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Thangbrand the Priest by Henry Wadsworth Longfellow

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This poem narrates the tale of Thangbrand, a boisterous, brawling, heavy-drinking priest dispatched by King Olaf of Norway to convert the people of Iceland to Christianity—mainly because the King wanted to rid his court of him.

Poet
Henry Wadsworth Longfellow
Core theme
Art
The PoemFull text

Thangbrand the Priest

Henry Wadsworth Longfellow

Short of stature, large of limb, Burly face and russet beard, All the women stared at him, When in Iceland he appeared. "Look!" they said, With nodding head, "There goes Thangbrand, Olaf's Priest." All the prayers he knew by rote, He could preach like Chrysostome, From the Fathers he could quote, He had even been at Rome, A learned clerk, A man of mark, Was this Thangbrand, Olaf's Priest, He was quarrelsome and loud, And impatient of control, Boisterous in the market crowd, Boisterous at the wassail-bowl, Everywhere Would drink and swear, Swaggering Thangbrand, Olaf's Priest In his house this malcontent Could the King no longer bear, So to Iceland he was sent To convert the heathen there, And away One summer day Sailed this Thangbrand, Olaf's Priest. There in Iceland, o'er their books Pored the people day and night, But he did not like their looks, Nor the songs they used to write. "All this rhyme Is waste of time!" Grumbled Thangbrand, Olaf's Priest. To the alehouse, where he sat Came the Scalds and Saga-men; Is it to be wondered at, That they quarrelled now and then, When o'er his beer Began to leer Drunken Thangbrand, Olaf's Priest? All the folk in Altafiord Boasted of their island grand; Saying in a single word, "Iceland is the finest land That the sun Doth shine upon!" Loud laughed Thangbrand, Olaf's Priest. And he answered: "What's the use Of this bragging up and down, When three women and one goose Make a market in your town!" Every Scald Satires scrawled On poor Thangbrand, Olaf's Priest. Something worse they did than that; And what vexed him most of all Was a figure in shovel hat, Drawn in charcoal on the wall; With words that go Sprawling below, "This is Thangbrand, Olaf's Priest." Hardly knowing what he did, Then he smote them might and main, Thorvald Veile and Veterlid Lay there in the alehouse slain. "To-day we are gold, To-morrow mould!" Muttered Thangbrand, Olaf's Priest. Much in fear of axe and rope, Back to Norway sailed he then. "O, King Olaf! little hope Is there of these Iceland men!" Meekly said, With bending head, Pious Thangbrand, Olaf's Priest. X

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§01Quick summary

What this poem is about

This poem narrates the tale of Thangbrand, a boisterous, brawling, heavy-drinking priest dispatched by King Olaf of Norway to convert the people of Iceland to Christianity—mainly because the King wanted to rid his court of him. Thangbrand has a series of confrontations with the Icelanders, ends up killing two men during a drunken fight, and returns to Norway in disgrace, having achieved nothing. Longfellow treats the entire episode as dark comedy, depicting Thangbrand as a striking contradiction: a man of God who acts like the most disreputable thug.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. Short of stature, large of limb, / Burly face and russet beard,

    Editor's note

    Longfellow begins by sketching a physical portrait that instantly hints at humor. Thangbrand is stocky, has a red beard, and is so noticeable that every woman in Iceland can't help but turn to look. The refrain — *"Thangbrand, Olaf's Priest"* — makes its debut here and will echo throughout, each time accompanied by a fresh, ironic adjective.

  2. All the prayers he knew by rote, / He could preach like Chrysostome,

    Editor's note

    This stanza highlights Thangbrand's true credentials. He understands his scripture, can quote the Church Fathers, and has even traveled to Rome on pilgrimage. The key takeaway is that his shortcomings don't stem from ignorance; he's an educated man who just chooses not to act like one.

  3. He was quarrelsome and loud, / And impatient of control,

    Editor's note

    Now the mask drops. Thangbrand drinks, swears, and struts through markets and taverns alike. The term *"swaggering"* in the refrain replaces the bland opener, creating a humorous contrast between his priestly title and his actual behavior, which drives the poem's humor.

  4. In his house this malcontent / Could the King no longer bear,

    Editor's note

    The true motive behind the mission comes to light: King Olaf isn’t sending Thangbrand to Iceland due to a genuine desire to spread the faith—he’s actually trying to eliminate a nuisance. Iceland is more like a punishment assignment. This revelation strips away any notion of a sacred mission and casts everything that happens next in a comedic light.

  5. There in Iceland, o'er their books / Pored the people day and night,

    Editor's note

    Iceland during the Viking Age was truly renowned for its literary culture, particularly the sagas and skaldic poetry. Thangbrand, who can quote the Church Fathers, dismisses it all as a waste of time. The irony is striking: this so-called scholar lacks patience for the learning of others.

  6. To the alehouse, where he sat / Came the Scalds and Saga-men;

    Editor's note

    The clash between Thangbrand and the Icelandic poets is bound to happen. He drinks, he leers, and they argue. Longfellow presents it as a natural outcome — naturally, this is what unfolds when you place a rowdy drunk in a gathering of proud storytellers.

  7. All the folk in Altafiord / Boasted of their island grand;

    Editor's note

    The Icelanders' patriotic pride provides Thangbrand with a new target. He ridicules their boasting with a crude jab about the size of their market town. This kind of insult hits home, and the Scalds react in their usual way: with satire.

  8. And he answered: "What's the use / Of this bragging up and down,

    Editor's note

    Thangbrand's jab—that three women and a goose make a market—is both funny and mean-spirited. The Scalds' reply, crafting satirical verses about him, represents the literary culture pushing back, and it feels completely justified.

  9. Something worse they did than that; / And what vexed him most of all

    Editor's note

    The charcoal caricature on the wall — depicting a figure in a shovel hat labelled *"This is Thangbrand, Olaf's Priest"* — reflects the poem's refrain back at him. The Icelanders have turned his title into a punchline, and Longfellow ensures the reader senses the symmetry.

  10. Hardly knowing what he did, / Then he smote them might and main,

    Editor's note

    The comedy takes a dark turn when Thangbrand kills two men—Thorvald Veile and Veterlid—in the alehouse. His quiet line, *"To-day we are gold, / To-morrow mould,"* serves as a true reminder of mortality, and for a brief moment, the poem falls silent. Even Thangbrand appears to grasp the weight of his actions.

  11. Much in fear of axe and rope, / Back to Norway sailed he then.

    Editor's note

    The ending feels utterly deflating. Thangbrand flees Iceland, goes back to King Olaf, and shares his verdict on the Icelanders with an unexpected, almost ridiculous meekness — *"pious"* serves as the final ironic descriptor in the refrain. He hasn't converted anyone, killed two people, and gained no new insights.

§04Tone & mood

How this poem feels

The tone is comic and satirical throughout, but it takes on a darker edge in the final two stanzas. Longfellow maintains a light, ballad-like rhythm that makes the violence hit even harder by contrast. There’s a sense of affection in the portrayal — Thangbrand is too vivid and too human to be just a villain — but the poem never lets him off the hook. The repeating refrain acts like a punchline that keeps getting reloaded.

§05Symbols & metaphors

Symbols & metaphors

The refrain — "Thangbrand, Olaf's Priest"
The refrain serves as the poem's main ironic element. Each stanza adds a new adjective — *swaggering*, *drunken*, *pious* — that clashes with the title's dignity. By the end, the phrase has turned into a punchline, much like the effect of the Icelanders' wall graffiti in the story.
The charcoal caricature on the wall
The drawing captures how art and satire can humiliate those in power. It's the moment that shatters Thangbrand's self-control and sets off the killings — suggesting that mockery, rather than theology, is the true driving force in this poem.
The alehouse
The alehouse is where Thangbrand's contradictions are most apparent. For the Icelanders, it serves as a hub of community and culture, while for him, it becomes a setting for self-destruction. His frequent visits suggest that he feels more at ease in pagan social life than in the church he is meant to represent.
Iceland itself
Iceland acts like a mirror. Its literary culture, sense of pride, and refusal to be converted all showcase what Thangbrand lacks: patience, respect, and genuine faith. The land he’s meant to save ultimately reveals his shortcomings.
"To-day we are gold, / To-morrow mould"
This memento mori couplet represents the sole instance of authentic religious sentiment in the poem. It implies that Thangbrand possesses a soul beneath his bravado — yet this realization emerges only after he has committed murder, rendering it more tragic than redemptive.

§06Form & structure

Form & structure

Meter
trochaic tetrameter
Rhyme
ABABCCC ABABCCC ABABCCC ABABCCC ABABCCC ABABCCC ABABCCC ABABCCC ABABCCC ABABCCC ABABCCC

§07Historical context

Historical context

Thangbrand was a real historical figure, referenced in the Icelandic sagas — especially *Njáls saga* — as a German priest sent by King Olaf Tryggvason around 997 AD to convert Iceland to Christianity. The actual Thangbrand did kill several men and returned to Norway with very few converts. Longfellow used this story in *The Saga of King Olaf*, a long narrative poem included in his 1863 collection *Tales of a Wayside Inn*. This collection uses a storytelling format inspired by Chaucer: a group of travelers at a Massachusetts inn share stories with one another. The Thangbrand episode is one part of the Musician's tale. Longfellow had a deep interest in Norse mythology and medieval Scandinavian culture, and *The Saga of King Olaf* represents one of the most thorough explorations of that material in American poetry.

§08FAQ

Questions readers ask

Was Thangbrand a real person?

Yes. Thangbrand appears in several Icelandic sagas, especially Njáls saga, as a priest sent by King Olaf Tryggvason to convert Iceland around 997 AD. The sagas depict him as aggressive and challenging, noting that he killed at least two or three men during his mission before returning to Norway. Longfellow closely adheres to this historical outline.

What is the poem's overall structure?

The poem is a ballad consisting of eleven stanzas, each with seven lines. Every stanza concludes with the same refrain — "[adjective] Thangbrand, Olaf's Priest" — with the adjective changing each time to capture Thangbrand's behavior in that moment. This repeating format is what creates the poem's comic rhythm and adds its satirical impact.

Who is King Olaf, and why does he send Thangbrand away?

King Olaf Tryggvason was a Norwegian king who reigned from 995 to 1000 AD and fervently advocated for Christianity across Scandinavia. In the poem, he dispatches Thangbrand to Iceland, not solely for missionary purposes but because Thangbrand has become too troublesome to remain at court. This mission serves as both an exile and a religious undertaking.

What are the Scalds and Saga-men?

Skalds were Norse poets known for their formal verse, frequently celebrating kings and warriors. Saga-men were the storytellers and authors of the prose sagas. Iceland boasted a remarkably vibrant literary culture, and Longfellow uses these figures to embody that richness—making Thangbrand's disdain for their writing all the more ironic, considering he is a learned man himself.

Why does Thangbrand kill the two men?

The immediate trigger is the charcoal caricature on the alehouse wall — a mocking portrait of him with his name and title. After suffering through written satires from the Scalds, seeing himself literally portrayed as a figure of ridicule is the last straw. Longfellow notes he acted "hardly knowing what he did," implying it was blind rage rather than a calculated decision.

What does "To-day we are gold, / To-morrow mould" mean?

It serves as a memento mori — a reminder that life is fleeting and death is inevitable. Thangbrand mutters this right after he kills the two men, and it’s the only moment in the poem where he truly sounds like a priest. The phrase recognizes life's fragility, but it arrives too late to stop the violence and fails to offer any form of atonement.

Is this poem meant to be funny?

Largely, yes. Longfellow portrays Thangbrand as a comic character — the pompous, hypocritical churchman is a classic satirical type. The lively ballad meter and the ironic refrain maintain a light tone for most of the poem. However, the killing of two men in the tenth stanza takes a serious turn, and the ending — Thangbrand sneaking back to Norway — feels more deflating than humorous.

Where does this poem fit in Longfellow's larger work?

It is one part of The Saga of King Olaf, a lengthy narrative poem found in Tales of a Wayside Inn (1863). This collection is inspired by Chaucer's Canterbury Tales, where various narrators share stories at an inn in Massachusetts. The Thangbrand episode comes from the Musician's contribution. Longfellow had a deep interest in Norse culture and studied Old Norse texts firsthand.

Citation

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MLA

Longfellow, Henry Wadsworth. "Thangbrand the Priest." Storgy, https://storgy.com/poems/thangbrand-the-priest-henry-wadsworth-longfellow/.

APA

Longfellow, H. W. (n.d.). Thangbrand the priest. Storgy. https://storgy.com/poems/thangbrand-the-priest-henry-wadsworth-longfellow/

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In 'Thangbrand the Priest,' Longfellow uses satirical ballad form to argue that institutional religion, when stripped of genuine conviction, becomes indistinguishable from the self-interest it claims to redeem — a critique expressed not …

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