SONGS
The Day Is done
Afternoon in February
To an Old Danish Song-Book
Walter von der Vogelweid
Drinking Song
The Old Clock on the Stairs
The Arrow and the Song
The Annotated Edition
SONGS by Henry Wadsworth Longfellow
Read aloud in ~1 min
*Songs* is a section of Longfellow's poetry collection that brings together seven short lyric poems, each capturing a different mood — from the quiet sadness of an evening to the joy stirred by familiar music, and even to the unexpected impact of a kind word, like an arrow finding its target.
- Themes
- art, memory, mortality
§01Quick summary
What this poem is about
*Songs* is a section of Longfellow's poetry collection that brings together seven short lyric poems, each capturing a different mood — from the quiet sadness of an evening to the joy stirred by familiar music, and even to the unexpected impact of a kind word, like an arrow finding its target. Imagine it as a playlist where each track conveys a unique feeling, yet they all fit together in celebrating the power of song, memory, and the passage of time. Longfellow essentially suggests that art — whether it’s a melody, the ticking of a clock, or a soaring arrow — leaves a lasting impression on the world long after the moment has passed.
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
The Day Is Done
Editor's note
This opening poem establishes the emotional tone for the entire section. The speaker, feeling worn out and melancholy at day's end, requests a simple, quiet song—not a grand, heroic piece, but something soft enough to bring comfort. This is a straightforward assertion that sincere, humble art can provide more solace to a weary soul than technically impressive yet emotionally distant poetry.
Afternoon in February
Editor's note
A bleak mid-winter scene: a grey sky, bare trees, and a crow calling. The atmosphere feels heavy and still, as if the world is holding its breath. Longfellow reflects inner sadness through the lifeless February landscape, allowing the season to convey the emotions without directly stating them.
To an Old Danish Song-Book
Editor's note
Longfellow speaks to an ancient book of songs, expressing wonder at how melodies from centuries past still resonate with emotion today. The poem serves as a love letter to the notion that art endures beyond its creator — the singers may be long gone, but their songs continue to live on in the pages he cherishes.
Walter von der Vogelweid
Editor's note
A tribute to the medieval German troubadour Walther von der Vogelweide, who requested to be buried in a place where birds would sing over his grave. Longfellow uses this tale to illustrate that a genuine poet is in tune with nature and that the finest art springs from the same well as birdsong — instinct, beauty, and love.
Drinking Song
Editor's note
A lighter, more festive piece that brightens the mood of the section. Wine, friendship, and the joy of the present moment take center stage. Yet, even in this atmosphere, Longfellow reminds us that time keeps moving forward, giving the drinking and singing a subtle touch of carpe diem.
The Old Clock on the Stairs
Editor's note
The ticking clock in a family home echoes a single phrase repeatedly: *'Forever — never! Never — forever!'* This clock symbolizes mortality and the unyielding passage of time, observing generations of a family as they come and go. It's one of Longfellow's most haunting domestic images.
The Arrow and the Song
Editor's note
The shortest and most famous poem in this section tells a poignant story. The speaker shoots an arrow and sends a song into the air; both vanish, as if lost forever. Years later, he discovers the arrow embedded in an oak tree and finds the song alive in the heart of a friend. The message is clear and impactful: acts of kindness and art reach farther than we realize and settle in places we never imagined.
§04Tone & mood
How this poem feels
The overall tone of *Songs* shifts between a gentle sadness and a cozy warmth. Longfellow doesn’t raise his voice — he speaks softly. There's a constant sense of time passing, yet it never leads to despair since art and friendship always arrive as sources of comfort. The section concludes perfectly: hopeful, personal, and slightly astonished by the distance a good song can reach.
§05Symbols & metaphors
Symbols & metaphors
- The arrow
- In *The Arrow and the Song*, the arrow symbolizes any action or word released into the world, uncertain of where it will end up. It reflects the unpredictable nature of human connection.
- The old clock
- The clock on the stairs represents mortality and the unyielding flow of time. Its recurring phrase — *'Forever — never!'* — serves as a reminder to each generation that nothing endures, even as time continues endlessly.
- The old Danish song-book
- The worn book of songs shows how art can outlive death. The singers may be gone, but their melodies live on, bridging the gap between the past and the present.
- February / winter landscape
- The bleak February setting in the second poem reflects the speaker's inner grief and emotional numbness, mirroring their inner state in the outer world.
- The song itself
- Across the entire section, song represents human expression at its most genuine and lasting—something that comforts, connects people, and endures beyond the creator.
- Birds and birdsong
- In *Walter von der Vogelweid*, birds symbolize natural and instinctive creativity — suggesting that the finest art flows freely and effortlessly, much like a bird singing over a grave.
§06Historical context
Historical context
Henry Wadsworth Longfellow released *The Belfry of Bruges and Other Poems* in 1845, which included the *Songs* section. By then, Longfellow was already among the most popular poets in the English-speaking world, celebrated for bridging European literary traditions with American readers. He had devoted years to studying German, Danish, and medieval Romance literature, and that knowledge is evident here: *Walter von der Vogelweid* is inspired by medieval German minnesingers, while *To an Old Danish Song-Book* shows his deep interest in Scandinavian culture. The 1840s were also marked by personal tragedy for Longfellow—his first wife passed away in 1835—and the mournful tone throughout *Songs* reflects that loss. This section embodies the blend of Romanticism's emotional depth and Longfellow's uniquely American belief that art and friendship can counter despair.
§07FAQ
Questions readers ask
The poem suggests that when you share something positive — like a kind word, a piece of art, or a song — you may not always know where it goes or who it touches. Yet, it does find a place. Years later, Longfellow discovers his arrow lodged in an oak tree and his song resonating in a friend's heart. This illustrates that true expression always finds a home, even if you remain unaware of it.
The clock's repeated phrase highlights the core tension of time: our lives are short (*never* — they eventually end), yet time itself continues *forever*. This clock has seen entire generations of a family being born, living, and passing away, yet it keeps on ticking. Longfellow uses this to make the concept of mortality feel familiar and unavoidable instead of merely abstract.
Walther von der Vogelweide was a notable medieval German poet and troubadour, active from around 1170 to 1230. He ranks among the greatest lyric poets of the Middle Ages. Longfellow, intrigued by European literary history, drew inspiration from Walther's well-known wish — to be buried where birds would sing above him — capturing the essence of a poet who lived in harmony with nature, with art as natural as birdsong.
The speaker asks for something simple and quiet — not the grand, heroic poetry of famous bards, but a humble, tender song that can ease sadness like a lullaby calms a child. Longfellow argues that emotional honesty in art is more important than technical skill or fame.
It's a part of Longfellow's 1845 collection *The Belfry of Bruges and Other Poems*. The seven poems titled *Songs* are standalone works, but Longfellow grouped them because they all reflect a similar mood and theme: how music, art, and memory can unite people through time.
The grey sky, bare trees, and calling crow reflect an internal emotional state—grief, numbness, or depression. Longfellow doesn’t explicitly say, "I am sad." Instead, he paints a picture of a dead winter afternoon and allows the bleakness to convey the mood. This technique, where the external world mirrors internal feelings, is known as *pathetic fallacy*.
Longfellow taught modern languages at Harvard and delved deeply into Scandinavian literature. The old Danish songbook provided him with a tangible representation of a profound idea: songs endure long after their singers are gone. As he held this book of ancient melodies, he experienced a sense of time folding in on itself — the voices of long-dead poets lingered within the music.
Time and memory form the core of this section—each poem acknowledges that moments fade and lives come to an end, yet art (whether it’s a song, a poem, or a melody) preserves a part of that experience. There’s also a subtle theme of comfort: art doesn’t merely endure; it actively helps ease grief and fosters connections among people over the ages.
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