Washington Irving by Charles Dudley Warner

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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 mould, 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
others 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.

When the "Sketch-Book" appeared, an English critic said it should have
been first published in England, for Irving was an English writer. The
idea has been more than once echoed here. The truth is that while Irving
was intensely American in feeling he was first of all a man of letters,
and in that capacity he was cosmopolitan; he certainly was not insular.
He had a rare accommodation of tone to his theme. Of England, whose
traditions kindled his susceptible fancy, he wrote as Englishmen would
like to write about it. In Spain he was saturated with the romantic
story of the people and the fascination of the clime; and he was so true
an interpreter of both as to earn from the Spaniards the title of "the
poet Irving." I chanced once, in an inn at Frascati, to take up "The
Tales of a Traveller," which I had not seen for many years. I expected
to revive the somewhat faded humor and fancy of the past generation.
But I found not only a sprightly humor and vivacity which are modern,
but a truth to Italian local color that is very rare in any writer
foreign to the soil. As to America, I do not know what can be more
characteristically American than the Knickerbocker, the Hudson River
tales, the sketches of life and adventure in the far West. But
underneath all this diversity there is one constant quality,--the flavor
of the author. Open by chance and read almost anywhere in his score of
books,--it may be the "Tour on the Prairies," the familiar dream of the
Alhambra, or the narratives of the brilliant exploits of New World
explorers; surrender yourself to the flowing current of his transparent
style, and you are conscious of a beguilement which is the crowning
excellence of all lighter literature, for which we have no word but
"charm."

The consensus of opinion about Irving in England and America for thirty
years was very remarkable. He had a universal popularity rarely enjoyed
by any writer. England returned him to America medalled by the king,
honored by the university which is chary of its favors, followed by the
applause of the whole English people. In English households, in
drawing-rooms of the metropolis, in political circles no less than among
the literary coteries, in the best reviews, and in the popular
newspapers the opinion of him was pretty much the same. And even in the
lapse of time and the change of literary fashion authors so unlike as
Byron and Dickens were equally warm in admiration of him. To the English
indorsement America added her own enthusiasm, which was as universal.
His readers were the million, and all his readers were admirers. Even
American statesmen, who feed their minds on food we know not of, read
Irving. It is true that the uncritical opinion of New York was never
exactly re-echoed in the cool recesses of Boston culture; but the
magnates of the "North American Review" gave him their meed of cordial
praise. The country at large put him on a pinnacle. If you attempt to
account for the position he occupied by his character, which won the
love of all men, it must be remembered that the quality which won this,
whatever its value, pervades his books also.

And yet it must be said that the total impression left upon the mind by
the man and his works is not that of the greatest intellectual force. I
have no doubt that this was the impression he made upon his ablest
contemporaries. And this fact, when I consider the effect the man
produced, makes the study of him all the more interesting. As an
intellectual personality he makes no such impression, for instance, as
Carlyle, or a dozen other writers now living who could be named. The
incisive critical faculty was almost entirely wanting in him. He had
neither the power nor the disposition to cut his way transversely across
popular opinion and prejudice that Ruskin has, nor to draw around him
disciples equally well pleased to see him fiercely demolish to-day what
they had delighted to see him set up yesterday as eternal. He evoked
neither violent partisanship nor violent opposition. He was an extremely
sensitive man, and if he had been capable of creating a conflict he
would only have been miserable in it. The play of his mind depended upon
the sunshine of approval. And all this shows a certain want of
intellectual virility.

A recent anonymous writer has said that most of the writing of our day
is characterized by an intellectual strain. I have no doubt that this
will appear to be the case to the next generation. It is a strain to say
something new even at the risk of paradox, or to say something in a new
way at the risk of obscurity. From this Irving was entirely free. There
is no visible straining to attract attention. His mood is calm and
unexaggerated. Even in some of his pathos, which is open to the
suspicion of being "literary," there is no literary exaggeration. He
seems always writing from an internal calm, which is the necessary
condition of his production. If he wins at all by his style, by his
humor, by his portraiture of scenes or of character, it is by a gentle
force, like that of the sun in spring. There are many men now living, or
recently dead, intellectual prodigies, who have stimulated thought,
upset opinions, created mental eras, to whom Irving stands hardly in as
fair a relation as Goldsmith to Johnson. What verdict the next
generation will put upon their achievements I do not know; but it is
safe to say that their position and that of Irving as well will depend
largely upon the affirmation or the reversal of their views of life and
their judgments of character. I think the calm work of Irving will stand
when much of the more startling and perhaps more brilliant intellectual
achievement of this age has passed away.

And this leads me to speak of Irving's moral quality, which I cannot
bring myself to exclude from a literary estimate, even in the face of
the current gospel of art for art's sake. There is something that made
Scott and Irving personally loved by the millions of their readers, who
had only the dimmest of ideas of their personality. This was some
quality perceived in what they wrote. Each one can define it for
himself; there it is, and I do not see why it is not as integral a part
of the authors--an element in the estimate of their future position--as
what we term their intellect, their knowledge, their skill, or their
art. However you rate it, you cannot account for Irving's influence in
the world without it. In his tender tribute to Irving, the great-hearted
Thackeray, who saw as clearly as anybody the place of mere literary art
in the sum total of life, quoted the dying words of Scott to
Lockhart,--"Be a good man, my dear." We know well enough that the great
author of "The Newcomes" and the great author of "The Heart of
Midlothian" recognized the abiding value in literature of integrity,
sincerity, purity, charity, faith. These are beneficences; and Irving's
literature, walk round it and measure it by whatever critical
instruments you will, is a beneficent literature. The author loved good
women and little children and a pure life; he had faith in his
fellow-men, a kindly sympathy with the lowest, without any subservience
to the highest; he retained a belief in the possibility of chivalrous
actions, and did not care to envelop them in a cynical suspicion; he was
an author still capable of an enthusiasm.* His books are wholesome, full
of sweetness and charm, of humor without any sting, of amusement without
any stain; and their more solid qualities are marred by neither pedantry
nor pretension.

*Transcriber's note: Word printed as "enthusiam" in original text.

Washington Irving died on the 28th of November, 1859, at the close of a
lovely day of that Indian Summer which is nowhere more full of a
melancholy charm than on the banks of the lower Hudson, and which was in
perfect accord with the ripe and peaceful close of his life. He was
buried on a little elevation overlooking Sleepy Hollow and the river he
loved, amidst the scenes which his magic pen has made classic and his
sepulchre hallows.

* * * * *

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