Essays · Thomas Carlyle And His Works (3/6)

Carlyle’s humor is vigorous and titanic, and has more sense in it than the sober philosophy of many another. It is not to be disposed of by laughter and smiles merely; it gets to be too serious for that⁠—only they may laugh who are not hit by it. For those who love a merry jest, this is a strange kind of fun⁠—rather too practical joking, if they understand it. The pleasant humor which the public loves is but the innocent pranks of the ballroom, harmless flow of animal spirits, the light plushy pressure of dandy pumps, in comparison. But when an elephant takes to treading on your corns, why then you are lucky if you sit high, or wear cowhide. His humor is always subordinate to a serious purpose, though often the real charm for the reader is not so much in the essential progress and final upshot of the chapter, as in this indirect sidelight illustration of every hue. He sketches first, with strong, practical English pencil, the essential features in outline, black on white, more faithfully than Dryasdust would have done, telling us wisely whom and what to mark, to save time, and then with brush of camel’s hair, or sometimes with more expeditious swab, he lays on the bright and fast colors of his humor everywhere. One piece of solid work, be it known, we have determined to do, about which let there be no jesting, but all things else under the heavens, to the right and left of that, are for the time fair game. To us this humor is not wearisome, as almost every other is. Rabelais, for instance, is intolerable; one chapter is better than a volume⁠—it may be sport to him, but it is death to us. A mere humorist, indeed, is a most unhappy man; and his readers are most unhappy also.

Humor is not so distinct a quality as, for the purposes of criticism, it is commonly regarded, but allied to every, even the divinest faculty. The familiar and cheerful conversation about every hearthside, if it be analyzed, will be found to be sweetened by this principle. There is not only a never-failing, pleasant, and earnest humor kept up there, embracing the domestic affairs, the dinner, and the scolding, but there is also a constant run upon the neighbors, and upon church and state, and to cherish and maintain this, in a great measure, the fire is kept burning, and the dinner provided. There will be neighbors, parties to a very genuine, even romantic friendship, whose whole audible salutation and intercourse, abstaining from the usual cordial expressions, grasping of hands, or affectionate farewells, consists in the mutual play and interchange of a genial and healthy humor, which excepts nothing, not even themselves, in its lawless range. The child plays continually, if you will let it, and all its life is a sort of practical humor of a very pure kind, often of so fine and ethereal a nature, that its parents, its uncles and cousins, can in no wise participate in it, but must stand aloof in sitent admiration, and reverence even. The more quiet the more profound it is. Even Nature is observed to have her playful moods or aspects, of which man seems sometimes to be the sport.

But, after all, we could sometimes dispense with the humor, though unquestionably incorporated in the blood, if it were replaced by this author’s gravity. We should not apply to himself, without qualification, his remarks on the humor of Richter. With more repose in his inmost being, his humor would become more thoroughly genial and placid. Humor is apt to imply but a half satisfaction at best. In his pleasantest and most genial hour, man smiles but as the globe smiles, and the works of nature. The fruits dry ripe, and much as we relish some of them in their green and pulpy state, we lay up for our winter store, not out of these, but the rustling autumnal harvests. Though we never weary of this vivacious wit, while we are perusing its work, yet when we remember it from afar, we sometimes feel balked and disappointed, missing the security, the simplicity, and frankness, even the occasional magnanimity of acknowledged dullness and bungling. This never-failing success and brilliant talent become a reproach. To the most practical reader the humor is certainly too obvious and constant a quality. When we are to have dealings with a man, we prize the good faith and valor of soberness and gravity. There is always a more impressive statement than consists with these victorious comparisons. Besides, humor does not wear well. It is commonly enough said, that a joke will not bear repeating. The deepest humor will not keep. Humors do not circulate but stagnate, or circulate partially. In the oldest literature, in the Hebrew, the Hindu, the Persian, the Chinese, it is rarely humor, even the most divine, which still survives, but the most sober and private, painful or joyous thoughts, maxims of duty, to which the life of all men may be referred. After time has sifted the literature of a people, there is left only their Scripture, for that is writing, par excellence. This is as true of the poets, as of the philosophers and moralists by profession; for what subsides in any of these is the moral only, to reappear as dry land at some remote epoch.

We confess that Carlyle’s humor is rich, deep, and variegated, in direct communication with the backbone and risible muscles of the globe⁠—and there is nothing like it; but much as we relish this jovial, this rapid and detergeous way of conveying one’s views and impressions, when we would not converse but meditate, we pray for a man’s diamond edition of his thought, without the colored illuminations in the margin⁠—the fishes and dragons, and unicorns, the red or the blue ink, but its initial letter in distinct skeleton type, and the whole so clipped and condensed down to the very essence of it, that time will have little to do. We know not but we shall immigrate soon, and would fain take with us all the treasures of the East; and all kinds of dry, portable soups, in small tin canisters, which contain whole herds of English beeves, boiled down, will be acceptable.

The difference between this flashing, fitful writing and pure philosophy is the difference between flame and light. The flame, indeed, yields light; but when we are so near as to observe the flame, we are apt to be incommoded by the heat and smoke. But the sun, that old Platonist, is set so far off in the heavens, that only a genial summer-heat and ineffable daylight can reach us. But many a time, we confess, in wintry weather, we have been glad to forsake the sunlight, and warm us by these Promethean flames.

Carlyle must undoubtedly plead guilty to the charge of mannerism. He not only has his vein, but his peculiar manner of working it. He has a style which can be imitated, and sometimes is an imitator of himself. Every man, though born and bred in the metropolis of the world, will still have some provincialism adhering to him; but in proportion as his aim is simple and earnest, he approaches at once the most ancient and the most modern men. There is no mannerism in the Scriptures. The style of proverbs, and indeed of all maxims, whether measured by sentences of by chapters, if they may be said to have any style, is one, and as the expression of one voice, merely an account of the matter by the latest witness. It is one advantage enjoyed by men of science, that they use only formulas which are universal. The common language and the common sense of mankind, it is most uncommon to meet with in the individual. Yet liberty of thought and speech is only a liberty to think the universal thought, and speak the universal language of men, instead of being enslaved to a particular mode. Of this universal speech there is very little. It is equable and sure; from a depth within man which is beyond education and prejudice.

Certainly, no critic has anywhere said what is more to the purpose, than this which Carlyle’s own writings furnish, which we quote, as well for its intrinsic merit as for its pertinence here. “It is true,” says he, thinking of Richter, “the beaten paths of literature lead the safeliest to the goal; and the talent pleases us most which submits to shine with new gracefulness through old forms. Nor is the noblest and most peculiar mind too noble or peculiar for working by prescribed laws; Sophocles, Shakespeare, Cervantes, and in Richter’s own age, Goethe, how little did they innovate on the given forms of composition, how much in the spirit they breathed into them! All this is true; and Richter must lose of our esteem in proportion.” And again, in the chapter on Goethe, “We read Goethe for years before we come to see wherein the distinguishing peculiarity of his understanding, of his disposition, even of his way of writing, consists! It seems quite a simple style, [that of his?] remarkable chiefly for its calmness, its perspicuity, in short, its commonness; and yet it is the most uncommon of all styles.” And this, too, translated for us by the same pen from Schiller, which we will apply not merely to the outward form of his works, but to their inner form and substance. He is speaking of the artist. “Let some beneficent divinity snatch him, when a suckling, from the breast of his mother, and nurse him with the milk of a better time, that he may ripen to his full stature beneath a distant Grecian sky. And having grown to manhood, let him return, a foreign shape, into his century; not, however, to delight it by his presence, but, dreadful, like the son of Agamemnon, to purify it. The matter of his works he will take from the present, but their form he will derive from a nobler time; nay, from beyond all time, from the absolute unchanging unity of his own nature.”

But enough of this. Our complaint is already out of all proportion to our discontent.

Carlyle’s works, it is true, have not the stereotyped success which we call classic. They are a rich but inexpensive entertainment, at which we are not concerned lest the host has strained or impoverished himself to feed his guests. It is not the most lasting word, nor the loftiest wisdom, but rather the word which comes last. For his genius it was reserved to give expression to the thoughts which were throbbing in a million breasts. He has plucked the ripest fruit in the public garden; but this fruit already least concerned the tree that bore it, which was rather perfecting the bud at the foot of the leafstalk. His works are not to be studied, but read with a swift satisfaction. Their flavor and gust is like what poets tell of the froth of wine, which can only be tasted once and hastily. On a review we can never find the pages we had read. The first impression is the truest and the deepest, and there is no reprint, no double entendre, so to speak, for the alert reader. Yet they are in some degree true natural products in this respect. All things are but once, and never repeated. The first faint blushes of the morning, gilding the mountain tops, the pale phosphor and saffron-colored clous do verily transport us to the morning of creation: but what avails it to travel eastward or look again there an hour hence? We should be as far in the day ourselves, mounting towards our meridian. These works were designed for such complete success that they serve but for a single occasion. It is the luxury of art, when its own instrument as manufactured for each particular and present use. The knife which slices the bread of Jove ceases to be a knife when this service is rendered.

But he is wilfully and pertinaciously unjust, even scurrilous, impolite, ungentlemanly; calls us “Imbeciles,” “Dilettants,” “Philistines,” implying sometimes what would not sound well expressed. If he would adopt the newspaper style, and take back these hard names⁠—but where is the reader who does not derive some benefit from these epithets, applying them to himself? Think not that with each repetition of them there is a fresh overflowing of bile; oh no! Perhaps none at all after the first time, only a faithfulness, the right name being found, to apply it⁠—“They are the same ones we meant before”⁠—and ofttimes with a genuine sympathy and encouragement expressed. Indeed, there appears in all his writings a hearty and manly sympathy with all misfortune and wretchedness, and not a weak and sniveling one. They who suspect a Mephistophiles, or sneering, satirical devil, under all, have not learned the secret of true humor, which sympathizes with the gods themselves, in view of their grotesque, half-finished creatures.

He is, in fact, the best tempered, and not the least impartial of reviewers. He goes out of his way to do justice to profligates and quacks. There is somewhat even Christian, in the rarest and most peculiar sense, in his universal brotherliness, his simple, childlike endurance, and earnest, honest endeavor, with sympathy for the like. And this fact is not insignificant, that he is almost the only writer of biography, of the lives of men, in modern times. So kind and generous a tribute to the genius of Burns cannot be expected again, and is not needed. We honor him for his noble reverence for Luther, and his patient, almost reverent study of Goethe’s genius, anxious that no shadow of his author’s meaning escape him for want of trustful attention. There is nowhere else, surely, such determined and generous love of whatever is manly in history. His just appreciation of any, even inferior talent, especially of all sincerity, under whatever guise, and all true men of endeavor, must have impressed every reader. Witness the chapters on Werner, Heyne, even Cagliostro, and others. He is not likely to underrate his man. We are surprised to meet with such a discriminator of kingly qualities in these republican and democratic days, such genuine loyalty all thrown away upon the world.

Carlyle, to adopt his own classification, is himself the hero as literary man. There is no more notable workingman in England, in Manchester or Birmingham, or the mines round about. We know not how many hours a day he toils, nor for what wages, exactly: we only know the results for us. We hear through the London fog and smoke the steady systole, diastole, and vibratory hum, from “Somebody’s Works” there; the “Print Works,” say some; the “Chemicals,” say others; where something, at any rate, is manufactured which we remember to have seen in the market. This is the place, then. Literature has come to mean, to the ears of laboring men, something idle, something cunning and pretty merely because the nine hundred and ninety-nine really write for fame or for amusement. But as the laborer works, and soberly by the sweat of his brow earns bread for his body, so this man works anxiously and sadly, to get bread of life, and dispense it. We cannot do better than quote his own estimate of labor from Sartor Resartus.