the publication of the Reminiscences, the number of silly geese that came there to crop the grass was much fewer. No real lover of Carlyle was ever disturbed by those Reminiscences; but to the throng that run after a man because he is famous, and that chip his headstone or carry away the turf above him when he is dead, they were happily a great bugaboo.
A most agreeable walk I took one day down to Annan. Irving's name still exists there, but I believe all his near kindred have disappeared. Across the street from the little house where he was born this sign may be seen: "Edward Irving, Flesher." While in Glasgow, I visited Irving's grave, in the crypt of the cathedral, a most dismal place, and was touched to see the bronze tablet that marked its site in the pavement bright and shining, while those about it, of Sir this or Lady that, were dull and tarnished. Did some devoted hand keep it scoured, or was the polishing done by the many feet that paused thoughtfully above this name? Irving would long since have been forgotten by the world had it not been for his connection with Carlyle, and it was probably the lustre of the latter's memory that I saw reflected in the metal that bore Irving's name. The two men must have been of kindred genius in many ways, to have been so drawn to each other, but Irving had far less hold upon reality; his written word has no projectile force. It makes a vast difference whether you burn gunpowder on a shovel or in a gun-barrel. Irving may be said to have made a brilliant flash, and then to have disappeared in the smoke.
Some men are like nails, easily drawn; others are like rivets, not drawable at all. Carlyle is a rivet, well headed in. He is not going to give way, and be forgotten soon. People who differed from him in opinion have stigmatized him as an actor, a mountebank, a rhetorician; but he was committed to his purpose and to the part he played with the force of gravity. Behold how he toiled! He says, "One monster there is in the world,—the idle man." He did not merely preach the gospel of work; he was it,—an indomitable worker from first to last. How he delved! How he searched for a sure foundation, like a master builder, fighting his way through rubbish and quicksands till he reached the rock! Each of his review articles cost him a month or more of serious work. "Sartor Resartus" cost him nine months, the "French Revolution" three years, "Cromwell" four years, "Frederick" thirteen years. No surer does the Auldgarth bridge, that his father helped build, carry the traveler over the turbulent water beneath it, than these books convey the reader over chasms and confusions, where before there was no way, or only an inadequate one. Carlyle never wrote a book except to clear some gulf or quagmire, to span and conquer some chaos. No architect or engineer ever had purpose more tangible and definite. To further the reader on his way, not to beguile or amuse him, was always his purpose. He had that contempt for all dallying and toying and lightness and frivolousness that hard, serious workers always have.
He was impatient of poetry and art; they savored too much of play and levity. His own work was not done lightly and easily, but with labor throes and pains, as of planting his piers in a weltering flood and chaos. The spirit of struggling and wrestling which he had inherited was always uppermost. It seems as if the travail and yearning of his mother had passed upon him as a birthmark. The universe was madly rushing about him, seeking to engulf him. Things assumed threatening and spectral shapes. There was little joy or serenity for him. Every task he proposed to himself was a struggle with chaos and darkness, real or imaginary. He speaks of "Frederick" as a nightmare; the "Cromwell business" as toiling amid mountains of dust. I know of no other man in literature with whom the sense of labor is so tangible and terrible. That vast, grim, struggling, silent, inarticulate array of ancestral force that lay in him, when the burden of written speech was laid upon it, half rebelled, and would not cease to struggle and be inarticulate. There was a plethora of power: a channel, as through rocks, had to be made for it, and there was an incipient cataclysm whenever a book was to be written. What brings joy and buoyancy to other men, namely, a genial task, brought despair and convulsions to him. It is not the effort of composition,—he was a rapid and copious writer and speaker,—but the pressure of purpose, the friction of power and velocity, the sense of overcoming the demons and mud-gods and
frozen torpidity he so often refers to. Hence no writing extant is so little like writing, and gives so vividly the sense of something done. He may praise silence and glorify work. The unspeakable is ever present with him; it is the core of every sentence: the inarticulate is round about him; a solitude like that of space encompasseth him. His books are not easy reading; they are a kind of wrestling to most persons. His style is like a road made of rocks: when it is good, there is nothing like it; and when it is bad, there is nothing like it!
In "Past and Present" Carlyle has unconsciously painted his own life and character in truer colors than has any one else: "Not a May-game is this man's life, but a battle and a march, a warfare with principalities and powers; no idle promenade through fragrant orange groves and green, flowery spaces, waited on by the choral Muses and the rosy Hours: it is a stern pilgrimage through burning, sandy solitudes, through regions of thick-ribbed ice. He walks among men; loves men with inexpressible soft pity, as they cannot love him: but his soul dwells in solitude, in the uttermost parts of Creation. In green oases by the palm-tree wells, he rests a space; but anon he has to journey forward, escorted by the Terrors and the Splendors, the Archdemons and Archangels. All heaven, all pandemonium, are his escort." Part of the world will doubtless persist in thinking that pandemonium furnished his chief counsel and guide; but there are enough who think otherwise, and their numbers are bound to increase in the future.