I will not dwell on the other Review articles which Carlyle wrote in his isolated retreat, since published as "Miscellanies," on which his fame in no small degree rests,--even as the essays of Macaulay may be read when his more elaborate History will lie neglected on the shelves of libraries. Carlyle put his soul into these miscellanies, and the labor and enjoyment of writing made him partially forget his ailments. I look upon those years at Craigenputtock as the brightest and healthiest of his life, removed as he was from the sight of levities and follies which tormented his soul and irritated his temper.
Carlyle contrived to save about £200 from his literary earnings, so frugal was his life and so free from temptations. His recreation was in wandering on foot or horseback over the silent moors and unending hills, watered by nameless rills and shadowed by mists and vapors. His life was solitary, but not more so than that of Moses amid the deserts of Midian,--isolation, indeed, but in which the highest wisdom is matured. Into this retreat Emerson penetrated, a young man, with boundless enthusiasm for his teacher,--for Carlyle was a teacher to him as to hundreds of others in this country. Carlyle never had a truer and better friend than Emerson, who opened to him the great reward of recognition in distant America while yet his own land refused to take knowledge of him; and this friendship continued to the end, an honor to both,--for Carlyle never saw in Emerson's writings the genius and wisdom which his American friend admired in the Scottish sage. Nor were their opinions so harmonious as some suppose. Emerson despised Calvinism, and had no definite opinions on any theological subject; Carlyle was a Calvinist without the theology of Calvinism, if that be possible. He did not, indeed, believe in historical Christianity, but he had the profoundest convictions of an overruling God, reigning in justice, and making the wrath of man to praise Him. Carlyle, too, despised everything visionary and indefinite, and had more respect for what is brought about by revolution than by evolution. But of all things he held in profoundest abhorrence the dreary theories of materialists and political economists. It was the spirit and not the body which stood out in his eyes as of most importance; it was the manly virtues which he reverenced in man, not his clothes and surroundings. And it was on this lofty spiritual plane that Carlyle and Emerson stood in complete harmony together.
I cannot quit this part of Carlyle's life without mention of what I conceive to be his most original and remarkable production,--"Sartor Resartus,"--The Stitcher Restitched: or, The Tailor Done Over,--the title of an old Scotch song. It is a quaintly conceived reproduction of the work of an imaginary German professor on "The Philosophy of Clothes,"--under which external figure he includes all institutions, customs, beliefs, in which humanity has draped itself, as distinguished from the inner reality of man himself. "The beginning of all Wisdom," he says, "is to look fixedly on Clothes, or even with armed eyesight, till they become transparent." And thus, in grotesque fashion, with amazing vigor he ranges the universe in search of the Real. In one of his letters to Emerson, Carlyle, discussing a project of lecturing in America, takes on his sartorial professor's name, and writes: "Could any one but appoint me Lecturing Professor of Teufelsdröckh's Science,--'Things in General'!" This work was written in his remote solitude, yet not published for years after it was finished,--and for the best of reasons, because with all his literary repute Carlyle could not find a publisher. The "Sartor" was not appreciated; and Carlyle, knowing its value, locked it up in his drawer, and waited for his time.
The "Sartor Resartus" is a sort of prose poem, written with the heart's blood, vivid as fire in a dark night; a Dantean production; a revelation probably of the author's own struggles and experiences from the dark gulf of the "Everlasting Nay" to the clear and serene heights of the "Everlasting Yea." To me the book is full of consolation and encouragement,--a battle of the spirit with infernal doubts, a victory over despair, over all external evils and all spiritual foes. It is also a bold and grotesque but scorching sarcasm of the conventionalities and hypocrisies of society, and a savage thrust at those quackeries which seem to reign in this world in spite of their falsity and shallowness. It is not, I grant, easy to read. It is full of conceits and affectations of style,--a puzzle to some, a rebuke to others. "Every page of this unique collection of confessions and meditations, of passionate invective and solemn reflection," is stamped with the seal of genius, and yet was the last of Carlyle's writings to be appreciated. I believe that this is the ordinary fate of truly original works, those that are destined to live the longest, especially if they burn no incense to the idols of prevailing worship, and be characterized by a style which, to say the least, is extraordinary. Flashy, brilliant, witty, yet superficial pictures of external life which everybody has seen and knows, are the soonest to find admirers; but a revelation of what is not seen, this is the work of seers and prophets whose ordinary destiny has been anything other than to wear soft raiment and sit in king's palaces. The "Sartor" was at last, in 1833-1834, printed in Fraser's Magazine, meeting no appreciation in England, but very enthusiastically received by Emerson, Channing, Ripley, and a group of advanced thinkers in New England, through whose efforts it was published here in book form. And so, in spite of timid London publishers, it drifted back to London and a slow-growing fame. In our time, sixty years later, it sells by scores of thousands annually, in cheap and in luxurious editions, throughout the English-speaking world.
In respect of early recognition and popularity, Carlyle differs from his great contemporary Macaulay, who was so immediately and so magnificently rewarded, and yet received no more than his due as the finest prose writer of his day. Macaulay's Essays are generally word-pictures of remarkable men and remarkable events, but of men of action rather than of quiet meditation. His heroes are such men as Clive and Hastings and Pitt, not such men as Pascal or Augustine or Leibnitz or Goethe. But Carlyle in his heroes paints the struggling soul in its deepest aspirations, and the truths evolved by profound meditations. These are not such as gain instant popular acceptance; yet they are the longer-lived.
The time came at last for Carlyle to leave his retirement among moors and hills, and in 1831 he directed his steps to London, spending the winter with his wife in the great centre of English life and thought, and being well received; so that in 1834 he removed permanently to the metropolis. But he was scarcely less buried at his modest house in Chelsea than he had been on his farm, for he came to London with only £200, and was obliged to practise the most rigid economy. For two years he labored in his London workshop without earning a shilling, and with a limited acquaintance. Not yet was his society sought by the great world which he mocked and despised. He fortunately had the genial and agreeable Leigh Hunt for a neighbor, and Edward Irving for his friend. He was known to the critics by his writings, but his circle of personal friends was small. He was more or less intimate with John Stuart Mill, Charles Austin, Sir William Molesworth, and the advanced section of the philosophical radicals,--the very class of men from whom he afterwards was most estranged. None of these men forwarded his fortunes; but they lent him books, and helped him at the libraries, for no carpenter can work without tools.
The work to which Carlyle now devoted himself was a history of the French Revolution, the principal characters of which he had already studied and written about. It was a subject adapted to his genius for dramatic writing, and for the presentation of his views as to retribution. His whole theology, according to Froude, was underlaid by the belief in punishment for sin, which was impressed upon his mind by his God-fearing parents, and was one of his firmest convictions. The French were to his mind the greatest sinners among Christian nations, and therefore were to reap a fearful penalty. To paint in a new and impressive form the inevitable calamities attendant on violated law and justice, was the aspiration of Carlyle. He had money enough to last him with economy for two years. In this time he hoped to complete his work. The possibility was due to the intelligent thrift of his wife. Commenting on one of her letters describing their snug little house, he writes:--
"From birth upwards she had lived in opulence; and now, for my sake, had become poor,--so nobly poor. Truly, her pretty little brag [in this letter] was well founded. No such house, for beautiful thrift, quiet, spontaneous, nay, as it were, unconscious--minimum of money reconciled to human comfort and human dignity--have I anywhere looked upon."
He devoted himself to his task with intense interest, and was completely preoccupied.
In the winter of 1835, after a year of general study, collection of material and writing, and at last "by dint of continual endeavor for many weary weeks," the first volume was completed and submitted to his friend Mill. The valuable manuscript was accidentally and ignorantly destroyed by a servant, and Mill was in despair. Carlyle bore the loss like a hero. He did not chide or repine. If his spirit sunk within him, it was when he was alone in his library or in the society of his sympathizing wife. He generously writes to Emerson,--