through an Italian gallery with her daughter stopped before a bust of Washington. The daughter said, “Mother, who was Washington?” “Why, my dear, don’t you know?” was the astonished reply. “He wrote the ‘Sketch-Book.’” It was at the house of Baron von Humboldt, the Prussian minister, that Irving first met Madame de Stael, who was then enjoying the celebrity of “Delphine.” He was impressed with her strength of mind, and somewhat astounded at the amazing flow of her conversation, and the question upon question with which she plied him.
In May the wanderer was in Paris, and remained there four months, studying French and frequenting the theaters with exemplary regularity. Of his life in Paris there are only the meagerest reports, and he records no observations upon political affairs. The town fascinated him more than any other in Europe; he notes that the city is rapidly beautifying under the emperor, that the people seem gay and happy, and ‘Vive la bagatelle!’ is again the burden of their song. His excuse for remissness in correspondence was, “I am a young man and in Paris.”
By way of the Netherlands he reached London in October, and remained in England till January. The attraction in London seems to have been the theater, where he saw John Kemble, Cooke, and Mrs. Siddons. Kemble’s acting seemed to him too studied and over-labored; he had the disadvantage of a voice lacking rich bass tones. Whatever he did was judiciously conceived and perfectly executed; it satisfied the head, but rarely touched the heart. Only in the part of Zanga was the young critic completely overpowered by his acting, — Kemble seemed to have forgotten himself. Cooke, who had less range than Kemble, completely satisfied Irving as Iago. Of Mrs. Siddons, who was then old, he scarcely dares to give his impressions lest he should be thought extravagant. “Her looks,” he says, “her voice; her gestures, delighted me. She penetrated in a moment to my heart. She froze and melted it by turns; a glance of her eye, a start, an exclamation, thrilled through my whole frame. The more I see her, the more I admire her. I hardly breathe while she is on the stage. She works up my feelings till I am like a mere child.” Some years later, after the publication of the “Sketch-Book,” in a London assembly Irving was presented to the tragedy queen, who had left the stage, but had not laid aside its stately manner. She looked at him a moment, and then in a deep-toned voice slowly enunciated, “You’ve made me weep.” The author was so disconcerted that he said not a word, and retreated in confusion. After the publication of “Bracebridge Hall” he met her in company again, and was persuaded to go through the ordeal of another presentation. The stately woman fixed her eyes on him as before, and slowly said, “You ‘ve made me weep again.” This time the bashful author acquitted himself with more honor.
This first sojourn abroad was not immediately fruitful in a literary way, and need not further detain us. It was the irresolute pilgrimage of a man who had not yet received his vocation. Everywhere he was received in the best society, and the charm of his manner and his ingenuous nature made him everywhere a favorite. He carried that indefinable passport which society recognizes and which needs no ‘visee.’ He saw the people who were famous, the women whose recognition is a social reputation; he made many valuable friends; he frequented the theater, he indulged his passion for the opera; he learned how to dine, and to appreciate the delights of a brilliant salon; he was picking up languages; he was observing nature and men, and especially women. That he profited by his loitering experience is plain enough afterward, but thus far there is little to prophesy that Irving would be anything more in life than a charming ‘flaneur.’
IV. SOCIETY AND “SALMAGUNDI”
On Irving’s return to America in February, 1806, with reestablished health, life did not at first take on a more serious purpose. He was admitted to the bar, but he still halted. — [Irving once illustrated his legal acquirements at this time by the relation of the following anecdote to his nephew: Josiah Ogden Hoffman and Martin Wilkins, an effective and witty advocate, had been appointed to examine students for admission. One student acquitted himself very lamely, and at the supper which it was the custom for the candidates to give to the examiners, when they passed upon their several merits, Hoffman paused in coming to this one, and turning to Wilkins said, as if in hesitation, “though all the while intending to admit him, Martin, I think he knows a little law.”—”Make it stronger, Jo,” was the reply; “d —— d little.”] — Society more than ever attracted him and devoured his time. He willingly accepted the office of “champion at the tea-parties;” he was one of a knot of young fellows of literary tastes and convivial habits, who delighted to be known as “The Nine Worthies,” or “Lads of Kilkenny.” In his letters of this period I detect a kind of callowness and affectation which is not discernible in his foreign letters and journal.
These social worthies had jolly suppers at the humble taverns of the city, and wilder revelries in an old country house on the Passaic, which is celebrated in the “Salmagundi” papers as Cockloft Hall. We are reminded of the change of manners by a letter of Mr. Paulding, one of his comrades, written twenty years after, who recalls to mind the keeper of a porter house, “who whilom wore a long coat, in the pockets whereof he jingled two bushels of sixpenny pieces, and whose daughter played the piano to the accompaniment of broiled oysters.” There was some affectation of roistering in all this; but it was a time of social good-fellowship, and easy freedom of manners in both sexes. At the dinners there was much sentimental and bacchanalian singing; it was scarcely good manners not to get a little tipsy; and to be laid under the table by the compulsory bumper was not to the discredit of a guest. Irving used to like to repeat an anecdote of one of his early friends, Henry Ogden, who had been at one of these festive meetings. He told Irving the next day that in going home he had fallen through a grating which had been carelessly left open, into a vault beneath. The solitude, he said, was rather dismal at first, but several other of the guests fell in, in the course of the evening, and they had, on the whole, a pleasant night of it.
These young gentlemen liked to be thought “sad dogs.” That they were less abandoned than they pretended to be the sequel of their lives shows among Irving’s associates at this time who attained honorable consideration were John and Gouverneur Kemble, Henry Brevoort, Henry Ogden, James K. Paulding, and Peter Irving. The saving influence for all of them was the refined households they frequented and the association of women who were high-spirited without prudery, and who united purity and simplicity with wit, vivacity, and charm of manner. There is some pleasant correspondence between Irving and Miss Mary Fairlie, a belle of the time, who married the tragedian, Thomas A. Cooper; the “fascinating Fairlie,” as Irving calls her, and the Sophie Sparkle of the “Salmagundi.” Irving’s susceptibility to the charms and graces of women — a susceptibility which continued always fresh — was tempered and ennobled by the most chivalrous admiration for the sex as a whole. He placed them on an almost romantic pinnacle, and his actions always conformed to his romantic ideal, although in his writings he sometimes adopts the conventional satire which was more common fifty years ago than now. In a letter to Miss Fairlie, written from Richmond, where he was attending the trial of Aaron Burr, he expresses his exalted opinion of the sex. It was said in accounting for the open sympathy of the ladies with the prisoner that Burr had always been a favorite with them; “but I am not inclined,” he writes, “to account for it in so illiberal a manner; it results from that merciful, that heavenly disposition, implanted in the female bosom, which ever inclines in favor of the accused and the unfortunate. You will smile at the high strain in which I have indulged; believe me, it is because I feel it; and I love your sex ten times better than ever.” — [An amusing story in connection with this Richmond visit illustrates the romantic phase of Irving’s character. Cooper, who was playing at the theater, needed small-clothes for one of his parts; Irving lent him a pair, — knee breeches being still worn, — and the actor carried them off to Baltimore. From that city he wrote that he had found in the pocket an emblem of love, a mysterious locket of hair in the shape of a heart. The history of it is curious: when Irving sojourned at Genoa, he was much taken with the beauty of a young Italian lady, the wife of a Frenchman. He had never spoken with her, but one evening before his departure he picked up from the floor her handkerchief which she had dropped, and with more gallantry than honesty carried it off to Sicily. His pocket was picked