Haunted Houses – Henry Wadsworth Longfellow

Meanings

Word Meanings

1. Errands glide: Refers to the movement of spirits or ghosts as they move around, carrying out their tasks or missions in a smooth and effortless manner.

2. Impalpable impressions on the air: Indicates the subtle and intangible sensations or feelings present in the atmosphere, often associated with the presence of spirits or ghosts.

3. Is thronged with quiet, inoffensive ghosts: Describes how the haunted space is filled with a large number of calm and harmless spirits, creating a crowded yet peaceful environment.

4. He but perceives what is; while unto me: Highlights the difference in perception between the speaker and someone else, suggesting that only the speaker can see or experience certain phenomena.

5. And hold in mortmain still their old estates: Mortmain refers to the state of property being held in perpetuity by a religious or charitable institution. In this context, it suggests that the previous owners continue to exert influence over their former properties from beyond the grave.

6. Wafts: Means to pass gently through the air, often used to describe the movement of scents, sounds, or other intangible things.

7. Ethereal air: Refers to a light, airy, or delicate atmosphere, often associated with the spiritual or otherworldly realm.

8. Equipoise: Refers to a state of balance or equilibrium, where opposing forces or influences are evenly matched.

9. Instinct: An innate, natural inclination or tendency, often driven by primal urges or subconscious impulses.

10. Aspires: Means to have a strong desire or ambition to achieve something, typically something lofty or idealistic.

11. Perturbations: Refers to disturbances or disruptions, often used to describe fluctuations or irregularities in a system or process.

12. This perpetual jar: Describes the ongoing conflict or discord caused by the perpetual disturbances or disruptions.

13. Aspirations: Refers to strong desires or ambitions, often associated with achieving success or realizing one's goals.

14. Planks: Refers to the long, flat pieces of wood that make up a bridge's surface, symbolizing the path or connection between different realms or states.

15. Realm: Indicates a domain or sphere, often associated with a particular area of knowledge, experience, or existence.

16. Descends: Means to move from a higher position to a lower one, often used metaphorically to suggest a transition from the spiritual to the physical realm.

17. That sways and bends: Describes the unstable or precarious nature of the bridge, suggesting that it is not firmly fixed and may fluctuate or change.

18. Dark abyss: Refers to a deep, bottomless chasm or void, symbolizing the unknown or mysterious aspects of existence.

Central Idea

The central idea of the poem "Haunted Houses" revolves around the concept of the pervasive presence of the past in the present, particularly in the physical spaces we inhabit. Through vivid imagery and metaphorical language, the poem explores how the memories, experiences, and actions of previous inhabitants linger in the places where they lived and died. The speaker suggests that all houses bear traces of the lives that were once lived within them, manifesting as "harmless phantoms" or "quiet, inoffensive ghosts" that move through the spaces silently.

Moreover, the poem delves into the idea that these residual impressions create a sense of continuity between the past and the present, with the speaker remarking that "all that has been is visible and clear" to them, contrasting with the limited perception of others. The absence of tangible ownership rights ("no title-deeds to house or lands") further emphasizes the idea that the influence of past occupants transcends material ownership.

Overall, "Haunted Houses" explores the haunting nature of memory and history, suggesting that the past is an integral part of the present and that the spirits of the past continue to inhabit the spaces we occupy, leaving behind palpable traces of their existence.

Stanza Wise Explanation

First

This verse from the poem "Haunted Houses" by Henry Wadsworth Longfellow explores the idea that all houses where people have lived and died are haunted in some way. The poet describes how even though these houses may appear normal; they are filled with unseen spirits or "harmless phantoms" that move silently through the rooms. These spirits are depicted as wandering aimlessly, leaving behind only subtle impressions in the air.

The poem suggests that these ghosts are not malevolent or frightening but rather quiet and unobtrusive, like shadows moving through the house. They are compared to guests at a table, outnumbering the living occupants. Despite their presence, they are peaceful and benign, blending in with the stillness of the environment.

Overall, the verse reflects on the idea that the past inhabitants of a house linger in some form, even after their physical presence is gone, leaving behind a sense of their existence that can be felt by those who are sensitive to it. 

Second

 In this stanza from Henry Wadsworth Longfellow's "Haunted Houses," the poet continues to describe the presence of unseen spirits in houses where people have lived and died. He depicts encounters with these phantoms as they move throughout the house, suggesting that they can be perceived in various locations such as doorways, staircases, and corridors.

The spirits are described as leaving "impalpable impressions on the air," indicating that while they may not be physically tangible, their presence is felt or sensed by those who inhabit the space. The stanza evokes a sense of eerie movement and activity within the house, with the suggestion that these spectral beings are constantly in motion, creating an atmosphere of subtle but perceptible disturbance. 

Third

In this stanza, Longfellow draws a vivid comparison between the number of spectral guests and living hosts at a table in a haunted house. He suggests that there are more ghosts present than living individuals who were initially invited. The "illuminated hall" where this scene unfolds is described as filled with these "quiet, inoffensive ghosts," emphasizing their peaceful and non-threatening nature. The comparison of the ghosts to the pictures on the wall further underscores their silent and immaterial presence. This stanza evokes a sense of the eerie and surreal, as the living inhabitants find themselves outnumbered by unseen spirits in their own home. 

Fourth

 In this stanza, Longfellow reflects on the difference in perception between himself and a stranger who is present at his fireside. Longfellow suggests that while the stranger can only perceive what is currently happening in the physical world, he himself is able to see and hear things that have occurred in the past.

The stranger is unaware of the forms and sounds that Longfellow experiences, emphasizing the personal and subjective nature of his encounters with the supernatural. Longfellow's ability to perceive the past events as vividly as the present ones highlights his connection to the haunted house and its spectral inhabitants, contrasting with the stranger's lack of awareness.

Fifth

 In this stanza, Longfellow reflects on the ephemeral nature of human ownership and the enduring presence of those who have lived and died before us. Longfellow suggests that despite legal documents like title-deeds, which signify ownership of houses and lands, the true ownership of these properties transcends earthly contracts. He uses the metaphor of "graves forgotten" to emphasize the passage of time and the inevitability of death, highlighting how those who once owned or occupied these properties continue to exert their influence from beyond the grave.

The phrase "stretch their dusty hands" evokes a haunting image of the deceased reaching out from their graves to maintain their hold over their former estates. The term "mortmain" refers to the legal concept of land held in perpetuity by a religious organization, but here it symbolizes the enduring grip of the dead on their earthly possessions. Overall, this stanza underscores the theme of transience and the persistence of the past in the present, suggesting that the legacies of previous inhabitants linger on in the places they once called home.

Sixth

 In this stanza, Longfellow introduces the concept of the spirit-world as a pervasive presence that envelops and intermingles with the physical world. He describes the spirit-world as "floating like an atmosphere," suggesting its intangible and ubiquitous nature. The imagery of "earthly mists and vapours dense" portrays the material world as a hazy and opaque realm, through which the spirit-world permeates like a "vital breath" of ethereal air.

Longfellow's language evokes a sense of fluidity and interconnectedness between the tangible and intangible realms, emphasizing the spiritual dimension that coexists alongside the physical one. This stanza serves to blur the boundaries between the material and spiritual realms, suggesting that the spirit-world is not separate from, but rather intertwined with, the world of the living.

Seventh

 In this stanza, Longfellow reflects on the dualities inherent in human existence. He describes how our lives are balanced or kept in "equipoise" by opposing forces, namely, "opposite attractions and desires." The poet portrays a constant struggle between instinctual desires for immediate gratification and more noble aspirations for higher ideals or goals. The "instinct that enjoys" represents the inclination towards indulgence in worldly pleasures and material desires, while the "more noble instinct that aspires" symbolizes the drive towards self-improvement, spiritual growth, or the pursuit of loftier ambitions.

Through this contrast, Longfellow highlights the internal conflict faced by individuals as they navigate between fulfilling immediate desires and striving for greater ideals. The stanza encapsulates the perpetual tension between hedonism and idealism, suggesting that human lives are shaped by the ongoing interplay between these opposing tendencies. 

Eighth

In this stanza, Longfellow delves deeper into the complexities of human existence by attributing our internal struggles and conflicts to a cosmic influence. He describes the turmoil experienced by individuals as "perturbations" and a "perpetual jar" caused by the clash between "earthly wants and aspirations high." Here, "earthly wants" represent mundane desires and materialistic pursuits, while "aspirations high" symbolize lofty goals, moral principles, or spiritual yearnings.

Longfellow then introduces a metaphorical concept of an "unseen star" or an "undiscovered planet in our sky" to suggest that these internal conflicts are influenced by forces beyond human perception. This celestial imagery implies that our struggles and desires are not solely determined by earthly factors but are also shaped by mysterious, unseen forces operating on a cosmic scale. By attributing human complexities to cosmic influences, Longfellow invites readers to contemplate the interconnectedness of the human experience with the vastness of the universe, thereby imbuing the stanza with a sense of cosmic awe and mystery. 

Ninth

 In this stanza, Longfellow employs vivid imagery to evoke a sense of mystery and wonder. He likens the moon emerging from behind a dark cloud to the creation of a "floating bridge of light" over the sea. This metaphor suggests that the moonlight illuminates a pathway across the water, symbolizing a connection between the tangible world and the intangible realm of mystery and night.The phrase "across who’s trembling planks our fancies crowd" implies that our imaginations and thoughts traverse this ethereal bridge, venturing into the realm of mystery and darkness. Longfellow suggests that just as the moonlight creates a bridge that invites exploration, our thoughts and fancies are drawn to the enigmatic and unknown aspects of life.

Overall, this stanza encapsulates the theme of exploration and curiosity, emphasizing the human inclination to seek understanding and meaning in the mysterious and unknown facets of existence. It highlights the transformative power of imagination and the allure of the unknown, inviting readers to embark on a journey of discovery into the depths of mystery and night. 

Final

In this final stanza, Longfellow extends the metaphor of the moonlight bridge, suggesting that it serves as a symbolic link between the world of spirits and the physical realm. He describes how this bridge "descends" from the world of spirits, indicating a connection between the ethereal and the earthly.

The phrase "O'er whose unsteady floor, that sways and bends," emphasizes the instability and uncertainty of this bridge, suggesting that the connection between the two worlds is not fixed or stable. This imagery evokes a sense of precariousness, hinting at the transient nature of the connection between the tangible and the intangible.

Longfellow concludes by noting that it is "our thoughts" that wander above this dark abyss, suggesting that human consciousness and imagination are the means by which we explore and interact with the mysteries of the spirit world. This reinforces the idea that our curiosity and exploration of the unknown are fundamental aspects of the human experience.

Overall, this stanza underscores the theme of connection between the spiritual and physical realms, emphasizing the role of human consciousness in navigating the boundaries between the seen and the unseen, the known and the unknown. It invites contemplation on the nature of existence and the mysteries that lie beyond the tangible world