BY SANTA TERESA DE AVILA
Let nothing disturb thee,
Nothing affright thee;
All things are passing;
God never changeth;
Patient endurance
Attaineth to all things;
Who God possesseth
In nothing is wanting;
Alone God sufficeth.
The Annotated Edition
BY SANTA TERESA DE AVILA by Henry Wadsworth Longfellow
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This brief poem is Longfellow's English version of a well-known prayer-poem by the 16th-century Spanish mystic, Saint Teresa of Ávila.
- Themes
- faith, fear, hope
§01Quick summary
What this poem is about
This brief poem is Longfellow's English version of a well-known prayer-poem by the 16th-century Spanish mystic, Saint Teresa of Ávila. It encourages readers not to fear or be disturbed by anything life throws their way, as all worldly things are fleeting while God remains unchanging. The poem suggests that if you cling to God, you possess everything you need.
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Let nothing disturb thee, / Nothing affright thee;
Editor's note
The poem starts with a direct command — it’s like a reassuring hand on your shoulder. "Affright" is an archaic term for frighten. The repetition of "nothing" emphasizes the point: absolutely nothing in the world should be able to rattle you.
All things are passing; / God never changeth;
Editor's note
Here’s the reason for the opening command: everything in the physical world is temporary—pain, trouble, and even joy. In contrast, God remains the one constant. This difference between what is "passing" and what "never changeth" forms the theological backbone of the entire poem.
Patient endurance / Attaineth to all things;
Editor's note
This couplet offers practical advice within a spiritual poem. If you remain patient instead of succumbing to panic, you can overcome anything. "Attaineth" suggests reaching a destination — endurance is the path that takes you there.
Who God possesseth / In nothing is wanting;
Editor's note
A clever logical twist: if God encompasses everything and you possess God, then you essentially have everything you need. "Wanting" in this context refers to lacking, rather than desiring. The grammar is structured in an old-fashioned way, lending it a formal, almost sculpted gravitas.
Alone God sufficeth.
Editor's note
The final line hits hard, bringing everything to a close. "Sufficeth" simply means enough. Just three words: God is sufficient, and that's that. Its brevity gives it a weighty finality, as if it's a conclusion that speaks for itself.
§04Tone & mood
How this poem feels
The tone is calm, steady, and reassuring—like a soft voice cutting through a noisy room. There’s no drama or emotional outburst. The short lines and straightforward vocabulary create a sense of a mantra or prayer, repeated until it really resonates. Longfellow's translation maintains the original's serenity while still feeling warm and approachable.
§05Symbols & metaphors
Symbols & metaphors
- Passing things
- Everything that changes — suffering, fear, worldly troubles — represents the impermanence of human experience. The term "passing" carries significant weight: it encompasses all that is not God.
- God's unchanging nature
- God is a symbol of absolute stability, the one constant in a changing world. The poem doesn't provide a detailed description of God; instead, it contrasts God with everything that is in motion.
- Patient endurance
- Endurance is portrayed as a tool or a pathway—an active human response to the reality of impermanence. It represents the proactive, disciplined aspect of faith, rather than merely waiting passively.
§06Historical context
Historical context
Saint Teresa of Ávila (1515–1582) was a Spanish Carmelite nun, mystic, and reformer who became a key figure in Christian spirituality. After her death, the original Spanish poem—known as her *Bookmark* or *Nada te turbe*—was found written in her breviary. It captures her mystical theology in just nine lines, emphasizing that God's permanence is the only solid foundation for human life. In 19th-century America, Longfellow was inspired by European religious and literary traditions throughout his career. His translation of Teresa's poem appeared among his later works and reflects his enduring interest in making foreign poetry accessible to English readers. By choosing Teresa's words, Longfellow engaged with the Victorian-era fascination for medieval and Renaissance Catholic mysticism, which many Protestant readers experienced through literature rather than directly through the Church.
§07FAQ
Questions readers ask
No. Longfellow translated it from the original Spanish text by Saint Teresa of Ávila, a mystic from the 16th century. The title "By Santa Teresa de Ávila" indicates that he is sharing her words in English rather than his own creation.
"Sufficeth" is an old-fashioned way to say "is enough" or "is sufficient" when referring to the third person. In simpler terms, the line conveys that God alone is all you need.
The poem consists of nine brief lines, each with only a few syllables. While there isn't a strict rhyme scheme, the lines flow rhythmically, giving them an incantatory feel—reminiscent of a chant. Teresa crafted it this way on purpose, making it easy to memorize and recite.
Here "wanting" refers to *lacking*, not *desiring*. The line indicates that whoever has God lacks nothing. This older use of the word can still be seen in phrases like "found wanting."
It is clearly religious — God is the poem's complete answer. However, many non-religious readers appreciate its central message about impermanence and the comforting influence of something greater than oneself, whatever that may mean to them personally.
Teresa wrote the original as a personal bookmark or devotional note — something meant to be carried and recited, not read as an extended meditation. The short lines allow each idea to stand alone, like distinct steps. Longfellow maintains that concise, aphoristic quality in his translation.
The central themes include faith, hope, and the fear that faith is supposed to eliminate. There's also a significant focus on time — the notion that earthly matters fade away while the divine remains constant.
Longfellow often translated European poetry and was captivated by spiritual and meditative themes. His works, such as *Evangeline* and his translation of the *Divine Comedy*, reflect a similar fascination with faith, resilience, and the comforts found in a greater spiritual framework.
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