A History of American Literature. Boynton Percy Holmes
not university products. Bryant withdrew from Williams College at the end of the first year, and Cooper from Yale toward the end of the second. The real education of these two and of Irving, who did not even enter college, was in the world of action rather than in the world of books, and their associates were for the most part men of affairs.
WASHINGTON IRVING
Many of the facts about the boyhood and youth of Washington Irving (1783–1859) are typical of his place and his period as well as true of himself. The first is that he was born (in New York City) of British-American parents, his father a Scotch Presbyterian from the Orkney Islands and his mother an Englishwoman. His father’s rigid religious views dominated in the upbringing of himself and his six brothers and sisters. Two nearly inevitable results followed: one, that as a boy he grew to believe that almost everything that was enjoyable was wicked, and the other, that as he came toward manhood he was particularly fond of the pleasures of life. A boy of his capacities in Boston at this time would have been more than likely to go to Harvard College, which was a dominating influence in eastern Massachusetts, but King’s College (Columbia) occupied no such position in New York. Irving’s higher education began in a law office, and then, when his health seemed to be failing, was continued by travel abroad. The long journey, or series of journeys, that he took from 1804 to 1806 were of the greatest importance. They were important to Irving because he was peculiarly fitted to get the greatest good from such informal education. He was an attractive young fellow, so that it was easy for him to make and to hold friends; and he was blessed with his father’s moral balance, so that he did not fall into bad habits. He was so far inclined to laziness that it is doubtful if he would have achieved much if he had gone to college, but he was wide-awake and receptive, so that he absorbed information wherever he went. Furthermore, he had a mind as well as a memory, and he came back to America stocked not merely with a great lot of miscellaneous facts but with a real knowledge of human nature and of human life.
From the day of his return to New York in 1806 to the day of his death, in 1859, Washington Irving had an international point of view and developed steadily into an international character. His first piece of writing was that of a very young man, but a young man of promise. Like the other Americans of his day he had read a good deal of English literature written in the eighteenth century; and among the essayists of that century who had attracted his attention one was Oliver Goldsmith. New York supplied him with his subjects and Goldsmith with his method of attack, for he wrote, in company with one of his brothers and a mutual friend, a series of amusing criticisms on the ways of his townsmen, modeling his Salmagundi Papers after Goldsmith’s Citizen of the World. This was at once independent and imitative. The youthful authors blithely announced in their introductory number that they proposed to “instruct the young, reform the old, correct the town, and castigate the age.” In the twenty-two papers that came out at irregular intervals between January, 1807, and January, 1808, they criticized everything that struck their attention, and they had their eyes wide open. The American love of display, the inclination to indulge in fruitless discussion which made the country a “logocracy” rather than a democracy, the lack of both judgment and order which marked their political elections, and their social and literary fashions make just a beginning of the list of subjects held up to genial ridicule. Yet, though the criticism was fair and to the point, it was an old-fashioned kind of comment, the kind that England had been feeding on for the better part of a century, ever since Addison and Steele had made it popular in the Tatler and the Spectator. Moreover, it was done in an old-fashioned way, for in making Mustapha Rub-a-Dub Keli Khan, the Tripolitan, the foreign commentator on American life as he saw it with a stranger’s eyes, they were using a device that was old even before it was employed by the Englishman from whom they borrowed it. The Salmagundis are interesting, however, as early representatives of a longish succession of satires on the life of New York, all pleasant and rather pleasantly superficial. Three years later Irving, this time alone, followed up this initial success with his “Knickerbocker’s History of New York,” not as serious a piece of work as its title at first suggests, for it was a burlesque of a heavy and pretentious history on the same subject which had appeared just before. Like the Salmagundis it was vivacious and impertinent, the very clever work of a very young man.
Now for ten years Washington Irving produced nothing as a writer. He was engaged in business with his brothers, and proved himself the most level-headed member of a pretty unbusinesslike combination. In 1815, in connection with one of their many ambitious and unsuccessful schemes, he went abroad, probably without the least suspicion that he would be absent from his own country for seventeen years and that he would return to it as a celebrated writer widely read in two continents. The first step toward his wider reputation came in 1819 with the publication in London of “The Sketch Book,” the best known of all his works. This was followed in 1822 by “Bracebridge Hall” and in 1824 by “Tales of a Traveller,” both similar in tone and contents to “The Sketch Book.” With a reputation as a graceful writer of sketches and stories now thoroughly established, he turned to a more substantial and ambitious form of work in the composition of “The History of the Life and Voyages of Christopher Columbus,” living and writing in Madrid for the two years before its publication in 1828; and this book he followed quickly, as in the case of “The Sketch Book,” with two other productions of the same kind – “The Conquest of Granada” in 1829 and “The Voyages and Discoveries of the Companions of Columbus” in 1831. For three years before his return to America, Irving served as Secretary of Legation to the court of St. James, London, and then came back to enjoy at home a popularity which had been almost wholly earned abroad. Out of his career thus far four main facts deserve attention. First, that his literary work began with two pieces of social satire, written in a boyish, jovial manner which he largely abandoned in later years; second, that his fame was established on works of “The Sketch Book” type, made up of short units, gracefully written, and full of quiet humor and tender sentiment (now and again he continued in this sort of composition up to the end of his life); third, that in his maturer years he resorted to the writing of formal history, and that he followed the first three studies, done in Spain, with “Oliver Goldsmith” in 1849, “Mahomet and his Successors” in 1850, and “The Life of Washington,” completed in 1859, the year of his death. To these literary facts should be added a fourth which is both literary and political and of no small significance in history – the fact of Irving’s appointment to a post in the foreign diplomatic service. This was to be followed in his own life by his four years as Minister to Spain in 1842–1846, under President Harrison, and in the next fifty years by a distinguished list of other appointments to the consular and diplomatic staffs. No single group has done more to bring honor to the United States in the courts of Europe during the nineteenth century than writers like Irving, Hawthorne, Motley, Howells, Bayard Taylor, Lowell, Hay, and their successors down to Thomas Nelson Page and Brand Whitlock.
To return to “The Sketch Book.” By 1818, three years after Irving had gone abroad for the second time, the business in which he had been engaged with his brothers had utterly failed, and he was forced to regard writing not merely as an attractive way of diverting himself but as a possible source of income. The new articles which he then wrote, together with many which had been accumulating in the leisure of his years in England, were soon ready for publication, but they found no English publisher ready to risk putting them out. Even the powerful influence of Sir Walter Scott, Irving’s cordial friend, could not prevail at first with John Murray, “the prince of publishers.” In 1819 Sidney Smith’s contemptuous and famous query, “Who reads an American book?” was fairly representative of the English-reading public. Murray was interested in Irving’s manuscript, but did not see any prospect of selling enough books to justify the risk of publication. Irving had wanted the indorsement of Murray’s imprint to offset the severity of the kind of English criticism deplored years earlier by John Trumbull (see p. 111). As soon, however, as the sketches were printed in New York in a set of seven modest installments, the attention of English readers was attracted to them, and Irving heard rumors that a “pirated” English edition was to appear. There was no international copyright in those days, and no adequate one until as late as 1899; so that a book printed on one side of the Atlantic was fair game for anyone who chose to steal it on the other. If an author wanted his works to appear correctly and to get his full money return for them, it was necessary for him to go through all the details of publishing independently