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 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 some. thing 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