Criticism never angered Irving. Personal attacks (of which he had his share) were suffered with quiet dignity. He rarely defended himself, and then only when the attack was outrageous. He could speak pointedly if the need were. His reply to William Leggett, who accused him in ‘The Plain Dealer’ of ‘literary pusillanimity’ and double dealing, is a model of effectiveness. One paragraph will show its quality. Imputing no malevolence to Leggett, who doubtless acted from honest feelings hastily excited by a misapprehension of the facts, Irving says: ‘You have been a little too eager to give an instance of that “plain dealing” which you have recently adopted as your war-cry. Plain dealing, sir, is a great merit when accompanied by magnanimity, and exercised with a just and generous spirit; but if pushed too far, and made the excuse for indulging every impulse of passion or prejudice, it may render a man, especially in your situation, a very offensive, if not a very mischievous member of the community.’ Something may be known of a man by observing his attitude at the approach of old age. Irving’s beautiful serenity was characteristic. People were kind to him, but he thought their kindness extraordinary. He wondered whether old gentlemen were becoming fashionable. III THE WRITER Irving’s prose is distinguished for grace and sweetness. It is unostentatious, natural, easy. At its best it comes near to being a model of good prose. The most striking effects are produced by the simplest means. Never does the writer appear to be searching for an out-of-the-way term. He accepts what lies at hand. The word in question is almost obvious and often conventional, but invariably apt. For a writer who produced so much the style is remarkably homogeneous. It is an exaggeration to speak of it as overcharged with color. There are passages of much splendor, but Irving’s taste was too refined to admit of his indulging in rhetorical excesses. Nor is the style quite so mellifluous as it seemed to J. W. Croker, who said: ‘I can no more go on all day with one of his [Irving’s] books than I could go on all day sucking a sugar-plum.’ The truth is that Irving is one of the most human and companionable of writers, and his English is just the sort to prompt one to go on all day with him. Yet there is a want of ruggedness, the style is almost too perfectly controlled. It lacks the strength and energy born of deep thought and passionate conviction, and it must be praised (as it may be without reserve) for urbanity and masculine grace. IV EARLY WORK _KNICKERBOCKER’S HISTORY_, _SKETCH BOOK_, _BRACEBRIDGE HALL_, _TALES OF A TRAVELLER_