Skip to content
Storgy

The Annotated Edition

Creeds by Henry Wadsworth Longfellow

Summary, meaning, line-by-line analysis & FAQ.

Read aloud in ~1 minOpen reading mode →

In just two lines, Longfellow notes that Christianity has divided into various factions — Lutheran, Catholic, and Calvinist — and poses the poignant question: amid all this debate over doctrine, where has the true spirit of Christianity gone.

Core theme
Doubt
The PoemFull text

Creeds

Henry Wadsworth Longfellow

Lutheran, Popish, Calvinistic, all these creeds and doctrines three Extant are; but still the doubt is, where Christianity may be.

Public domain

Sourced from Project Gutenberg

Study actions

§01Quick summary

What this poem is about

In just two lines, Longfellow notes that Christianity has divided into various factions — Lutheran, Catholic, and Calvinist — and poses the poignant question: amid all this debate over doctrine, where has the true spirit of Christianity gone? This poem employs irony to suggest that organized religion can sometimes forget its core values. Consider it a brief, incisive joke that carries a serious message.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. Lutheran, Popish, Calvinistic, all these creeds and doctrines three

    Editor's note

    Longfellow identifies the three main branches of Western Christianity during his time: Lutheranism, which follows Martin Luther; Roman Catholicism, referred to dismissively as 'Popish' in relation to the Pope; and Calvinism, the Reformed tradition inspired by John Calvin. By listing them in one breath, he presents them as mere items in a catalogue rather than as sacred traditions, which already hints at a skeptical and somewhat sardonic tone. The term 'creeds and doctrines' highlights the emphasis on rules and systems rather than on genuine faith. The second line introduces a twist: while all three branches are present and thriving, the speaker questions where *Christianity itself* has gone. This suggests that the disputes over doctrine have overshadowed the essence of the religion. It’s a classic rhetorical technique: accept the premise, then reveal the underlying issue.

§04Tone & mood

How this poem feels

Dry, ironic, and subtly sharp. Longfellow maintains a calm, almost matter-of-fact tone, which makes the impact of the final question hit even harder. There's no anger present, just a raised eyebrow — the tone of someone who's seen an argument drag on for too long and finally asks, "But what were you really fighting about?"

§05Symbols & metaphors

Symbols & metaphors

The three creeds (Lutheran, Popish, Calvinistic)
They represent institutional religion as a whole—the way any belief system can harden into rival organizations that care more about their own identity than the ideals they were founded on.
The number three
Three holds significant weight in Christian tradition, symbolizing the Trinity and the three days leading up to the resurrection. Counting squabbling denominations with this number instead of focusing on sacred concepts carries a subtle, ironic twist.
Christianity (unnamed, absent)
The term 'Christianity' shows up in the poem merely as something that *cannot be found*. This absence is crucial; it symbolizes the original spirit that fades away when doctrine takes control.

§06Form & structure

Form & structure

Meter
trochaic octameter
Rhyme
AA

§07Historical context

Historical context

Longfellow wrote during a time of fierce rivalry among various religious denominations in the United States and Europe. The 19th century was marked by intense conflicts between Catholics and Protestants, as well as divisions within Protestantism among Lutherans, Calvinists, Methodists, and many other groups. Religious identity intersected with politics, immigration, and social class, making theological disagreements feel more like battles than simple debates. While Longfellow was generally sympathetic to liberal Christianity, he became increasingly critical of the ongoing sectarian disputes. This poem is actually a translation or loose adaptation of a German epigram—a form that was popular in the 18th and 19th centuries for conveying philosophical insights concisely. The original idea was already making the rounds in European intellectual circles, and Longfellow's version introduced it to American readers who would have immediately recognized its significance.

§08FAQ

Questions readers ask

Is this poem actually by Longfellow, or did he translate it?

It's probably a translation or a close adaptation of a German epigram. Longfellow was an accomplished linguist and translator, and this type of two-line satirical verse was quite popular in Germany. He published it under his own name, so it's credited to him, but the main idea was already making the rounds in European literature.

What does 'Popish' mean?

'Popish' is a negative term for Roman Catholicism, linked to the Pope. During Longfellow's era, it was often used by Protestants as a way to dismissively refer to Catholics. By placing it alongside the other two terms, Longfellow shows a similar (albeit mild) irreverence toward all three denominations.

What is the poem's structure?

It's a couplet—just two lines—written in trochaic octameter, which creates a long, flowing rhythm that feels chant-like and almost ceremonial. That rhythm adds to the humor: the poem sounds like an official statement while poking fun at formal religion.

What is Longfellow actually criticizing?

He's criticizing sectarianism—the tendency of religious groups to get so wrapped up in their own doctrines and differences that they forget the common values they all profess to share. He's not going after Christianity itself; instead, he's questioning whether the institution has strayed from its own core ideals.

Is this poem anti-religious?

Not quite. It's more of an insider's critique. Longfellow isn't claiming that religion is worthless; rather, he's arguing that the practice of religion, divided into competing groups, has shifted to focus more on identity and power instead of genuine faith. The question at the end suggests that Christianity ought to be present — the issue is that it seems elusive.

Why is the poem so short?

The brevity is the key. An epigram delivers its message in the smallest amount of space, allowing the wit to land all at once. If the same idea were expressed in a longer poem, it would lose its impact. With just two lines, you get both the setup and the punchline nearly at the same time.

What does the poem mean by 'where Christianity may be'?

It means: if these three denominations are all competing to claim they represent true Christianity, and they resemble rival institutions more than the teachings of Christ, then where is the genuine spirit of the religion? This is a rhetorical question — the speaker implies it has been drowned out by the noise.

Citation

Cite this poem

MLA

Longfellow, Henry Wadsworth. "Creeds." Storgy, https://storgy.com/poems/creeds-henry-wadsworth-longfellow/.

APA

Longfellow, H. W. (n.d.). Creeds. Storgy. https://storgy.com/poems/creeds-henry-wadsworth-longfellow/

The study desk

Teaching materials and reference tools prepared for this poem.

Adjacent texts in the archive