THE ANGELS.
The Angels of the Planets Seven,
Across the shining fields of heaven
The natal star we bring!
Dropping our sevenfold virtues down
As priceless jewels in the crown
Of Christ, our new-born King.
The Annotated Edition
THE ANGELS. by Henry Wadsworth Longfellow
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Seven angelic beings, each embodying one of the classical planets, soar through the sky to bring a star and their offerings to the newborn Jesus.
- Themes
- beauty, faith, hope
§01Quick summary
What this poem is about
Seven angelic beings, each embodying one of the classical planets, soar through the sky to bring a star and their offerings to the newborn Jesus. Imagine a cosmic parade of gift-givers arriving for a celestial Christmas. This brief, hymn-like poem presents the Nativity as a moment celebrated by the entire universe.
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
The Angels of the Planets Seven, / Across the shining fields of heaven
Editor's note
Longfellow begins by calling upon the seven angels typically associated with the seven classical planets: the Moon, Mercury, Venus, the Sun, Mars, Jupiter, and Saturn. The phrase "shining fields of heaven" portrays the night sky as a broad, glowing expanse that these angels traverse — it's not an empty space, but a vibrant, luminous realm.
§04Tone & mood
How this poem feels
Reverent and jubilant, the poem feels like a processional hymn—stately, bright, and unhurried. It exudes an atmosphere free from darkness or doubt, capturing a tone of cosmic celebration and deep devotion to the newborn Christ.
§05Symbols & metaphors
Symbols & metaphors
- The Planets Seven
- In medieval cosmology, there were seven planets (Moon, Mercury, Venus, Sun, Mars, Jupiter, Saturn), each ruled by an angel and linked to a particular virtue. By invoking all seven, Longfellow suggests that the entire universe is joining in the tribute — nothing is excluded from this celebration.
- The natal star
- The Star of Bethlehem is the celestial sign of Christ's birth. Here, it’s not just a passive light in the sky; the angels actively carry it, making the cosmos part of the Nativity instead of merely a backdrop.
- Sevenfold virtues as jewels in a crown
- Each angel drops its planetary virtue like a gemstone into Christ's crown. This image blends the spiritual qualities of the virtues with the regal nature of a crown, portraying Jesus as both a moral ideal and a king deserving of the universe's greatest treasures.
§06Historical context
Historical context
Longfellow wrote this poem for his 1872 collection *Christus: A Mystery*, a dramatic trilogy that explores the history of Christianity from the Nativity to the Middle Ages and into modern times. The poem serves as a celestial prologue or choral interlude. Longfellow had a strong interest in medieval Christian cosmology, and the seven planetary angels are drawn from that tradition, similar to figures found in Dante's *Paradiso* and in Renaissance astronomical theology. By 1872, Longfellow had endured significant personal loss, including the tragic death of his second wife in a fire in 1861, and he increasingly focused on broad religious and historical themes. *Christus* was his most ambitious work, years in the making, and this brief lyric embodies the devotional, hymn-like tone that permeates the entire collection.
§07FAQ
Questions readers ask
In pre-modern astronomy, the Moon, Mercury, Venus, the Sun, Mars, Jupiter, and Saturn were referred to as the seven planets. Medieval Christian theology linked an archangel to each of these celestial bodies. Longfellow is tapping into that historical tradition rather than contemporary astronomy.
It's the Star of Bethlehem — the star that, as mentioned in the Gospel of Matthew, appeared at the birth of Jesus and led the Magi to him. Longfellow imagines the planetary angels carrying it, transforming the star into a gift they deliver instead of just a natural occurrence.
Each of the seven classical planets was linked to a particular virtue or quality in medieval cosmology—such as wisdom, courage, or love. Longfellow doesn't mention them by name; instead, he depicts them together as the angels' gift to Christ.
Yes. This is from *Christus: A Mystery* (1872), a dramatic poem in three parts that Longfellow dedicated much of his adult life to. The complete work addresses the birth of Christianity, the medieval church, and the modern era. This lyric appears near the beginning, in the Nativity section.
It's a single six-line stanza with a compact, hymn-like structure. It follows an AABCCB rhyme scheme, with lines alternating between longer tetrameter and shorter trimeter, creating a musical, song-like rhythm that fits its choral, celebratory intent.
The planetary angels are the ones speaking — they say, "we bring" and "our sevenfold virtues." It feels like a unified first-person voice, similar to a choir heralding their arrival at the manger.
Longfellow was deeply intrigued by the Middle Ages and viewed medieval Christian imagery as a treasure trove for poetry. *Christus* immerses readers in that era. The inclusion of the planetary angels adds a universal, cosmic dimension to the Nativity — depicting the entire ordered universe paying homage to Christ.
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