Chapter VI: Evangeline, Hiawatha, Miles Standish, Tales of a Wayside Inn

_Evangeline_ and _Hiawatha_ mark the climax of Longfellow’s contemporary popularity and may be regarded as the principal bulwarks of his fame. There is an anecdote to the effect that Hawthorne, to whom the subject of Evangeline was proposed, was not attracted by it, while Longfellow seized on it eagerly. Such was the divergence of their genius. Longfellow’s mind always sought the fair uplands of thought, checkered with alternate sunshine and shadow; it did not willingly traverse deep ravines, gloomy and mysterious, or haunted groves such as those about which Hawthorne’s spirit loved to keep. The instinct which led the one poet to reject the narrative was as infallible as that which led the other to appropriate it.

The tale of Acadie is engrossing in its very nature, and whether told in prose or verse must always invite, even chain, the attention. It is dramatic without being melodramatic. The characters are not mere ‘persons’ of the drama, they are types. Evangeline will always stand for something more than the figure of an unhappy Acadian girl bereft of her lover. As Longfellow has painted her, she is the incarnation of beauty, devotion, maidenly pride, self-abnegation. So too of the other characters, Gabriel, old Basil, Benedict; each has that added strength which a character conceived dramatically is bound to have if it shall prove typical as well.

Longfellow gave himself little anxiety about the historic difficulties of the Acadian question. It was enough for him that these unhappy people were carried away from their homes and that much misery ensued. He painted the French Neutrals as a romancer must. Father Felician was not sketched from the Abbé Le Loutre, nor was life in the actual Grand Pré altogether idyllic.

_Evangeline_ aroused interest in French-American history. For example, Whewell wrote to Bancroft to say that he feared Longfellow had some historical basis for the story and to ask for information.

In the Plymouth idyl of the choleric little captain who believed that the way to get a thing well done was to do it one’s self, and who exemplified his theory by having his secretary make a proposal of marriage for him, Longfellow made one of his most fortunate strokes. _The Courtship of Miles Standish_ showed the poetic possibilities in the harsh, dry annals of early colonial life. The wonder is that so few adventurers have cared to follow the path indicated.

Bound up with the story of Priscilla and John Alden is a handful of poems to which Longfellow gave the collective title of ‘Birds of Passage.’ Here are several fine examples of his art: ‘The Warden of the Cinque-Ports,’ ‘Haunted Houses,’ ‘The Jewish Cemetery at Newport,’ ‘Oliver Basselin,’ ‘Victor Galbraith,’ ‘My Lost Youth,’ ‘The Discoverer of the North Cape,’ and ‘Sandalphon.’ It is a question whether in these eight poems we have not a small but well-nigh perfect Longfellow anthology. Certainly no selection of his writings can pretend to be characteristic which does not contain them.

_Hiawatha_ was not intended for a poetic commentary on the manners and customs of the North American Indians, though that impression sometimes obtains. It is a free handling of Ojibway legends drawn from Schoolcraft’s _Algic Researches_ and supplemented by other accounts of Indian life. The grossness of the red man’s character, his cruelty, his primitive views of cleanliness, are wisely kept in the background, and his noble and picturesque qualities brought to the front. The psychology is extremely simple. This Indian edda must be enjoyed for its atmosphere of the forest, its childlike spirit, and its humor. Hiawatha was a friend of animals (when he was not their enemy), and understood them even better than writers of modern nature-books. One does not need to be young again to enjoy the account of Hiawatha’s fishing in company with his friend the squirrel. The sturgeon swallows them both, and the squirrel helps Hiawatha get the canoe crossways in the fish, a timely service in recognition of which (after both have been rescued) he receives the honorable name of Tail-in-air. In fact, the poem abounds in observations of animal life which as yet await the sanction of John Burroughs.

Taking a series of poems on the half-real, half-mythical King Olaf, adding thereto a group of contrasting tales from Spanish, Italian, Jewish, and American sources, assigning each narrative to an appropriate character, binding the whole together with an Introduction, Interludes, and a Conclusion, Longfellow produced the genial _Tales of a Wayside Inn_. The device of the poem is old, but it can always be given a new turn. Adapted to prose as well as verse, it may be used ‘in little,’ as Hardy has done in _A Few Crusted Characters_, or in larger form, as in _A Group of Noble Dames_.

No secret was made of the fact that the ‘Wayside Inn’ was the ‘Red Horse Inn’ of Sudbury, Massachusetts, or that the characters, the Sicilian, the Poet, the Student, the Spanish Jew, the Musician, and the Theologian, were real people, friends of Longfellow.[34]

The reader who takes up _Tales of a Wayside Inn_ knows by instinct that he may not look for the broad and leisurely treatment, the wealth of beauty and harmony, which characterize _The Earthly Paradise_ of Morris. That need not, however, prevent him from enjoying the _Tales_ on quite sufficient grounds. The poems are often too brief; some are mere anecdotes ‘finished just as they are fairly begun.’ We are prepared for a more generous treatment.

Though not written for that complex and formidable entity ‘the child-mind,’ two poems in the collection, ‘Paul Revere’s Ride’ and ‘King Robert of Sicily,’ are beloved of school-children and dear to the amateur elocutionist. The most original of the tales is ‘The Saga of King Olaf,’ drawn from the _Heimskringla_, and appropriately put into the lips of the Musician. It is a poem redolent of the sea and the forest. The theme was congenial to Longfellow, who loved ‘the misty world of the north, weird and wonderful.’

Prompted by the good fortune of _Tales of a Wayside Inn_, the poet was led to make additions to it. A second part appeared in _Three Books of Song_, a third part in _Aftermath_. With these fifteen additional tales the three parts were then collected into a single volume.