THE PIOUS EDITOR'S CREED by James Russell Lowell: Summary, Meaning & Analysis
A corrupt newspaper editor shares his so-called "creed" — a list of things he claims to stand for, such as freedom, the press, and prayer — but each belief reveals itself as a facade for his own greed and political maneuvering.
The poem
[At the special instance of Mr. Biglow, I preface the following satire with an extract from a sermon preached during the past summer, from Ezekiel xxxiv. 2: 'Son of man, prophesy against the shepherds of Israel.' Since the Sabbath on which this discourse was delivered, the editor of the 'Jaalam Independent Blunderbuss' has unaccountably absented himself from our house of worship. 'I know of no so responsible position as that of the public journalist. The editor of our day bears the same relation to his time that the clerk bore to the age before the invention of printing. Indeed, the position which he holds is that which the clergyman should hold even now. But the clergyman chooses to walk off to the extreme edge of the world, and to throw such seed as he has clear over into that darkness which he calls the Next Life. As if _next_ did not mean _nearest_, and as if any life were nearer than that immediately present one which boils and eddies all around him at the caucus, the ratification meeting, and the polls! Who taught him to exhort men to prepare for eternity, as for some future era of which the present forms no integral part? The furrow which Time is even now turning runs through the Everlasting, and in that must he plant, or nowhere. Yet he would fain believe and teach that we are _going_ to have more of eternity than we have now. This _going_ of his is like that of the auctioneer, on which _gone_ follows before we have made up our minds to bid,--in which manner, not three months back, I lost an excellent copy of Chappelow on Job. So it has come to pass that the preacher, instead of being a living force, has faded into an emblematic figure at christenings, weddings, and funerals. Or, if he exercise any other function, it is as keeper and feeder of certain theologic dogmas, which, when occasion offers, he unkennels with a _staboy!_ "to bark and bite as 'tis their nature to," whence that reproach of _odium theologicum_ has arisen. 'Meanwhile, see what a pulpit the editor mounts daily, sometimes with a congregation of fifty thousand within reach of his voice, and never so much as a nodder, even, among them! And from what a Bible can he choose his text,--a Bible which needs no translation, and which no priestcraft can shut and clasp from the laity,--the open volume of the world, upon which, with a pen of sunshine or destroying fire, the inspired Present is even now writing the annals of God! Methinks the editor who should understand his calling, and be equal thereto, would truly deserve that title of [Greek: poimaen laon], which Homer bestows upon princes. He would be the Moses of our nineteenth century; and whereas the old Sinai, silent now, is but a common mountain stared at by the elegant tourist and crawled over by the hammering geologist, he must find his tables of the new law here among factories and cities in this Wilderness of Sin (Numbers xxxiii. 12) called Progress of Civilization, and be the captain of our Exodus into the Canaan of a truer social order. 'Nevertheless, our editor will not come so far within even the shadow of Sinai as Mahomet did, but chooses rather to construe Moses by Joe Smith. He takes up the crook, not that the sheep may be fed, but that he may never want a warm woollen suit and a joint of mutton. _Immemor, O, fidei, pecorumque oblite tuorum!_ For which reason I would derive the name _editor_ not so much from _edo_, to publish, as from _edo_, to eat, that being the peculiar profession to which he esteems himself called. He blows up the flames of political discord for no other occasion than that he may thereby handily boil his own pot. I believe there are two thousand of these mutton-loving shepherds in the United States, and of these, how many have even the dimmest perception of their immense power, and the duties consequent thereon? Here and there, haply, one. Nine hundred and ninety-nine labor to impress upon the people the great principles of _Tweedledum_, and other nine hundred and ninety-nine preach with equal earnestness the gospel according to _Tweedledee_.'--H.W.] I du believe in Freedom's cause, Ez fur away ez Payris is; I love to see her stick her claws In them infarnal Phayrisees; It's wal enough agin a king To dror resolves an' triggers,-- But libbaty's a kind o' thing Thet don't agree with niggers. I du believe the people want A tax on teas an' coffees, 10 Thet nothin' aint extravygunt,-- Purvidin' I'm in office; For I hev loved my country sence My eye-teeth filled their sockets, An' Uncle Sam I reverence, Partic'larly his pockets. I du believe in _any_ plan O' levyin' the texes, Ez long ez, like a lumberman, I git jest wut I axes; 20 I go free-trade thru thick an' thin, Because it kind o' rouses The folks to vote,--an' keeps us in Our quiet custom-houses. I du believe it's wise an' good To sen' out furrin missions, Thet is, on sartin understood An' orthydox conditions;-- I mean nine thousan' dolls. per ann., Nine thousan' more fer outfit, 30 An' me to recommend a man The place 'ould jest about fit. I du believe in special ways O' prayin' an' convartin'; The bread comes back in many days, An' buttered, tu, fer sartin; I mean in preyin' till one busts On wut the party chooses, An' in convartin' public trusts To very privit uses. 40 I du believe hard coin the stuff Fer 'lectioneers to spout on; The people's ollers soft enough To make hard money out on; Dear Uncle Sam pervides fer his, An' gives a good-sized junk to all,-- I don't care _how_ hard money is, Ez long ez mine's paid punctooal. I du believe with all my soul In the gret Press's freedom, 50 To pint the people to the goal An' in the traces lead 'em; Palsied the arm thet forges yokes At my fat contracts squintin', An' withered be the nose thet pokes Inter the gov'ment printin'! I du believe thet I should give Wut's his'n unto Cæsar, Fer it's by him I move an' live, Frum him my bread an' cheese air; 60 I du believe thet all o' me Doth bear his superscription,-- Will, conscience, honor, honesty, An' things o' thet description. I du believe in prayer an' praise To him that hez the grantin' O' jobs,--in every thin' thet pays, But most of all in CANTIN'; This doth my cup with marcies fill, This lays all thought o' sin to rest,-- 70 I _don't_ believe in princerple, But oh, I _du_ in interest. I du believe in bein' this Or thet, ez it may happen One way or t'other hendiest is To ketch the people nappln'; It aint by princerples nor men My preudunt course is steadied,-- I scent wich pays the best, an' then Go into it baldheaded. 80 I du believe thet holdin' slaves Comes nat'ral to a Presidunt, Let 'lone the rowdedow it saves To hev a wal-broke precedunt: Fer any office, small or gret, I couldn't ax with no face, 'uthout I'd ben, thru dry an' wet, Th' unrizzest kind o' doughface. I du believe wutever trash 'll keep the people in blindness,-- 90 Thet we the Mexicuns can thrash Right inter brotherly kindness, Thet bombshells, grape, an' powder 'n' ball Air good-will's strongest magnets, Thet peace, to make it stick at all, Must be druv in with bagnets. In short, I firmly du believe In Humbug generally, Fer it's a thing thet I perceive To hev a solid vally; 100 This heth my faithful shepherd ben, In pasturs sweet heth led me, An' this'll keep the people green To feed ez they hev fed me. [I subjoin here another passage from my before-mentioned discourse. 'Wonderful, to him that has eyes to see it rightly, is the newspaper. To me, for example, sitting on the critical front bench of the pit, in my study here in Jaalam, the advent of my weekly journal is as that of a strolling theatre, or rather of a puppet-show, on whose stage, narrow as it is, the tragedy, comedy, and farce of life are played in little. Behold the whole huge earth sent to me hebdomadally in a brown-paper wrapper! 'Hither, to my obscure corner, by wind or steam, on horseback or dromedary-back, in the pouch of the Indian runner, or clicking over the magnetic wires, troop all the famous performers from the four quarters of the globe. Looked at from a point of criticism, tiny puppets they seem all, as the editor sets up his booth upon my desk and officiates as showman. Now I can truly see how little and transitory is life. The earth appears almost as a drop of vinegar, on which the solar microscope of the imagination must be brought to bear in order to make out anything distinctly. That animalcule there, in the pea-jacket, is Louis Philippe, just landed on the coast of England. That other, in the gray surtout and cocked hat, is Napoleon Bonaparte Smith, assuring France that she need apprehend no interference from him in the present alarming juncture. At that spot, where you seem to see a speck of something in motion, is an immense mass-meeting. Look sharper, and you will see a mite brandishing his mandibles in an excited manner. That is the great Mr. Soandso, defining his position amid tumultuous and irrepressible cheers. That infinitesimal creature, upon whom some score of others, as minute as he, are gazing in open-mouthed admiration, is a famous philosopher, expounding to a select audience their capacity for the Infinite. That scarce discernible pufflet of smoke and dust is a revolution. That speck there is a reformer, just arranging the lever with which he is to move the world. And lo, there creeps forward the shadow of a skeleton that blows one breath between its grinning teeth, and all our distinguished actors are whisked off the slippery stage into the dark Beyond. 'Yes, the little show-box has its solemner suggestions. Now and then we catch a glimpse of a grim old man, who lays down a scythe and hour-glass in the corner while he shifts the scenes. There, too, in the dim background, a weird shape is ever delving. Sometimes he leans upon his mattock, and gazes, as a coach whirls by, bearing the newly married on their wedding jaunt, or glances carelessly at a babe brought home from christening. Suddenly (for the scene grows larger and larger as we look) a bony hand snatches back a performer in the midst of his part, and him, whom yesterday two infinities (past and future) would not suffice, a handful of dust is enough to cover and silence forever. Nay, we see the same fleshless fingers opening to clutch the showman himself, and guess, not without a shudder, that they are lying in wait for spectator also. 'Think of it: for three dollars a year I buy a season-ticket to this great Globe Theatre, for which God would write the dramas (only that we like farces, spectacles, and the tragedies of Apollyon better), whose scene-shifter is Time, and whose curtain is rung down by Death. 'Such thoughts will occur to me sometimes as I am tearing off the wrapper of my newspaper. Then suddenly that otherwise too often vacant sheet becomes invested for me with a strange kind of awe. Look! deaths and marriages, notices of inventions, discoveries, and books, lists of promotions, of killed, wounded, and missing, news of fires, accidents, of sudden wealth and as sudden poverty;--I hold in my hand the ends of myriad invisible electric conductors, along which tremble the joys, sorrows, wrongs, triumphs, hopes, and despairs of as many men and women everywhere. So that upon that mood of mind which seems to isolate me from mankind as a spectator of their puppet-pranks, another supervenes, in which I feel that I, too, unknown and unheard of, am yet of some import to my fellows. For, through my newspaper here, do not families take pains to send me, an entire stranger, news of a death among them? Are not here two who would have me know of their marriage? And, strangest of all, is not this singular person anxious to have me informed that he has received a fresh supply of Dimitry Bruisgins? But to none of us does the Present continue miraculous (even if for a moment discerned as such). We glance carelessly at the sunrise, and get used to Orion and the Pleiades. The wonder wears off, and to-morrow this sheet, (Acts x. 11, 12) in which a vision was let down to me from Heaven, shall be the wrappage to a bar of soap or the platter for a beggar's broken victuals.'--H.W.] No. VII
A corrupt newspaper editor shares his so-called "creed" — a list of things he claims to stand for, such as freedom, the press, and prayer — but each belief reveals itself as a facade for his own greed and political maneuvering. Lowell wrote it in a thick New England dialect to amplify the absurdity of the hypocrisy. Ultimately, the editor confesses he believes in "Humbug generally," which is at least a moment of honesty.
Line-by-line
I du believe in Freedom's cause, / Ez fur away ez Payris is;
I du believe the people want / A tax on teas an' coffees,
I du believe in _any_ plan / O' levyin' the texes,
I du believe it's wise an' good / To sen' out furrin missions,
I du believe in special ways / O' prayin' an' convartin';
I du believe hard coin the stuff / Fer 'lectioneers to spout on;
I du believe with all my soul / In the gret Press's freedom,
I du believe thet I should give / Wut's his'n unto Cæsar,
I du believe in prayer an' praise / To him that hez the grantin'
I du believe in bein' this / Or thet, ez it may happen
I du believe thet holdin' slaves / Comes nat'ral to a Presidunt,
I du believe wutever trash / 'll keep the people in blindness,--
In short, I firmly du believe / In Humbug generally,
Tone & mood
Gleefully savage. Lowell employs a dialect voice to establish ironic distance — the editor comes across as folksy and self-deprecating, which intensifies the impact of his confessions of corruption. Beneath the humor lies genuine anger, particularly regarding slavery and the Mexican War, but the prevailing tone is that of a sharp comedic performance. The repeated phrase "I du believe" creates a mock-liturgical rhythm, making the entire piece resemble a corrupt catechism.
Symbols & metaphors
- The Shepherd / Crook — The shepherd imagery throughout the poem is rooted in the sermon's text (Ezekiel 34, "prophesy against the shepherds"). A true shepherd is meant to care for the flock, but this editor-shepherd wields the crook to benefit himself by securing his own wool and mutton. It portrays political and journalistic corruption as a violation of their pastoral responsibilities.
- Caesar / Superscription — The Gospel command to "render unto Caesar" gets flipped around, making Caesar the party boss. The editor's conscience, honor, and will all carry the boss's "superscription" — just like a coin bearing a ruler's face, he is completely owned by whoever controls his paycheck.
- Humbug — The poem's final word reveals the editor's true beliefs. It symbolizes the whole system of political deceit — the fake ideologies, empty patriotism, and manipulated religion. Referring to it as his "faithful shepherd" brings the pastoral inversion full circle, echoing the beginning of the poem.
- The Green Pasture — A clear reference to Psalm 23. Just as God guides his sheep to lush fields for sustenance, the editor keeps the audience "green" — that is, naive and gullible — allowing them to be preyed upon. The sacred imagery is transformed into a metaphor for exploitation.
- Hard Coin / Soft People — The currency debate of the time (hard money vs. soft money) is reimagined as a metaphor for manipulation: the people are soft and adaptable, while politicians emerge hardened and wealthier. Monetary policy becomes just another means of extraction.
- The Press / Pulpit — The prefatory sermon suggests that the editor's desk is truly the pulpit of our time. The poem illustrates the consequences when that pulpit is held by a fraud — the "gret Press's freedom" turns into a tool for guiding the public rather than educating them.
Historical context
Lowell published "The Pious Editor's Creed" in *The Biglow Papers* (First Series, 1848), which is a collection of satirical poems in Yankee dialect that critiques the Mexican-American War, slavery, and the political figures who supported both. The story features Hosea Biglow, a straightforward farmer from Massachusetts, and his pretentious pastor, Reverend Homer Wilbur, whose lengthy introductions (like the sermon excerpts included here) are part of the satire. The "Jaalam Independent Blunderbuss" editor represents a mix of the partisan newspaper editors who held sway over American public life in the 1840s—individuals who had significant influence while prioritizing party leaders over their readers. Lowell was writing during the heated debate about whether new territories taken from Mexico would allow slavery, and his anger towards Northern politicians who tolerated slavery—whom he called "doughfaces"—is evident throughout the series.
FAQ
Lowell intentionally wrote the *Biglow Papers* in a phonetic New England Yankee dialect. This choice indicates that the speaker represents a straightforward, working-class perspective. However, there's a twist: the corrupt editor uses this folksy voice to appear relatable while admitting to his blatant corruption. The dialect also gives the poems a sense of popular entertainment instead of highbrow literary preaching, allowing them to resonate with a much broader audience.
The Mexican-American War (1846–48) broke out after the U.S. annexed Texas and led to the U.S. taking about half of Mexico's land. Many Northerners, including Lowell, viewed it as a conquest fueled by Southern slaveholders eager for more territory for slavery. The stanza referencing "thrashing the Mexicuns into brotherly kindness" with "bombshells, grape, an' powder" shows Lowell ridiculing the pro-war press's assertion that military force was a benevolent act.
A "doughface" referred to a Northern politician who always aligned with Southern slaveholders — someone whose opinions could be easily molded by those with the most influence. This term served as a significant political insult during the antebellum era. Lowell's editor boasts that he has been "th' unrizzest kind o' doughface" — the most consistently spineless type — as a credential for holding office.
In the Gospels, Jesus instructs us to give Caesar what is Caesar's and God what is God's. Lowell's editor turns this on its head: here, his Caesar represents the party boss or political patron who supports him financially. He's essentially stating that his whole moral identity — "will, conscience, honor, honesty" — is tied to whoever pays him. This reveals a stark truth: he lacks any independent conscience whatsoever.
"Canting" refers to speaking in a way that is piously hypocritical—using religious or moral language that one doesn't truly believe to sway an audience. Lowell capitalizes the term to signify it as the editor's genuine faith, the one principle he follows with real dedication. This word serves as the climax of the stanza and stands out as the poem's most striking term.
The Reverend Wilbur's prefaces are key components of the satire's structure. Wilbur compellingly argues that the newspaper editor has taken over the clergyman’s role as the dominant moral authority in American society — and the poem showcases exactly how that power manifests when it’s in the hands of a fraud. Additionally, the sermon allows Lowell to present serious discussions about journalism and democracy, all while maintaining a tone that differs from the dialect comedy.
Not exactly. Lowell was a devoted moralist who genuinely valued religious language — that’s why its misuse frustrated him so much. The poem criticizes the *misuse* of religious elements (like prayer, conversion, the shepherd metaphor, and the structure of creeds) for political and financial profit. The Reverend Wilbur framing shows that Lowell respected the clerical tradition, even as he pointed out its shortcomings.
The specific targets — the Mexican War, slavery, 1840s currency debates — are rooted in history, but the argument’s structure remains relevant today. An editor (or any media figure) who purports to support freedom while really catering to whoever funds them, who cloaks their self-interest in patriotic and religious rhetoric, and who keeps the public "green" to exploit them — that image is still familiar.