Friday, April 10, 2009

The Tide Rises, The Tide Falls by Henry Wadsworth Longfellow

So. For National Poetry Month, I'm doing daily posts, each with poems in the public domain. Each poem is related somehow to the one that comes before it, by words, image, theme, form or poet. (Thus far, it's all been words, image and theme, but I reserve the right to move in mysterious ways.)

Coming on the heels of Emily Dickinson's somewhat sexy poem about being in the water, I got to thinking about the tide. I promise I'll move back onto dry land tomorrow, but for today, one of my favorite poems to read aloud (Okay - in my case, that's a long list, but still):

The Tide Rises, the Tide Falls
by Henry Wadsworth Longfellow

The tide rises, the tide falls,
The twilight darkens, the curlew calls;
Along the sea-sands damp and brown
The traveller hastens toward the town,
  And the tide rises, the tide falls.

Darkness settles on roofs and walls,
But the sea, the sea in the darkness calls;
The little waves, with their soft, white hands,
Efface the footprints in the sands,
  And the tide rises, the tide falls.

The morning breaks; the steeds in their stalls
Stamp and neigh, as the hostler* calls;
The day returns, but nevermore
Returns the traveller to the shore,
  And the tide rises, the tide falls.


*hostler: A person responsible for the care and keeping of horses.


About the poem:

First, a word about form and composition.

This is an example of a rondeau, with a minor variation. A rondeau is a form taken from the French (hence the French name), and is a poem with 15 lines broken into 3 5-line stanzas. So far, so good. It takes the opening phrase of the poem, and uses it as a chorus of sorts, which appears as the final line of each stanza. Again, so far, so good (although many poets use only a portion of the first line, such as "The tide rises"). And usually, it only has two end rhymes. We’ll call the "chorus" line C, so a general rondeau has this format: aabbc aabbc aabbc (one of the best-known English poems using rondeau form is "In Flanders Fields" by Canadian war poet, John McCrae, which I posted during National Poetry Month in 2007. Here, Longfellow’s use of the complete first line makes the first stanza read aabba. But instead of adhering to the standard form, Longfellow uses different "B" couplets in the next two stanzas, so that the poem reads as aabba aacca aadda. Savvy?

Now, if you’re still with me, and you have a moment (and you’re someplace where you can do this without embarrassment), please humor me by reading at least one stanza out loud. The whole poem, if possible, but hey, I’ll take what you’re willing to give me.

While the poem is still in your mental ear, I want to talk once more about assonance and it’s friend, alliteration. Assonance is when neighboring words have the same (or similar) vowel sound, whereas alliteration involves repetition of consonants. Like Tennyson, whose "Crossing the Bar" I featured the other day, Longfellow was a complete master of assonance and alliteration, and all those "round tones"* and repeated consonants evoke a particular mood (long vowels take longer to say than short ones, and so compel a slower reading pace), make memorization and recitation possible, and propel the poem along, song-like.

A final note about form: In each stanza, the second line ends in the word "calls." First, a curlew, which is type of wading bird; then the sea; and finally, the hostler (sometimes spelled "ostler", since the "h" is silent), which is the name of person responsible for the care of horses.

Now, a word about meaning.

The poem sets out a fairly simple story: In the first stanza, a traveller hastens along the shore toward the town. In the second, night falls and, with the tide, the traveller’s footprints are wiped away. And in the third stanza, dawn comes. Life continues (in the form of the horses and hostler), but the traveller never returns.

Symbolically, this poem is usually seen as talking about death, as represented by the darkness, the effacement of the traveller’s footsteps, and the traveller’s non-return. And yet, in the end, life goes on, as I’ve already noted. The tide continues as before. The hostler continues about his job. And the horses are ready to charge forward, in part indicated by Longfellow’s decision to use the word "steed" instead of "horse". A horse is a horse (of course, of course), but a steed is a horse that is ready for some serious action, a horse with spirit (hence all the stamping and neighing). (Also, steed, stamp and stall brings out that alliteration we were talking about earlier in a way that horse, paw, and stall would not have.) And the tide rises, the tide falls.

About the poet: Longfellow was one of the five Fireside Poets, so-called because they were extremely popular, and many of their poems were written for the purpose of recitation (by fireside or elsewhere). He was so popular that popular 20th-century wisdom held that he must not have been particularly gifted. On the one hand, looking at his poems and his use of conventional forms, with little in the way of daring and experimentation to move the forms forward or break new ground, one can see why his skill was considered less than some others of his era who broke new poetic ground.

Longfellow wrote quite a bit about America, and is one of the quintessential "American" authors. Like Nathaniel Hawthorne, Longfellow wrote about American themes and stories, including Native Americans ("The Song of Hiawatha"), American history and tradition, and in some cases, as in "The Landlord’s Tale: Paul Revere’s Ride", the creation and/or perpetuation of American myth.

On the other hand, looking at some of his poems, such as "The Tide Rises, the Tide Falls" and "The Cross of Snow", I say "balderdash" to the notion that Longfellow wasn't particularly gifted. The man had a true gift for the type of poetry he wrote. And many of his poems stand the test of time, such as the one I’ve featured here today.




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7 comments:

Anonymous said...

what was the story behind the tide rises,the tide falls or why did you write the story

Kelly Fineman said...

Henry Wadsworth Longfellow wrote the poem, and I don't know enough about his motivations to say why he wrote it.

Anonymous said...

it's traveler not tavaller.

Kelly Fineman said...

Whether you spell it "traveler" or "traveller" depends on what country you are from. The single L is preferred in the United States, the double L is preferred in the U.K. Either is actually allowed, and I prefer the double L. *The More You Know* :)

Anonymous said...

I thought this was great! I really enjoyed the poem.

Anonymous said...

This has really helped me understand a the poem better. Thank you very much.

Anonymous said...

when did he write this poem???