THE RHYME OF SIR CHRISTOPHER by Henry Wadsworth Longfellow: Summary, Meaning & Analysis
A boastful English knight, Sir Christopher Gardiner, struts into Puritan Boston as if he owns the town.
The poem
It was Sir Christopher Gardiner, Knight of the Holy Sepulchre, From Merry England over the sea, Who stepped upon this continent As if his august presence lent A glory to the colony. You should have seen him in the street Of the little Boston of Winthrop's time, His rapier dangling at his feet Doublet and hose and boots complete, Prince Rupert hat with ostrich plume, Gloves that exhaled a faint perfume, Luxuriant curls and air sublime, And superior manners now obsolete! He had a way of saying things That made one think of courts and kings, And lords and ladies of high degree; So that not having been at court Seemed something very little short Of treason or lese-majesty, Such an accomplished knight was he. His dwelling was just beyond the town, At what he called his country-seat; For, careless of Fortune's smile or frown, And weary grown of the world and its ways, He wished to pass the rest of his days In a private life and a calm retreat. But a double life was the life he led, And, while professing to be in search Of a godly course, and willing, he said, Nay, anxious to join the Puritan church, He made of all this but small account, And passed his idle hours instead With roystering Morton of Merry Mount, That pettifogger from Furnival's Inn, Lord of misrule and riot and sin, Who looked on the wine when it was red. This country-seat was little more Than a cabin of log's; but in front of the door A modest flower-bed thickly sown With sweet alyssum and columbine Made those who saw it at once divine The touch of some other hand than his own. And first it was whispered, and then it was known, That he in secret was harboring there A little lady with golden hair, Whom he called his cousin, but whom he had wed In the Italian manner, as men said, And great was the scandal everywhere. But worse than this was the vague surmise, Though none could vouch for it or aver, That the Knight of the Holy Sepulchre Was only a Papist in disguise; And the more to imbitter their bitter lives, And the more to trouble the public mind, Came letters from England, from two other wives, Whom he had carelessly left behind; Both of them letters of such a kind As made the governor hold his breath; The one imploring him straight to send The husband home, that he might amend; The other asking his instant death, As the only way to make an end. The wary governor deemed it right, When all this wickedness was revealed, To send his warrant signed and sealed, And take the body of the knight. Armed with this mighty instrument, The marshal, mounting his gallant steed, Rode forth from town at the top of his speed, And followed by all his bailiffs bold, As if on high achievement bent, To storm some castle or stronghold, Challenge the warders on the wall, And seize in his ancestral hall A robber-baron grim and old. But when though all the dust and heat He came to Sir Christopher's country-seat, No knight he found, nor warder there, But the little lady with golden hair, Who was gathering in the bright sunshine The sweet alyssum and columbine; While gallant Sir Christopher, all so gay, Being forewarned, through the postern gate Of his castle wall had tripped away, And was keeping a little holiday In the forests, that bounded his estate. Then as a trusty squire and true The marshal searched the castle through, Not crediting what the lady said; Searched from cellar to garret in vain, And, finding no knight, came out again And arrested the golden damsel instead, And bore her in triumph into the town, While from her eyes the tears rolled down On the sweet alyssum and columbine, That she held in her fingers white and fine. The governor's heart was moved to see So fair a creature caught within The snares of Satan and of sin, And he read her a little homily On the folly and wickedness of the lives Of women, half cousins and half wives; But, seeing that naught his words availed, He sent her away in a ship that sailed For Merry England over the sea, To the other two wives in the old countree, To search her further, since he had failed To come at the heart of the mystery. Meanwhile Sir Christopher wandered away Through pathless woods for a month and a day, Shooting pigeons, and sleeping at night With the noble savage, who took delight In his feathered hat and his velvet vest, His gun and his rapier and the rest. But as soon as the noble savage heard That a bounty was offered for this gay bird, He wanted to slay him out of hand, And bring in his beautiful scalp for a show, Like the glossy head of a kite or crow, Until he was made to understand They wanted the bird alive, not dead; Then he followed him whithersoever he fled, Through forest and field, and hunted him down, And brought him prisoner into the town. Alas! it was a rueful sight, To see this melancholy knight In such a dismal and hapless case; His hat deformed by stain and dent, His plumage broken, his doublet rent, His beard and flowing locks forlorn, Matted, dishevelled, and unshorn, His boots with dust and mire besprent; But dignified in his disgrace, And wearing an unblushing face. And thus before the magistrate He stood to hear the doom of fate. In vain he strove with wonted ease To modify and extenuate His evil deeds in church and state, For gone was now his power to please; And his pompous words had no more weight Than feathers flying in the breeze. With suavity equal to his own The governor lent a patient ear To the speech evasive and highflown, In which he endeavored to make clear That colonial laws were too severe When applied to a gallant cavalier, A gentleman born, and so well known, And accustomed to move in a higher sphere. All this the Puritan governor heard, And deigned in answer never a word; But in summary manner shipped away, In a vessel that sailed from Salem bay, This splendid and famous cavalier, With his Rupert hat and his popery, To Merry England over the sea, As being unmeet to inhabit here. Thus endeth the Rhyme of Sir Christopher, Knight of the Holy Sepulchre, The first who furnished this barren land With apples of Sodom and ropes of sand.
A boastful English knight, Sir Christopher Gardiner, struts into Puritan Boston as if he owns the town. However, he has a hidden secret: a wife in Boston, two more back in England, and some questionable loyalty to Catholicism. The colonial governor eventually exposes him, sends him packing back to England — hat, feathers, and all. It's a humorous tale of a con artist receiving his just desserts.
Line-by-line
It was Sir Christopher Gardiner, / Knight of the Holy Sepulchre,
You should have seen him in the street / Of the little Boston of Winthrop's time,
He had a way of saying things / That made one think of courts and kings,
His dwelling was just beyond the town, / At what he called his country-seat;
But a double life was the life he led, / And, while professing to be in search
This country-seat was little more / Than a cabin of logs; but in front of the door
But worse than this was the vague surmise, / Though none could vouch for it or aver,
The wary governor deemed it right, / When all this wickedness was revealed,
But when though all the dust and heat / He came to Sir Christopher's country-seat,
Then as a trusty squire and true / The marshal searched the castle through,
The governor's heart was moved to see / So fair a creature caught within
Meanwhile Sir Christopher wandered away / Through pathless woods for a month and a day,
Alas! it was a rueful sight, / To see this melancholy knight
With suavity equal to his own / The governor lent a patient ear
All this the Puritan governor heard, / And deigned in answer never a word;
Thus endeth the Rhyme of Sir Christopher, / Knight of the Holy Sepulchre,
Tone & mood
The tone is comic and satirical throughout, with a light mock-heroic style. Longfellow takes the grand language of chivalric romance and twists it to describe a fraud in a log cabin. There’s a dry, knowing humor in every stanza, like a storyteller who knows the ending and is having fun along the way. The poem doesn’t express anger, even when listing real wrongdoing; it favors amusement over condemnation. The only moment of exception is the brief, quiet sympathy for the unnamed woman left holding her flowers while the men around her create chaos.
Symbols & metaphors
- The ostrich-plumed hat — Sir Christopher's hat serves as the poem's main symbol of empty status. When he first appears, it’s on display in all its glory, but by the end, it's worn and damaged. The hat reflects his journey from a confident entrance to a shameful exit — all style, no substance.
- Sweet alyssum and columbine — The flowers in front of the log cabin reveal Sir Christopher's secret. They symbolize the unnamed woman — delicate, carefully nurtured, and ultimately uprooted by forces beyond her control. The fact that she still holds them when she's arrested adds a quietly heartbreaking touch to the scene.
- Merry England — The phrase shows up three times — when Sir Christopher arrives, during the woman's deportation, and at his own expulsion. It portrays the colony as a place that turns away Old World corruption. Each time someone is returned to 'Merry England,' it sends a clear message: you don't belong here.
- The country-seat / log cabin — The difference between what Sir Christopher refers to as his home and what it truly is encapsulates the poem's main point. He lives in a cabin but insists on calling it a country seat. This pretense seems innocent at first, but it becomes problematic when it conceals genuine misdeeds — clandestine wives, hidden beliefs, and secretive partying.
- Apples of Sodom — A biblical image for fruit that appears beautiful on the outside but turns to ash when touched. Longfellow employs it in the final lines as his final verdict on Sir Christopher: all show, no substance.
- The rapier — A gentleman's weapon, mentioned among Sir Christopher's accessories at the beginning and again when he's hiding in the woods. It represents his claim to martial honor, yet he never draws it — instead, he escapes through the back gate. The sword serves as decoration, not a sign of bravery.
Historical context
Sir Christopher Gardiner was a real historical figure who arrived in the Massachusetts Bay Colony around 1630. He did hold the title Knight of the Holy Sepulchre, had multiple wives, and was suspected of having Catholic sympathies, as well as reporting back to English authorities who aimed to revoke the colony’s charter. Governor John Winthrop — referred to as the 'wary governor' in the poem — arrested and deported him in 1632. Thomas Morton of Merry Mount was also a real person: a lawyer-turned-colonist who established a rival settlement that scandalized the Puritans with maypole dancing and the free trading of firearms with Indigenous people. Longfellow wrote this poem as part of his 1863 collection *Tales of a Wayside Inn*, which is a frame-narrative collection loosely modeled on Chaucer's *Canterbury Tales*, where a group of travelers shares stories. The poem fits well within Longfellow's style of transforming American colonial history into engaging and accessible verse.
FAQ
Yes. Gardiner came to Massachusetts around 1630, actually held the title of knight, was thought to have Catholic loyalties, and was deported by Governor Winthrop in 1632 after letters from his wives in England arrived. Longfellow stays fairly true to the historical record but adds a comedic twist.
It's a genuine Catholic chivalric order linked to the Church of the Holy Sepulchre in Jerusalem. The title carries an air of grandeur and piety, which is why Longfellow keeps bringing it up—because in Puritan Boston, being part of a Catholic knighthood was about the worst credential you could have.
Thomas Morton was an actual English lawyer who established a settlement named Merry Mount (or Ma-re Mount) close to what is now Quincy, Massachusetts. He gained a bad reputation among the Puritans for throwing maypole celebrations, trading firearms with Indigenous people, and largely ignoring their religious regulations. He and Gardiner were real historical counterparts.
'Apples of Sodom' is a biblical term for things that seem attractive but are worthless or corrupt within — the fruit of a city that was destroyed. 'Ropes of sand' refers to something that looks like it has structure but collapses as soon as you put it to the test. Together, they form Longfellow's final judgment: Sir Christopher had a dazzling exterior but lacked any real depth.
Mock-heroic refers to the use of lofty, grand language typical of epic poetry or chivalric tales to depict something trivial or absurd. Longfellow portrays the marshal's journey to a log cabin as if it were a siege on a castle and presents Sir Christopher's arrest as a dramatic fall from chivalric honor. The humor arises from the mismatch between the elevated language and the mundane subject—it’s this contrast that creates the comedy.
She's arrested when Sir Christopher escapes and receives a lecture from Governor Winthrop about sin before being sent back to England to face the two legitimate wives. She's the most sympathetic figure in the poem—she didn't choose her fate, she's never named, and she suffers for someone else's deceit. Longfellow offers her the poem's only truly tender moment: she cries while still clutching the flowers she was picking when the marshal showed up.
Longfellow employs a loose ballad-like structure featuring irregular stanza lengths and a lively, varied rhyme scheme. There's no strict pattern; instead, stanzas shift in size as the story unfolds. This adaptability enhances the comic narrative tone, making it feel more like a tale being shared in conversation than a formal piece of literature.
The poem primarily pokes fun at Sir Christopher, but it doesn't spare the Puritans either. Governor Winthrop is portrayed as competent and dignified, yet the colony is depicted as a place rife with gossip, where a woman can be arrested for her partner's misdeeds, and where complexity is met with deportation. Longfellow maintains a lighthearted satire, ensuring neither side appears too terrible — it's more of a comedy than a critique.