equals him in the variety, if not in the force of his humor. After the evidence of Mr. Irving's powers afforded by the last quoted passage, he must in future be true to his own reputation throughout and correct the habits of indolence which so considerable a part of the Tales of a Traveler' evince. The indulgence which he so fairly deserved at the outset, as an ingenious stranger intuitively proficient in the style and ideas of the mother country, must now cease, and he must be considered in future as not only admitted to the full freedom and privileges of the English guild of authorship, but amenable also at the same time, as an experienced craftsman, to its most vigorous statutes. We may congratulate

him on the rank which he has already gained, of which the momentary caprice of the public can not long deprive him; and with hearty good will, playfully, but we hope not profanely, we exclaim, as we part with him, 'Very pleasant hast thou been to me, my brother Jonathan.'"

-London Quarterly Review.

6. LIFE AND VOYAGES OF CHRISTOPHER COLUMBUS, 1828.

"This is one of those works which are at the same time the delight of the readers and the despair of the critics. It is as nearly perfect as any work can well be; and there is therefore little or nothing left for the reviewer but to write at the bottom of every page, as Voltaire said he should be obliged to do if he published a commentary on Racine: Pulchré! bene! optimé! . . . He has at length filled up the void that existed, in this respect, in the literature of the world, and produced a work which will fully satisfy the public and supersede the necessity of any future labors in the same field.

In treating this happy and splendid subject, Mr. Irving has brought out the full force of his genius, as far as a just regard for the principles of historical writing would admit."-North American Review (1829).

"Not merely will the book be familiarly known and referred to some twenty or thirty years hence, and pass in solid binding into every considerable collection, but it will supersede all former works on the same subject, and never be itself superseded." -Lord Jeffrey, in The Edinburgh Review (1828).

"As historian, Irving stands in the front rank. His life of Columbus has all kinds of merit-research, critical judgment, interest in the narrative, picturesque description, and golden style; exquisite in the melody of its cadences and its choice of of words." -George Bancroft, in an address deliv

7. CHRONICLE OF THE CONQUEST OF GRANADA, from the MSS. of Fray Antonio Agapeda, 1829.

"Mr. Irving's late publication, 'The Chronicle of the Conquest of Granada,' has superseded all further necessity for poetry, and, unfortunately for me, for history. He has fully availed himself of all the picturesque and animating movement of this romantic era. The fictitious and

romantic dress of his work has enabled him to make it the medium for reflecting more vividly the floating opinions and chimerical fancies of the age, while he has illuminated the picture with the dramatic brilliancy of coloring denied to sober history."-Prescott's Ferdinand and Isabella” (2nd edition, 1856).

"His chronicle at times wears almost the air of romance; yet the story is authenticated by frequent reference to existing documents, proving that he has substantial foundation for his most extraordinary incidents."-London Quarterly Review.

8. THE ALHAMBRA, 1832.

"All the works published previously to The Alhambra' would excel it in variety -none in the richness of its subjects. The Alhambra' is a sketch book, not in Spain, but in Granada; and within Granada again, the author, like the 'legendary tailor' he speaks of, scarcely steps across the threshold of a palace or its precincts.

"The stories are partly legendary and partly historical; of the latter class, those relating to the unhappy Boabdil are the most interesting. Of the legendary and fabulous portion, all are Moorish, and several deserve to be Arabian. The Three Beautiful Princesses,-Zayda, Zorayda, and Zorahayda, 'is a charming narrative. 'Prince Ahmedal Kamel, or the Pilgrim of Love,' is a very agreeable story.

even chapters, want but the voice, to make them 'discourse most eloquent music!'" - Westminster Review.

"The present work dawned upon his fancy as he mused amid the magnificent ruins of the Alhambra; It has been his wish to recall the days when the Moors ruled in the fairest provinces of Spain, and when deeds of arms were frequent between them and their Spanish neighbors. To recall the dead to life, to make them move and act in character, requires a genius of a high order, nor can we withhold the praise from the author for having in several of his stories succeeded in this difficult art. We are, however, of the opinion that his success in delineating from the living is at least equal to his drawings from the dead-and were proof of this required, the present volumes would supply it at once. Indeed, we know of few who can equal him in the art of transferring living and breathing flesh and blood to his canvas. On his way to the Alhambra he describes the people and the land."

9.

-The Athenæum (1832).
CRAYON MISCELLANY 1835.

'To what class of compositions the present work belongs we are hardly able to say. It can scarcely be called a book of travels, for there is too much painting of manners and scenery, and too little statistics; it is not a novel, for there is no story; and it is not a romance, for it is all true. It is a sort of sentimental journey, a romantic excursion, in which nearly all the elements of several different kinds of writing are beautifully and gaily blended into a production almost sui generis. We are not sure that the passage in the book which we have read with greatest satisfaction is not that in which we are promised its continuation."-Edward Everett, in the North American Review (1835).

10. ASTORIA, 1836.

"I have read 'Astoria' with great pleasure. It is a book to put into your library, as an entertaining, well written—very well written-account of savage life on a most extensive scale.”—Rev. Sydney Smith, to Sir George Phillips, 1836. (Smith's "Letters and Correspondence," 1855).

"The narrative, though told with the grace of the writer, is necessarily dry."

-Blackwood's Magazine (1837.)

11. "THE ADVENTURES OF CAPT. BONNEVILLE," 1837.

"These volumes are full of exciting incident, and, by reason of Mr. Irving's fine taste and attractive style they possess the power and charm of romance."

-Chancellor Kent.

12. LIFE OF GOLDSMITH, 1840.

"I know of no biographical memoir which carries forward the reader so delightfully and with so little tediousness of recital or reflection."-William Cullen Bryant.

13. LIVES OF MAHOMET AND HIS SUCCESSORS, 1850.

"It represents the picturesque features of the age as embodied in the actions and utterances of its most characteristic representatives."-"World's Best Literature."

14. WOLFERT'S ROOST, 1855.

"We envy those who will now read these tales and sketches of character for the first time. Washington Irving is here, as he always is, equal to himself. He has the finish of our best writers; he has the equality and gentle humor of Addison and Goldsmith." - Westminster Review (1855).

64

15. LIFE OF WASHINGTON, 1855-59.

Simplicity is the first great quality of this work which impresses the reader. Another great merit is the admirable proportion kept by the characters and the events of the story-a rare equity of judgment, a large grasp of the subject; a profound philosophy, independent of philosophical forms, and even instructively rejecting them; the power of reducing an immense crowd of loose materials to clear and orderly arrangement, and forming them into one grand whole."- William Cullen Bryant.

"As a biographer and historian, his 'Life of Columbus' and his 'Life of Washington' have indissolubly connected his name with the discoverer of the American continent and the champion of the liberties of his country."-Edwin P. Whipple.

"In the department of pure literature he was the earliest classic writer of America, and in the opinion of many he remains the first."-" Appleton's American Cyclopedia."

"Irving productions are in general impressed with that signet of classical finish which guarantees the permanency of literary work more surely than direct utility or even intellectual power."-Encyclopedia Britannica.

"His books are wholesome, full of sweetness and charm, of humor without any sting, of amusement without any stain; and their more solid qualities are marred by neither pedantry nor pretension."-Charles Dudley Warner.

As a writer, Irving may safely be pro

nounced to be the most popular of all American authors.

His works are known Diedrich Knicker

and read by every one. bocker, Sleepy Hollow, Dolf Heyliger, Ichabod Crane, Rip Van Winkle, have become household names and forms. No other creations of the imagination have taken such prominence in American literature. They are not so grand or so subtle as Hawthorne's, but they are more life-like, more genial, more generally comprehended. Irving as a historian is subject to one grave criticism. He is too diffuse in his treatment of the subject and his style is at times altogether too florid. The descriptions of scenery and incidents are too highly colored for the sober pages of history. Taken all in all, however, he is still the brightest and dearest name in the annals of American literature." -Hart's "American Literature."

"The qualities which were most characteristic of his work were sentiment and humor; and these acquired a high literary value through the graceful, varied, and finished form in which they were cast. The source of the keen literary sense that revealed itself in him in early life, and that was highly developed even before he attained his majority, is not easily traced. It was, however, a powerful impulse, and persisted in shaping his character and in controlling his destiny, despite his halfhearted efforts to acquire a taste for law, and later for commercial pursuits.

"As he grew older he developed a boundless capacity for good-fellowship.' This liking for his fellow-man had for its foundation a warm-hearted, sympathetic, generous nature, a rich vein of humor, perfect ease of manner and great readiness as a talker, and an optimistic philosophy of life."-"World's Best Literature."

Suggested Selections.

1.-"SALMAGUNDI."

"A Letter from Mustapha Rub-Dub Keli Khan, to Aslem Hacchem, Principal Slave-Driver to His Highness, the Bashaw of Tripoli."

2.-"A HISTORY OF NEW YORK: BY DIEDRICH KNICKERBOCKER."

(a) "The Good Old Days of Knickerbocker Life."

(b) "The Renowned Wouter Van Twiller." (c) "Peter the Headstrong."

(d) "The Powerful Army that Assembled at
the City of New Amsterdam."

(e) "The Vision of Oloffe Van Kortlandt."
(f)" The Fatness of the Alderman."

(g)" The Dismissal of General Von Poffen

burgh."

(h) "Primitive Habits in New Amsterdam." (2) "Ladies of the Golden Age."

1.

TIME AND PLACE. Paris during the Revolution.

CHARACTERS:

SIDNEY CARTON. A clever but dissolute London lawyer who loves Lucie Manette and who, for her sake, has taken Evrèmonde, her fiancé's place, in the Bastile. Evrèmonde and Carton look so much alike that the exchange has not been discovered and Carton is about to be executed.

MIMI. A young French girl whom, three years before, Carton had rescued from the revolutionists and taken to England, where he placed her in the service of Miss Manette. Mimi had long secretly loved Carton but he had not guessed it until the previous evening when she discovered his plan for rescuing Evrèmonde and begged him not to sacrifice his own life. Carton had, however, remained firm to his purpose of drugging Evrèmonde, getting him out of the Bastile and into a carriage with the Manettes, who were about to start for England, and who would not know what Carton had done until too late to save him, even had they desired to do so at the risk of their own lives, and that of Evrèmonde.

Marquis d'Alembert and Marquis Gabelle. A pillar at the right of the stage against which Carton leans with his foot on the rung of a chair which stands beside him. Prisoners at the back form a tableau. At the left, back, is the lady, sitting; two men bend over her; they talk more or less fitfully.

COSTUMES:

CARTON. Plain dark suit with a long tan overcoat.

MIMI. Simple little dark gown, White 'kerchief.

MARQUIS D'ALEMBERT and MARQUIS GABELLE. Very fancy light satin costumes with lace ruffles and high-heeled slippers

MARQUIS JALLADE. Dark satin costume. Aristocrats. Gay satin costumes. Lady. Flowing, black velvet gown with lace ruffles.

MARQUIS GABELLE [throwing down the cards]. Monsieur, I pay nineteen,

MARQUIS D'ALEMBERT. I am lucky. I have twenty.

MARQUIS G. The money is yours, Marquis Shall I make it a promissory note?

MARQUIS D'A. If you please. Payable in -let me see [draws out his watch] in ten minutes. [Rises.] What a solace cards are to be sure, especially when one wins. I am quite cramped sitting still so long, Marquis. Shall we take a stroll?

MARQUIS G. At your pleasure, monsieur. [From without is heard a wild scream of delight.]

MARQUIS JALLADE [rushing to centre front]. I am next. Hear them scream, the beasts. Oh! I can not die. [Catches hold of MARQUIS GABELLE.] Tell me it's not true. I can not bear it. I shall go mad this in

stant.

MARQUIS G. [Draws himself up.] Kindly

remember, monsieur, that this is a company of gentlemen.

MARQUIS D'A. [Steps forward, holds out his snuff box.] Take some, my friend. Take some. It is a wonderful nerve tonic. [MARQUIS JALLADE recovers himself slowly. With visible and painful effort he goes out at left. A roar from the people follows.]

MARQUIS D'A. Rather too bad-these harrowing scenes. [Takes some snuff, offers it to M. GABELLE; steps over to CARTON.] Monsieur Evrèmonde, you have not seemed to recognize me, but I met you here in Paris at Lady Burton's just before you went over to London, and I was present at your trial there--[Stops, scrutinizes CARTON who holds up a hand as if to arrest his words.] Why -you are not Evrèmonde, you are-[CARTON makes a strong gesture of silence. M. D'A. steps up close to him and speaks in a low tone]. Pardon, monsieur. I never forget faces. I know you now. You are the English advocate who pleaded so nobly for Evrèmonde at his trial in London when he was accused of treason to the English Government because of his well-known sympathy for the common people of France. I remember we said then that you were enough like the prisoner to be his brother. You English are a queer people. Here you are dying in France for the man whose life you saved in your own country. Well! we French are still more queer. Evrèmonde was condemned by the very people whom he befriended, and you suffer in his place because his ancestors happened to be unable to be happy in a room which, like this, lacked the odor of perfume. Monsieur, allow me. [Shakes out his handkerchief]. The air here is really oppressive; the place should be attended to.

of the men go out as their numbers are called.]

MIMI. [Sits] The carriage was too full. I was to have followed to-day with the barrister. I watched them off. Miss Lucie, her father, the poor old man was almost helpless with grief,-and Mr. Lorry to whom you gave your instructions last night. They had their passports and yours with them. I saw them stop in the courtyard and the insensible man whom they thought was you put into the carriage. Then they drove away. They had been gone several hours when Defarge came to the house with a warrant for their arrest, and when he did not find them he seized me and brought me here. They must have gotten far, far on their road long before he could send any one after them. They are surely safe by this time, Mr. Carton.

CARTON. My poor little Mimi. My poor, brave little Mimi.

MIMI. [wonderingly]. Oh! no. Why, Mr. Carton, what was there for me to live for when you were dead? Did you not save my life three years ago, and has not that life been yours and yours only ever since? Do you suppose I am not glad to be here with you at the end? Do you not know that I shall be the one to hear the last words you speak? What is your number?

CARTON. Fifty-two. And yours?

MIMI. Fifty-one. I go just before you. CARTON. We will go together, little sis

ter.

JAILER. Forty-five.

[MARQUIS GABELLE places his hand on his heart, bows to the lady. shakes hands with D'ALEMBERT.]

MARQUIS GABELLE. Adieu, my comrade. [Walks out steadily.]

[A roar from the people. The men at the back stand aside. The lady arises, draws herself up proudly. She holds out her hand to the two men who have been with her. Silently they kneel and kiss it.] JAILER. Forty-six.

[The lady hesitates for an instant, then calmly walks out. The roar this time is not so loud and sounds somewhat sullen.]

MARQUIS D'ALEMBERT. Ah! my turn next. Pardon, messieurs. One must attend to one's toilet. [Takes a small silver mirror from his pocket. Arranges his hair and neck cloth.]

JAILER. Forty-seven.

[MARQUIS D'ALEMBERT steps lightly to the door shaking the ruffles at his wrists as he does so. He pauses serenely to take a pinch of snuff; a howl of impatience comes from the people.]

MARQUIS D'Alembert. Patience, my friends, patience. It does not run in the