Carlyle's pathos, far from being confined to his own calamity, was ready to awake at every touch. "I was walking with him," writes Froude, "one Sunday afternoon in Battersea Park. In the open circle among the trees was a blind man and his daughter, she singing hymns, he accompanying her on some instrument. We stood listening. She sang Faber's 'Pilgrims of the Night.' The words were trivial, but the air, though simple, had something weird and unearthly about it. 'Take me away,' he said, after a few minutes, 'I shall cry if I stay longer.'"
The melancholy, "often as of deep misery frozen torpid," that runs through his writing, that makes him forecast death in life and paint the springs of nature in winter hue, the "hoarse sea," the "bleared skies," the sunsets "beautiful and brief and wae," compels our compassion in a manner quite different from the pictures of Sterne, and De Quincey, and other colour dramatists, because we feel it is as genuine as the melancholy of Burns. Both had the relief of humour, but Burns only of the two was capable of gaiety. "Look up there," said Leigh Hunt, pointing to the starry skies, "look at that glorious harmony that sings with infinite voices an eternal song of hope in the soul of man." "Eh, it's a sair sicht," was the reply.
We have referred to a few out of a hundred instances of Carlyle's practical benevolence. To all deserving persons in misfortune he was a good Samaritan, and like all benefactors the dupe of some undeserving. Charity may be, like maternal affection, a form of self-indulgence, but it is so only to kind-hearted men. In all that relates to money Carlyle's career is exemplary. He had too much common sense to affect to despise it, and was restive when he was underpaid; he knew that the labourer was worthy of his hire. But, after hacking for Brewster he cannot be said to have ever worked for wages, his concern was rather with the quality of his work, and, regardless of results, he always did his best. A more unworldly man never lived; from his first savings he paid ample tributes to filial piety and fraternal kindness, and to the end of his life retained the simple habits in which he had been trained. He hated waste of all kinds, save in words, and carried his home frugalities even to excess. In writing to James Aitken, engaged to his sister, "the Craw," he says, "remember in marriage you have undertaken to do to others as you would wish they should do to you." But this rede he did not reck.
"Carlyle," writes Longfellow, "was one of those men who sacrificed their happiness to their work"; the misfortune is that the sacrifice did not stop with himself. He seemed made to live with no one but himself. Alternately courteous and cross-grained, all his dramatic power went into his creations; he could not put himself into the place of those near him. Essentially perhaps the bravest man of his age, he would not move an inch for threat or flattery; centered in rectitude, conscience never made him a coward. He bore great calamities with the serenity of a Marcus Aurelius: his reception of the loss of his first volume of the French Revolution was worthy of Sidney or of Newton: his letters, when the successive deaths of almost all that were dearest left him desolate, are among the noblest, the most resigned, the most pathetic in biography. Yet, says Mr. Froude, in a judgment which every careful reader must endorse: "Of all men I have ever seen Carlyle was the least patient of the common woes of humanity." "A positive Christian," says Mrs. Carlyle, "in bearing others' pain, he was a roaring Thor when himself pricked by a pin," and his biographer corroborates this: "If matters went well with himself, it never occurred to him that they could be going ill with any one else; and, on the other hand, if he were uncomfortable he required all the world to be uncomfortable along with him." He did his work with more than the tenacity of a Prescott or a Fawcett, but no man ever made more noise over it than this apostle of silence. "Sins of passion he could forgive, but those of insincerity never." Carlyle has no tinge of insincerity; his writing, his conversation, his life, are absolutely, dangerously, transparent. His utter genuineness was in the long run one of the sources of his success. He always, if we allow for a habit of rhetorical exaggeration, felt what he made others feel.
Sullen moods, and "words at random sent," those judging him from a distance can easily condone; the errors of a hot head are pardonable to one who, in his calmer hours, was ready to confess them. "Your temptation and mine," he writes to his brother Alexander, "is a tendency to imperiousness and indignant self-help; and, if no wise theoretical, yet, practical forgetfulness and tyrannical contempt of other men." His nicknaming mania was the inheritance of a family failing, always fostered by the mocking-bird at his side. Humour, doubtless, ought to discount many of his criticisms. Dean Stanley, in his funeral sermon, charitably says, that in pronouncing the population of England to be "thirty millions, mostly fools," Carlyle merely meant that "few are chosen and strait is the gate," generously adding—"There was that in him, in spite of his contemptuous descriptions of the people, which endeared him to those who knew him best. The idols of their market-place he trampled under foot, but their joys and sorrows, their cares and hopes, were to him revered things." Another critic pleads for his discontent that it had in it a noble side, like that of Faust, and that his harsh judgments of eminent men were based on the belief that they had allowed meaner to triumph over higher impulses, or influences of society to injure their moral fibre. This plea, however, fails to cover the whole case. Carlyle's ignorance in treating men who moved in spheres apart from his own, as the leaders of science, definite theological enlightenment, or even poetry and arts, was an intellectual rather than a moral flaw; but in the implied assertion, "what I can't do is not worth doing," we have to regret the influence of an enormous egotism stunting enormous powers, which, beginning with his student days, possessed him to the last. The fame of Newton, Leibnitz, Gibbon, whose works he came to regard as the spoon-meat of his "rude untutored youth," is beyond the range of his or of any shafts. When he trod on Mazzini's pure patriot career, as a "rose-water imbecility," or maligned Mill's intrepid thought as that of a mere machine, he was astray on more delicate ground, and alienated some of his truest friends. Among the many curses of our nineteenth-century literature denounced by its leading Censor, the worst, the want of loyalty among literary men, he fails to denounce because he largely shares in it. "No sadder proof," he declares, "can be given by a man of his own littleness than disbelief in great men," and no one has done more to retrieve from misconception the memories of heroes of the past; but rarely does either he or Mrs. Carlyle say a good word for any considerable English writer then living. It is true that he criticises, more or less disparagingly, all his own works, from Sartor, of which he remarks that "only some ten pages are fused and harmonious," to his self-entitled "rigmarole on the Norse Kings": but he would not let his enemy say so; nor his friend. Mill's just strictures on the "Nigger Pamphlet" he treats as the impertinence of a boy, and only to Emerson would he grant the privilege to hold his own. Per contra, he overestimated those who were content to be his echoes.
Material help he refused with a red Indian pride; intellectual he used and slighted. He renders scant justice to those who had preceded him in his lines of historical investigation, as if they had been poachers on his premises, e.g. Heath, the royalist writer of the Commonwealth time, is "carrion Heath": Noble, a former biographer of Cromwell, is "my reverend imbecile friend": his predecessors in Friedrich, as Schlosser, Preuss, Ranke, Förster, Vehse, are "dark chaotic dullards whose books are mere blotches of printed stupor, tumbled mountains of marine stores "—criticism valueless even when it raises the laughter due to a pantomime. Carlyle assailed three sets of people:—
1. Real humbugs, or those who had behaved, or whom he believed to have behaved, badly to him.
2. Persons from whom he differed, or whom he could not understand—as Shelley, Keats, Lamb, Coleridge, and the leaders of Physics and Metaphysics.
3. Persons who had befriended, but would not give him an unrestricted homage or an implicit following, as Mill, Mazzini, Miss Martineau, etc.
The last series of assaults are hard to pardon. Had his strictures been always just,—so winged with humorous epigram,—they would have blasted a score of reputations: as it is they have only served to mar his own. He was a typical Scotch student of the better class, stung by the *oistros of their ambitious competition and restless push, wanting in repose, never like