Complete Fictional Works of Washington Irving (Illustrated) (475 page)

“Confiding in you, sir, and in the worthy generals immediately under your command, we have the most flattering hopes of success in the glorious struggle for American liberty, and the fullest assurances that
whenever this important contest shall be decided by that fondest wish of each American soul, an accommodation with our mother country, you will cheerfully resign the important deposit committed into your hands, and reassume the character of our worthiest citizen
.”

The following was Washington’s reply, in behalf of himself and his generals, to this part of the address.

“As to the fatal, but necessary operations of war, when we assumed the soldier, we did not lay aside the citizen; and we shall most sincerely rejoice with you in that happy hour, when the establishment of American liberty on the most firm and solid foundations, shall enable us to return to our private stations, in the bosom of a free, peaceful, and happy country.”

The landing of Governor Tryon took place about eight o’clock in the evening. The military honors were repeated; he was received with great respect by the mayor and common council, and transports of loyalty by those devoted to the crown. It was unknown what instructions he had received from the ministry, but it was rumored that a large force would soon arrive from England, subject to his directions. At this very moment a ship of war, the Asia, lay anchored opposite the city; its grim batteries bearing upon it, greatly to the disquiet of the faint-hearted among its inhabitants.

In this situation of affairs Washington was happy to leave such an efficient person as General Schuyler in command of the place. According to his instructions, the latter was to make returns once a month, and oftener, should circumstances require it, to Washington, as commander-in-chief, and to the Continental Congress, of the forces under him, and the state of his supplies; and to send the earliest advices of all events of importance. He was to keep a wary eye on Colonel Guy Johnson, and to counteract any prejudicial influence he might exercise over the Indians. With respect to Governor Tryon, Washington hinted at a bold and decided line of conduct. “If forcible measures are judged necessary respecting the person of the governor, I should have no difficulty in ordering them, if the Continental Congress were not sitting; but as that is the case,
and the seizing of a governor quite a new thing
, I must refer you to that body for direction.”

Had Congress thought proper to direct such a measure, Schuyler certainly would have been the man to execute it.

At New York, Washington had learned all the details of the battle of Bunker’s Hill; they quickened his impatience to arrive at the camp. He departed, therefore, on the 26th, accompanied by General Lee, and escorted as far as Kingsbridge, the termination of New York Island, by Markoe’s Philadelphia light horse, and several companies of militia.

In the mean time the provincial Congress of Massachusetts, then in session at Watertown, had made arrangements for the expected arrival of Washington. According to a resolve of that body, the president’s house in Cambridge, excepting one room reserved by the president for his own use, was to be taken, cleared, prepared, and furnished for the reception of the Commander-in-Chief and General Lee. The Congress had likewise sent on a deputation which met Washington at Springfield, on the frontiers of the province, and provided escorts and accommodations for him along the road. Thus honorably attended from town to town, and escorted by volunteer companies and cavalcades of gentlemen, he arrived at Watertown on the 2d of July, where he was greeted by Congress with a congratulatory address, in which, however, was frankly stated the undisciplined state of the army he was summoned to command. An address of cordial welcome was likewise made to General Lee.

The ceremony over, Washington was again in the saddle; and, escorted by a troop of light horse and a cavalcade of citizens, proceeded to the headquarters provided for him at Cambridge, three miles distant. As he entered the confines of the camp the shouts of the multitude and the thundering of artillery gave note to the enemy beleaguered in Boston of his arrival.

His military reputation had preceded him and excited great expectations. They were not disappointed. His personal appearance, notwithstanding the dust of travel, was calculated to captivate the public eye. As he rode through the camp, amidst a throng of officers, he was the admiration of the soldiery and of a curious throng collected from the surrounding country. Happy was the countryman who could get a full view of him to carry home an account of it to his neighbors. “I have been much gratified this day with a view of General Washington,” writes a contemporary chronicler, “His excellency was on horseback, in company with several military gentlemen. It was not difficult to distinguish him from all others. He is tall and well-proportioned, and his personal appearance truly noble and majestic.” [Footnote: Thacher. — Military Journal.]

The fair sex were still more enthusiastic in their admiration, if we may judge from the following passage of a letter written by the intelligent and accomplished wife of John Adams to her husband: “Dignity, ease, and complacency, the gentleman and the soldier, look agreeably blended in him. Modesty marks every line and feature of his face. Those lines of Dryden instantly occurred to me:

’Mark his majestic fabric! He’s a temple
Sacred by birth, and built by hands divine;
His soul’s the deity that lodges there;
Nor is the pile unworthy of the God.’”

With Washington, modest at all times, there was no false excitement on the present occasion; nothing to call forth emotions of self-glorification. The honors and congratulations with which he was received, the acclamations of the public, the cheerings of the army, only told him how much was expected from him; and when he looked round upon the raw and rustic levies he was to command, “a mixed multitude of people, under very little discipline, order, or government,” scattered in rough encampments about hill and dale, beleaguering a city garrisoned by veteran troops, with ships of war anchored about its harbor, and strong outposts guarding it, he felt the awful responsibility of his situation, and the complicated and stupendous task before him. He spoke of it, however, not despondingly nor boastfully and with defiance; but with that solemn and sedate resolution, and that hopeful reliance on Supreme Goodness, which belonged to his magnanimous nature. The cause of his country, he observed, had called him to an active and dangerous duty, but
he trusted that Divine Providence, which wisely orders the affairs of men, would enable him to discharge it with fidelity and success
. [Footnote: Letter to Governor Trumbull. — Sparks, iii., 31.]

An extract from ‘The Spirit of the Age’

So Mr. Charles Lamb and Mr. Washington Irvine choose to designate themselves; and as their lucubrations under one or other of these
noms de guerre
have gained considerable notice from the public, we shall here attempt to discriminate their several styles and manner, and to point out the beauties and defects of each in treating of somewhat similar subjects.

Mr. Irvine is, we take it, the more popular writer of the two, or a more general favourite: Mr. Lamb has more devoted, and perhaps more judicious partisans. Mr. Irvine is by birth an American, and has, as it were,
skimmed the cream
, and taken off patterns with great skill and cleverness, from our best known and happiest writers, so that their thoughts and almost their reputation are indirectly transferred to his page, and smile upon us from another hemisphere, like “the pale reflex of Cynthia’s brow:” he succeeds to our admiration and our sympathy by a sort of prescriptive title and traditional privilege. Mr. Lamb, on the contrary, being “native to the manner here,” though he too has borrowed from previous sources, instead of availing himself of the most popular and admired, has groped out his way, and made his most successful researches among the more obscure and intricate, though certainly not the least pithy or pleasant of our writers. Mr. Washington Irvine has culled and transplanted the flowers of modern literature, for the amusement of the general reader: Mr. Lamb has raked among the dust and cobwebs of a more remote period, has exhibited specimens of curious relics, and pored over moth-eaten, decayed manuscripts, for the benefit of the more inquisitive and discerning part of the public. Antiquity after a time has the grace of novelty, as old fashions revived are mistaken for new ones; and a certain quaintness and singularity of style is an agreeable relief to the smooth and insipid monotony of modern composition. Mr. Lamb has succeeded not by conforming to the
Spirit of the Age
, but in opposition to it. He does not march boldly along with the crowd, but steals off the pavement to pick his way in the contrary direction. He prefers
bye-ways
to
highways
. When the full tide of human life pours along to some festive shew, to some pageant of a day, Elia would stand on one side to look over an old bookstall, or stroll down some deserted pathway in search of a pensive inscription over a tottering doorway, or some quaint device in architecture, illustrative of embryo art and ancient manners. Mr. Lamb has the very soul of an antiquarian, as this implies a reflecting humanity; the film of the past hovers for ever before him. He is shy, sensitive, the reverse of every thing coarse, vulgar, obtrusive, and
commonplace
. He would fain “shuffle off this mortal coil”, and his spirit clothes itself in the garb of elder time, homelier, but more durable. He is borne along with no pompous paradoxes, shines in no glittering tinsel of a fashionable phraseology; is neither fop nor sophist. He has none of the turbulence or froth of new-fangled opinions. His style runs pure and clear, though it may often take an underground course, or be conveyed through old-fashioned conduit-pipes. Mr. Lamb does not court popularity, nor strut in gaudy plumes, but shrinks from every kind of ostentatious and obvious pretension into the retirement of his own mind.

“The self-applauding bird, the peacock see: —
Mark what a sumptuous pharisee is he!
Meridian sunbeams tempt him to unfold
His radiant glories, azure, green, and gold:
He treads as if, some solemn music near,
His measured step were governed by his ear:
And seems to say — Ye meaner fowl, give place,
I am all splendour, dignity, and grace!
Not so the pheasant on his charms presumes,
Though he too has a glory in his plumes.
He, christian-like, retreats with modest mien
To the close copse or far sequestered green,
And shines without desiring to be seen.”

These lines well describe the modest and delicate beauties of Mr. Lamb’s writings, contrasted with the lofty and vainglorious pretensions of some of his contemporaries. This gentleman is not one of those who pay all their homage to the prevailing idol: he thinks that

“New-born gauds are made and moulded of things past.”

nor does he

“Give to dust that is a little gilt
More laud than gilt o’er-dusted.”

His convictions “do not in broad rumour lie,” nor are they “set off to the world in the glistering foil” of fashion; but “live and breathe aloft in those pure eyes, and perfect judgment of all-seeing
time
.” Mr. Lamb rather affects and is tenacious of the obscure and remote: of that which rests on its own intrinsic and silent merit; which scorns all alliance, or even the suspicion of owing any thing to noisy clamour, to the glare of circumstances. There is a fine tone of
chiaro-scuro
, a moral perspective in his writings. He delights to dwell on that which is fresh to the eye of memory; he yearns after and covets what soothes the frailty of human nature. That touches him most nearly which is withdrawn to a certain distance, which verges on the borders of oblivion: — that piques and provokes his fancy most, which is hid from a superficial glance. That which, though gone by, is still remembered, is in his view more genuine, and has given more “vital signs that it will live,” than a thing of yesterday, that may be forgotten tomorrow. Death has in this sense the spirit of life in it; and the shadowy has to our author something substantial in it. Ideas savour most of reality in his mind; or rather his imagination loiters on the edge of each, and a page of his writings recals to our fancy the
stranger
on the grate, fluttering in its dusky tensity, with its idle superstition and hospitable welcome!

Mr. Lamb has a distaste to new faces, to new books, to new buildings, to new customs. He is shy of all imposing appearances, of all assumptions of self-importance, of all adventitious ornaments, of all mechanical advantages, even to a nervous excess. It is not merely that he does not rely upon, or ordinarily avail himself of them; he holds them in abhorrence, he utterly abjures and discards them, and places a great gulph between him and them. He disdains all the vulgar artifices of authorship, all the cant of criticism, and helps to notoriety. He has no grand swelling theories to attract the visionary and the enthusiast, no passing topics to allure the thoughtless and the vain. He evades the present, he mocks the future. His affections revert to, and settle on the past, but then, even this must have something personal and local in it to interest him deeply and thoroughly; he pitches his tent in the suburbs of existing manners; brings down the account of character to the few straggling remains of the last generation; seldom ventures beyond the bills of mortality, and occupies that nice point between egotism and disinterested humanity. No one makes the tour of our southern metropolis, or describes the manners of the last age, so well as Mr. Lamb — with so fine, and yet so formal an air — with such vivid obscurity, with such arch piquancy, such picturesque quaintness, such smiling pathos. How admirably he has sketched the former inmates of the South-Sea House; what “fine fretwork he makes of their double and single entries!” With what a firm, yet subtle pencil he has embodied
Mrs. Battle’s Opinions on Whist
! How notably he embalms a battered
beau
; how delightfully an amour, that was cold forty years ago, revives in his pages! With what well-disguised humour he introduces us to his relations, and how freely he serves up his friends! Certainly, some of his portraits are
fixtures
, and will do to hang up as lasting and lively emblems of human infirmity. Then there is no one who has so sure an ear for “the chimes at midnight”, not even excepting Mr. Justice Shallow; nor could Master Silence himself take his “cheese and pippins” with a more significant and satisfactory air. With what a gusto Mr. Lamb describes the inns and courts of law, the Temple and Gray’s-Inn, as if he had been a student there for the last two hundred years, and had been as well acquainted with the person of Sir Francis Bacon as he is with his portrait or writings! It is hard to say whether St. John’s Gate is connected with more intense and authentic associations in his mind, as a part of old London Wall, or as the frontispiece (time out of mind) of the Gentleman’s Magazine. He haunts Watling-street like a gentle spirit; the avenues to the play-houses are thick with panting recollections, and Christ’s-Hospital still breathes the balmy breath of infancy in his description of it! Whittington and his Cat are a fine hallucination for Mr. Lamb’s historic Muse, and we believe he never heartily forgave a certain writer who took the subject of Guy Faux out of his hands. The streets of London are his fairyland, teeming with wonder, with life and interest to his retrospective glance, as it did to the eager eye of childhood; he has contrived to weave its tritest traditions into a bright and endless romance!

Mr. Lamb’s taste in books is also fine, and it is peculiar. It is not the worse for a little
idiosyncrasy
. He does not go deep into the Scotch novels, but he is at home in Smollett and Fielding. He is little read in Junius or Gibbon, but no man can give a better account of Burton’s Anatomy of Melancholy, or Sir Thomas Brown’s Urn-Burial, or Fuller’s Worthies, or John Bunyan’s Holy War. No one is more unimpressible to a specious declamation; no one relishes a recondite beauty more. His admiration of Shakespear and Milton does not make him despise Pope; and he can read Parnell with patience, and Gay with delight. His taste in French and German literature is somewhat defective: nor has he made much progress in the science of Political Economy or other abstruse studies, though he has read vast folios of controversial divinity, merely for the sake of the intricacy of style, and to save himself the pain of thinking. Mr. Lamb is a good judge of prints and pictures. His admiration of Hogarth does credit to both, particularly when it is considered that Leonardo da Vinci is his next greatest favourite, and that his love of the
actual
does not proceed from a want of taste for the
ideal
. His worst fault is an over-eagerness of enthusiasm, which occasionally makes him take a surfeit of his highest favourites. — Mr. Lamb excels in familiar conversation almost as much as in writing, when his modesty does not overpower his self-possession. He is as little of a proser as possible; but he
blurts
out the finest wit and sense in the world. He keeps a good deal in the background at first, till some excellent conceit pushes him forward, and then he abounds in whim and pleasantry. There is a primitive simplicity and self-denial about his manners; and a Quakerism in his personal appearance, which is, however, relieved by a fine Titian head, full of dumb eloquence! Mr. Lamb is a general favourite with those who know him. His character is equally singular and amiable. He is endeared to his friends not less by his foibles than his virtues; he insures their esteem by the one, and does not wound their self-love by the other. He gains ground in the opinion of others, by making no advances in his own. We easily admire genius where the diffidence of the possessor makes our acknowledgment of merit seem like a sort of patronage, or act of condescension, as we willingly extend our good offices where they are not exacted as obligations, or repaid with sullen indifference. — The style of the Essays of Elia is liable to the charge of a certain
mannerism
. His sentences are cast in the mould of old authors; his expressions are borrowed from them; but his feelings and observations are genuine and original, taken from actual life, or from his own breast; and he may be said (if any one can) “to have coined his heart for
jests
,” and to have split his brain for fine distinctions! Mr. Lamb, from the peculiarity of his exterior and address as an author, would probably never have made his way by detached and independent efforts; but, fortunately for himself and others, he has taken advantage of the Periodical Press, where he has been stuck into notice, and the texture of his compositions is assuredly fine enough to bear the broadest glare of popularity that has hitherto shone upon them. Mr. Lamb’s literary efforts have procured him civic honours (a thing unheard of in our times), and he has been invited, in his character of ELIA, to dine at a select party with the Lord Mayor. We should prefer this distinction to that of being poet-laureat. We would recommend to Mr. Waithman’s perusal (if Mr. Lamb has not anticipated us) the
Rosamond Gray
and the
John Woodvil
of the same author, as an agreeable relief to the noise of a city feast, and the heat of city elections. A friend, a short time ago, quoted some lines from the last-mentioned of these works, which meeting Mr. Godwin’s eye, he was so struck with the beauty of the passage, and with a consciousness of having seen it before, that he was uneasy till he could recollect where, and after hunting in vain for it in Ben Jonson, Beaumont and Fletcher, and other not unlikely places, sent to Mr. Lamb to know if he could help him to the author!

Mr. Washington Irvine’s acquaintance with English literature begins almost where Mr. Lamb’s ends, — with the Spectator, Tom Brown’s works, and the wits of Queen Anne. He is not bottomed in our elder writers, nor do we think he has tasked his own faculties much, at least on English ground. Of the merit of his
Knickerbocker
, and New York stories, we cannot pretend to judge. But in his
Sketch-book
and
Bracebridge-Hall
he gives us very good American copies of our British Essayists and Novelists, which may be very well on the other side of the water, and as proofs of the capabilities of the national genius, but which might be dispensed with here, where we have to boast of the originals. Not only Mr. Irvine’s language is with great taste and felicity modelled on that of Addison, Sterne, Goldsmith, or Mackenzie; but the thoughts and sentiments are taken at the rebound, and as they are brought forward at the present period, want both freshness and probability. Mr. Irvine’s writings are literary
anachronisms
. He comes to England for the first time; and being on the spot, fancies himself in the midst of those characters and manners which he had read of in the Spectator and other approved authors, and which were the only idea he had hitherto formed of the parent country. Instead of looking round to see what
we are
, he sets to work to describe us as
we were
— at second hand. He has Parson Adams, or Sir Roger de Coverley in his “
mind’s eye
”; and he makes a village curate, or a country ‘squire in Yorkshire or Hampshire sit to these admired models for their portraits in the beginning of the nineteenth century. Whatever the ingenious author has been most delighted with in the representations of books, he transfers to his portfolio, and swears that he has found it actually existing in the course of his observation and travels through Great Britain. Instead of tracing the changes that have taken place in society since Addison or Fielding wrote, he transcribes their account in a different handwriting, and thus keeps us stationary, at least in our most attractive and praiseworthy qualities of simplicity, honesty, hospitality, modesty, and good-nature. This is a very flattering mode of turning fiction into history, or history into fiction; and we should scarcely know ourselves again in the softened and altered likeness, but that it bears the date of 1820, and issues from the press in Albemarle-street. This is one way of complimenting our national and Tory prejudices; and coupled with literal or exaggerated portraits of
Yankee
peculiarities, could hardly fail to please. The first Essay in the
Sketch-book
, that on National Antipathies, is the best; but after that, the sterling ore of wit or feeling is gradually spun thinner and thinner, till it fades to the shadow of a shade. Mr. Irvine is himself, we believe, a most agreeable and deserving man, and has been led into the natural and pardonable error we speak of, by the tempting bait of European popularity, in which he thought there was no more likely method of succeeding than by imitating the style of our standard authors, and giving us credit for the virtues of our forefathers.