On the Choice of Books · Thomas Carlyle
"T. CARLYLE."
On the other hand Leigh Hunt had an enthusiastic reverence for Carlyle. There are several incidental allusions to the latter, of more or less consequence, in Hunt's Autobiography, but the following is the most interesting:-- "_Carlyle's Paramount Humanity_.--I believe that what Mr. Carlyle loves better than his fault-finding, with all its eloquence, is the face of any human creature that looks suffering, and loving, and sincere; and I believe further, that if the fellow-creature were suffering only, and neither loving nor sincere, but had come to a pass of agony in this life which put him at the mercies of some good man for some last help and consolation towards his grave, even at the risk of loss to repute, and a sure amount of pain and vexation, that man, if the groan reached him in its forlornness, would be Thomas Carlyle."[A] It was in "Leigh Hunt's Journal,"--a short-lived Weekly Miscellany (1850--1851)--that Carlyle's sketch, entitled "Two Hundred and Fifty Years Ago,"[A] first appeared.
It was during his residence at Craigenputtoch that "Sartor Resartus" ("The Tailor Done Over," the name of an old Scotch ballad) was written, which, after being rejected by several publishers, finally made its appearance in "Eraser's Magazine," 1833--34. The book, it must be confessed, might well have puzzled the critical gentlemen--the "book-tasters"--who decide for publishers what work to print among those submitted in manuscript. It is a sort of philosophical romance, in which the author undertakes to give, in the form of a review of a German work on dress, and in a notice of the life of the writer, his own opinions upon matters and things in general. The hero, Professor Teufelsdroeckh ("Devil's Dirt"), seems to be intended for a portrait of human nature as affected by the moral influence to which a cultivated mind would be exposed by the transcendental philosophy of Fichte. Mr. Carlyle works out his theory--the clothes philosophy--and finds the world false and hollow, our institutions mere worn-out rags or disguises, and that our only safety lies in flying from falsehood to truth, and becoming in harmony with the "divine idea." There is much fanciful, grotesque description in "Sartor," with deep thought and beautiful imagery. "In this book," wrote John Sterling, "we always feel that there is a mystic influence around us, bringing out into sharp homely clearness what is noblest in the remote and infinite, exalting into wonder what is commonest in the dust and toil of every day."
"22nd May, 1838.--Breakfasted at Milnes', and met rather a remarkable party, consisting of Savage, Landor, and Carlyle (neither of whom I had ever seen before), Robinson, Rogers, and Rice. A good deal of conversation between Robinson and Carlyle about German authors, of whom I knew nothing, nor (from what they paraded of them) felt that I had lost much by my ignorance."[A] In 1835, after the publication of "Sartor Resartus," Carlyle received an invitation from some American admirers of his writings, to visit their country, and he contemplated doing so, but his labours in examining and collecting materials for his great work on "The French Revolution," then hastening towards completion, prevented him. We may say that, for many reasons, it is to be regretted that this design was never carried into execution. Had Carlyle witnessed with his own eyes the admirable working of democratic institutions in the United States, he might have done more justice to our Transatlantic brethren, who were always his first and foremost admirers, and he might also have acquired more faith in the future destinies of his own countrymen. In December, 1837, Carlyle wrote a very remarkable letter to a correspondent in India, which has never been printed in his works, and which we are enabled to give here entire. It is addressed to Major David Lester Richardson, in acknowledgment of his "Literary Leaves, or Prose and Verse," published at Calcutta in 1836. These "Literary Leaves" contain among other things an article on the Italian Opera (taking much the same view of it as Carlyle does), and a sketch of Edward Irving. These papers no doubt pleased Carlyle, and perhaps led him to entertain a rather exaggeratedly high opinion of the rest of the book.
Text from Project Gutenberg, public domain in the United States.