III
Caroline Fox, in her "Memoirs of Old Friends," reports a smart saying about Carlyle, current in her time, which has been current in some form or other ever since; namely, that he had a large capital of faith uninvested,—carried it about him as ready money, I suppose, working capital. It is certainly true that it was not locked up in any of the various social and religious safe-deposits. He employed a vast deal of it in his daily work. It took not a little to set Cromwell up, and Frederick. Indeed, it is doubtful if among his contemporaries there was a man with so active a faith,—so little invested in paper securities. His religion, as a present living reality, went with him into every question. He did not believe that the Maker of this universe had retired from business, or that he was merely a sleeping partner in the concern. "Original sin," he says, "and such like are bad enough, I doubt not; but distilled sin, dark ignorance, stupidity, dark corn-law, bastile and company, what are they?" For creeds, theories, philosophies, plans for reforming the world, etc., he cared nothing, he would not invest one moment in them; but the hero, the worker, the doer, justice, veracity, courage, these drew him,—in these he put his faith. What to
other people were mere obstructions were urgent, pressing realities to Carlyle. Every truth or fact with him has a personal inclination, points to conduct, points to duty. He could not invest himself in creeds and formulas, but in that which yielded an instant return in force, justice, character. He has no philosophical impartiality. He has been broken up; there have been moral convulsions; the rock stands on end. Hence the vehement and precipitous character of his speech,—its wonderful picturesqueness and power. The spirit of gloom and dejection that possesses him, united to such an indomitable spirit of work and helpfulness, is very noteworthy. Such courage, such faith, such unshaken adamantine belief in the essential soundness and healthfulness that lay beneath all this weltering and chaotic world of folly and evil about him, in conjunction with such pessimism and despondency, was never before seen in a man of letters. I am reminded that in this respect he was more like a root of the tree of Igdrasil than like a branch; one of the central and master roots, with all that implies, toiling and grappling in the gloom, but full of the spirit of light. How he delves and searches; how much he made live and bloom again; how he sifted the soil for the last drop of heroic blood! The Fates are there, too, with water from the sacred well. He is quick, sensitive, full of tenderness and pity; yet he is savage and brutal when you oppose him, or seek to wrench him from his holdings. His stormy outbursts always leave
the moral atmosphere clear and bracing; he does not communicate the gloom and despondency he feels, because he brings us so directly and unfailingly in contact with the perennial sources of hope and faith, with the life-giving and the life-renewing. Though the heavens fall, the orbs of truth and justice fall not. Carlyle was like an unhoused soul, naked and bare to every wind that blows. He felt the awful cosmic chill. He could not take shelter in the creed of his fathers, nor in any of the opinions and beliefs of his time. He could not and did not try to fend himself against the keen edge of the terrible doubts, the awful mysteries, the abysmal questions and duties. He lived and wrought on in the visible presence of God. This was no myth to him, but a terrible reality. How the immensities open and yawn about him! He was like a man who should suddenly see his relations to the universe, both physical and moral, in gigantic perspective, and never through life lose the awe, the wonder, the fear, the revelation inspired. The veil, the illusion of the familiar, the commonplace, is torn away. The natural becomes the supernatural. Every question, every character, every duty, was seen against the immensities, like figures in the night against a background of fire, and seen as if for the first time. The sidereal, the cosmical, the eternal,—we grow familiar with these or lose sight of them entirely. But Carlyle never lost sight of them; his sense of them became morbidly acute, preternaturally developed, and it was as if
he saw every movement of the hand, every fall of a leaf, as an emanation of solar energy. A "haggard mood of the imagination" (his own phrase) was habitual with him. He could see only the tragical in life and in history. Events were imminent, poised like avalanches that a word might loosen. We see Jeffries perpetually amazed at his earnestness, the gradations in his mind were so steep; the descent from the thought to the deed was so swift and inevitable that the witty advocate came to look upon him as a man to be avoided.
"Daily and hourly," he says (at the age of thirty-eight), "the world natural grows more of a world magical to me; this is as it should be. Daily, too, I see that there is no true poetry but in reality."
"The gist of my whole way of thought," he says again, "is to raise the natural to the supernatural." To his brother John he wrote in 1832: "I get more earnest, graver, not unhappier, every day. The whole creation seems more and more divine to me, the natural more and more supernatural." His eighty-five years did not tame him at all, did not blunt his conception of the "fearfulness and wonderfulness of life." Sometimes an opiate or an anæsthetic operates inversely upon a constitution, and, instead of inducing somnolence, makes the person wildly wakeful and sensitive. The anodyne of life acted this way upon Carlyle, and, instead of quieting or benumbing him, filled him with portentous imaginings and fresh cause for wonder. There is a danger that such a mind, if it takes to literature,
will make a mess of it. But Carlyle is saved by his tremendous gripe upon reality. Do I say the ideal and the real were one with him? He made the ideal the real, and the only real. Whatever he touched he made tangible, actual, and vivid. Ideas are hurled like rocks, a word blisters like a branding-iron, a metaphor transfixes like a javelin. There is something in his sentences that lays hold of things, as the acids bite metals. His subtle thoughts, his marvelous wit, like the viewless gases of the chemist, combine with a force that startles the reader.
Carlyle differs from the ordinary religious enthusiast in the way he bares his bosom to the storm. His attitude is rather one of gladiatorial resignation than supplication. He makes peace with nothing, takes refuge in nothing. He flouts at happiness, at repose, at joy. "There is in man a higher than love of happiness; he can do without happiness, and instead thereof find blessedness." "The life of all gods figures itself to us as a sublime sadness,—earnestness of infinite battle against infinite labor. Our highest religion is named the 'Worship of Sorrow.' For the Son of Man there is no noble crown, well worn or even ill worn, but is a crown of thorns." His own worship is a kind of defiant admiration of Eternal Justice. He asks no quarter, and will give none. He turns upon the grim destinies a look as undismayed and as uncompromising as their own. Despair cannot crush him; he will crush it. The more it bears on, the harder he
will work. The way to get rid of wretchedness is to despise it; the way to conquer the devil is to defy him; the way to gain heaven is to turn your back upon it, and be as unflinching as the gods themselves. Satan may be roasted in his own flames; Tophet may be exploded with its own sulphur. "Despicable biped!" (Teufelsdrökh is addressing himself.) "What is the sum total of the worst that lies before thee? Death? Well, death; and say the pangs of Tophet, too, and all that the devil and man may, will, or can do against thee! Hast thou not a heart? Canst thou not suffer what so it be, and as a child of freedom, though outcast, trample Tophet itself under thy feet while it consumes thee? Let it come, then; I will meet it and defy it." This is the "Everlasting No" of Teufelsdrökh, the annihilation of self. Having thus routed Satan with his own weapons, the "Everlasting Yea" is to people his domain with fairer forms; to find your ideal in the world about you. "Thy condition is but the stuff thou art to shape that same ideal out of; what matters whether such stuff be of this sort or of that, so the form thou give it be heroic, be poetic?" Carlyle's watchword through life, as I have said, was the German word Entsagen, or renunciation. The perfect flower of religion opens in the soul only when all self-seeking is abandoned. The divine, the heroic attitude is: "I ask not Heaven, I fear not Hell; I crave the truth alone, withersoever it may lead." "Truth! I cried, though the heavens