portrays him here as a symbol of Norse resistance to the new faith.

What does "preaching the Gospel with my sword" mean?

It refers to forced conversion—using military force to make people adopt Christianity. Olaf tells Raud he'll have a choice: convert or be killed. This accurately represents the way Christianity spread in parts of Scandinavia, and Longfellow presents it candidly, acknowledging the brutality involved.

Why does Olaf make the sign of the cross when he hears about Raud's sorcery?

It's a mix of fear and faith. The sign of the cross has long been a protective gesture against evil. Olaf's instinctive reaction to Raud's wind-magic shows he respects that power, subtly contradicting his earlier claim that the old gods and warlocks are gone.

What is the rhyme scheme and why does it matter?

Each stanza follows an AABBA pattern — the same structure as a limerick, but the tone is far from humorous. Longfellow employs this pattern to create a rhythmic chant that fits the story of warriors and proclamations. The brief closing couplet in each stanza ("Thus swore King Olaf," "Said Sigurd the Bishop") serves as a drumbeat, emphasizing who said what.

What is *Tales of a Wayside Inn* and where does this poem fit in it?

Tales of a Wayside Inn is Longfellow's 1863 collection modeled after Chaucer's Canterbury Tales, featuring a group of travelers at an inn who share stories in turn. "The Saga of King Olaf," narrated by the Musician, spans multiple cantos. This specific poem, Canto XI, is one part of that larger saga, centering on the moment Olaf discovers Raud and resolves to confront him.

What does the poem say about religion and power?

It depicts their interconnectedness. Olaf's Christianity serves not merely as a personal faith — it's a means of achieving political unity. Raud's paganism is not just a personal conviction; it’s also connected to his military and social authority over the Godoe Isles. The poem presents the conflict as a clash between two power structures, with religion representing the banner each side upholds.

Why does Bishop Sigurd get angry?

Sigurd feels a surge of anger at Raud's existence, which undermines Olaf's boast and, by extension, the Church's claims. As a bishop, Sigurd's authority relies on the belief that the old religion has been vanquished. Raud's ongoing resistance not only embarrasses him but also poses a theological dilemma. His anger reflects the frustration of someone whose understanding of the world is being confronted by inconvenient truths.

Citation

Cite this poem

MLA

Longfellow, Henry Wadsworth. "Raud the Strong." Storgy, https://storgy.com/poems/raud-the-strong-henry-wadsworth-longfellow/.

APA

Longfellow, H. W. (n.d.). Raud the strong. Storgy. https://storgy.com/poems/raud-the-strong-henry-wadsworth-longfellow/

TeacherAP Lit Q1 scaffold — preview

Row A — Thesis

1 pt

In 'Raud the Strong,' Longfellow employs the cyclical repetition of a boastful declaration alongside the dramatic irony it creates to argue that political power, no matter how loudly it claims to have erased the past, remains haunted and …

  • Row B — Evidence + Commentary4 pts
  • Row C — Sophistication1 pt
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