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.
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 medaled 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 reechoed 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, or 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
