nights out of the seven without taking Washington Irving under my arm; and, when I don’t take him, I take his own brother, Oliver Goldsmith. Washington Irving! Why, of whom but him was I thinking the other day when I came up by the Hog’s Back, the Frying Pan, Hell Gate, and all these places? Why, when, not long ago, I visited Shakespeare’s birthplace, and went beneath the roof where he first saw light, whose name but his was pointed out to me upon the wall? Washington Irving - Diedrich Knickerbocker - Geoffrey Crayon - why, where can you go that they have not been there before? Is there an English farm - is there an English stream, an English city, or an English country-seat, where they have not been? Is there no Bracebridge Hall in existence? Has it no ancient shades or quiet streets?
In bygone times, when Irving left that Hall, he left sitting in an old oak chair, in a small parlour of the Boar’s Head, a little man with a red nose, and an oilskin hat. When I came away he was sitting there still! - not a man like him, but the same man - with the nose of immortal redness and the hat of an undying glaze! Crayon, while there, was on terms of intimacy with a certain radical fellow, who used to go about, with a hatful of newspapers, wofully out at elbows, and with a coat of great antiquity. Why, gentlemen, I know that man - Tibbles the elder, and he has not changed a hair; and, when I came away, he charged me to give his best respects to Washington Irving!
Leaving the town and the rustic life of England - forgetting this man, if we can - putting out of mind the country churchyard and the broken heart - let us cross the water again, and ask who has associated himself most closely with the Italian peasantry and the bandits of the Pyrenees? When the traveller enters his little chamber beyond the Alps - listening to the dim echoes of the long passages and spacious corridors - damp, and gloomy, and cold - as he hears the tempest beating with fury against his window, and gazes at the curtains, dark, and heavy, and covered with mould - and when all the ghost-stories that ever were told come up before him - amid all his thick-coming fancies, whom does he think of? Washington Irving.
Go farther still: go to the Moorish Mountains, sparkling full in the moonlight - go among the water-carriers and the village gossips, living still as in days of old - and who has travelled among them before you, and peopled the Alhambra and made eloquent its shadows? Who awakes there a voice from every hill and in every cavern, and bids legends, which for centuries have slept a dreamless sleep, or watched unwinkingly, start up and pass before you in all their life and glory?
But leaving this again, who embarked with Columbus upon his gallant ship, traversed with him the dark and mighty ocean, leaped upon the land and planted there the flag of Spain, but this same man, now sitting by my side? And being here at home again, who is a more fit companion for money-diggers? and what pen but his has made Rip Van Winkle, playing at ninepins on that thundering afternoon, as much part and parcel of the Catskill Mountains as any tree or crag that they can boast?
But these are topics familiar from my boyhood, and which I am apt to pursue; and lest I should be tempted now to talk too long about them, I will, in conclusion, give you a sentiment, most appropriate, I am sure, in the presence of such writers as Bryant, Halleck, and - but I suppose I must not mention the ladies here -
THE LITERATURE OF AMERICA:
She well knows how to do honour to her own literature and to that of other lands, when she chooses Washington Irving for her representative in the country of Cervantes.
BIOGRAPHY OF WASHINGTON IRVING by Charles Dudley Warner
III. MANHOOD — FIRST VISIT TO EUROPE
VI. LIFE IN EUROPE — LITERARY ACTIVITY
VIII. RETURN TO AMERICA — SUNNYSIDE — THE MISSION TO MADRID
X. LAST YEARS — THE CHARACTER OF HIS LITERATURE
EDITOR’S NOTE
WASHINGTON IRVING, the first biography published in the American Men of Letters Series, came out in December, 1881. It was an expansion of a biographical and critical sketch prefixed to the first volume of a new edition of Irving’s works which began to appear in 1880. It was entitled the Geoffrey Crayon edition, and was in twenty-seven volumes, which were brought out, in most cases, in successive months. The first volume appeared in April. The essay was subsequently published during the same year in a volume entitled “Studies of Irving,” which contained also Bryant’s oration and George P. Putnam’s personal reminiscences.
“The Work of Washington Irving” was published early in August, 1893. Originally it was delivered as a lecture to the Brooklyn Institute of Arts and Sciences on April 3, 1893, the one hundred and tenth anniversary of Irving’s birth.
T. R. L.
I. PRELIMINARY
It is over twenty years since the death of Washington Irving removed that personal presence which is always a powerful, and sometimes the sole, stimulus to the sale of an author’s books, and which strongly affects the contemporary judgment of their merits. It is nearly a century since his birth, which was almost coeval with that of the Republic, for it took place the year the British troops evacuated the city of New York, and only a few months before General Washington marched in at the head of the Continental army and took possession of the metropolis. For fifty years Irving charmed and instructed the American people, and was the author who held, on the whole, the first place in their affections. As he was the first to lift American literature into the popular respect of Europe, so for a long time he was the chief representative of the American name in the world of letters. During this period probably no citizen of the Republic, except the Father of his Country, had so wide a reputation as his namesake, Washington Irving.
It is time to inquire what basis this great reputation had in enduring qualities, what portion of it was due to local and favoring circumstances, and to make an impartial study of the author’s literary rank and achievement.
The tenure of a literary reputation is the most uncertain and fluctuating of all. The popularity of an author seems to depend quite as much upon fashion or whim as upon a change in taste or in literary form. Not only is contemporary judgment often at fault,
