THE SKERRY OF SHRIEKS by Henry Wadsworth Longfellow: Summary, Meaning & Analysis
King Olaf invites his warriors to celebrate Easter, but a group of sorcerers attempts to ensnare him in a magic circle as he sleeps.
The poem
Now from all King Olaf's farms His men-at-arms Gathered on the Eve of Easter; To his house at Angvalds-ness Fast they press, Drinking with the royal feaster. Loudly through the wide-flung door Came the roar Of the sea upon the Skerry; And its thunder loud and near Reached the ear, Mingling with their voices merry. "Hark!" said Olaf to his Scald, Halfred the Bald, "Listen to that song, and learn it! Half my kingdom would I give, As I live, If by such songs you would earn it! "For of all the runes and rhymes Of all times, Best I like the ocean's dirges, When the old harper heaves and rocks, His hoary locks Flowing and flashing in the surges!" Halfred answered: "I am called The Unappalled! Nothing hinders me or daunts me. Hearken to me, then, O King, While I sing The great Ocean Song that haunts me." "I will hear your song sublime Some other time," Says the drowsy monarch, yawning, And retires; each laughing guest Applauds the jest; Then they sleep till day is dawning. Facing up and down the yard, King Olaf's guard Saw the sea-mist slowly creeping O'er the sands, and up the hill, Gathering still Round the house where they were sleeping. It was not the fog he saw, Nor misty flaw, That above the landscape brooded; It was Eyvind Kallda's crew Of warlocks blue With their caps of darkness hooded! Round and round the house they go, Weaving slow Magic circles to encumber And imprison in their ring Olaf the King, As he helpless lies in slumber. Then athwart the vapors dun The Easter sun Streamed with one broad track of splendor! in their real forms appeared The warlocks weird, Awful as the Witch of Endor. Blinded by the light that glared, They groped and stared Round about with steps unsteady; From his window Olaf gazed, And, amazed, "Who are these strange people?" said he. "Eyvind Kallda and his men!" Answered then From the yard a sturdy farmer; While the men-at-arms apace Filled the place, Busily buckling on their armor. From the gates they sallied forth, South and north, Scoured the island coast around them, Seizing all the warlock band, Foot and hand On the Skerry's rocks they bound them. And at eve the king again Called his train, And, with all the candles burning, Silent sat and heard once more The sullen roar Of the ocean tides returning. Shrieks and cries of wild despair Filled the air, Growing fainter as they listened; Then the bursting surge alone Sounded on;-- Thus the sorcerers were christened! "Sing, O Scald, your song sublime, Your ocean-rhyme," Cried King Olaf: "it will cheer me!" Said the Scald, with pallid cheeks, "The Skerry of Shrieks Sings too loud for you to hear me!" VI
King Olaf invites his warriors to celebrate Easter, but a group of sorcerers attempts to ensnare him in a magic circle as he sleeps. When the Easter sunrise arrives, it breaks the spell, leading to the capture and drowning of the warlocks on a sea-rock. The poem concludes with a grim twist: the ocean now "sings" with their dying cries, drowning out the voice of the court poet.
Line-by-line
Now from all King Olaf's farms / His men-at-arms
Loudly through the wide-flung door / Came the roar
"Hark!" said Olaf to his Scald, / Halfred the Bald,
"For of all the runes and rhymes / Of all times,
Halfred answered: "I am called / The Unappalled!
"I will hear your song sublime / Some other time,"
Facing up and down the yard, / King Olaf's guard
It was not the fog he saw, / Nor misty flaw,
Round and round the house they go, / Weaving slow
Then athwart the vapors dun / The Easter sun
Blinded by the light that glared, / They groped and stared
"Eyvind Kallda and his men!" / Answered then
From the gates they sallied forth, / South and north,
And at eve the king again / Called his train,
Shrieks and cries of wild despair / Filled the air,
"Sing, O Scald, your song sublime, / Your ocean-rhyme,"
Tone & mood
The tone develops in three distinct stages. It starts with a lively, almost ballad-like energy — filled with feasting, laughter, and bravado. Then it shifts to a sense of dread as the warlocks circle the sleeping hall. Finally, it concludes with a grim, ironic finality: the ocean has turned into a monument to mass execution, leaving the court poet speechless. Throughout, Longfellow maintains the control of a storyteller, ensuring that the horror never overshadows the momentum of the tale.
Symbols & metaphors
- The Skerry (sea-rock) — The skerry begins as mere background noise at the feast and ultimately becomes a site of execution and lasting memorial. It shifts from being a natural landscape to representing royal justice — and the ocean's indifference to humanity.
- The Easter sunrise — Easter light reveals the warlocks' true forms and shatters their spell. Longfellow intentionally references the Christian feast: the light of resurrection triumphs over pagan magic, presenting Olaf's victory as blessed by a higher power.
- The ocean's roar / song — The sound of the sea is initially celebrated as the most beautiful music in the world. By the end, that "song" becomes the haunting screams of the sorcerers swallowed by the waves — a grim realization of Olaf's desire for ocean-music.
- The scald (Halfred) — Halfred embodies the essence of human art and its boundaries. His claimed "ocean song" pales in comparison to the actual ocean — a catastrophic event so profound that no poetry can encapsulate it. He serves as a contrast to the poem's core inquiry into the capabilities and limitations of art.
- The caps of darkness — The warlocks' dark hooded caps are a well-known Norse symbol of magical concealment. They represent deception and hidden malice—removing them with the light of Easter transforms the sunrise into a symbol of truth as well as faith.
Historical context
This poem is the sixth part of Longfellow's 1863 narrative sequence *Tales of a Wayside Inn*, specifically from the section titled *The Musician's Tale: The Saga of King Olaf*. Longfellow based the story of Olaf on Snorri Sturluson's *Heimskringla* and other Norse sagas. King Olaf Haraldsson, who later became Saint Olaf, ruled Norway from 1015 to 1028 and is known for his brutal efforts to Christianize Scandinavia — which makes the Easter setting and the defeat of pagan sorcerers rich with historical and symbolic meaning. Longfellow was writing during the American Civil War, and his use of Norse legend provided both a form of escapism and a way to explore themes of righteous violence and divine order. The poem's ballad meter and saga-style narrative showcase the 19th-century Romantic interest in Norse and Germanic mythology.
FAQ
A skerry is a small, rocky island or reef that’s usually open to the sea. This one gets its name at the poem's conclusion: Olaf's men tie the captured warlocks to its rocks when the tide is low, and as the sea rises, it drowns them. Their final cries are what give the rock its lasting, new name.
Yes — Olaf Haraldsson was indeed a real king of Norway, reigning from 1015 to 1028. Later, he was canonized as Saint Olaf. He is remembered for his efforts in converting Norway to Christianity by force, which is why the poem depicts his victory over pagan sorcerers as a significant holy triumph.
A skald was a professional poet in Norse courts, similar to a bard or laureate. They crafted and performed intricate praise-poems celebrating kings and warriors. Halfred "the Unappalled" serves as Olaf's skald, symbolizing human creativity — which the ocean ultimately humbles.
Longfellow weaves together elements from Norse legend and Christian symbolism. Easter symbolizes resurrection and the victory of light over darkness. The sunrise literally reveals the warlocks' magical disguise and blinds them, showcasing Olaf's Christian faith as the force that shatters pagan magic.
Halfred had claimed he could match the ocean's song. But now, after the warlocks drowned on the skerry, the ocean carries their shrieks. It's become overwhelmingly loud — so full of real death — that no human poem can compete with or follow it. The scald is muted by reality.
The Witch of Endor is mentioned in the Bible (1 Samuel 28) as a sorceress who calls forth the spirit of the prophet Samuel for King Saul. Longfellow references her to represent the most frightening type of supernatural evil, likening the warlocks' unveiled true natures to hers.
Yes. This is a section from Longfellow's *The Saga of King Olaf*, which is included in *Tales of a Wayside Inn* (1863). The larger work is inspired by Chaucer's *Canterbury Tales* — a collection where travelers share their stories. The Olaf saga is narrated by a musician and covers various episodes during Olaf's reign.
It's a harsh pun. Christian baptism involves water, and "christening" also refers to naming something. The warlocks are submerged in the sea (a twisted mockery of baptism), and in their death, they name the rock for eternity. Longfellow weaves together religious irony, dark humor, and horror in one word.