THE MUSICIANS.
Rise up, my love, my fair one,
Rise up, and come away,
For lo! the winter is past,
The rain is over and gone,
The flowers appear on the earth,
The time of the singing of birds is come,
And the voice of the turtle is heard in our land.
The Annotated Edition
THE MUSICIANS. by Henry Wadsworth Longfellow
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This short poem is Longfellow's direct borrowing from the Song of Solomon in the Bible, where a lover invites his beloved to step outside because winter is over and spring has come.
- Meter
- free verse
- Themes
- beauty, hope, love
§01Quick summary
What this poem is about
This short poem is Longfellow's direct borrowing from the Song of Solomon in the Bible, where a lover invites his beloved to step outside because winter is over and spring has come. Each line joyfully celebrates renewal — the cold and rain have vanished, flowers are blossoming, birds are singing, and even the turtledove is calling. It's like a love letter expressed through the vibrant language of nature waking up again.
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Rise up, my love, my fair one, / Rise up, and come away,
Editor's note
The speaker begins with a heartfelt and urgent invitation. The repeated phrase "Rise up" creates a musical, chant-like rhythm, while the dual address of "my love, my fair one" establishes a deep sense of intimacy. The beloved is being beckoned out from her sheltered space and into the wider world.
For lo! the winter is past, / The rain is over and gone,
Editor's note
The word "lo" is an old exclamation that means *look* or *behold* — it indicates that something noteworthy is here. Winter and rain represent hardship, cold, and isolation. Their departure is why the invitation exists: the tough season has ended.
The flowers appear on the earth, / The time of the singing of birds is come,
Editor's note
Spring reveals itself through two senses simultaneously: sight with flowers and sound with birdsong. The phrase "is come" carries a formal, biblical tone, making the arrival of spring feel almost sacred.
And the voice of the turtle is heard in our land.
Editor's note
"Turtle" here refers to the **turtledove**, a bird known for its gentle cooing, which has long symbolized faithful, tender love. Hearing its voice "in our land" creates a sense of community and togetherness — this isn't just a personal experience; it resonates with everyone. The line also wraps up the poem with a soft, intimate sound, contrasting the earlier vibrant imagery of flowers and birdsong.
§04Tone & mood
How this poem feels
The tone is joyful and tender, elevated by a ceremonial quality. Drawing directly from the King James Bible, the language holds a sense of reverence combined with warmth — this isn't casual small talk between lovers; it feels like a heartfelt proclamation. There's no trace of anxiety or longing; instead, the speaker radiates confidence and happiness, eager to share the world's beauty with someone he loves.
§05Symbols & metaphors
Symbols & metaphors
- Winter
- Winter symbolizes struggle, distance, and emotional chill. Its end marks the conclusion of whatever challenges held the lovers apart — or kept the world dull and shut off.
- Flowers
- The blooming flowers symbolize renewal, beauty, and the return of life. They signal that the earth is ready to welcome life back.
- The turtledove's voice
- The turtledove has symbolized faithful, devoted love since ancient times. Its call at the poem's end softly affirms that love is one of the things returning with spring.
§06Form & structure
Form & structure
- Meter
- free verse
§07Historical context
Historical context
Longfellow published this poem as part of a series titled *Birds of Passage*, which he used for gathering shorter lyric pieces across different collections. The text closely mirrors the **Song of Solomon** (Song of Songs 2:10–12) from the King James Bible, widely regarded as one of the great love poems in Western literature. Writing in the mid-nineteenth century, Longfellow and many American poets often drew on biblical language, tapping into a shared cultural reference that resonated deeply with readers. By naming the piece "The Musicians" — a reference to the birds whose song permeates the poem — he subtly shifts the spotlight from the human lovers to the natural world that orchestrates their reunion. The result is a poem that feels both timeless and deeply personal.
§08FAQ
Questions readers ask
The title refers to the birds whose songs resonate throughout the poem. Longfellow presents the natural world — the birds and the turtledove — as the musicians providing the soundtrack for the lovers' reunion. It's the music of spring that enables this invitation to happen.
It is. Longfellow borrowed the language almost directly from the **Song of Solomon (Song of Songs), chapter 2, verses 10–12** in the King James Bible, making just a few minor tweaks. This shows a poet curating and presenting an existing text rather than creating something entirely new.
In this context, "turtle" is a shorthand for **turtledove**, a bird recognized for its gentle, mournful cooing. This usage dates back to older English, particularly in the King James Bible. It has no relation to the reptile.
"Lo" is an old exclamation that means something like *look* or *behold*. It serves to grab attention for something noteworthy or surprising. You can find it frequently in the King James Bible, which is exactly where Longfellow took inspiration from here.
Yes, at its core. A speaker is inviting a cherished person into the world because spring has come. But it resonates on another level as well—it's a poem about renewal and how nature reflects human emotions. The connection between two lovers and the earth coming back to life are seen as similar experiences.
Nature here isn't just a backdrop—it's central to the argument. The speaker's reason for calling his beloved is rooted in the signs of nature: the rain stopping, flowers blooming, birds singing, and the turtledove's call. The world coming back to life *is* the love poem.
Because he was drawing from the King James Bible, translated in 1611. That old-fashioned language — "lo," "is come," "is heard in our land" — was a conscious decision. It gives the poem a timeless, almost sacred feel, elevating a simple invitation to spring into something that seems like it has always been around.
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