“Outre-Mer” had been published some time before, with moderate success, but “Hyperion” was destined to attract far more attention. It is first mentioned in his journal on September 13, 1838, though in a way which shows that it had been for some time in preparation, and its gradual development is traceable through the same channel. One entire book, for instance, was written and suppressed, namely, “St. Clair’s Day Book,” the hero having first been christened Hyperion, then St. Clair, and then Paul Flemming. Its author wrote of it, “I called it ‘Hyperion,’ because it moves on high among clouds and stars, and expresses the various aspirations of the soul of man. It is all modelled on this idea, style and all. It contains my cherished thoughts for three years.”[40] The cordiality with which “Hyperion” was received was due partly to the love story supposed to be implied in it, and largely to the new atmosphere of German life and literature which it opened to 125 Americans. It must always be remembered that the kingdom in which Germany then ruled was not then, as now, a kingdom of material force and business enterprise, but as Germans themselves claimed, a kingdom of the air; and into that realm Hyperion gave to Americans the first glimpse. The faults and limitations which we now see in it were then passed by, or visible only to such keen critics as Orestes A. Brownson, who wrote thus of it in “The Boston Quarterly Review,” then the ablest of American periodicals except “The Dial:” “I do not like the book. It is such a journal as a man who reads a great deal makes from the scraps in his table-drawer. Yet it has not the sincerity or quiet touches which give interest to the real journals of very common persons. It is overloaded with prettinesses, many of which would tell well in conversation, but being rather strown over than woven into his narrative, deform where they should adorn. You cannot guess why the book was written, unless because the author were tired of reading these morceaux to himself, for there has been no fusion or fermentation to bring on the hour of utterance. Then to me the direct personal relation in which we are brought to the author is unpleasing. Had he but idealized his tale, or put on the veil of poetry! But as it is, we are embarrassed by his extreme communicativeness, 126 and wonder that a man, who seems in other respects to have a mind of delicate texture, could write a letter about his private life to a public on which he had as yet established no claim.... Indeed this book will not add to the reputation of its author, which stood so fair before its publication.”[41] This is the criticism of which Longfellow placidly wrote, “I understand there is a spicy article against me in the ‘Boston Quarterly.’ I shall get it as soon as I can; for, strange as you may think it, these things give me no pain.”[42]
Mr. Howells, in one of the most ardent eulogies ever written upon the works of Longfellow, bases his admiration largely upon the claim “that his art never betrays the crudeness or imperfection of essay,”—that is, of experiment.[43] It would be interesting to know whether this accomplished author, looking back upon “Hyperion” more than thirty years later, could reindorse this strong assertion. To others, I fancy, however attractive and even fascinating the book may still remain, it has about it a distinctly youthful quality which, while sometimes characterizing even his poetry, unquestionably marked his early prose. A later and younger 127 critic says more truly of it, I think, “Plainly in the style of Richter, with all the mingled grandeur and grotesqueness of the German romanticists, it is scarcely now a favorite with the adult reader; though the young, obedient to some vague embryonic law, still find in it for a season the pleasure, the thrilling melancholy, which their grandfathers found.”[44] But Professor Carpenter, speaking from the point of view of the younger generation, does not fail to recognize that Paul Flemming’s complaints cease when he reads the tombstone inscription which becomes the motto of the book; and I recall with pleasure that, being a youth nurtured on “Hyperion,” I selected that passage for the text of my boyish autobiography written in the Harvard “Class Book” at the juvenile age of seventeen. Dozens of youths were perhaps adopting the motto in the same way at the same time, and it is useless to deny to a book which thus reached youthful hearts the credit of having influenced the whole period of its popularity.
Apart from the personal romance which his readers attached to it, the book had great value as the first real importation into our literature of the wealth of German romance and song. So faithful and ample are its local descriptions that a cheap edition of it is always on sale at 128 Heidelberg, and every English and American visitor to that picturesque old city seems to know the book by heart. Bearing it in his hand, the traveller still climbs the rent summit of the Gesprengte Thurm and looks down upon the throng in the castle gardens; or inquires vainly for the ruined linden-tree, or gives a sigh to the fate of Emma of Ilmenau, and murmurs solemnly,—as a fat and red-faced Englishman once murmured to me on that storied spot,—“That night there fell a star from heaven!” There is no doubt that under the sway of the simpler style now prevailing, much of the rhetoric of “Hyperion” seems turgid, some of its learning obtrusive, and a good deal of its emotion forced; but it was nevertheless an epoch-making book for a generation of youths and maidens, and it still retains its charm. The curious fact, however, remains—a fact not hitherto noticed, I think, by biographers or critics—that at the very time when the author was at work on “Hyperion,” there was a constant reaction in his mind that was carrying him in the direction of more strictly American subjects, handled under a simpler treatment. He wrote on September 13, 1838, “Looked over my notes and papers for ‘Hyperion.’ Long for leisure to begin once more.” It is impossible to say how long a preparation this implies; it may have been months or years. Yet 129 the following letter to a young girl, his wife’s youngest sister, shows how, within less than a year previous, his observation had been again turned towards the American Indians as a theme.
Cambridge, October 29, 1837.
My Dear Margaret,—I was very much delighted with your present of the slippers. They are too pretty to be trodden under foot; yet such is their destiny, and shall be accomplished, as soon as may be. The colors look beautifully upon the drab ground; much more so than on the black. Don’t you think so? I should have answered your note, and sent you my thanks, by Alexander on Wednesday last; but when I last saw him, I had not received the package. Therefore you must not imagine from my delay, that I do not sufficiently appreciate the gift....
There is nothing very new in Boston, which after all is a gossiping kind of Little Peddlington, if you know what that is; if you don’t, you must read the story. People take too much cognizance of their neighbors; interest themselves too much in what no way concerns them. However, it is no great matter.
There are Indians here: savage fellows;—one Black-Hawk and his friends, with naked shoulders and red blankets wrapped about their 130 bodies:—the rest all grease and Spanish brown and vermillion. One carries a great war-club, and wears horns on his head; another had his face painted like a grid-iron, all in bands:—another is all red, like a lobster; and another black and blue, in great daubs of paint laid on not sparingly. Queer fellows!—One great champion of the Fox nation had a short pipe in his mouth, smoking with great self-complacency as he marched out of the City Hall: another was s............