IV. 1866-1881.—Fifteen years of the setting of the sun.
The Carlyles, coming to the metropolis in a spirit of rarely realised audacity on a reserve fund of from £200 to £300 at most, could not propose to establish themselves in any centre of fashion. In their circumstances their choice of abode was on the whole a fortunate one. Chelsea,
Not wholly in the busy world, nor quite
Beyond it,
was, even in those days of less constant communication, within measurable distance of the centres of London life: it had then and still preserves a host of interesting historic and literary traditions. Among the men who in old times lived or met together in that outlying region of London, we have memories of Sir Thomas More and of Erasmus, of the Essayists Addison and Steele, and of Swift. Hard by is the tomb of Bolingbroke and the Square of Sir Hans Sloane; Smollett lived for a time in Laurence Street; nearer our own day, Turner resided in Cheyne Walk, later George Eliot, W.B. Scott, Dante Rossetti, Swinburne for a season, and George Meredith. When Carlyle came to settle there, Leigh Huntin Upper Cheyne Row, an almost next-door neighbour, was among the first of a series of visitors; always welcome, despite his "hugger-mugger" household and his borrowing tendencies, his "unpractical messages" and "rose-coloured reform processes," as a bright "singing bird, musical in flowing talk," abounding in often subtle criticisms and constant good humour. To the Chelsea home, since the Mecca of many pilgrims, there also flocked other old Ampton Street friends, drawn thither by genuine regard, Mrs. Carlyle, by the testimony of Miss Cushman and all competent judges, was a "raconteur unparalleled." To quote the same authority, "that wonderful woman, able to live in the full light of Carlyle's genius without being overwhelmed by it," had a peculiar skill in drawing out the most brilliant conversationalist of the age. Burns and Wilson were his Scotch predecessors in an art of which the close of our century—when every fresh thought is treasured to be printed and paid for—knows little but the shadow. Of Carlyle, as of Johnson, it might have been said, "There is no use arguing with him, for if his pistol misses fire he knocks you down with the butt": both men would have benefited by revolt from their dictation, but the power to contradict either was overborne by a superior power to assert. Swift's occasional insolence, in like manner, prevailed by reason of the colossal strength that made him a Gulliver in Lilliput. Carlyle in earlier, as in later times, would have been the better of meeting his mate, or of being overmatched; but there was no Wellington found for this "grand Napoleon of the realms" of prose. His reverence for men, if not for things, grew weaker with the strengthening of his sway, a sway due to the fact that men of extensive learning are rarely men of incisive force, and Carlyle—in this respect more akin to Johnson than to Swift—had the acquired material to serve as fuel for the inborn fire. Hence the least satisfactory of his criticisms are those passed on his peers. Injustices of conversation should be pardoned to an impulsive nature, even those of correspondence in the case of a man who had a mania for pouring out his moods to all and sundry; but where Carlyle has carefully recarved false estimates in cameo, his memory must abide the consequence. Quite late in life, referring to the Chelsea days, he says, "The best of those who then flocked about us was Leigh Hunt," who never seriously said him nay; "and the worst Lamb," who was not among the worshippers. No one now doubts that Carlyle's best adviser and most candid critic might have been John Stuart Mill, for whom he long felt as much regard as it was possible for him to entertain towards a proximate equal. The following is characteristic: "He had taken a great attachment to me (which lasted about ten years and then suddenly ended, I never knew how), an altogether clear, logical, honest, amicable, affectionate young man, and respected as such here, though sometimes felt to be rather colourless, even aqueous, no religion in any form traceable in him." And similarly of his friend, Mrs. Taylor, "She was a will-o'-the- wispish iridescence of a creature; meaning nothing bad either"; and again of Mill himself, "His talk is sawdustish, like ale when there is no wine to be had." Such criticisms, some ungrateful, others unjust, may be relieved by reference to the close of two friendships to which (though even these were clouded by a touch of personal jealousy) he was faithful in the main; for the references of both husband and wife to Irving's "delirations" are the tears due to the sufferings of errant minds. Their last glimpse of this best friend of earlier days was in October 1834, when he came on horseback to the door of their new home, and left with the benediction to his lost Jane, "You have made a little Paradise around you." He died in Glasgow in December of the same year, and his memory is pathetically embalmed in Carlyle's threnody. The final phases of another old relationship were in some degree similar. During the first years of their settlement, Lord Jeffrey frequently called at Cheyne Row, and sent kind letters to his cousin, received by her husband with the growl, "I am at work stern and grim, not to be interrupted by Jeffrey's theoretic flourish of epistolary trumpeting." Carlyle, however, paid more than one visit to Craigcrook, seeing his host for the last time in the autumn of 1849, "worn in body and thin in mind," "grown lunar now and not solar any more." Three months later he heard of the death of this benefactor of his youth, and wrote the memorial which finds its place in the second volume of the Reminiscences.
[Footnote: Cf. Byron's account of the same household at Pisa. Carlyle deals very leniently with the malignant volume on Byron which amply justified the epigram of Moore. But he afterwards spoke more slightly of his little satellite, attributing the faint praise, in the Examiner, of the second course of lectures to Hunt's jealousy of a friend now "beginning to be somebody.">[
The work "stern and grim" was the French Revolution, the production of which is the dominant theme of the first chapter of Carlyle's London life. Mr. Froude, in the course of an estimate of this work which leaves little room for other criticism, dwells on the fact that it was written for a purpose, i.e. to show that rulers, like those of the French in the eighteenth century, who are solely bent on the pleasures and oblivious of the duties of life, must end by being "burnt up." This, doubtless, is one of the morals of the French Revolution—the other being that anarchy ends in despotism—and unquestionably a writer who never ceased to be a preacher must have had it in his mind. But Carlyle's peculiarity is that he combined the functions of a prophet and of an artist, and that while now the one, now the other, was foremost, he never wholly forgot the one in the other. In this instance he found a theme well fit for both, and threw his heart into it, though under much discouragement. Despite the Essays, into each of which he had put work enough for a volume, the Reviews were shy of him; while his Sartor had, on this side of the Atlantic, been received mainly with jeers. Carlyle, never unconscious of his prerogative and apostolic primogeniture, felt like an aspirant who had performed his vigils, and finding himself still ignored, became a knight of the rueful countenance. Thoroughly equipped, adept enough in ancient tongues to appreciate Homer, a master of German and a fluent reader of French, a critic whose range stretched from Diderot to John Knox, he regarded his treatment as "tragically hard," exclaiming, "I could learn to do all things I have seen done, and am forbidden to try any of them." The efforts to keep the wolf from his own doors were harder than any but a few were till lately aware of. Landed in London with his £200 reserve, he could easily have made way in the usual ruts; but he would have none of them, and refused to accept the employment which is the most open, as it is the most lucrative, to literary aspirants. To nine out of ten the "profession of literature" means Journalism; while Journalism often means dishonesty, always conformity. Carlyle was, in a sense deeper than that of the sects, essentially a nonconformist; he not only disdained to write a word he did not believe, he would not suppress a word he did believe—a rule of action fatal to swift success. During these years there began an acquaintance, soon ripening into intimacy, the memories of which are enshrined in one of the most beautiful of biographies. Carlyle's relation to John Sterling drew out the sort of affection which best suited him—the love of a master for a pupil, of superior for inferior, of the benefactor for the benefited; and consequently there is no line in the record of it that jars. Sterling once tried to benefit his friend, and perhaps fortunately failed. He introduced Carlyle to his father, then the chief writer in the Times, and the Editor invited the struggling author to contribute to its columns, but, according to Mr. Froude, "on the implied conditions … when a man enlists in the army, his soul as well as his body belong to his commanding officer." Carlyle talked, all his life, about what his greatest disciple calls "The Lamp of Obedience"; but he himself would obey no one, and found it hard to be civil to those who did not see with his eyes. Ho rejected—we trust in polite terms—the offer of "the Thunderer." "In other respects also," says our main authority, "he was impracticable, unmalleable, and as independent and wilful as if he were the heir to a peerage. He had created no 'public' of his own; the public which existed could not understand his writings and would not buy them; and thus it was that in Cheyne Row he was more neglected than he had been in Scotland." Welcome to a limited range of literary society, he astonished and amused by his vehement eloquence, but when crossed he was not only "sarcastic" but rude, and speaking of people, as he wrote of them, with various shades of contempt, naturally gave frequent offence. Those whose toes are trodden on, not by accident, justifiably retaliate. "Are you looking for your t-t-turban?" Charles Lamb is reported to have said in some entertainer's lobby after listening for an evening to Carlyle's invectives, and the phrase may have rankled in his mind. Living in a glass case, while throwing stones about, super-sensitive to criticism though professing to despise critics, he made at least as many enemies as friends, and by his own confession became an Ishmaelite. In view of the reception of Sartor, we do not wonder to find him writing in 1833—
It is twenty-three months since I earned a penny by the craft of literature, and yet I know no fault I have committed…. I am tempted to go to America…. I shall quit literature, it does not invite me. Providence warns me to have done with it. I have failed in the Divine Infernal Universe;
or meditating, when at the lowest ebb, to go wandering about the world like Teufelsdröckh, looking for a rest for the sole of his foot. And yet all the time, with incomparable naiveté, he was asserting:—
The longer I live among this people the deeper grows my feeling of natural superiority to them…. The literary world here is a thing which I have no other course left me but to defy…. I can reverence no existing man. With health and peace for one year, I could write a better book than there has been in this country for generations.
All through his journal and his correspondence there is a perpetual alternation of despair and confidence, always closing with the refrain, "Working, trying is the only remover of doubt," and wise counsels often echoed from Goethe, "Accomplish as well as you can the task on hand, and the next step will become clear;" on the other hand—A man must not only be able to work but to give over working…. If a man wait till he has entirely brushed off his imperfections, he will spin for ever on his axis, advancing no whither…. The French Revolution stands pretty fair in my head, nor do I mean to investigate much more about it, but to splash down what I know in large masses of colours, that it may look like a smoke-and-flame conflagration in the distance.