It was in the midst of this confused mêlée of opinions and impulses that Thomas Carlyle strode into the lists with his strange book. On the one hand it is a Titanic defence of the universe against the stage Titanism of Byron's Cain. On the other hand it is a revolt of reality against the empire of proprieties and appearances and shams. In a generation divided between the red cap of France and the coal-scuttle bonnet of England Carlyle stands bareheaded under the stars. Along with him stand Benjamin Disraeli, combining a genuine sympathy for the poor with a most grotesque delight in the aristocracy; and John Henry Newman, fierce against the Liberals, and yet the author of "Lead, kindly Light."
The book was handicapped more heavily by its own style than perhaps any book that ever fought its way from neglect and vituperation to idolatrous popularity. There is in it an immense amount of gag and patter, much of which is brilliant, but so wayward and fantastic as to give a sense of restlessness and perpetual noise. The very title is provoking, and not less so is the explanation of it—the pretended discovery of a German volume upon "Clothes, their origin and influence," published by Stillschweigen and Co., of Weissnichtwo, and written by Diogenes Teufelsdröckh. The puffs from the local newspaper, and the correspondence with Hofrath "Grasshopper," in no wise lessen the odds against such a work being taken seriously.
Again, as might be expected of a Professor of "Things in General," the book is discursive to the point of bewilderment. The whole progeny of "aerial, aquatic, and terrestrial devils" breaks loose upon us just as we are about to begin such a list of human apparel as never yet was published save in the catalogue of a museum collected by a madman. A dog with a tin kettle at his tail rushes mad and jingling across the street, leaving behind him a new view of the wild tyranny of Ambition. A great personage loses much sawdust through a rent in his unfortunate nether garments. Sirius and the Pleiades look down from above. The book is everywhere, and everywhere at once. The asides seem to occupy more space than the main thesis, whatever that may be. Just when you think you have found the meaning of the author at last, another display of these fireworks distracts your attention. It is not dark enough to see their full splendour, yet they confuse such daylight as you have.
Yet the main thesis cannot long remain in doubt. Through whatever amazement and distraction, it becomes clear enough at last. Clothes, which at once reveal and hide the man who wears them, are an allegory of the infinitely varied aspects and appearances of the world, beneath which lurk ultimate realities. But essential man is a naked animal, not a clothed one, and truth can only be arrived at by the most drastic stripping off of unreal appearances that cover it. The Professor will not linger upon the consideration of the lord's star or the clown's button, which are all that most men care to see: he will get down to the essential lord and the essential clown. And this will be more than an interesting literary occupation to him, or it will not long be that. Truth and God are one, and the devil is the prince of lies. This philosophy of clothes, then, is religion and not belles lettres. The reason for our sojourn on earth, and the only ground of any hope for a further sojourn elsewhere, is that in God's name we do battle with the devil.
The quest of reality must obviously be wide as the universe, but if we are to engage in it to any purpose we must definitely begin it somewhere. A treatise on reality may easily be the most unreal of things—a mere battle in the air. So long as it is a discussion of theories it has this danger, and the first necessity is to bring the search down to the region of experience and rigorously insist on its remaining there. For this end the device of biography is adopted, and we see the meaning of all that apparent byplay of the six paper bags, and of the Weissnichtwo allusions which drop as puzzling fragments into Book I. The second book is wholly biographical. It is in human life and experience that we must fight our way through delusive appearances to reality; and Carlyle constructs a typical and immortal biography.
To the childless old people, Andreas and Gretchen Futteral, leading their sweet orchard life, there comes, in the dusk of evening, a stranger of reverend aspect—comes, and leaves with them the "invaluable Loan" of the baby Teufelsdröckh. Thenceforward, beside the little Kuhbach stream, we watch the opening out of a human life, from infancy to boyhood, and from boyhood to manhood. The story has been told a million times, but never quite in this fashion before. For rough delicacy, for exquisitely tender sternness, the biography is unique.
From the sleep of mere infancy the child is awakened to the consciousness of creatorship by the gift of tools with which to make things. Tales open up for him the long vistas of history; and the stage-coach with its slow rolling blaze of lights teaches him geography, and the far-flung imaginative suggestiveness of the road; while the annual cattle-fair actually gathers the ends of the earth about his wondering eyes, and gives him his first impression of the variety of human life.
Childhood brings with it much that is sweet and gentle, flowing on like the little Kuhbach; and yet suggests far thoughts of Time and Eternity, concerning which we are evidently to hear more before the end. The formal education he receives—that "wood and leather education"—calls forth only protest. But the development of his spirit proceeds in spite of it. So far as the passive side of character goes, he does excellently. On the active side things go not so well. Already he begins to chafe at the restraints of obedience, and the youthful spirit is beating against its bars. The stupidities of an education which only appeals to the one faculty of memory, and to that mainly by means of birch-rods, increase the rebellion, and the sense of restraint is brought to a climax when at last old Andreas dies. Then "the dark bottomless Abyss, that lies under our feet, had yawned open; the pale kingdoms of Death, with all their innumerable silent nations and generations, stood before him; the inexorable word never! now first showed its meaning."
The youth is now ready to enter, as such a one inevitably must, upon the long and losing battle of faith and doubt. He is at the theorising stage as yet, not having learned to make anything, but only to discuss things. And yet the time is not wasted if the mind have been taught to think. For "truly a Thinking Man is the worst enemy the Prince of Darkness can have."
The immediate consequence and employment of this unripe time of half-awakened manhood is, however, unsatisfactory enough. There is much reminiscence of early Edinburgh days, with their law studies, and tutoring, and translating, in Teufelsdröckh's desultory period. The climax of it is in those scornful sentences about Aesthetic Teas, to which the hungry lion was invited, that he might feed on chickweed—well for all concerned if it did not end in his feeding on the chickens instead! It is an unwholesome time with the lad—a time of sullen contempt alternating with loud rebellion, of mingled vanity and self-indulgence, and of much sheer devilishness of temper.