The Herons of Elmwood
Warm and still is the summer night,As here by the river's brink I wander;White overhead are the stars, and whiteThe glimmering lamps on the hillside yonder.
Silent are all the sounds of day;Nothing I hear but the chirp of crickets,And the cry of the herons winging their wayO'er the poet's house in the Elmwood thickets.
Call to him, herons, as slowly you passTo your roosts in the haunts of the exiled thrushes,Sing him the song of the green morass;And the tides that water the reeds and rushes.
Sing him the mystical Song of the Hern,And the secret that baffles our utmost seeking;For only a sound of lament we discern,And cannot interpret the words you are speaking.
Sing of the air, and the wild delightOf wings that uplift and winds that uphold you,The joy of freedom, the rapture of flightThrough the drift of the floating mists that infold you.
Of the landscape lying so far below,With its towns and rivers and desert places;And the splendor of light above, and the glowOf the limitless, blue, ethereal spaces.
Ask him if songs of the Troubadours,Or of Minnesingers in old black-letter,Sound in his ears more sweet than yours,And if yours are not sweeter and wilder and better.
Sing to him, say to him, here at his gate,Where the boughs of the stately elms are meeting,Some one hath lingered to meditate,And send him unseen this friendly greeting;
That many another hath done the same,Though not by a sound was the silence broken;The surest pledge of a deathless nameIs the silent homage of thoughts unspoken.
Words in this poem
- brink n.
- The edge, margin, or border of a steep place, as of a precipice; a bank or edge, as of a river or pit; a verge; a border; as, the brink of a chasm. Also Fig. [Dan. brink edge, verge; akin to Sw. brink declivity, hill, Icel. brekka; cf. LG. brink a grassy hill, W. bryn hill, bryncyn hillock.]
- yonder adv.
- At a distance, but within view. [OE. yonder, ýonder; cf. OD. ginder, Goth. jaindr there. Yond, adv.]
- morass n.
- A tract of soft, wet ground; a marsh; a fen. Morass ore. (Min.) See Bog ore, under Bog. [OE. marras, mareis (perh. through D. moeras), fr. F. marais, prob. from L. mare sea, in LL., any body of water; but perh. influenced by some German word. See Me]
- hern n.
- A heron; esp., the common European heron.
- uplift v. t.
- To lift or raise aloft; to raise; to elevate; as, to uplift the arm; to uplift a rock.
- limitless a.
- Having no limits; unbounded; boundless. Davies (Wit's Pilgr.).
- unseen a.
- Not seen or discovered.
- deathless a.
- Not subject to death, destruction, or extinction; immortal; undying; imperishable; as, deathless beings; deathless fame.
Definitions and etymologies from Webster's Unabridged Dictionary, 1913.
About this text
The Herons of Elmwood is in the public domain. This text is taken from The Complete Poetical Works of Henry Wadsworth Longfellow, Project Gutenberg ebook #1365; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.
Cite as: Henry Wadsworth Longfellow, The Herons of Elmwood, in The Complete Poetical Works (1839–1882), text of Project Gutenberg ebook #1365, Laurel, https://laurelpoetry.com/poem/longfellow-poems/the-herons-of-elmwood.html, id L17780.
Form and metre
The Herons of Elmwood is 36 lines in 9 stanzas of 4 lines each. Every stanza rhymes ABAB. 83% of its stressed syllables fall where the metre puts the beat. The lines average 10.3 syllables. 16 lines end on an unstressed syllable, a feminine ending. 19% of the lines run on without a stop at the line end.
Measured by Laurel's pipeline, not copied from a handbook: how stress and metre are counted, how rhyme is lettered, how a drifted rhyme is found. Where the dictionary cannot confirm a rhyme the letter is withheld, not guessed.
Rhyme words, stanza by stanza
The word that ends each line, lettered by the rhyme it makes; a dash is a line whose rhyme the dictionary could not confirm.
- 1 ABAB nightA · wanderB · whiteA · yonderB
- 2 ABAB dayA · cricketsB · wayA · thicketsB
- 3 ABAB passA · thrushesB · morassA · rushesB
- 4 ABAB hernA · seekingB · discernA · speakingB
- 5 ABAB delightA · youB · flightA · youB
- 6 ABAB belowA · placesB · glowA · spacesB
- 7 ABAB troubadoursA · letterB · yoursA · betterB
- 8 ABAB gateA · meetingB · meditateA · greetingB
- 9 ABAB sameA · brokenB · nameA · unspokenB
Scansion, line by line
Each line with its syllable count and the stresses the words themselves fix: / stressed, ˘ unstressed, · a syllable the word leaves free and the metre decides. How this is done.
| Line | Syl. | Stress |
|---|---|---|
| Warm and still is the summer night, | 8 | ·····/˘· |
| As here by the river's brink I wander; | 10 | ····/˘··/˘ |
| White overhead are the stars, and white | 9 | ·/˘/····· |
| The glimmering lamps on the hillside yonder. | 11 | ·/˘˘···/·/˘ |
| Silent are all the sounds of day; | 8 | /˘······ |
| Nothing I hear but the chirp of crickets, | 10 | /˘······/˘ |
| And the cry of the herons winging their way | 11 | ·····/˘/˘·· |
| O'er the poet's house in the Elmwood thickets. | 11 | ··/˘···/·/˘ |
| Call to him, herons, as slowly you pass | 10 | ···/˘·/˘·· |
| To your roosts in the haunts of the exiled thrushes, | 12 | ········/·/˘ |
| Sing him the song of the green morass; | 9 | ·······˘/ |
| And the tides that water the reeds and rushes. | 11 | ····/˘···/˘ |
| Sing him the mystical Song of the Hern, | 10 | ···/˘˘···· |
| And the secret that baffles our utmost seeking; | 12 | ··/˘·/˘//·/˘ |
| For only a sound of lament we discern, | 11 | ·/˘···˘/·˘/ |
| And cannot interpret the words you are speaking. | 12 | ·˘/˘/˘····/˘ |
| Sing of the air, and the wild delight | 9 | ·······˘/ |
| Of wings that uplift and winds that uphold you, | 11 | ···/˘···˘/· |
| The joy of freedom, the rapture of flight | 10 | ···/˘·/˘·· |
| Through the drift of the floating mists that infold you. | 12 | ·····/˘··˘/· |
| Of the landscape lying so far below, | 10 | ··/·/˘···· |
| With its towns and rivers and desert places; | 11 | ····/˘·/˘/˘ |
| And the splendor of light above, and the glow | 11 | ··/˘······· |
| Of the limitless, blue, ethereal spaces. | 11 | ··/˘·˘/˘˘/˘ |
| Ask him if songs of the Troubadours, | 9 | ······/˘· |
| Or of Minnesingers in old black-letter, | 11 | ·········/˘ |
| Sound in his ears more sweet than yours, | 8 | ········ |
| And if yours are not sweeter and wilder and better. | 12 | ·····/˘·/·/˘ |
| Sing to him, say to him, here at his gate, | 10 | ·········· |
| Where the boughs of the stately elms are meeting, | 11 | ·····/˘··/˘ |
| Some one hath lingered to meditate, | 10 | ···/˘˘·/˘· |
| And send him unseen this friendly greeting; | 10 | ···˘/·/˘/˘ |
| That many another hath done the same, | 10 | ·/˘˘/˘···· |
| Though not by a sound was the silence broken; | 11 | ·······/˘/˘ |
| The surest pledge of a deathless name | 9 | ·/˘···/˘· |
| Is the silent homage of thoughts unspoken. | 11 | ··/˘/˘··˘/˘ |
The reader shows the same poem with its rhymes coloured and a stress row above each line, the notes beside their stanzas, and any word's definition on a tap; the analysis page takes the whole book apart. How every part of this site was made.