Essays · Thomas Carlyle And His Works (2/6)

Indeed, for fluency and skill in the use of the English tongue, he is a master unrivalled. His felicity and power of expression surpass even his special merits as historian and critic. Therein his experience has not failed him, but furnished him with such a store of winged, ay and legged words, as only a London life, perchance, could give account of; we had not understood the wealth of the language before. Nature is ransacked, and all the resorts and purlieus of humanity are taxed, to furnish the fittest symbol for his thought. He does not go to the dictionary, the wordbook, but to the word-manufactory itself, and has made endless work for the lexicographers⁠—yes, he has that same English for his mother-tongue that you have, but with him it is no dumb, muttering, mumbling faculty, concealing the thoughts, but a keen, unwearied, resistless weapon. He has such command of it as neither you nor I have; and it would be well for any who have a lost horse to advertise, or a town-meeting warrant, or a sermon, or a letter to write, to study this universal letter-writer, for he knows more than the grammar or the dictionary.

The style is worth attending to, as one of the most important features of the man which we at this distance can discern. It is for once quite equal to the matter. It can carry all its load, and never breaks down nor staggers. His books are solid and workmanlike, as all that England does; and they are graceful and readable also. They tell of huge labor done, well done, and all the rubbish swept away, like the bright cutlery which glitters in shop windows, while the coke and ashes, the turnings, filings, dust, and borings lie far away at Birmingham, unheard of. He is a masterly clerk, scribe, reporter, writer. He can reduce to writing most things⁠—gestures, winks, nods, significant looks, patois, brogue, accent, pantomime, and how much that had passed for silence before, does he represent by written words. The countryman who puzzled the city lawyer, requiring him to write, among other things, his call to his horses, would hardly have puzzled him; he would have found a word for it, all right and classical, that would have started his team for him. Consider the ceaseless tide of speech forever flowing in countless cellars, garrets, parlors; that of the French, says Carlyle, “only ebbs toward the short hours of night,” and what a drop in the bucket is the printed word. Feeling, thought, speech, writing, and, we might add, poetry, inspiration⁠—for so the circle is completed; how they gradually dwindle at length, passing through successive colanders, into your history and classics, from the roar of the ocean, the murmur of the forest, to the squeak of a mouse; so much only parsed and spelt out, and punctuated, at last. The few who can talk like a book, they only get reported commonly. But this writer reports a new “Lieferung.”

One wonders how so much, after all, was expressed in the old way, so much here depends upon the emphasis, tone, pronunciation, style, and spirit of the reading. No writer uses so profusely all the aids to intelligibility which the printer’s art affords. You wonder how others had contrived to write so many pages without emphatic or italicized words, they are so expressive, so natural, so indispensable here, as if none had ever used the demonstrative pronouns demonstratively before. In another’s sentences the thought, though it may be immortal, is, as it were embalmed, and does not strike you, but here it is so freshly living, even the body of it not having passed through the ordeal of death, that it stirs in the very extremities, and the smallest particles and pronouns are all alive with it. It is not simple dictionary it, yours or mine, but it. The words did not come at the command of grammar, but of a tyrannous, inexorable meaning; not like standing soldiers, by vote of Parliament, but any able-bodied countryman pressed into the service, for “Sire, it is not a revolt, it is a revolution.”

We have never heard him speak, but we should say that Carlyle was a rare talker. He has broken the ice, and streams freely forth like a spring torrent. He does not trace back the stream of his thought, silently adventurous, up to its fountainhead, but is borne away with it, as it rushes through his brain like a torrent to overwhelm and fertilize. He holds a talk with you. His audience is such a tumultuous mob of thirty thousand, as assembled at the University of Paris, before printing was invented. Philosophy, on the other hand, does not talk, but write, or, when it comes personally before an audience, lecture or read; and therefore it must be read tomorrow, or a thousand years hence. But the talker must naturally be attended to at once; he does not talk on without an audience; the winds do not long bear the sound of his voice. Think of Carlyle reading his French Revolution to any audience. One might say it was never written, but spoken; and thereafter reported and printed, that those not within sound of his voice might know something about it. Some men read to you something which they have written, in a dead language, of course, but it may be in a living letter, in a Syriac, or Roman, or Runic character. Men must speak English who can write Sanskrit; and they must speak a modern language who write, perchance, an ancient and universal one. We do not live in those days when the learned used a learned language. There is no writing of Latin with Carlyle; but as Chaucer, with all reverence to Homer, and Virgil, and Messieurs the Normans, sung his poetry in the homely Saxon tongue; and Locke has at least the merit of having done philosophy into English⁠—so Carlyle has done a different philosophy still further into English, and thrown open the doors of literature and criticism to the populace.

Such a style⁠—so diversified and variegated! It is like the face of a country; it is like a New England landscape, with farmhouses and villages, and cultivated spots, and belts of forests and blueberry-swamps round about, with the fragrance of shad-blossoms and violets on certain winds. And as for the reading of it, it is novel enough to the reader who has used only the diligence, and old line mail-coach. It is like traveling, sometimes on foot, sometimes in a gig tandem; sometimes in a full coach, over highways, mended and unmended, for which you will prosecute the town; on level roads, through French departments, by Simplon roads over the Alps, and now and then he hauls up for a relay, and yokes in an unbroken colt of a Pegasus for a leader, driving off by cart-paths, and across lots, by corduroy roads and gridiron bridges; and where the bridges are gone, not even a string-piece left, and the reader has to set his breast and swim. You have got an expert driver this time, who has driven ten thousand miles, and was never known to upset; can drive six in hand on the edge of a precipice, and touch the leaders anywhere with his snapper.

With wonderful art he grinds into paint for his picture all his moods and experiences, so that all his forces may be brought to the encounter. Apparently writing without a particular design or responsibility, setting down his soliloquies from time to time, taking advantage of all his humors, when at length the hour comes to declare himself, he puts down in plain English, without quotation marks, what he, Thomas Carlyle, is ready to defend in the face of the world, and fathers the rest, often quite as defensible, only more modest, or plain spoken, or insinuating, upon “Sauerteig,” or some other gentleman long employed on the subject. Rolling his subject how many ways in his mind, he meets it now face to face, wrestling with it at arm’s length, and striving to get it down, or throws it over his head; and if that will not do, or whether it will do or not, tries the backstitch and side-hug with it, and downs it again⁠—scalps it, draws and quarters it, hangs it in chains, and leaves it to the winds and dogs. With his brows knit, his mind made up, his will resolved and resistless, he advances, crashing his way through the host of weak, half-formed, dilettante opinions, honest and dishonest ways of thinking, with their standards raised, sentimentalities and conjectures, and tramples them all into dust. See how he prevails; you don’t even hear the groans of the wounded and dying. Certainly it is not so well worth the while to look through any man’s eyes at history, for the time, as through his; and his way of looking at things is fastest getting adopted by his generation.

It is not in man to determine what his style shall be. He might as well determine what his thoughts shall be. We would not have had him write always as in the chapter on Burns, and the Life of Schiller, and elsewhere. No; his thoughts were ever irregular and impetuous. Perhaps as he grows older and writes more he acquires a truer expression; it is in some respects manlier, freer, struggling up to a level with its fountainhead. We think it is the richest prose style we know of.

Who cares what a man’s style is, so it is intelligible⁠—as intelligible as his thought. Literally and really, the style is no more than the stylus, the pen he writes with⁠—and it is not worth scraping and polishing, and gilding, unless it will write his thoughts the better for it. It is something for use, and not to look at. The question for us is not whether Pope had a fine style, wrote with a peacock’s feather, but whether he uttered useful thoughts. Translate a book a dozen times from one language to another, and what becomes of its style? Most books would be worn out and disappear in this ordeal. The pen which wrote it is soon destroyed, but the poem survives. We believe that Carlyle has, after all, more readers, and is better known today for this very originality of style, and that posterity will have reason to thank him for emancipating the language, in some measure, from the fetters which a merely conservative, aimless, and pedantic literary class had imposed upon it, and setting an example of greater freedom and naturalness. No man’s thoughts are new, but the style of their expression is the never-failing novelty which cheers and refreshes men. If we were to answer the question, whether the mass of men, as we know them, talk as the standard authors and reviewers write, or rather as this man writes, we should say that he alone begins to write their language at all, and that the former is, for the most part, the mere effigies of a language, not the best method of concealing one’s thoughts even, but frequently a method of doing without thoughts at all.

In his graphic description of Richter’s style, Carlyle describes his own pretty nearly; and no doubt he first got his own tongue loosened at that fountain, and was inspired by it to equal freedom and originality. “The language,” as he says of Richter, “groans with indescribable metaphors and allusions to all things, human and divine, flowing onward, not like a river, but like an inundation; circling in complex eddies, chafing and gurgling, now this way, now that”; but in Carlyle, “the proper current” never “sinks out of sight amid the boundless uproar.” Again: “His very language is Titanian⁠—deep, strong, tumultuous, shining with a thousand hues, fused from a thousand elements, and winding in labyrinthic mazes.”

In short, if it is desirable that a man be eloquent, that he talk much, and address himself to his own age mainly, then this is not a bad style of doing it. But if it is desired rather that he pioneer into unexplored regions of thought, and speak to silent centuries to come, then, indeed, we could wish that he had cultivated the style of Goethe more, that of Richter less; not that Goethe’s is the kind of utterance most to be prized by mankind, but it will serve for a model of the best that can be successfully cultivated.

But for style, and fine writing, and Augustan ages⁠—that is but a poor style, and vulgar writing, and a degenerate age, which allows us to remember these things. This man has something to communicate. Carlyle’s are not, in the common sense, works of art in their origin and aim; and yet, perhaps, no living English writer evinces an equal literary talent. They are such works of art only as the plough and corn-mill and steam-engine⁠—not as pictures and statues. Others speak with greater emphasis to scholars, as such, but none so earnestly and effectually to all who can read. Others give their advice, he gives his sympathy also. It is no small praise that he does not take upon himself the airs, has none of the whims, none of the pride, the nice vulgarities, the starched, impoverished isolation, and cold glitter of the spoiled children of genius. He does not need to husband his pearl, but excels by a greater humanity and sincerity.

He is singularly serious and untrivial. We are everywhere impressed by the rugged, unwearied, and rich sincerity of the man. We are sure that he never sacrificed one jot of his honest thought to art or whim, but to utter himself in the most direct and effectual way⁠—that is the endeavor. These are merits which will wear well. When time has worn deeper into the substance of these books, this grain will appear. No such sermons have come to us here out of England, in late years, as those of this preacher; sermons to kings, and sermons to peasants, and sermons to all intermediate classes. It is in vain that John Bull, or any of his cousins, turns a deaf ear, and pretends not to hear them: nature will not soon be weary of repeating them. There are words less obviously true, more for the ages to hear, perhaps, but none so impossible for this age not to hear. What a cutting cimeter was that “past and present,” going through heaps of silken stuffs, and glibly through the necks of men, too, without their knowing it, leaving no trace. He has the earnestness of a prophet. In an age of pedantry and dilettantism, he has no grain of these in his composition. There is nowhere else, surely, in recent readable English, or other books, such direct and effectual teaching, reproving, encouraging, stimulating, earnestly, vehemently, almost like Muhammad, like Luther; not looking behind him to see how his Opera Omnia will look, but forward to other work to be done. His writings are a gospel to the young of this generation; they will hear his manly, brotherly speech with responsive joy, and press forward to older or newer gospels.

We should omit a main attraction in these books, if we said nothing of their humor. Of this indispensable pledge of sanity, without some leaven, of which the abstruse thinker may justly be suspected of mysticism, fanaticism, or insanity, there is a superabundance in Carlyle. Especially the transcendental philosophy needs the leaven of humor to render it light and digestible. In his later and longer works it is an unfailing accompaniment, reverberating through pages and chapters, long sustained without effort. The very punctuation, the italics, the quotation-marks, the blank spaces and dashes, and the capitals, each and all are pressed into its service.

Every man, of course, has his fane, from which even the most innocent conscious humor is excluded; but in proportion as the writer’s position is high above his fellows, the range of his humor is extended. To the thinker, all the institutions of men, as all imperfection, viewed from the point of equanimity, are legitimate subjects of humor. Whatever is not necessary, no matter how sad or personal, or universal a grievance, is, indeed, a jest more or less sublime.