Morris: Irving' s Fiction in France 17 



critics to his simplicity of construction and to the merits of his style. 

 Apropos of the Tales of a Traveler, the same author writes: ^^His 

 stories are simple; the author has purposely refused to complicate 

 them with events in order that the whole interest may result from the 

 manner in which they are told" (p. 522). M. Ollife maintains that 

 ''there is not a single page of the numerous writings of the accom- 

 plished American that does not teem with fragrant flowers of diction 

 and is in every respect a model of literary composition".^^ It is a 

 style which is often characterized by the word charming, sometimes 

 evp'U by the word magical. 



Among the merits of his style, those most frequently mentioned 

 are grace and delicacy. It has been said, for example, that in his works 

 of imagination and fancy there is ''an exquisite grace" that "he is 

 the most elegant writer in America" that "he is a model of elegant, 

 graceful diction" that his style is "as elegant as that of Addison and 

 of Goldsmith". M. Champion affirms that "the delicacy of his 

 talent contributed not a little to his success in France".''® 



It is characterized also, according to some of his critics, by fluency 

 and simplicity. The Alhambra is said to be a "model of fluent simple 

 narration" "the legends of Wolferfs Roost are all written with that 

 facility of diction which characterizes the author of the Sketch-book'^ 

 "No one appreciates more fully than we do the excellence of this style 

 without pretension and without exaggeration."''^ Remy de Gour- 

 mont is inclined to believe that he carries simplicity to excess: "Like 

 his too paternal morality," he says, "his pure style is simple to the 

 point of nudity — there is nothing to catch your attention in passing" 



(p. 11). 



Closely related to this quality of his style is the quality of sobriety, 

 which it is likewise said to possess. "Irving always maintains this mod- 

 erate tone," says Gourmont (p. 11); while M. Eyma credits him with 

 preserving "an exquisite medium between smiles and tears" (p. 659). 



The harmoniousness of his sentences has often been mentioned: 

 "His prose [in the Sketch-book and Bracebridge Hall] is, so to speak, 

 rhythmical and needs only the aid of the voice to become music" ;^^^ 



41 Preface to Extracts fro7n Washington Irving, p. vii. 

 « Eyma, 657. 



« Roche (Antoine) Ecrivoins anglais au dix-neuvieme siecle (1869), 158. 



^4 Sedley. p. xv. 



« "E. T.", Globe, 1825, p. 395. 



4"> Champion (G. Hardinge) , £;«wrfes litteraires (1849), 201. 



47 Sedley, p. xv. 



48 Sachot, 385. 



49 Chasles, p. 44. 

 "^Sedley, p. xvii. 



