Complete Fictional Works of Washington Irving (Illustrated) (501 page)

These passages from the most characteristic of Irving’s books do not by any means exhaust his variety, but they afford a fair measure of his purely literary skill, upon which his reputation must rest. To my apprehension this “charm” in literature is as necessary to the amelioration and enjoyment of human life as the more solid achievements of scholarship. That Irving should find it in the prosaic and materialistic conditions of the New World as well as in the tradition-laden atmosphere of the Old, is evidence that he possessed genius of a refined and subtle quality, if not of the most robust order.

X. LAST YEARS — THE CHARACTER OF HIS LITERATU
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The last years of Irving’s life, although full of activity and enjoyment, — abated only by the malady which had so long tormented him, — offer little new in the development of his character, and need not much longer detain us. The calls of friendship and of honor were many, his correspondence was large, he made many excursions to scenes that were filled with pleasant memories, going even as far south as Virginia, and he labored assiduously at the “Life of Washington,” — attracted, however, now and then, by some other tempting theme. But his delight was in the domestic circle at Sunnyside. It was not possible that his occasional melancholy vein should not be deepened by change and death and the lengthening shade of old age. Yet I do not know the closing days of any other author of note that were more cheerful, serene, and happy than his. Of our author, in these latter days, Mr. George William Curtis put recently into his “Easy Chair” papers an artistically touched little portrait. “Irving was as quaint a figure,” he says, “as the Diedrich Knickerbocker in the preliminary advertisement of the ‘History of New York.’ Thirty years ago he might have been seen on an autumnal afternoon tripping with an elastic step along Broadway, with ‘low-quartered’ shoes neatly tied, and a Talma cloak — a short garment that lung from the shoulders like the cape of a coat. There was a chirping, cheery, old-school air in his appearance which was undeniably Dutch, and most harmonious with the associations of his writing. He seemed, indeed, to have stepped out of his own books; and the cordial grace and humor of his address, if he stopped for a passing chat, were delightfully characteristic. He was then our most famous man of letters, but he was simply free from all self-consciousness and assumption and dogmatism.” Congenial occupation was one secret of Irving’s cheerfulness and contentment, no doubt. And he was called away as soon as his task was done, very soon after the last volume of the “Washington” issued from the press. Yet he lived long enough to receive the hearty approval of it from the literary men whose familiarity with the Revolutionary period made them the best judges of its merits.

He had time also to revise his works. It is perhaps worthy of note that for several years, while he was at the height of his popularity, his books had very little sale. From 1842 to 1848 they were out of print; with the exception of some stray copies of a cheap Philadelphia edition, and a Paris collection (a volume of this, at my hand, is one of a series entitled a “Collection of Ancient and Modern British Authors”), they were not to be found. The Philadelphia publishers did not think there was sufficient demand to warrant a new edition. Mr. Irving and his friends judged the market more wisely, and a young New York publisher offered to assume the responsibility. This was Mr. George P. Putnam. The event justified his sagacity and his liberal enterprise. From July, 1848, to November, 1859, the author received on his copyright over eighty-eight thousand dollars. And it should be added that the relations between author and publisher, both in prosperity and in times of business disaster, reflect the highest credit upon both. If the like relations always obtained, we should not have to say, “May the Lord pity the authors in this world, and the publishers in the next.”

I have outlined the life of Washington Irving in vain, if we have not already come to a tolerably clear conception of the character of the man and of his books. If I were to follow his literary method exactly, I should do nothing more. The idiosyncrasies of the man are the strength and weakness of his works. I do not know any other author whose writings so perfectly reproduce his character, or whose character may be more certainly measured by his writings. His character is perfectly transparent: his predominant traits were humor and sentiment; his temperament was gay with a dash of melancholy; his inner life and his mental operations were the reverse of complex, and his literary method is simple. He felt his subject, and he expressed his conception not so much by direct statement or description as by almost imperceptible touches and shadings here and there, by a diffused tone and color, with very little show of analysis. Perhaps it is a sufficient definition to say that his method was the sympathetic. In the end the reader is put in possession of the luminous and complete idea upon which the author has been brooding, though he may not be able to say exactly how the impression has been conveyed to him; and I doubt if the author could have explained his sympathetic process. He certainly would have lacked precision in any philosophical or metaphysical theme, and when, in his letters, he touches upon politics, there is a little vagueness of definition that indicates want of mental grip in that direction. But in the region of feeling his genius is sufficient to his purpose; either when that purpose is a highly creative one, as in the character and achievements of his Dutch heroes, or merely that of portraiture, as in the “Columbus” and the “Washington.” The analysis of a nature so simple and a character so transparent as Irving’s, who lived in the sunlight and had no envelope of mystery, has not the fascination that attaches to Hawthorne.

Although the direction of his work as a man of letters was largely determined by his early surroundings, — that is, by his birth in a land void of traditions, and into a society without much literary life, so that his intellectual food was of necessity a foreign literature that was at the moment becoming a little antiquated in the land of its birth, and his warm imagination was forced to revert to the past for that nourishment which his crude environment did not offer, — yet he was by nature a retrospective man. His face was set towards the past, not towards the future. He never caught the restlessness of this century, nor the prophetic light that shone in the faces of Coleridge, Shelley, and Keats; if he apprehended the stir of the new spirit, he still, by mental affiliation, belonged rather to the age of Addison than to that of Macaulay. And his placid, retrospective, optimistic strain pleased a public that were excited and harrowed by the mocking and lamenting of Lord Byron, and, singularly enough, pleased even the great pessimist himself.

His writings induce to reflection; to quiet musing, to tenderness for tradition; they amuse, they entertain, they call a check to the feverishness of modern life; but they are rarely stimulating or suggestive. They are better adapted, it must be owned, to please the many than the critical few, who demand more incisive treatment and a deeper consideration of the problems of life. And it is very fortunate that a writer who can reach the great public and entertain it can also elevate and refine its tastes, set before it high ideas, instruct it agreeably, and all this in a style that belongs to the best literature. It is a safe model for young readers; and for young readers there is very little in the overwhelming flood of to-day that is comparable to Irving’s books, and especially, it seems to me, because they were not written for children.

Irving’s position in American literature, or in that of the English tongue, will be determined only by the slow settling of opinion, which no critic can foretell, and the operation of which no criticism seems able to explain. I venture to believe, however, that the verdict will not be in accord with much of the present prevalent criticism. The service that he rendered to American letters no critic disputes; nor is there any question of our national indebtedness to him for investing a crude and new land with the enduring charms of romance and tradition. In this respect, our obligation to him is that of Scotland to Scott and Burns; and it is an obligation due only, in all history, to here and there a fortunate creator to whose genius opportunity is kind. The Knickerbocker Legend and the romance with which Irving has invested the Hudson are a priceless legacy; and this would remain an imperishable possession in popular tradition if the literature creating it were destroyed. This sort of creation is unique in modern times. New York is the Knickerbocker city; its whole social life remains colored by his fiction; and the romantic background it owes to him in some measure supplies to it what great age has given to European cities. This creation is sufficient to secure for him an immortality, a length of earthly remembrance that all the rest of his writings together might not give.

Irving was always the literary man; he had the habits, the idiosyncrasies, of his small genus. I mean that he regarded life not from the philanthropic, the economic, the political, the philosophic, the metaphysic, the scientific, or the theologic, but purely from the literary point of view. He belongs to that small class of which Johnson and Goldsmith are perhaps as good types as any, and to which America has added very few. The literary point of view is taken by few in any generation; it may seem to the world of very little consequence in the pressure of all the complex interests of life, and it may even seem trivial amid the tremendous energies applied to immediate affairs; but it is the point of view that endures; if its creations do not mold human life, like the Roman law, they remain to charm and civilize, like the poems of Horace. You must not ask more of them than that. This attitude toward life is defensible on the highest grounds. A man with Irving’s gifts has the right to take the position of an observer and describer, and not to be called on for a more active participation in affairs than he chooses to take. He is doing the world the highest service of which he is capable, and the most enduring it can receive from any man. It is not a question whether the work of the literary man is higher than that of the reformer or the statesman; it is a distinct work, and is justified by the result, even when the work is that of the humorist only. We recognize this in the case of the poet. Although Goethe has been reproached for his lack of sympathy with the liberalizing movement of his day (as if his novels were quieting social influences), it is felt by this generation that the author of “Faust” needs no apology that he did not spend his energies in the effervescing politics of the German states. I mean, that while we may like or dislike the man for his sympathy or want of sympathy, we concede to the author the right of his attitude; if Goethe had not assumed freedom from moral responsibility, I suppose that criticism of his aloofness would long ago have ceased. Irving did not lack sympathy with humanity in the concrete; it colored whatever he wrote. But he regarded the politics of his own country, the revolutions in France, the long struggle in Spain, without heat; and he held aloof from projects of agitation and reform, and maintained the attitude of an observer, regarding the life about him from the point of view of the literary artist, as he was justified in doing.

Irving had the defects of his peculiar genius, and these have no doubt helped to fix upon him the complimentary disparagement of “genial.” He was not aggressive; in his nature he was wholly unpartisan, and full of lenient charity; and I suspect that his kindly regard of the world, although returned with kindly liking, cost him something of that respect for sturdiness and force which men feel for writers who flout them as fools in the main. Like Scott, he belonged to the idealists, and not to the realists, whom our generation affects. Both writers stimulate the longing for something better. Their creed was short: “Love God and honor the King.” It is a very good one for a literary man, and might do for a Christian. The supernatural was still a reality in the age in which they wrote. Irving’s faith in God and his love of humanity were very simple; I do not suppose he was much disturbed by the deep problems that have set us all adrift. In every age, whatever is astir, literature, theology, all intellectual activity, takes one and the same drift, and approximates in color. The bent of Irving’s spirit was fixed in his youth, and he escaped the desperate realism of this generation, which has no outcome, and is likely to produce little that is noble.

I do not know how to account, on principles of culture which we recognize, for our author’s style. His education was exceedingly defective, nor was his want of discipline supplied by subsequent desultory application. He seems to have been born with a rare sense of literary proportion and form; into this, as into a mold, were run his apparently lazy and really acute observations of life. That he thoroughly mastered such literature as he fancied there is abundant evidence; that his style was influenced by the purest English models is also apparent. But there remains a large margin for wonder how, with his want of training, he could have elaborated a style which is distinctively his own, and is as copious, felicitous in the choice of words, flowing, spontaneous, flexible, engaging, clear, and as little wearisome when read continuously in quantity as any in the English tongue. This is saying a great deal, though it is not claiming for him the compactness, nor the robust vigor, nor the depth of thought, of many other masters in it. It is sometimes praised for its simplicity. It is certainly lucid, but its simplicity is not that of Benjamin Franklin’s style; it is often ornate, not seldom somewhat diffuse, and always exceedingly melodious. It is noticeable for its metaphorical felicity. But it was not in the sympathetic nature of the author, to which I just referred, to come sharply to the point. It is much to have merited the eulogy of Campbell that he had “added clarity to the English tongue.” This elegance and finish of style (which seems to have been as natural to the man as his amiable manner) is sometimes made his reproach, as if it were his sole merit, and as if he had concealed under this charming form a want of substance. In literature form is vital. But his case does not rest upon that. As an illustration his “Life of Washington” may be put in evidence. Probably this work lost something in incisiveness and brilliancy by being postponed till the writer’s old age. But whatever this loss, it is impossible for any biography to be less pretentious in style, or less ambitious in proclamation. The only pretension of matter is in the early chapters, in which a more than doubtful genealogy is elaborated, and in which it is thought necessary to Washington’s dignity to give a fictitious importance to his family and his childhood, and to accept the southern estimate of the hut in which he was born as a “mansion.” In much of this false estimate Irving was doubtless misled by the fables of Weems. But while he has given us a dignified portrait of Washington, it is as far as possible removed from that of the smileless prig which has begun to weary even the popular fancy. The man he paints is flesh and blood, presented, I believe, with substantial faithfulness to his character; with a recognition of the defects of his education and the deliberation of his mental operations; with at least a hint of that want of breadth of culture and knowledge of the past, the possession of which characterized many of his great associates; and with no concealment that he had a dower of passions and a temper which only vigorous self-watchfulness kept under. But he portrays, with an admiration not too highly colored, the magnificent patience, the courage to bear misconstruction, the unfailing patriotism, the practical sagacity, the level balance of judgment combined with the wisest toleration, the dignity of mind, and the lofty moral nature which made him the great man of his epoch. Irving’s grasp of this character; his lucid marshaling of the scattered, often wearisome and uninteresting details of our dragging, unpicturesque Revolutionary War; his just judgment of men; his even, almost judicial, moderation of tone; and his admirable proportion of space to events, render the discussion of style in reference to this work superfluous. Another writer might have made a more brilliant performance: descriptions sparkling with antitheses, characters projected into startling attitudes by the use of epithets; a work more exciting and more piquant, that would have started a thousand controversies, and engaged the attention by daring conjectures and attempts to make a dramatic spectacle; a book interesting and notable, but false in philosophy, and untrue in fact.