Zephyrus by Henry Wadsworth Longfellow

Zephyrus, the Greek god of the west wind, is typically linked to gentle, warm breezes and the onset of spring. In this poem, Longfellow expands on his role a bit: since wind is unseen, akin to breath, and soothing, it naturally serves as an ancient metaphor for sleep. Invoking Zephyrus to bring sleep represents a request for a soft, natural force rather than something harsh or supernatural.

These ideas originate from Homer's Odyssey and Virgil's Aeneid. In each epic, dreams leave the underworld through one of two gates. Dreams that go through the Gate of Horn are genuine and prophetic, while those that pass through the Ivory Gate are false and misleading. Longfellow leverages this established mythology to distinguish between good dreams and bad ones, sparing himself from needing to clarify the difference.

In Greek mythology, Erebus represents the primordial god of darkness, while Night (Nyx) is the goddess of night. In certain mythological traditions, they are considered the parents of Zephyrus. By naming them, Longfellow provides Zephyrus with his complete ancient credentials, firmly grounding the poem in classical mythology and lending a formal and serious tone to the invocation, akin to addressing someone by their full title.

'Infernal' literally means 'of the underworld' or 'hellish.' Longfellow is expressing the most extreme form of hatred — the type that feels demonic or profoundly wicked. By linking it with 'falsehood' and 'evil dreams of fate,' he creates an image of all things dark and corrupting that he wishes to confine behind the Ivory Gate, keeping them away from the sleeping mind.

Planets in the night sky shine brightly and move along predictable paths — for centuries, they have represented order and truth. By likening genuine dreams to these celestial bodies, we evoke a sense of grandeur and reliability. This connection also maintains the night sky imagery, perfectly complementing the theme of sleep.

The poem consists of three stanzas, each with five lines, following a consistent rhyme scheme of ABBBA. This tight structure reflects its theme: the confined realm of sleep, where dreams are either kept in or allowed out. The controlled, deliberate form aligns well with the poem's focus on managing what enters the dreaming mind.

They both depict the west wind as a strong, unseen force, yet their poems serve distinct purposes. Shelley's ode feels urgent and intimate, as he implores the wind to spread his thoughts throughout the world. In contrast, Longfellow's poem takes a more subdued and traditional approach, portraying the wind god as a protector of sleep. While both poets tap into the same ancient tradition, their emotional tones vary greatly.

At its core, the poem expresses a longing for peaceful and truthful sleep. Longfellow seeks to shield the mind from nightmares, lies, and hatred, welcoming only genuine and beautiful visions. It captures a universal sentiment that many share before bedtime: keep the negativity away and invite in the positivity.