An Incident of the Fire at Hamburg by James Russell Lowell

The Great Fire of Hamburg in 1842 is a genuine historical event, and the destruction of Saint Nicholas church is well-documented. It's unclear if Herman is a real person from history or a character created by Lowell, possibly based on a true story he heard. Lowell likely came across reports of the fire in newspapers and might have modeled Herman after someone real, but the poem should be appreciated as a literary retelling rather than a piece of journalism.

The lengthy opening description is impactful. When the fire finally arrives, you perceive the tower as something ancient, alive, and irreplaceable — almost like a character. If Lowell had gone directly to the fire, the destruction would come across as just a news story. Instead, it resonates as a true loss. This description also portrays the tower as a creation of genuine faith, making Herman's final act seem like a continuation of the spirit that built it.

It's the poem's central interpretive move. In Exodus, God parts the Red Sea to allow the Israelites to escape Egypt and reach the promised land. Herman observes the fire encircling him and recognizes a similar pattern: a 'red sea' (the color is both literal and symbolic), a faithful person facing mortal danger, and a God who creates a way through. For Herman, that way doesn’t lead to physical safety but to heaven — his 'promised land.' This comparison shifts his death from a defeat to a crossing.

Lowell is using 'sublime' in its older, more specific sense — a quality of greatness so powerful it goes beyond ordinary human experience. In 19th-century aesthetics, the sublime was linked to immense, awe-inspiring natural forces (like storms, mountains, and fires) that evoked a sense of wonder rather than mere fear. Herman's heart soaring to meet the moment is itself sublime: he matches the magnitude of the catastrophe with the depth of his faith.

Lowell depicts the fire as a morally corrupt entity — almost like a villain. By crossing onto consecrated ground, it becomes more than just destructive; it's unholy, a trespasser in sacred space. This perspective enhances the moral contrast between the fire's 'lustful' hunger and Herman's serene devotion. It also elevates the stakes: this isn't merely a natural disaster; it feels like an attack on faith itself.

This hymn is a Lutheran song of praise, well-suited to Hamburg's largely Protestant culture. Lowell's decision to use a communal hymn instead of a personal prayer is noteworthy: even when isolated in his crumbling tower, Herman's final act is one of collective worship, sending forth a song intended for a congregation. The bells spread the hymn across the burning city, transforming his death into a statement of faith rather than a solitary moment of devotion.

Almost every description of the fire uses terms typically associated with the sea: 'surge,' 'flood,' 'billows,' 'breakers,' 'eddying,' 'red sea.' This choice is intentional. It establishes the Exodus connection right from the first fire stanza, preparing the reader to interpret the fire in that context by the time Herman mentions the Red Sea. This language also gives the fire a sense of being overwhelming and primal—something to navigate with faith rather than fight against.

Lowell often revisited themes of faith in times of pressure, moral courage, and the connection between nature and human spirituality. His later works, especially his anti-slavery writings, reflect a deep respect for those who stand by their beliefs despite significant costs. This poem serves as an early illustration of that theme: it features a solitary character facing a devastating force and choosing to act with integrity instead of prioritizing self-preservation.