LITR 4232 American Renaissance / Model Assignments

Sample Student Research Project 2015: Essay

Marion Johnson

04/27/2015

The Relevance of the Life and Works of Washington Irving

          Throughout America’s literary history, a myriad of authors and poets have attempted to establish a standard tradition for American Literature. Writers such as Ralph Waldo Emerson, Edgar Allan Poe, Emily Dickinson, and Washington Irving all produced works of great literary merit. Unlike most authors of the time, however, Washington Irving’s works received their best reception while he was still alive. Contemporary critics often seek to dismiss Irving or diminish his accomplishments, and assert that Irving did not measure up to his fellow writers. By denying the merits of Irving’s work, critics are doing him an injustice. As one critic of Irving states, “I judge Irving by his best work, not by his collective works” (Aderman, p.245). Irving may not have retained the lasting fame of Poe or Dickinson, but his stories still remain relevant and are worthy of critical analysis in American classrooms. “Rip Van Winkle” serves as an engaging and imaginative tale that allows discussion over society and its progress, while “The Legend of Sleepy Hollow” raises similar issues for the reader to consider. “Rip Van Winkle” also contains elements of historicism that American readers can appreciate, while “The Legend of Sleepy Hollow” manages to touches upon issues related to the American Revolution as well.  Irving’s works typically contain an element of humor and light-heartedness that other pieces of the time lacked, and made for more entertaining reads than some of the rather serious stories produced in early America. His mock-heroic piece, “A History of New York”, was one of his earliest and most successful satires. With this piece, Irving established himself as a capable satirist, and was able to garner attention for himself and his work. Irving also managed to gain a following among European readers, as he was an American writer who was strongly influenced by his Scottish roots and European ancestry. His relationship with Europe was unique for an American writer, and set him apart from his contemporaries. Writers who knew Irving claimed that “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” (Warner, p.1). To dismiss such an author is a grave mistake, and diminishes Irving’s accomplishments. Irving undoubtedly established himself as a man worth reading in his day, and should receive the same consideration in our modern classrooms. His works can be appreciated by American and European readers alike, as his works contain lasting cultural appeal for both.

          While “Rip Van Winkle” and “The Legend of Sleepy Hollow” are unquestionably Irving’s works, it is important to note that Irving received inspiration for these tales from his European  roots. One critic claims that “And so Irving, the first American literary ambassador to the Old World, did not merely borrow from German sources, but himself inspired younger writers in Germany. Such literary interrelations were a new development…” (Reichart, p.562). The relationship that Irving held between both American and European scholars was noteworthy, as Irving was one of the first Americans who “was indeed our first important literary man to become a backtrailer to Europe in the sense that he consciously exposed himself to literary influences which he regarded as alien”. (Reichart, p.562). Unlike other writers of the period, Irving successfully brought over tales from Europe which he crafted into entertaining literary works for the American public. Attempts by other authors to do the same often fell short, and Irving was regarded by his contemporaries as “the first to lift American literature into the popular respect of Europe…and was the chief representative of the American name in the world of letters” (Warner, p.2) Irving established himself early in his career as a man worthy of respect in both Europe and America, and his success in creating pieces enjoyed by both earned him a distinct place in the literary community. His accomplishments allowed him to reach a broader audience, and appeal to readers beyond his original American audience.

Despite Irving’s appeal to both American and European readers, however, certain aspects of Irving’s works were distinctly American. “Rip Van Winkle”, for instance, touches upon the American Revolution and its aftermath. As Rip first awakens from his slumber, he finds that “Instead of the great tree that used to shelter the quiet little Dutch inn of yore, there now was a tall, naked pole, with something on top that looked like a red night-cap, and from it was fluttering a flag, on which was a singular assemblage of stars and stripes” (Irving, p.19) Rip is startled by the presence of the American flag, which he doesn’t recognize. Even more shocking to Rip is the “ruby face of King George, under which he had smoked so many a peaceful pipe; but even this was singularly metamorphosed. The red coat was changed for one of blue and buff, a sword was held in the hand instead of a scepter, the head was decorated with a cocked hat, and underneath was painted in large letters, GEORGE WASHINGTON” (Irving, p.19) For the readers of the period, the feelings of confusion and uncertainty of the American Revolution are clearly reflected within Irving’s work. While Irving isn’t outright endorsing either side of the American Revolution, he manages to acknowledge the anxiety that was present in American society. To modern readers, “Rip Van Winkle” makes the context of the Revolution more relatable and understandable. The satirical nature of Irving’s work allows him to comment upon the changes in society that Irving observed without receiving negative criticism. Anyone in Rip’s shoes would feel uncertain, regardless of whether they were a red coat or a revolutionary.

“The Legend of Sleepy Hollow” also touches upon the American Revolution, and additionally deals with the financial upheaval of its aftermath. Irving himself stated that “I would not again experience the anxious days and sleepless nights which have been my lot since I have taken hold of business” (Letters 1:432). One critic claims that “The Legend of Sleepy Hollow” acts as “a crucial barometer for understanding the increasingly ‘nervous’ and ‘anxious’ form of masculinity emerging in the period leading up to and following the financial panic of 1819, the first wide-spread crisis in American history and a watershed moment in the nation’s growing awareness of it’s own complex and often uneasy relationship to commerce” (Anthony, p.112) “The Legend of Sleepy Hollow” indeed carries elements of unease and fear, while Irving describes Ichabod Crane as enduring “All the stories of ghosts and goblins that he had heard in the afternoon, now came crowding upon his recollection. The night grew darker and darker; the stars seemed to sink deeper in the sky, and driving cloud occasionally hid from his sight. He had never felt so lonely and dismal”(Irving, p.32) “The Legend of Sleepy Hollow” touches frequently upon the gothic, and draws upon Ichabod’s uncertainty to add to the tense atmosphere of the tale. In addition to being an entertaining and suspenseful tale, Irving’s piece undoubtedly served as a cathartic tale for the readers of the period who were dealing with anxiety and confusion similar to Ichabod’s. The story manages to maintain its humorous elements, but manages to transcend merely being a satirical piece. The horsemen haunting the villagers serves as a reminder of the deaths incurred during the American Revolution, and asks the reader to consider the horseman’s origins. The “haunted Hessian” is a relic of warfare, and the implications of being haunted by such a horseman isn’t lost on the reader. Warfare has consequences, with anxiety, guilt, and fear being the primary by-product.

While evaluating Irving’s works, the biggest mistake that critics make  is dismissing Irving’s worth after comparing him to author’s like Poe. One such critic claims that “Irving, however, did not possess that virile creative imagination which was Poe’s most conspicuous characteristic. Irving’s plumet could never reach the depths of horror which the imaginative genius of Poe sounded again and again, in his grotesque and weird tales” (Bowen, p.171). This comparison falls short, however, because of the two different styles that the author’s employed within their works. While Poe drew mostly from the Gothic elements present in Romanticism, Irving ventured into lighter areas of Romanticism such as nostalgia and beauty. Irving’s works contain elements of the gothic, but the satirical and humorous nature of his tales excludes the gothic from being the central focus of his works. Additionally, the two author’s had different intentions with their works. Irving wasn’t concerned with being an “imaginative genius”, rather, his focus was primarily to entertain his readers with relatable and culturally inspired tales. As one contemporary of Irving put it, “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, but posterity is perpetually revising it’s opinion” (Warner, p.5) While modern critics may attempt to lessen Irving’s credibility, it is apparent that Irving was undeniably a success, whom even his contemporaries foresaw as a writer potentially prone to modern prejudice. Discrediting Irving by comparing him to fellow authors is a practice that should be discontinued, as Irving undeniably produced successful works that managed to appeal to a vast and receptive audience.

Part of Irving’s wide spread appeal was his ability to successfully create satire that could be enjoyed by his readers. As Deborah Jane points out, Irving did not have a “Satirist’s handbook...[he]  derived his early literary impulses from temperament, from eighteenth century books, from travel, from the art of letter writing” (Jane, p.4).  As such, Irving was largely independent of satirical influence from other writers. His first successful satire was “Diedrich Knickerbocker’s History of New York”, with which Irving intended to “comprise a comic history of New York” (Jane, p.45). With this goal in mind, Irving drew upon various sources to complete his work. His sources came from “writers from the bible to New England Historians” (Jane, p.45) The variety of inspiration that Irving received allowed him to produce a successfully entertaining piece, that garnered him appeal throughout America, and especially within New York. As Jane states, “In the History, even in the most powerful attacks on Jefferson, Irving allows his persona to present all the ideas, with the result that the account can be read sensibly on the historical level alone. Irving at last found the persona to answer all his requirements.” (Jane, p.46). Not only did Irving manage to create an entreating persona that successfully projected his ideas, but he also managed to create another piece with historical relevance. The modern reader could still pick up “Diedrich Knickerbocker’s History of New York” and be entertained and informed by it. Irving also demonstrates his mastery of language with the piece, as “the action is described so vividly that the reader is able to envision it as if he were there at the time. Even more indicative of Irving’s skill are the sensuous descriptions which enable the reader to see, hear, and feel as the narrarator himself did” (Jane, p.44) Though the “History of New York” isn’t as known to modern readers as “Rip Van Winkle” or “The Legend of Sleepy Hollow”, it is undeniably a literary piece worthy of attention and respect by students of American literature. With the “History of New York”, Irving provided his readers with an informative and entertaining read.

Overall, Washington Irving managed to carve a place for himself in America’s literary history through his richly imaginative and historically filled works, his masterful use of humor and satire, and his ability to draw upon European influences. The early nation of America often sought to separate itself from its European roots, while Irving demonstrated that retaining a relationship with Europe was essential to creating masterful and enduring works. Irving was loved by his American and European readers alike, and served as a wonderful entertainer for both. The historical elements of his works give them lasting appeal, as modern readers are still able to learn about their own past through Irving’s pieces. Attempts to discredit Irving fall short, as the works Irving produced maintain relevance and their ability to entertain. “Rip Van Winkle” and “Sleepy Hollow” continue to inspire the imaginations of adults and children alike, and deserve a place among modern students of early American Literature. Removing Irving from literary study would be a great disservice to his readers, and a mistake by scholars. As an established man of letters, Irving’s works can also be appreciated through his mastery of language alone. Washington Irving remains a relevant and inspirational writer, whose works should continue to entertain and instruct future generations to come.   

Bibliography

Anthony, David. ""Gone Distracted": "Sleepy Hollow," Gothic Masculinity, and the Panic of 1819." Early American Literature 40.1 (2005): 111-44. Web.

Bergmann, Frank. "Critical Essays on Washington Irving." New York History 72.2 (1991): 243-45. Web.

Irving, Washington. The Legend of Sleepy Hollow. New York: Perfection Learning, 2007. Print.

Irving, Washington. Rip Van Winkle New York: Perfection Learning, 2007. Print.

Jane, Deborah. The Development of Satire in the Early Works of Washington Irving. Thesis. Wyoming, 1964. Ann Arbor: n.p., 1964. Print.

Reichart, Walter. "Washington Irving and Germany." The Journal of English and German Philosophy 57.3 (1958): 562-64. Web.

Warner, Charles D. Washington Irving. Boston: Mifflin Candy, 1881. Print.

"Great Star" flag of pre-Civil War USA