scholarly journals Historical Suggestions in the Ancient Hindu Epic, the Mahábhárata

1885 ◽  
Vol 2 (3) ◽  
pp. 272-292
Author(s):  
Charles J. Stone
Keyword(s):  
New York ◽  
Roman Empire ◽  
Paradise Lost ◽  
Washington Irving ◽  
Religious Thought ◽  
Single Author ◽  
Waverley Novels ◽  
History Of

This word is a combination of mahá, great, and bhárata, supporter. Bhárata is the ancient name of northern Hindustan, and was derived from a celebrated early monarch. This ‘great supporter’ poem extends in length to about 215,000 longlines, as Professor Monier Williams of Oxford has observed. Milton's ‘Paradise Lost’ only contains about 10,600. Even the voluminous Spenser's ‘Fairy Queen’ has not more than some 30,000. It is ascribed to a celebrated ancient Sage, who is also recorded to have compiled the Vedas (i.e, books of knowledge), and to have written thePuranas (i.e. ‘ancient’ books of the Hindu religions), which belong to phases of religious thought subsequent to the Vedic but professing to be associated with the Vedas. As his name simply means ‘collector or compiler,’ it is suggestive of his being mythical. Introductory recitals, in the poem itself, assign it to Vyasa, just as Washington Irving ascribes his ‘History of New York’ to Knickerbocker. Vaisampayana is said to have recited it to a king, and may have been the author. Modern commentators of late years seem generally to have assigned it to several authors. Comparing it, however, with the Waverley novels, as the work of one man, it does not seem beyond the capacity of a single author. Fifteen years’ labour, about the time bestowed by Gibbon on his ‘History of the Decline and Fall of the Roman Empire,’ would complete the work at the rate of some fifty lines per diem, allowing for holy days. It is written in what is styled the classical Sanscrit.

Washington Irving

2020 ◽  
Author(s):  
Jeffrey Scraba
Keyword(s):  
United States ◽  
New York ◽  
English Language ◽  
The United States ◽  
Washington Irving ◽  
Christopher Columbus ◽  
Hudson Valley ◽  
New Amsterdam ◽  
Critical Success ◽  
History Of

Washington Irving (b. 1783–d. 1859) had a long and diverse career as an author and public figure. Irving first published satirical essays (as “Jonathan Oldstyle”) for his brother Peter’s newspaper in 1802–1803. He collaborated with his brother William and James Kirke Paulding on the 1807–1808 satirical periodical Salmagundi, which was wildly popular in New York. A History of New-York from the Beginning of the World to the End of the Dutch Dynasty (1809), narrated by the fictitious xenophobic historian Diedrich Knickerbocker, was at once an accurate history of New Amsterdam, a satire on Thomas Jefferson’s administration, and a meditation on the writing of history. Irving moved to Europe in 1815 as an agent for his brothers’ business, but after the business went bankrupt in 1818, Irving set about making a living through his writing. The Sketch-Book of Geoffrey Crayon (1819–1820) was published nearly simultaneously in installments in the United States and the United Kingdom to secure copyright in both; it was an immediate success and was lauded on both sides of the Atlantic. His attempts to follow up this initial success with similar collections of tales and sketches (Bracebridge Hall [1822] and Tales of a Traveller [1824]) met with considerably less commercial and critical success. Invited to Spain in 1824 to translate newly available documents from Columbus’ expeditions, Irving instead produced The Life and Voyages of Christopher Columbus (1828), which became the standard English-language account of Columbus and went through 175 editions in the United States and Europe. Irving’s subsequent travels in southern Spain produced A Chronicle of the Conquest of Granada (1829) and the immensely popular “Spanish Sketch-Book,” The Alhambra (1832). During this period Irving also produced a biography of the Prophet Muhammad, which was eventually published in 1849 as Mahomet and His Successors. Irving finally returned to the United States in 1832, almost immediately participating in an expedition preparing for Indian removal, which was recounted in A Tour on the Prairies (1835). John Jacob Astor then commissioned him to write Astoria (1836), a history of the fur-trading colony, while he also collected materials for another Western narrative, The Adventures of Captain Bonneville (1837). Apart from a period as American Minister to Spain (1842–1846), during which he mediated on behalf of Isabella II during the Carlist Wars, Irving spent much of the rest of his life building his Hudson Valley home called Sunnyside. His final work was the monumental five-volume Life of George Washington (1855–1859). Not only was Irving the first American writer to achieve international celebrity, but he served as a US ambassador; revived tourist interest in Andalusia; shaped the profession of authorship in America and Europe; produced the first comprehensive histories of New Amsterdam/New York, Columbus, and the founder of Islam in English; and wrote the first and perhaps best-known American short stories.

Diedrich Knickerbocker, Regular Bred Historian

2018 ◽  
pp. 29-55
Author(s):  
Jeffrey Insko
Keyword(s):  
New York ◽  
The Self ◽  
Washington Irving ◽  
Historical Knowledge ◽  
History Writing ◽  
History Of ◽  
Chronological Sequence ◽  
Alter Ego ◽  
Rip Van Winkle

Chapter 1 analyzes the self-consciousness—and uncanny postmodernity—of Washington Irving in the various works attributed to his historian alter ego Diedrich Knickerbocker, particularly A History of New York and “Rip Van Winkle.” I argue that Irving’s Knickerbocker writings inaugurated an under-recognized tradition of antebellum writing devoted less to the creation of a coherent national past than to theorizing “history” itself. Irving’s A History of New York (1809) forms a kind of practical illustration of the dismantling of history writing in our own time. Irving’s metahistorical discourse, I claim, cannot be adequately accounted for by conventional historicist contextualization, by confining his works to a particular moment in time, much less one that has been superseded by or that is irretrievably distant and distinct from the critical present. Working in tandem with A History of New York’s disquisition on the mutability of historical knowledge is the experience of history “Rip Van Winkle” offers to its readers. A story of temporal dislocation, “Rip Van Winkle” exploits and critiques Rip’s—and the reader’s—desire to settle upon an orienting present and locate that present within a chronological sequence (before, during, and after the war).

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