him that Irving had a hand in them.]

In these yellow pages is a melancholy reflection of the gayety and
gallantry of the Sans Souci hotel seventy years ago. In this "Picture
Gallery," under the thin disguise of initials, are the portraits of
well-known belles of New York whose charms of person and graces of mind
would make the present reader regret his tardy advent into this world,
did not the "Admonitory Epistles," addressed to the same sex, remind him
that the manners of seventy years ago left much to be desired. In
respect of the habit of swearing, "Simeon" advises "Myra" that if ladies
were to confine themselves to a single round oath, it would be quite
sufficient; and he objects, when he is at the public table, to the
conduct of his neighbor who carelessly took up "Simeon's" fork and used
it as a tooth-pick. All this, no doubt, passed for wit in the beginning
of the century. Punning, broad satire, exaggerated compliment, verse
which has love for its theme and the "sweet bird of Venus" for its
object, an affectation of gallantry and of _ennui_, with anecdotes of
distinguished visitors, out of which the screaming fun has quite
evaporated, make up the staple of these faded mementos of ancient
watering-place. Yet how much superior is our comedy of to-day? The
beauty and the charms of the women of two generations ago exist only in
tradition; perhaps we should give to the wit of that time equal
admiration if none of it had been preserved.

Irving, notwithstanding the success of "Salmagundi," did not immediately
devote himself to literature, nor seem to regard his achievements in it
as anything more than aids to social distinction. He was then, as
always, greatly influenced by his surroundings. These were unfavorable
to literary pursuits. Politics was the attractive field for preferment
and distinction; and it is more than probable that, even after the