SONGS by Henry Wadsworth Longfellow: Summary, Meaning & Analysis
*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.
The poem
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
*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.
Line-by-line
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
Tone & mood
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.
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.
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.
FAQ
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.