Carlyle is here in intercourse with a friend for whom, almost alone among the persons with whom he had dealings, he appears to have entertained a sentiment of respect—a constancy of affection untinged by that humorous contempt in which (in most cases) he indulges when he wishes to be kind, and which was the best refuge open to him from his other alternative of absolutely savage mockery.
It is singular, indeed, that throughout his intercourse with Emerson he never appears to have known the satiric fury which he directed at so many other objects, accepting his friend en bloc, once for all, with reservations and protests so light that, as addressed to Emerson’s own character, they are only a finer form of consideration.… Other persons have enjoyed life as little as Carlyle; other men have been pessimists and cynics; but few men have rioted so in their disenchantments, or thumped so perpetually upon the hollowness of things with the idea of making it resound. Pessimism, cynicism, usually imply a certain amount of indifference and resignation; but in Carlyle these forces were nothing if not querulous and vocal. It must be remembered that he had an imagination which made acquiescence difficult—an imagination haunted with theological and apocalyptic visions. We have no occasion here to attempt to estimate his position in literature, but we may be permitted to say that it is mainly to this splendid imagination that he owes it. Both the moral and the physical world were full of pictures for him, and it would seem to be by his great pictorial energy that he will live.
Anthony Trollope.
His great, his inestimable merit was a complete appreciation of reality. This gift is not rare in the annals of English fiction; it would naturally be found in a walk of literature in which the feminine mind has labored so fruitfully. Women are delicate and patient observers; they hold their noses close, as it were, to the texture of life. They feel and perceive the real (as well as the desirable), and their observations are recorded in a thousand delightful volumes. Trollope therefore, with his eyes comfortably fixed on the familiar, the actual, was far from having invented a genre, as the French say; his great distinction is that, in resting there, his vision took in so much of the field. And then he felt all common, human things as well as saw them; felt them in a simple, direct, salubrious way, with their sadness, their gladness, their charm, their comicality, all their obvious and measurable meanings.
Du Maurier.
He is predominantly a painter of social, as distinguished from popular life, and when the other day he collected some of his drawings into a volume, he found it natural to give them the title of “English Society at Home.” He looks at the “accomplished” classes more than at the people, though he by no means ignores the humors of humble life. His consideration of the peculiarities of costermongers and “cadgers” is comparatively perfunctory, as he is too fond of civilization and of the higher refinements of the grotesque. His colleague, the frank and as the metaphysicians say, objective, Keene, has a more natural familiarity with the British populace. There is a whole side of English life, at which du Maurier scarcely glances—the great sporting element, which supplies half of their gayety and all their conversation to millions of her Majesty’s subjects. He is shy of the turf and of the cricket field; he only touches here and there upon the river. But he has made “society” completely his own—he has sounded its depths, explored its mysteries, discovered and divulged its secrets. His observation of these things is extraordinarily acute, and his illustrations, taken together, form a complete comedy of manners, in which the same personages constantly re-appear, so that we have the sense, indispensable to keenness of interest, of tracing their adventures to a climax. So many of the conditions of English life are picturesque (and, to American eyes, even romantic), that du Maurier has never been at a loss for subjects. We mean that he is never at a loss for pictures. English society makes pictures all round him, and he has only to look to see the most charming things, which at the same time have the merit that you can always take the satirical view of them.
WILLIAM DEAN HOWELLS.
He is equal as an artist to the best French writers. His books are not only artistically fine, but morally wholesome.—Magazin für die Literatur des Auslandes.
The great body of the cultivated public has an instinctive delight in original genius, whether it be refined or sensational. Mr. Howells’s is eminently refined. His humor, however vivid in form, is subtle and elusive in its essence. He depends, perhaps, somewhat too much on the feelings of humor in his readers to appreciate his own. He has the true Addisonian touch; hits his mark in the white, and instead of provoking uproarious laughter, strives to evoke that satisfied smile which testifies to the quiet enjoyment of the reader. His humor is the humor of a poet.—E. P. Whipple.