Goethe says, apparently thinking of Richter, “The worthy Germans have persuaded themselves that the essence of true humor is formlessness.” Heine had not yet shown that a German might combine the most airy humor with a sense of form as delicate as Goethe’s own, and that there was no need to borrow the bow of Philoctetes for all kinds of game. Mr. Carlyle’s own tendency was toward the lawless, and the attraction of Jean Paul made it an overmastering one. Goethe, we think, might have gone farther, and affirmed that nothing but the highest artistic sense can prevent humor from degenerating into the grotesque, and thence downwards to utter anarchy. Rabelais is a striking example of it. The moral purpose of his book cannot give it that unity which the instinct and forethought of art only can bring forth. Perhaps we owe the masterpiece of humorous literature to the fact that Cervantes had been trained to authorship in a school where form predominated over substance, and the most convincing proof of the supremacy of art at the highest period of Greek literature is to be found in Aristophanes. Mr. Carlyle has no artistic sense of form or rhythm, scarcely of proportion. Accordingly he looks on verse with contempt as something barbarous,—a savage ornament which a higher refinement will abolish, as it has tattooing and nose-rings. With a conceptive imagination vigorous beyond any in his generation, with a mastery of language equalled only by the greatest poets, he wants altogether the plastic imagination, the shaping faculty, which would have made him a poet in the highest sense. He is a preacher and a prophet,—anything you will,—but an artist he is not, and never can be. It is always the knots and gnarls of the oak that he admires, never the perfect and balanced tree.
It is certainly more agreeable to be grateful for what we owe an author, than to blame him for what he cannot give us. But it is sometimes the business of a critic to trace faults of style and of thought to their root in character and temperament,—to show their necessary relation to, and dependence on, each other,—and to find some more trustworthy explanation than mere wantonness of will for the moral obliquities of a man so largely moulded and gifted as Mr. Carlyle. So long as he was merely an exhorter or dehorter, we were thankful for such eloquence, such humor, such vivid or grotesque images, and such splendor of illustration as only he could give; but when he assumes to be a teacher of moral and political philosophy, when he himself takes to compounding the social panaceas he has made us laugh at so often, and advertises none as genuine but his own, we begin to inquire into his qualifications and his defects, and to ask ourselves whether his patent pill differs from others except in the larger amount of aloes, or has any better recommendation than the superior advertising powers of a mountebank of genius. Comparative criticism teaches us that moral and æsthetic defects are more nearly related than is commonly supposed. Had Mr. Carlyle been fitted out completely by nature as an artist, he would have had an ideal in his work which would have lifted his mind away from the muddier part of him, and trained him to the habit of seeking and seeing the harmony rather than the discord and contradiction of things. His innate love of the picturesque, (which is only another form of the sentimentalism he so scoffs at, perhaps as feeling it a weakness in himself,) once turned in the direction of character, and finding its chief satisfaction there, led him to look for that ideal of human nature in individual men which is but fragmentarily represented in the entire race, and is rather divined from the aspiration, forever disenchanted to be forever renewed, of the immortal part in us, than found in any example of actual achievement. A wiser temper would have found something more consoling than disheartening in the continual failure of men eminently endowed to reach the standard of this spiritual requirement, would perhaps have found in it an inspiring hint that it is mankind, and not special men, that are to be shaped at last into the image of God, and that the endless life of the generations may hope to come nearer that goal of which the short-breathed threescore years and ten fall too unhappily short.
But Mr. Carlyle has invented the Hero-cure, and all who recommend any other method, or see any hope of healing elsewhere, are either quacks and charlatans or their victims. His lively imagination conjures up the image of an impossible he, as contradictorily endowed as the chief personage in a modern sentimental novel, and who, at all hazards, must not lead mankind like a shepherd, but bark, bite, and otherwise worry them toward the fold like a truculent sheep-dog. If Mr. Carlyle would only now and then recollect that men are men, and not sheep,—nay, that the farther they are from being such, the more well grounded our hope of one day making something better of them! It is indeed strange that one who values Will so highly in the greatest, should be blind to its infinite worth in the least of men; nay, that he should so often seem to confound it with its irritable and purposeless counterfeit, Wilfulness. The natural impatience of an imaginative temperament, which conceives so vividly the beauty and desirableness of a nobler manhood and a diviner political order, makes him fret at the slow moral processes by which the All-Wise brings about his ends, and turns the very foolishness of men to his praise and glory. Mr. Carlyle is for calling down fire from Heaven whenever he cannot readily lay his hand on the match-box. No doubt it is somewhat provoking that it should be so easy to build castles in the air, and so hard to find tenants for them. It is a singular intellectual phenomenon to see a man, who earlier in life so thoroughly appreciated the innate weakness and futile tendency of the “storm and thrust” period of German literature, constantly assimilating, as he grows older, more and more nearly to its principles and practice. It is no longer the sagacious and moderate Goethe who is his type of what is highest in human nature, but far rather some Götz of the Iron Hand, some assertor of the divine legitimacy of Faustrecht. It is odd to conceive the fate of Mr. Carlyle under the sway of any of his heroes,—how Cromwell would have scorned him as a babbler more long-winded than Prynne, but less clear and practical,—how Friedrich would have scoffed at his tirades as dummes Zeug not to be compared with the romances of Crébillon fils, or possibly have clapped him in a marching regiment as a fit subject for the cane of the sergeant. Perhaps something of Mr. Carlyle’s irritability is to be laid to the account of his early schoolmastership at Ecclefechan. This great booby World is such a dull boy, and will not learn the lesson we have taken such pains in expounding for the fiftieth time. Well, then, if eloquence, if example, if the awful warning of other little boys who neglected their accidence and came to the gallows, if none of these avail, the birch at least is left, and we will try that. The dominie spirit has become every year more obtrusive and intolerant in Mr. Carlyle’s writing, and the rod, instead of being kept in its place as a resource for desperate cases, has become the alpha and omega of all successful training, the one divinely-appointed means of human enlightenment and progress,—in short, the final hope of that absurd animal who fancies himself a little lower than the angels. Have we feebly taken it for granted that the distinction of man was reason? Never was there a more fatal misconception. It is in the gift of unreason that we are unenviably distinguished from the brutes, whose nobler privilege of instinct saves them from our blunders and our crimes.
But since Mr. Carlyle has become possessed with the hallucination that he is head-master of this huge boys’ school which we call the world, his pedagogic birch has grown to the taller proportions and more ominous aspect of a gallows. His article on Dr. Francia was a panegyric of the halter, in which the gratitude of mankind is invoked for the self-appointed dictator who had discovered in Paraguay a tree more beneficent than that which produced the Jesuits’ bark. Mr. Carlyle seems to be in the condition of a man who uses stimulants, and must increase his dose from day to day as the senses become dulled under the spur. He began by admiring strength of character and purpose, and the manly self-denial which makes a humble fortune great by steadfast loyalty to duty. He has gone on till mere strength has become such washy weakness that there is no longer any titillation in it; and nothing short of downright violence will rouse his nerves now to the needed excitement. At first he made out very well with remarkable men; then, lessening the water and increasing the spirit, he took to Heroes: and now he must have downright inhumanity, or the draught has no savor;—so he gets on at last to Kings, types of remorseless Force, who maintain the political views of Berserkers by the legal principles of Lynch. Constitutional monarchy is a failure, representative government is a gabble, democracy a birth of the bottomless pit; there is no hope for mankind except in getting themselves under a good driver who shall not spare the lash. And yet, unhappily for us, these drivers are providential births not to be contrived by any cunning of ours, and Friedrich II. is hitherto the last of them. Meanwhile the world’s wheels have got fairly stalled in mire and other matter of every vilest consistency and most disgustful smell. What are we to do? Mr. Carlyle will not let us make a lever with a rail from the next fence, or call in the neighbors. That would be too commonplace and cowardly, too anarchical. No; he would have us sit down beside him in the slough, and shout lustily for Hercules. If that indispensable demigod will not or cannot come, we can find a useful and instructive solace, during the intervals of shouting, in a hearty abuse of human nature, which, at the long last, is always to blame.
Since “Sartor Resartus” Mr. Carlyle has done little but repeat himself with increasing emphasis and heightened shrillness. Warning has steadily heated toward denunciation, and remonstrance soured toward scolding. The image of the Tartar prayer-mill, which he borrowed from Richter and turned to such humorous purpose, might be applied to himself. The same phrase comes round and round, only the machine, being a little crankier, rattles more, and the performer is called on for a more visible exertion. If there be not something very like cant in Mr. Carlyle’s later writings, then cant is not the repetition of a creed after it has become a phrase by the cooling of that white-hot conviction which once made it both the light and warmth of the soul. We do not mean intentional and deliberate cant, but neither is that which Mr. Carlyle denounces so energetically in his fellow-men of that conscious kind. We do not mean to blame him for it, but mention it rather as an interesting phenomenon of human nature. The stock of ideas which mankind has to work with is very limited, like the alphabet, and can at best have an air of freshness given it by new arrangements and combinations, or by application to new times and circumstances. Montaigne is but Ecclesiastes writing in the sixteenth century, Voltaire but Lucian in the eighteenth. Yet both are original, and so certainly is Mr. Carlyle, whose borrowing is mainly from his own former works. But he does this so often and so openly, that we may at least be sure that he ceased growing a number of years ago, and is a remarkable example of arrested development.
The cynicism, however, which has now become the prevailing temper of his mind, has gone on expanding with unhappy vigor. In Mr. Carlyle it is not, certainly, as in Swift, the result of personal disappointment, and of the fatal eye of an accomplice for the mean qualities by which power could be attained that it might be used for purposes as mean. It seems rather the natural corruption of his exuberant humor. Humor in its first analysis is a perception of the incongruous, and in its highest development, of the incongruity between the actual and the ideal in men and life. With so keen a sense of the ludicrous contrast between what men might be, nay, wish to be, and what they are, and with a vehement nature that demands the instant realization of his vision of a world altogether heroic, it is no wonder that Mr. Carlyle, always hoping for a thing and always disappointed, should become bitter. Perhaps if he expected less he would find more. Saul seeking his father’s asses found himself turned suddenly into a king; but Mr. Carlyle, on the lookout for a king, always seems to find the other sort of animal. He sees nothing on any side of him but a procession of the Lord of Misrule, in gloomier moments, a Dance of Death, where everything is either a parody of whatever is noble, or an aimless jig that stumbles at last into the annihilation of the grave, and so passes from one nothing to another. Is a world, then, which buys and reads Mr. Carlyle’s works distinguished only for its “fair, large ears”? If he who has read and remembered so much would only now and then call to mind the old proverb, Nec deus, nec lupus, sed homo! If he would only recollect that, from the days of the first grandfather, everybody has remembered a golden age behind him!
The very qualities, it seems to us, which came so near making a great poet of Mr. Carlyle, disqualify him for the office of historian. The poet’s concern is with the appearances of things, with their harmony in that whole which the imagination demands for its satisfaction, and their truth to that ideal nature which is the proper object of poetry. History, unfortunately, is very far from being ideal, still farther from an exclusive interest in those heroic or typical figures which answer all the wants of the epic and the drama and fill their utmost artistic limits. Mr. Carlyle has an unequalled power and vividness in painting detached scenes, in bringing out in their full relief the oddities or peculiarities of character; but he has a far feebler sense of those gradual changes of opinion, that strange communication of sympathy from mind to mind, that subtile influence of very subordinate actors in giving a direction to policy or action, which we are wont somewhat vaguely to call the progress of events. His scheme of history is purely an epical one, where only leading figures appear by name and are in any strict sense operative. He has no conception of the people as anything else than an element of mere brute force in political problems, and would sniff scornfully at that unpicturesque common-sense of the many, which comes slowly to its conclusions, no doubt, but compels obedience even from rulers the most despotic when once its mind is made up. His history of Frederick is, of course, a Fritziad; but next to his hero, the cane of the drill-sergeant and iron ramrods appear to be the conditions which to his mind satisfactorily account for the result of the Seven Years War. It is our opinion, which subsequent events seem to justify, that, had there not been in the Prussian people a strong instinct of nationality, Protestant nationality too, and an intimate conviction of its advantages, the war might have ended quite otherwise. Frederick II. left the machine of war which he received from his father even more perfect than he found it, yet within a few years of his death it went to pieces before the shock of French armies animated by an idea. Again a few years, and the Prussian soldiery, inspired once more by the old national fervor, were victorious. Were it not for the purely picturesque bias of Mr. Carlyle’s genius, for the necessity which his epical treatment lays upon him of always having a protagonist, we should be astonished that an idealist like him should have so little faith in ideas and so much in matter.
Mr. Carlyle’s manner is not so well suited to the historian as to the essayist. He is always great in single figures and striking episodes, but there is neither gradation nor continuity. He has extraordinary patience and conscientiousness in the gathering and sifting of his material, but is scornful of commonplace facts and characters, impatient of whatever will not serve for one of his clever sketches, or group well in a more elaborate figure-piece. He sees history, as it were, by flashes of lightning. A single scene, whether a landscape or an interior, a single figure or a wild mob of men, whatever may be snatched by the eye in that instant of intense illumination, is minutely photographed upon the memory. Every tree and stone, almost every blade of grass; every article of furniture in a room; the attitude or expression, nay, the very buttons and shoe-ties of a principal figure; the gestures of momentary passion in a wild throng,—everything leaps into vision under that sudden glare with a painful distinctness that leaves the retina quivering. The intervals are absolute darkness. Mr. Carlyle makes us acquainted with the isolated spot where we happen to be when the flash comes, as if by actual eyesight, but there is no possibility of a comprehensive view. No other writer compares with him for vividness. He is himself a witness, and makes us witnesses of whatever he describes. This is genius beyond a question, and of a very rare quality, but it is not history. He has not the cold-blooded impartiality of the historian and while he entertains us, moves us to tears or laughter, makes us the unconscious captives of his ever-changeful mood, we find that he has taught us comparatively little. His imagination is so powerful that it makes him the contemporary of his characters, and thus his history seems to be the memoirs of a cynical humorist, with hearty likes and dislikes, with something of acridity in his partialities whether for or against, more keenly sensitive to the grotesque than the simply natural, and who enters in his diary, even of what comes within the range of his own observation, only so much as amuses his fancy, is congenial with his humor, or feeds his prejudice. Mr. Carlyle’s method is accordingly altogether pictorial, his hasty temper making narrative wearisome to him. In his Friedrich, for example, we get very little notion of the civil administration of Prussia; and when he comes, in the last volume, to his hero’s dealings with civil reforms, he confesses candidly that it would tire him too much to tell us about it, even if he knew anything at all satisfactory himself.
Mr. Carlyle’s historical compositions are wonderful prose poems, full of picture, incident, humor, and character, where we grow familiar with his conception of certain leading personages, and even of subordinate ones, if they are necessary to the scene, so that they come out living upon the stage from the dreary limbo of names; but this is no more history than the historical plays of Shakespeare. There is nothing in imaginative literature superior in its own way to the episode of Voltaire in the Fritziad. It is delicious in humor, masterly in minute characterization. We feel as if the principal victim (for we cannot help feeling all the while that he is so) of this mischievous genius had been put upon the theatre before us by some perfect mimic like Foote, who had studied his habitual gait, gestures, tones, turn of thought, costume, trick of feature, and rendered them with the slight dash of caricature needful to make the whole composition tell. It is in such things that Mr. Carlyle is beyond all rivalry, and that we must go back to Shakespeare for a comparison. But the mastery of Shakespeare is shown perhaps more strikingly in his treatment of the ordinary than of the exceptional. His is the gracious equality of Nature herself. Mr. Carlyle’s gift is rather in the representation than in the evolution of character; and it is a necessity of his art, therefore, to exaggerate slightly his heroic, and to caricature in like manner his comic parts. His appreciation is less psychological than physical and external. Grimm relates that Garrick, riding once with Préville, proposed to him that they should counterfeit drunkenness. They rode through Passy accordingly, deceiving all who saw them. When beyond the town Préville asked how he had succeeded. “Excellently,” said Garrick, “as to your body; but your legs were not tipsy.” Mr. Carlyle would be as exact in his observation of nature as the great actor, and would make us see a drunken man as well; but we doubt whether he could have conceived that unmatchable scene in Antony and Cleopatra, where the tipsiness of Lepidus pervades the whole metaphysical no less than the physical part of the triumvir. If his sympathies bore any proportion to his instinct for catching those traits which are the expression of character, but not character itself, we might have had a great historian in him instead of a history-painter. But that which is a main element in Mr. Carlyle’s talent, and does perhaps more than anything else to make it effective, is a defect of his nature. The cynicism, which renders him so entertaining precludes him from any just conception of men and their motives, and from any sane estimate of the relative importance of the events which concern them. We remember a picture of Hamon’s, where before a Punch’s theatre are gathered the wisest of mankind in rapt attention. Socrates sits on a front bench, absorbed in the spectacle, and in the corner stands Dante making entries in his note-book. Mr. Carlyle as an historian leaves us in somewhat such a mood. The world is a puppet-show, and when we have watched the play out, we depart with a half-comic consciousness of the futility of all human enterprise, and the ludicrousness of all man’s action and passion on the stage of the world. Simple, kindly, blundering Oliver Goldsmith was after all wiser, and his Vicar, ideal as Hector and not less immortal, is a demonstration of the perennial beauty and heroism of the homeliest human nature. The cynical view is congenial to certain moods, and is so little inconsistent with original nobleness of mind, that it is not seldom the acetous fermentation of it; but it is the view of the satirist, not of the historian, and takes in but a narrow arc in the circumference of truth. Cynicism in itself is essentially disagreeable. It is the intellectual analogue of the truffle; and though it may be very well in giving a relish to thought for certain palates, it cannot supply the substance of it. Mr. Carlyle’s cynicism is not that polished weariness of the outsides of life which we find in Ecclesiastes. It goes much deeper than that to the satisfactions, not of the body or the intellect, but of the very soul itself. It vaunts itself; it is noisy and aggressive. What the wise master puts into the mouth of desperate ambition, thwarted of the fruit of its crime, as the fitting expression of passionate sophistry, seems to have become an article of his creed. With him
“Life is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.”