Illustration clouds and blue sky in a mushroom shape with knives and guns in the background

The Arsenal at Springfield

by Henry Wadsworth Longfellow

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The Poem

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Henry Wadsworth Longfellow’s “The Arsenal at Springfield” is a pacifistic, antiwar poem made up of twelve quatrains of loosely iambic pentameter lines, centering on the horrors of war and foreseeing an epoch in which peace replaces the need for arms. Longfellow uses the initial “organ-like” appearance of the “pipes” of the stashed arms as a basis to contrast the music of war to the music of peace throughout the rest of the poem.

The first and second stanzas briefly describe the munitions stored in the Massachusetts armory and point out how their present disuse contrasts with what happens during war when “the death-angel” commands weaponry, resulting in “cries of agony” and “loud lament.” Stanzas 3-8 summarize the history and the misery of wars “through the ages” around the world—“the Saxon hammer” in Germany and England, the “roars” of “the Norseman’s song” in Scandinavia, “the Tartar gong” in Asia, the Florentine and “his battle-bell” in Italy, and the “Aztec priests” beating “wild war-drums” in Mexico. Stanza 6 includes a striking summary of the devastation of war: the “sacked and burning” towns, the disregarded pleas “for mercy,” and the cry of the hungry. Stanza 8 contrasts the “discordant noises” of war with “Nature’s sweet and kindly voices,” thus emphasizing the unnaturalness of fighting and killing, which conflict with the peaceful existence of the heavens.

The last four stanzas of the poem describe what a peaceful future might be like. Stanzas 9 and 10 note that if only human beings would use “half the power” and “half the wealth” devoted to arms “to redeem the human mind from error,” the future could be free of slaughter and wars. In such a peaceful age, were any nation to start a war, it would be cursed. In stanzas 11 and 12, the poet continues to foresee such an age in biblical terms, with Christ saying “‘Peace!’” and the hoped-for future described as being as “beautiful” as the heavenly “songs of the immortals” pictured in the Book of Revelation.

Forms and Devices

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“The Arsenal at Springfield” is structured in three parts. The first part, stanzas 1 and 2, describes the stored arms at the arsenal in terms of “a huge organ,” thus creating an image related to music that the rest of the poem develops, and it provides a generalized statement regarding the agony of war. Stanzas 3-8, the second part of the poem, briefly summarize the horrors of war throughout the world and the ages by citing races and geographical areas noted for legendary warlike behavior. The final part of the poem, stanzas 9-12, looks forward to a time of peace, when war will no longer be a blight on human experience.

In order to emphasize the contrast between the music of war and the music of peace, Longfellow employs aural images throughout the poem, building on the idea of the organ from the first stanza. In stanza 2, the “death-angel” who “touches those swift keys” creates “wild and dreary” music and “awful symphonies.” In stanzas 4 and 5, even the references to warlike races and geographical areas is relayed through discordant and loud sounds: a hammer, a gong, a “battle-bell,” and war drums. The reader can imagine the sounds of actual fighting in stanzas 7 and 8: “The bursting shell, the gateway wrenched asunder,/ The rattling musketry, the clashing blade.” These harsh sounds coming from “accursed instruments” contrast with “Nature’s sweet and kindly voices” and “the celestial harmonies” of peace.

Stanzas 9-12 display images of peaceful music in a hoped-for future. In the eleventh stanza, as wars fade from human experience, Christ’s voice is heard “with solemn, sweet vibrations.”...

(This entire section contains 544 words.)

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The poem ends with peace described in terms of the “beautifulsongs of the immortals” and their “holy melodies of love.”

The poem features many metaphors and similes, the most important of which is that found in stanza 1, which forms the foundation of the poem. The arms stacked “From floor to ceiling” are said to be “Like a huge organ.” In stanza 11, Christ’s voice of peace is in a simile likened to a “bell.” Finally, stanza 7 ends with a particularly well-chosen musical metaphor appropriate to organ stops, as Longfellow describes battle sounds as “The diapason of cannonade.”

Longfellow’s usual virtuosity at handling versification is evident here as well. Each quatrain contains lines that rhyme on the first and third lines as well as on the second and fourth lines, in an abab rhyme scheme. Yet Longfellow varies rhyme and the basic iambic pentameter lines effectively by adding an extra unaccented syllable at the end of the first and third lines of each stanza, thus creating a falling rhythm for the rhymes (“ceiling” with “pealing” in stanza 1, for example), resulting in the lines echoing a musical or lilting quality appropriate to the poem’s musical images.

Longfellow also varies the metrical system in order to reinforce the meanings of particular lines. In two stanzas (11 and 12), he begins the first lines by reversing the iambic expectations with the use of trochaic feet. In stanza 11, the initial trochaic accentual movement of “Down the” nicely mirrors the falling direction of the meaning of the words. Similarly, the trochaic “Peace! and,” which begins the first line of stanza 12, vividly highlights the poem’s content and resolution, which emphasizes peace as an alternative to war.

Historical Context

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United States War of Independence
Longfellow’s poem is a call for peace. Rather than situating the poem in contemporary times and addressing current global conflicts, he decided to transport readers back to 1777, when the nascent American nation established its federal arsenal at Springfield. This new arsenal provided many of the muskets that played a crucial role in America's victory over England during the United States War of Independence (1775–1783). This war, also widely referred to as the American Revolution, officially commenced in 1775. However, its origins can be traced back to 1763, following the end of the French and Indian War (1754–1763)—the American theater of a larger, global struggle for territorial supremacy in North America. After Britain’s triumph, the British government, burdened by substantial debt from its extensive military campaigns, decided that the American colonies should contribute more taxes to alleviate the financial strain.

Consequently, in 1764, the British Parliament enacted several laws—collectively known as the Sugar Act—to increase taxes on sugar, molasses, and other goods in the American colonies. The colonists, already grappling with an economic downturn resulting from the war, opposed these taxes. Their opposition was particularly strong because, unlike other British citizens, they had no representation in Parliament. Over the following decade, the British government continued to implement various taxation acts, and on April 19, 1775, tensions escalated into war when British forces killed several colonists. In 1776, the colonies proclaimed their independence from Britain with the Declaration of Independence. On September 3, 1783, after years of intense battles, Britain signed the Treaty of Paris and recognized the independence of the United States.

War of 1812
Though Longfellow did not live during the American Revolution, his lifetime encompassed the first three wars of the new American nation. Initially, the nation extended only to the Mississippi River, but its boundaries soon changed. From 1793 to 1815, Britain was intermittently at war with French forces during the Napoleonic Wars. Although America maintained neutrality, in 1807, British naval forces began obstructing American trade by blockading French ports and compelling American seamen into service in the British navy. America demanded that England lift its blockades and cease the impressment of American sailors, but Britain was slow to comply. Meanwhile, a group of U.S. congressmen, known as the War Hawks, advocated for war with Britain to gain more territory for the United States—specifically Florida—from Britain’s Spanish allies. These factors culminated in President James Madison’s declaration of war on June 18, 1812. American forces were poorly prepared to face Britain and Spain, though they did secure some significant victories. Ultimately, the war ended in a stalemate, but it succeeded in bolstering the confidence of the American people.

Mexican War
As America grew into a more established nation, the desire for additional land persisted. In 1845, the United States annexed Texas from Mexico. Texas had gained independence from Mexico in 1836, and its citizens had overwhelmingly voted to join the United States. However, the exact border between Texas and Mexico was disputed. To address this issue—and to acquire more Mexican territory—President James Polk sent an emissary to Mexico. Mexico, unwilling to cede more land, refused to meet with the emissary. In response, an irate Polk deployed American troops to the contested border area, provoking an attack by Mexican forces. Although the territory was under dispute, Polk informed Congress that the attack occurred on American soil, leading Congress to declare war on May 13, 1846.

The Mexican War, also known as the Mexican-American War, was heavily one-sided, with America's more advanced military quickly overpowering Mexican forces. The conflict concluded on March 10, 1848, with the signing of the Treaty of Guadalupe Hidalgo, which resulted in a significant territorial gain for the United States. Besides relinquishing its claim on the contested Texas border area, Mexico sold vast regions of what are now New Mexico, Utah, Nevada, Arizona, California, Texas, and western Colorado to the United States for $15 million. Despite the decisive victory, the American populace was deeply divided. Many southern states, which supported slavery, welcomed the new land for the potential creation of additional slave-holding states. Conversely, numerous northern states, particularly those opposed to slavery, were against the war.

American Civil War
This ideological rift between northern and southern states intensified over the next decade, particularly over the issue of slavery—a practice that Longfellow had condemned in some of his poems. In 1860, Abraham Lincoln, an anti-slavery candidate, was elected president. Southern states, which depended on slave labor for their profitable cotton industry, feared that Lincoln's policies would harm their economy. Consequently, from 1860 to 1861, eleven southern states, beginning with South Carolina, seceded from the Union. The South sought to establish its independence, but the Union's refusal to recognize the new Confederacy led to war. From 1861 to 1865, the American Civil War, also known as the War Between the States, claimed the lives of over six hundred thousand Americans. To date, it remains the deadliest conflict in American history.

Literary Style

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Metaphor
One of the most prominent techniques Longfellow employs is metaphor. He animates the concept of war by likening guns to a musical instrument from the outset. This paradoxical metaphor is particularly striking because it juxtaposes a peaceful object with instruments of violence, immediately capturing the reader's interest. Longfellow doesn't stop there; he extends the metaphor further. The "huge organ" with its "burnished arms" becomes even more menacing when the "death-angel touches those swift keys!" Once this deadly machine is set in motion, it erupts into "awful symphonies," drowning out the "loud lament" of the suffering masses. As Longfellow guides his readers through the annals of human warfare, he continues to use musical terminology. He describes a "fierce chorus" made up of "cries of agony" and an "endless groan." Throughout the rest of the poem, Longfellow elaborates on the "endless" nature of this "fierce chorus" with vivid examples of human suffering, clashing weapons, and barbaric victors celebrating their violent triumphs. All these "musical" sounds reinforce Longfellow’s initial metaphor of war as a colossal organ producing horrific music.

Imagery
As Longfellow develops this metaphor, he also leaves readers with powerful mental images. His choice of words conjures scenes of extreme violence, brutality, and suffering. "On helm and harness rings the Saxon hammer," Longfellow writes, prompting the reader to visualize a Saxon warrior striking someone on the head or knocking them off their horse. He also evokes images of resounding war chants. A "Norseman’s song" is not merely a melody; it "roars" through the forest like a weapon. Similarly, the "Tartar gong" is so forceful that one can imagine its sound crossing "deserts" like a massive sonic boom of war. When Longfellow depicts the human suffering caused by war, he provides stark images such as a "sacked and burning village," a "prayer for mercy" drowned out by an invader's shout, and "the wail of famine." These vivid and enduring images are complemented by the effects of a "bursting shell," which can "wrench" a gateway from its original form. Although the poem is filled with such harrowing imagery, Longfellow offers a glimmer of hope at the end. He envisions a world where people choose peace over war: "But beautiful as songs of the immortals, / The holy melodies of love arise." This image of melodies taking physical form and ascending—presumably to join the music of the celestial spheres—helps to mitigate the impact of the negative images and leaves readers with a sense of hope for peace.

Rhyme
When examining the poem's structure, the rhyme scheme becomes immediately evident. In each stanza, alternate lines rhyme. Specifically, the final word in the first line rhymes with the concluding word in the third line. Similarly, the last word of the second line rhymes with the ending word of the fourth line. For instance, in the first stanza, “ceiling” rhymes with “pealing,” and “arms” rhymes with “alarms.” Although Longfellow frequently employs this rhyme scheme in his poetry, it is particularly effective in this poem. When a poet uses such a consistent rhyme pattern, where every stanza adheres to the same structure, it influences the reader's interpretation and recitation of the poem. As the reader starts to recognize the rhymes, the poem adopts a rhythmic, singsong quality, reminiscent of a musical composition. Given that Longfellow uses music as a metaphor for the horrors of war, this rhythmic effect enhances the overall reading experience.

Compare and Contrast

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Late 1770s–Mid 1780s: Angered by significant taxation without representation and seeking independence from Britain, the American colonies unite to battle the British in what becomes known as the American Revolution.

1840s: Eager to expand the young American nation's territory, President James Polk provokes a conflict with Mexico by deploying troops to a contested border area. The American victory results in a substantial territorial gain for the United States, although the war is not universally supported by Americans.

Today: In response to unprovoked attacks on the World Trade Center in New York and the Pentagon in Washington, America leads a global war on terrorism. This military campaign, primarily focused in Afghanistan, enjoys broad support from the American public.

Late 1770s–Mid 1780s: Neither the Declaration of Independence nor the Articles of Confederation, America's initial governing documents, address the issue of slavery.

1840s: The debate over slavery intensifies, polarizing the nation into northern abolitionists and southern slaveholders. In 1842, Longfellow publishes Poems on Slavery, a collection condemning slavery as evil and predicting future conflict over the issue.

Today: Despite laws against discrimination, it persists in some areas, prompting ongoing efforts to secure equal rights for all individuals, regardless of race, color, creed, or gender.

Late 1770s–Mid 1780s: The federal arsenal at Springfield is established in 1777. In 1786, in protest of high taxes imposed by Massachusetts, local farmer Daniel Shays leads over a thousand farmers in a prolonged assault on the arsenal. Although the attack is eventually thwarted, the uprising, known as Shays’s Rebellion, leads to reforms in Massachusetts tax laws.

1840s: Longfellow immortalizes the arsenal in his poem “The Arsenal at Springfield.”

Today: The arsenal, now referred to as the "Organ of Muskets" due to Longfellow’s poem, is preserved and displayed in the museum of the historic Springfield Armory.

Bibliography and Further Reading

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Sources
Arvin, Newton, Longfellow: His Life and Work, Atlantic Monthly Press, 1963, p. 75.

Austin, George Lowell, Henry Wadsworth Longfellow: His Life, His Works, His Friendships, Lee and Shepard Publishers, 1888, pp. 294–95.

Fitch, George Hamlin, “Longfellow: The Poet of the Household,” in Great Spiritual Writers of America, Paul Elder and Company, 1916, pp. 58–67.

Higginson, Thomas Wentworth, Henry Wadsworth Longfellow, Houghton, Mifflin and Company, 1902, p. 173.

Longfellow, Henry Wadsworth, “The Arsenal at Springfield,” in Henry Wadsworth Longfellow: Poems and Other Writings, Penguin Putnam, 2000, pp. 33–34.

Saintsbury, George, “Longfellow’s Poems,” in Prefaces and Essays, Macmillan and Company, 1933, pp. 324–44.

Wagenknecht, Edward, Henry Wadsworth Longfellow: His Poetry and Prose, The Ungar Publishing Company, 1986, pp. 76–77, 198, 213, 215.

Williams, Cecil B., “Household Lyrics, Ballads, Odes, Elegies, Sonnets,” in Henry Wadsworth Longfellow, Twayne Publishers, 1964, pp. 27, 29, 129–47, 192, 196.

Further Reading
Apfel, Roberta J., and Bennett Simon, eds., Minefields in Their Hearts: The Mental Health of Children in War and Communal Violence, Yale University Press, 1996. This book compiles firsthand accounts from mental health professionals who have treated children affected by war and violence. Contributors include psychiatrists, psychologists, and social workers who discuss the challenges faced by children in conflict zones and describe various interventions and treatments used in these cases.

Collopy, Michael, and Jason Gardner, eds., Architects of Peace: Visions of Hope in Words and Images, New World Library, 2000. Collopy and Gardner present striking photographs of seventy-five prominent peacemakers, accompanied by quotes and stories from these public figures. Featuring individuals such as Nelson Mandela, the Dalai Lama, Carlos Santana, and Maya Angelou, the volume provides a comprehensive look at diverse efforts to promote global peace.

Godwin, Joscelyn, Harmonies of Heaven and Earth: Mysticism in Music from Antiquity to the Avante-Garde, Inner Traditions International, 1995. This book explores the profound impact of music on people and delves into the metaphysical reasons behind these effects.

Leckie, Robert, From Sea to Shining Sea: From the War of 1812 to the Mexican War, the Saga of America’s Expansion, HarperPerennial, 1994. Leckie examines America's early history during its period of territorial expansion. By the end of the Mexican War, the modern continental United States had largely taken shape. The book features numerous anecdotes that highlight major events and key figures involved in America's growth.

LeShan, Lawrence, The Psychology of War: Comprehending Its Mystique and Madness, Helios Press, 2002. Originally published in 1992, this book was reprinted following the September 2001 terrorist attacks. LeShan, a former military psychologist, explores why people engage in wars and why military conflicts occur so frequently. The new edition includes an introduction that addresses the war on terrorism.

Underwood, Francis H., Henry Wadsworth Longfellow, Haskell House, 1972. Underwood’s biography of Longfellow provides a comprehensive overview of the poet’s early years, his scholarly endeavors, and his international studies. The book also delves into detailed analyses of several of Longfellow’s most famous works and includes genealogical information, correspondence, and a bibliography.

Bibliography

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Calhoun, Charles C. Longfellow: A Rediscovered Life. Boston: Beacon Press, 2004.

Gale, Robert L. A Henry Wadsworth Longfellow Companion. Westport, Conn.: Greenwood Press, 2003.

Gartner, Matthew. “Longfellow’s Place: The Poet and Poetry of Craigie House.” The New England Quarterly 73, no. 1 (March, 2000): 32-57.

Pearce, Roy Harvey. The Continuity of American Poetry. Middletown, Conn.: Wesleyan University Press, 1987.

Suchard, Allen. “The Nineteenth Century: Romanticism in American Poetry.” In American Poetry. Amherst: University of Massachusetts Press, 1988.

Trachtenberg, Alan. Shades of Hiawatha: Staging Indians, Making Americans, 1880-1930. New York: Hill and Wang, 2004.

Tucker, Edward L. “The Meeting of Hawthorne and Longfellow in 1838.” ANQ 13, no. 4 (Fall, 2000): 18-21.

Turco, Lewis P. Visions and Revisions of American Poetry. Fayetteville: University of Alabama Press, 1986.

Wagenknecht, Edward. Henry Wadsworth Longfellow, His Poetry and Prose. New York: Ungar, 1986.

Waggoner, Hyatt H. “Five New England Poets.” In American Poets: From the Puritans to the Present. Baton Rouge: Louisiana State University Press, 1984.

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