The Annotated Edition
THE RHYME OF SIR CHRISTOPHER by Henry Wadsworth Longfellow
A boastful English knight, Sir Christopher Gardiner, struts into Puritan Boston as if he owns the town.
- Themes
- betrayal, home, identity
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
It was Sir Christopher Gardiner, / Knight of the Holy Sepulchre,
Editor's note
Longfellow kicks off his subject with a playful, exaggerated flair. The title 'Knight of the Holy Sepulchre' sounds grand, but the poem will gradually chip away at that grandeur in each stanza. The phrase 'Merry England' creates a stark contrast with the serious Puritan colony he's about to invade.
You should have seen him in the street / Of the little Boston of Winthrop's time,
Editor's note
The narrator speaks directly to us, encouraging us to imagine this flamboyant peacock parading through early Boston. The details of his outfit — rapier, doublet, ostrich plume, perfumed gloves — are intentionally over-the-top. Longfellow is already mocking him before he's had a chance to misstep.
He had a way of saying things / That made one think of courts and kings,
Editor's note
Sir Christopher's social power stems entirely from his performance. He name-drops the air of royalty so well that being unfamiliar with court life feels like a serious offense. The word 'treason' is an exaggerated joke — Longfellow is poking fun at how easily people are captivated by aristocratic behavior.
His dwelling was just beyond the town, / At what he called his country-seat;
Editor's note
The difference between what Sir Christopher names things and their true nature becomes clear here. A log cabin is referred to as a 'country-seat.' He presents his getaway as a place of weary wisdom, but the next stanza will show that it's really a disguise for a hectic double life.
But a double life was the life he led, / And, while professing to be in search
Editor's note
The poem's main accusation is clear here. Sir Christopher pretends to pursue Puritan faith while really partying with Thomas Morton at Merry Mount — a historical settlement known for its anti-Puritan festivities. The term 'pettifogger from Furnival's Inn' serves as a legal jab, portraying Morton as a dubious lawyer figure.
This country-seat was little more / Than a cabin of logs; but in front of the door
Editor's note
The flower bed reveals the truth. Sweet alyssum and columbine are gentle, homegrown flowers—clearly nurtured by a woman's touch. Longfellow uses the garden to hint at the unraveling of Sir Christopher's carefully crafted bachelor-hermit persona. The hidden wife is on the verge of being revealed.
But worse than this was the vague surmise, / Though none could vouch for it or aver,
Editor's note
The scandal deepens: a concealed wife turns into two concealed wives back in England, along with suspicions of secret Catholicism ('Papist in disguise'). In Puritan Massachusetts, all three accusations carried weight. The letters from the two English wives—one pleading for his return and the other demanding his execution—are darkly humorous in their contrast.
The wary governor deemed it right, / When all this wickedness was revealed,
Editor's note
The arrest scene unfolds like a mock-epic adventure. The marshal charges out 'at the top of his speed' alongside his 'bailiffs bold,' as if they’re storming a castle — all for the sake of one log cabin. Longfellow uses the language of chivalric romance to highlight the absurdity of the entire operation.
But when though all the dust and heat / He came to Sir Christopher's country-seat,
Editor's note
Sir Christopher has already escaped through the back gate—a cowardly, undignified exit that completely shatters his knightly image. The lady remains behind, gathering flowers in the sunshine, creating a quietly poignant moment amidst the comedy. The marshal arrests her instead, which feels both ridiculous and somewhat sad.
Then as a trusty squire and true / The marshal searched the castle through,
Editor's note
The marshal searches the 'castle' (log cabin) from cellar to attic but finds nothing. He arrests the weeping woman and leads her into town. The sight of her crying while clutching the flowers she had been picking stands out as one of the poem's rare sympathetic moments — she's just collateral damage in a man's deceit.
The governor's heart was moved to see / So fair a creature caught within
Editor's note
Governor Winthrop tries to lecture the woman about sin, but his efforts go nowhere. As a result, he decides to send her back to England to be dealt with by his other two wives. This approach is more bureaucratic than compassionate, and Longfellow observes it with a sense of dry amusement rather than anger.
Meanwhile Sir Christopher wandered away / Through pathless woods for a month and a day,
Editor's note
Sir Christopher hides in the wilderness, impressing the Indigenous people with his fancy clothes until they turn him in for the bounty offered on his head. The term 'noble savage' captures the patronizing language of the time, and Longfellow uses this moment to illustrate that even Sir Christopher's charm comes at a cost.
Alas! it was a rueful sight, / To see this melancholy knight
Editor's note
The captured knight looks a mess — his hat is dented, his plumage is in tatters, his boots are muddy, and his hair is a tangled mess. Yet, he still sports 'an unblushing face,' unwilling to show any shame. In front of the magistrate, he attempts his usual tricks, claiming that colonial laws are too harsh for someone of his status. But it falls flat.
With suavity equal to his own / The governor lent a patient ear
Editor's note
Governor Winthrop outsmarts Sir Christopher by listening politely and then disregarding everything he said. The governor's silence speaks louder than any argument. He sends the knight back to England without offering a single rebuttal — the ultimate snub.
All this the Puritan governor heard, / And deigned in answer never a word;
Editor's note
The expulsion happens quickly and without hesitation. Salem Bay, a ship, and Sir Christopher are gone — hat, popery, and everything. Longfellow's tone feels more satisfied than triumphant; justice is served, but in a subdued manner.
Thus endeth the Rhyme of Sir Christopher, / Knight of the Holy Sepulchre,
Editor's note
The closing couplet delivers the poem's verdict. "Apples of Sodom" refers to a biblical image representing things that appear appealing but are rotten inside — a fitting description of Sir Christopher. "Ropes of sand" suggests something that seems strong but ultimately lacks substance. The mock-medieval phrase "Thus endeth" echoes the opening fanfare and neatly wraps up the entire comic ballad.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
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.
§06Historical context
Historical context
§07FAQ
Questions readers ask
Read next