No More Learning

Each listened eagerly
to what the other said. Each thought of nothing, and each cared for
nothing, in the other's absence. It was a great compelling elemental
force which drove the two together and bound them fast. Beside this
marvelous experience, how pale and pitiful and paltry seemed the
affectations of Harriet Westbrook!

In little more than a month from the time of their first meeting,
Shelley and Mary Godwin and Miss Clairmont left Godwin's house at four
o 'clock in the morning, and hurried across the Channel to Calais. They
wandered almost like vagabonds across France, eating black bread and
the coarsest fare, walking on the highways when they could not afford to
ride, and putting up with every possible inconvenience. Yet it is worth
noting that neither then nor at any other time did either Shelley or
Mary regret what they had done. To the very end of the poet's brief
career they were inseparable.

Later he was able to pension Harriet, who, being of a morbid
disposition, ended her life by drowning--not, it may be said, because
of grief for Shelley. It has been told that Fanny Imlay, Mary's sister,
likewise committed suicide because Shelley did not care for her, but
this has also been disproved. There was really nothing to mar the inner
happiness of the poet and the woman who, at the very end, became his
wife. Living, as they did, in Italy and Switzerland, they saw much of
their own countrymen, such as Landor and Leigh Hunt and Byron, to whose
fascinations poor Miss Clairmont yielded, and became the mother of the
little girl Allegra.

But there could have been no truer union than this of Shelley's with
the woman whom nature had intended for him. It was in his love-life, far
more than in his poetry, that he attained completeness. When he died
by drowning, in 1822, and his body was burned in the presence of Lord
Byron, he was truly mourned by the one whom he had only lately made his
wife. As a poet he never reached the same perfection; for his genius was
fitful and uncertain, rare in its flights, and mingled always with that
which disappoints.

As the lover and husband of Mary Godwin, there was nothing left to wish.
In his verse, however, the truest word concerning him will always be
that exquisite sentence of Matthew Arnold:

"A beautiful and ineffectual angel beating his luminous wings against
the void in vain. "





THE STORY OF THE CARLYLES


To most persons, Tennyson was a remote and romantic figure. His homes in
the Isle of Wight and at Aldworth had a dignified seclusion about them
which was very appropriate to so great a poet, and invested him with a
certain awe through which the multitude rarely penetrated. As a matter
of fact, however, he was an excellent companion, a ready talker, and
gifted with so much wit that it is a pity that more of his sayings have
not been preserved to us.

One of the best known is that which was drawn from him after he and a
number of friends had been spending an hour in company with Mr. and Mrs.
Carlyle. The two Carlyles were unfortunately at their worst, and gave a
superb specimen of domestic "nagging. " Each caught up whatever the other
said, and either turned it into ridicule, or tried to make the author of
it an object of contempt.

This was, of course, exceedingly uncomfortable for such strangers as
were present, and it certainly gave no pleasure to their friends. On
leaving the house, some one said to Tennyson:

"Isn't it a pity that such a couple ever married? "

"No, no," said Tennyson, with a sort of smile under his rough beard.
"It's much better that two people should be made unhappy than four. "

The world has pretty nearly come around to the verdict of the poet
laureate. It is not probable that Thomas Carlyle would have made any
woman happy as his wife, or that Jane Baillie Welsh would have made any
man happy as her husband.

This sort of speculation would never have occurred had not Mr. Froude,
in the early eighties, given his story about the Carlyles to the world.
Carlyle went to his grave, an old man, highly honored, and with no
trail of gossip behind him. His wife had died some sixteen years before,
leaving a brilliant memory. The books of Mr. Froude seemed for a moment
to have desecrated the grave, and to have shed a sudden and sinister
light upon those who could not make the least defense for themselves.

For a moment, Carlyle seemed to have been a monster of harshness,
cruelty, and almost brutish feeling. On the other side, his wife took
on the color of an evil-speaking, evil-thinking shrew, who tormented the
life of her husband, and allowed herself to be possessed by some demon
of unrest and discontent, such as few women of her station are ever
known to suffer from.

Nor was it merely that the two were apparently ill-mated and unhappy
with each other. There were hints and innuendos which looked toward some
hidden cause for this unhappiness, and which aroused the curiosity of
every one. That they might be clearer, Froude afterward wrote a book,
bringing out more plainly--indeed, too plainly--his explanation of the
Carlyle family skeleton. A multitude of documents then came from every
quarter, and from almost every one who had known either of the Carlyles.
Perhaps the result to-day has been more injurious to Froude than to the
two Carlyles.

Many persons unjustly speak of Froude as having violated the confidence
of his friends in publishing the letters of Mr. and Mrs. Carlyle. They
take no heed of the fact that in doing this he was obeying Carlyle's
express wishes, left behind in writing, and often urged on Froude while
Carlyle was still alive. Whether or not Froude ought to have accepted
such a trust, one may perhaps hesitate to decide. That he did so is
probably because he felt that if he refused, Carlyle might commit the
same duty to another, who would discharge it with less delicacy and less
discretion.

As it is, the blame, if it rests upon any one, should rest upon Carlyle.
He collected the letters. He wrote the lines which burn and scorch with
self-reproach. It is he who pressed upon the reluctant Froude the duty
of printing and publishing a series of documents which, for the most
part, should never have been published at all, and which have done equal
harm to Carlyle, to his wife, and to Froude himself.

Now that everything has been written that is likely to be written by
those claiming to possess personal knowledge of the subject, let us
take up the volumes, and likewise the scattered fragments, and seek to
penetrate the mystery of the most ill-assorted couple known to modern
literature.

It is not necessary to bring to light, and in regular order, the
external history of Thomas Carlyle, or of Jane Baillie Welsh, who
married him. There is an extraordinary amount of rather fanciful gossip
about this marriage, and about the three persons who had to do with it.

Take first the principal figure, Thomas Carlyle. His life until that
time had been a good deal more than the life of an ordinary country-man.
Many persons represent him as a peasant; but he was descended from the
ancient lords of a Scottish manor. There was something in his eye, and
in the dominance of his nature, that made his lordly nature felt. Mr.
Froude notes that Carlyle's hand was very small and unusually well
shaped. Nor had his earliest appearance as a young man been commonplace,
in spite of the fact that his parents were illiterate, so that his
mother learned to read only after her sons had gone away to Edinburgh,
in order that she might be able to enjoy their letters.

At that time in Scotland, as in Puritan New England, in each family the
son who had the most notable "pairts" was sent to the university that
he might become a clergyman. If there were a second son, he became an
advocate or a doctor of medicine, while the sons of less distinction
seldom went beyond the parish school, but settled down as farmers,
horse-dealers, or whatever might happen to come their way.

In the case of Thomas Carlyle, nature marked him out for something
brilliant, whatever that might be. His quick sensibility, the way in
which he acquired every sort of learning, his command of logic, and,
withal, his swift, unerring gift of language, made it certain from the
very first that he must be sent to the university as soon as he had
finished school, and could afford to go.

At Edinburgh, where he matriculated in his fourteenth year, he
astonished every one by the enormous extent of his reading, and by
the firm hold he kept upon it. One hesitates to credit these so-called
reminiscences which tell how he absorbed mountains of Greek and immense
quantities of political economy and history and sociology and various
forms of metaphysics, as every Scotsman is bound to do. That he read all
night is a common story told of many a Scottish lad at college. We may
believe, however, that Carlyle studied and read as most of his fellow
students did, but far beyond them, in extent.

When he had completed about half of his divinity course, he assured
himself that he was not intended for the life of a clergyman. One who
reads his mocking sayings, or what seemed to be a clever string of jeers
directed against religion, might well think that Carlyle was throughout
his life an atheist, or an agnostic. He confessed to Irving that he did
not believe in the Christian religion, and it was vain to hope that he
ever would so believe.

Moreover, Carlyle had done something which was unusual at that time.
He had taught in several local schools; but presently he came back to
Edinburgh and openly made literature his profession. It was a daring
thing to do; but Carlyle had unbounded confidence in himself--the
confidence of a giant, striding forth into a forest, certain that he can
make his way by sheer strength through the tangled meshes and the
knotty branches that he knows will meet him and try to beat him back.
Furthermore, he knew how to live on very little; he was unmarried; and
he felt a certain ardor which beseemed his age and gifts.

Through the kindness of friends, he received some commissions to write
in various books of reference; and in 1824, when he was twenty-nine
years of age, he published a translation of Legendre's Geometry. In the
same year he published, in the London Magazine, his Life of Schiller,
and also his translation of Goethe's Wilhelm Meister. This successful
attack upon the London periodicals and reviews led to a certain
complication with the other two characters in this story. It takes us to
Jane Welsh, and also to Edward Irving.

Irving was three years older than Carlyle. The two men were friends, and
both of them had been teaching in country schools, where both of them
had come to know Miss Welsh. Irving's seniority gave him a certain
prestige with the younger men, and naturally with Miss Welsh. He had
won honors at the university, and now, as assistant to the famous Dr.
Chalmers, he carried his silk robes in the jaunty fashion of one who has
just ceased to be an undergraduate. While studying, he met Miss Welsh at
Haddington, and there became her private instructor.

This girl was regarded in her native town as something of a personage.
To read what has been written of her, one might suppose that she was
almost a miracle of birth and breeding, and of intellect as well. As a
matter of fact, in the little town of Haddington she was simply prima
inter pares. Her father was the local doctor, and while she had a
comfortable home, and doubtless a chaise at her disposal, she was
very far from the "opulence" which Carlyle, looking up at her from his
lowlier surroundings, was accustomed to ascribe to her. She was, no
doubt, a very clever girl; and, judging from the portraits taken of her
at about this time, she was an exceedingly pretty one, with beautiful
eyes and an abundance of dark glossy hair.

Even then, however, Miss Welsh had traits which might have made it
certain that she would be much more agreeable as a friend than as a
wife. She had become an intellectuelle quite prematurely--at an age, in
fact, when she might better have been thinking of other things than the
inwardness of her soul, or the folly of religious belief.

Even as a young girl, she was beset by a desire to criticize and to
ridicule almost everything and every one that she encountered. It was
only when she met with something that she could not understand, or
some one who could do what she could not, that she became comparatively
humble. Unconsciously, her chief ambition was to be herself
distinguished, and to marry some one who could be more distinguished
still.

When she first met Edward Irving, she looked up to him as her superior
in many ways. He was a striking figure in her small world. He was known
in Edinburgh as likely to be a man of mark; and, of course, he had had
a careful training in many subjects of which she, as yet, knew very
little. Therefore, insensibly, she fell into a sort of admiration
for Irving--an admiration which might have been transmuted into love.
Irving, on his side, was taken by the young girl's beauty, her vivacity,
and the keenness of her intellect. That he did not at once become her
suitor is probably due to the fact that he had already engaged himself
to a Miss Martin, of whom not much is known.

It was about this time, however, that Carlyle became acquainted with
Miss Welsh. His abundant knowledge, his original and striking manner of
commenting on it, his almost gigantic intellectual power, came to her
as a revelation. Her studies with Irving were now interwoven with her
admiration for Carlyle.

Since Irving was a clergyman, and Miss Welsh had not the slightest
belief in any form of theology, there was comparatively little that
they had in common. On the other hand, when she saw the profundities of
Carlyle, she at once half feared, and was half fascinated. Let her speak
to him on any subject, and he would at once thunder forth some striking
truth, or it might be some puzzling paradox; but what he said could
never fail to interest her and to make her think. He had, too, an
infinite sense of humor, often whimsical and shot through with sarcasm.

It is no wonder that Miss Welsh was more and more infatuated with the
nature of Carlyle. If it was her conscious wish to marry a man whom she
could reverence as a master, where should she find him--in Irving or in
Carlyle?

Irving was a dreamer, a man who, she came to see, was thoroughly
one-sided, and whose interests lay in a different sphere from hers.
Carlyle, on the other hand, had already reached out beyond the little
Scottish capital, and had made his mark in the great world of London,
where men like De Quincey and Jeffrey thought it worth their while to
run a tilt with him. Then, too, there was the fascination of his talk,
in which Jane Welsh found a perpetual source of interest:

The English have never had an artist, except in poetry; no musician; no
painter. Purcell and Hogarth are not exceptions, or only such as confirm
the rule.

Is the true Scotchman the peasant and yeoman--chiefly the former?

Every living man is a visible mystery; he walks between two eternities
and two infinitudes. Were we not blind as molea we should value
our humanity at infinity, and our rank, influence and so forth--the
trappings of our humanity--at nothing. Say I am a man, and you say all.
Whether king or tinker is a mere appendix.

Understanding is to reason as the talent of a beaver--which can build
houses, and uses its tail for a trowel--to the genius of a prophet and
poet. Reason is all but extinct in this age; it can never be altogether
extinguished.

The devil has his elect.

Is anything more wonderful than another, if you consider it maturely?
I have seen no men rise from the dead; I have seen some thousands rise
from nothing. I have not force to fly into the sun, but I have force to
lift my hand, which is equally strange.

Is not every thought properly an inspiration? Or how is one thing more
inspired than another?

Examine by logic the import of thy life, and of all lives. What is it?
A making of meal into manure, and of manure into meal. To the cui bono
there is no answer from logic.

In many ways Jane Welsh found the difference of range between Carlyle
and Irving. At one time, she asked Irving about some German works, and
he was obliged to send her to Carlyle to solve her difficulties. Carlyle
knew German almost as well as if he had been born in Dresden; and
the full and almost overflowing way in which he answered her gave her
another impression of his potency. Thus she weighed the two men who
might become her lovers, and little by little she came to think of
Irving as partly shallow and partly narrow-minded, while Carlyle loomed
up more of a giant than before.

It is not probable that she was a woman who could love profoundly.
She thought too much about herself. She was too critical. She had too
intense an ambition for "showing off. " I can imagine that in the end
she made her choice quite coolly. She was flattered by Carlyle's strong
preference for her. She was perhaps repelled by Irving's engagement to
another woman; yet at the time few persons thought that she had chosen
well.

Irving had now gone to London, and had become the pastor of the
Caledonian chapel in Hatton Garden. Within a year, by the extraordinary
power of his eloquence, which, was in a style peculiar to himself, he
had transformed an obscure little chapel into one which was crowded
by the rich and fashionable. His congregation built for him a handsome
edifice on Regent Square, and he became the leader of a new cult, which
looked to a second personal advent of Christ. He cared nothing for
the charges of heresy which were brought against him; and when he was
deposed his congregation followed him, and developed a new Christian
order, known as Irvingism.

Jane Welsh, in her musings, might rightfully have compared the two men
and the future which each could give her. Did she marry Irving, she was
certain of a life of ease in London, and an association with men and
women of fashion and celebrity, among whom she could show herself to be
the gifted woman that she was. Did she marry Carlyle, she must go with
him to a desolate, wind-beaten cottage, far away from any of the things
she cared for, working almost as a housemaid, having no company save
that of her husband, who was already a dyspeptic, and who was wont to
speak of feeling as if a rat were tearing out his stomach.

Who would have said that in going with Carlyle she had made the better
choice? Any one would have said it who knew the three--Irving, Carlyle,
and Jane Welsh.

She had the penetration to be certain that whatever Irving might possess
at present, it would be nothing in comparison to what Carlyle would have
in the coming future. She understood the limitations of Irving, but to
her keen mind the genius of Carlyle was unlimited; and she foresaw that,
after he had toiled and striven, he would come into his great reward,
which she would share. Irving might be the leader of a petty sect,
but Carlyle would be a man whose name must become known throughout the
world.

And so, in 1826, she had made her choice, and had become the bride of
the rough-spoken, domineering Scotsman who had to face the world with
nothing but his creative brain and his stubborn independence. She had
put aside all immediate thought of London and its lures; she was going
to cast in her lot with Carlyle's, largely as a matter of calculation,
and believing that she had made the better choice.

She was twenty-six and Carlyle was thirty-two when, after a brief
residence in Edinburgh, they went down to Craigenputtock. Froude has
described this place as the dreariest spot in the British dominions:

The nearest cottage is more than a mile from it; the elevation, seven
hundred feet above the sea, stunts the trees and limits the garden
produce; the house is gaunt and hungry-looking. It stands, with the
scanty fields attached, as an island in a sea of morass. The landscape
is unredeemed by grace or grandeur--mere undulating hills of grass and
heather, with peat bogs in the hollows between them.

Froude's grim description has been questioned by some; yet the actual
pictures that have been drawn of the place in later years make it
look bare, desolate, and uninviting. Mrs. Carlyle, who owned it as an
inheritance from her father, saw the place for the first time in March,
1828. She settled there in May; but May, in the Scottish hills, is
almost as repellent as winter. She herself shrank from the adventure
which she had proposed. It was her husband's notion, and her own, that
they should live there in practical solitude. He was to think and write,
and make for himself a beginning of real fame; while she was to hover
over him and watch his minor comforts.

It seemed to many of their friends that the project was quixotic to a
degree. Mrs. Carlyle delicate health, her weak chest, and the beginning
of a nervous disorder, made them think that she was unfit to dwell in
so wild and bleak a solitude. They felt, too, that Carlyle was too
much absorbed with his own thought to be trusted with the charge of a
high-spirited woman.

However, the decision had been made, and the newly married couple went
to Craigenputtock, with wagons that carried their household goods and
those of Carlyle's brother, Alexander, who lived in a cottage near by.
These were the two redeeming features of their lonely home--the presence
of Alexander Carlyle, and the fact that, although they had no servants
in the ordinary sense, there were several farmhands and a dairy-maid.

Before long there came a period of trouble, which is easily explained
by what has been already said. Carlyle, thinking and writing some of
the most beautiful things that he ever thought or wrote, could not make
allowance for his wife's high spirit and physical weakness. She, on her
side--nervous, fitful, and hard to please--thought herself a slave,
the servant of a harsh and brutal master. She screamed at him when her
nerves were too unstrung; and then, with a natural reaction, she called
herself "a devil who could never be good enough for him. " But most of
her letters were harsh and filled with bitterness, and, no doubt, his
conduct to her was at times no better than her own.

But it was at Craigenputtock that he really did lay fast and firm the
road to fame. His wife's sharp tongue, and the gnawings of his own
dyspepsia, were lived down with true Scottish grimness. It was here that
he wrote some of his most penetrating and sympathetic essays, which were
published by the leading reviews of England and Scotland. Here, too, he
began to teach his countrymen the value of German literature.

The most remarkable of his productions was that strange work entitled
Sartor Resartus (1834), an extraordinary mixture of the sublime and the
grotesque. The book quivers and shakes with tragic pathos, with inward
agonies, with solemn aspirations, and with riotous humor.

In 1834, after six years at Craigenputtock, the Carlyles moved to
London, and took up their home in Cheyne Row, Chelsea, a far from
fashionable retreat, but one in which the comforts of life could be more
readily secured. It was there that Thomas Carlyle wrote what must
seem to us the most vivid of all his books, the History of the French
Revolution. For this he had read and thought for many years; parts of
it he had written in essays, and parts of it he had jotted down in
journals. But now it came forth, as some one has said, "a truth clad in
hell-fire," swirling amid clouds and flames and mist, a most wonderful
picture of the accumulated social and political falsehoods which
preceded the revolution, and which were swept away by a nemesis that was
the righteous judgment of God.

Carlyle never wrote so great a book as this. He had reached his middle
style, having passed the clarity of his early writings, and not having
yet reached the thunderous, strange-mouthed German expletives which
marred his later work. In the French Revolution he bursts forth, here
and there, into furious Gallic oaths and Gargantuan epithets; yet this
apocalypse of France seems more true than his hero-worshiping of old
Frederick of Prussia, or even of English Cromwell.

All these days Thomas Carlyle lived a life which was partly one
of seclusion and partly one of pleasure. At all times he and his
dark-haired wife had their own sets, and mingled with their own friends.
Jane had no means of discovering just whether she would have been
happier with Irving; for Irving died while she was still digging
potatoes and complaining of her lot at Craigenputtock.

However this may be, the Carlyles, man and wife, lived an existence that
was full of unhappiness and rancor.
Jane Carlyle became an invalid, and
sought to allay her nervous sufferings with strong tea and tobacco and
morphin. When a nervous woman takes to morphin, it almost always means
that she becomes intensely jealous; and so it was with Jane Carlyle.

A shivering, palpitating, fiercely loyal bit of humanity, she took it
into her head that her husband was infatuated with Lady Ashburton, or
that Lady Ashburton was infatuated with him. She took to spying on them,
and at times, when her nerves were all a jangle, she would lie back
in her armchair and yell with paroxysms of anger. On the other hand,
Carlyle, eager to enjoy the world, sought relief from his household
cares, and sometimes stole away after a fashion that was hardly
guileless. He would leave false addresses at his house, and would dine
at other places than he had announced.

In 1866 Jane Carlyle suddenly died; and somehow, then, the conscience
of Thomas Carlyle became convinced that he had wronged the woman whom he
had really loved. His last fifteen years were spent in wretchedness and
despair. He felt that he had committed the unpardonable sin. He recalled
with anguish every moment of their early life at Craigenputtock--how she
had toiled for him, and waited upon him, and made herself a slave;
and how, later, she had given herself up entirely to him, while he had
thoughtlessly received the sacrifice, and trampled on it as on a bed of
flowers.

Of course, in all this he was intensely morbid, and the diary which he
wrote was no more sane and wholesome than the screamings with which his
wife had horrified her friends. But when he had grown to be a very old
man, he came to feel that this was all a sort of penance, and that the
selfishness of his past must be expiated in the future. Therefore, he
gave his diary to his friend, the historian, Froude, and urged him to
publish the letters and memorials of Jane Welsh Carlyle. Mr. Froude,
with an eye to the reading world, readily did so, furnishing them with
abundant footnotes, which made Carlyle appear to the world as more or
less of a monster.

First, there was set forth the almost continual unhappiness of the pair.
In the second place, by hint, by innuendo, and sometimes by explicit
statement, there were given reasons to show why Carlyle made his wife
unhappy. Of course, his gnawing dyspepsia, which she strove with all her
might to drive away, was one of the first and greatest causes. But again
another cause of discontent was stated in the implication that Carlyle,
in his bursts of temper, actually abused his wife. In one passage there
is a hint that certain blue marks upon her arm were bruises, the result
of blows.

Most remarkable of all these accusations is that which has to do with
the relations of Carlyle and Lady Ashburton. There is no doubt that Jane
Carlyle disliked this brilliant woman, and came to have dark suspicions
concerning her. At first, it was only a sort of social jealousy. Lady
Ashburton was quite as clever a talker as Mrs. Carlyle, and she had a
prestige which brought her more admiration.

Then, by degrees, as Jane Carlyle's mind began to wane, she transferred
her jealousy to her husband himself. She hated to be out-shone, and
now, in some misguided fashion, it came into her head that Carlyle had
surrendered to Lady Ashburton his own attention to his wife, and had
fallen in love with her brilliant rival.

On one occasion, she declared that Lady Ashburton had thrown herself at
Carlyle's feet, but that Carlyle had acted like a man of honor, while
Lord Ashburton, knowing all the facts, had passed them over, and had
retained his friendship with Carlyle.

Now, when Froude came to write My Relations with Carlyle, there were
those who were very eager to furnish him with every sort of gossip.
The greatest source of scandal upon which he drew was a woman named
Geraldine Jewsbury, a curious neurotic creature, who had seen much of
the late Mrs. Carlyle, but who had an almost morbid love of offensive
tattle. Froude describes himself as a witness for six years, at Cheyne
Row, "of the enactment of a tragedy as stern and real as the story of
Oedipus. " According to his own account:

I stood by, consenting to the slow martyrdom of a woman whom I have
described as bright and sparkling and tender, and I uttered no word
of remonstrance. I saw her involved in a perpetual blizzard, and did
nothing to shelter her.

But it is not upon his own observations that Froude relies for his most
sinister evidence against his friend. To him comes Miss Jewsbury with
a lengthy tale to tell. It is well to know what Mrs. Carlyle thought of
this lady. She wrote:

It is her besetting sin, and her trade of novelist has aggravated
it--the desire of feeling and producing violent emotions. . . . Geraldine
has one besetting weakness; she is never happy unless she has a grande
passion on hand.

There were strange manifestations on the part of Miss Jewsbury toward
Mrs. Carlyle. At one time, when Mrs. Carlyle had shown some preference
for another woman, it led to a wild outburst of what Miss Jewsbury
herself called "tiger jealousy. " There are many other instances of
violent emotions in her letters to Mrs. Carlyle. They are often highly
charged and erotic. It is unusual for a woman of thirty-two to write to
a woman friend, who is forty-three years of age, in these words, which
Miss Jewsbury used in writing to Mrs. Carlyle:

You are never out of my thoughts one hour together. I think of you much
more than if you were my lover. I cannot express my feelings, even to
you--vague, undefined yearnings to be yours in some way.

Mrs. Carlyle was accustomed, in private, to speak of Miss Jewsbury as
"Miss Gooseberry," while Carlyle himself said that she was simply "a
flimsy tatter of a creature. " But it is on the testimony of this
one woman, who was so morbid and excitable, that the most serious
accusations against Carlyle rest. She knew that Froude was writing a
volume about Mrs. Carlyle, and she rushed to him, eager to furnish any
narratives, however strange, improbable, or salacious they might be.

Thus she is the sponsor of the Ashburton story, in which there is
nothing whatsoever. Some of the letters which Lady Ashburton wrote
Carlyle have been destroyed, but not before her husband had perused
them. Another set of letters had never been read by Lord Ashburton at
all, and they are still preserved--friendly, harmless, usual letters.
Lord Ashburton always invited Carlyle to his house, and there is no
reason to think that the Scottish philosopher wronged him.

There is much more to be said about the charge that Mrs. Carlyle
suffered from personal abuse; yet when we examine the facts, the
evidence resolves itself into practically nothing. That, in his
self-absorption, he allowed her to Sending Completed Page, Please
Wait. . . overflowed toward a man who must have been a manly, loving
lover. She calls him by the name by which he called her--a homely
Scottish name.

GOODY, GOODY, DEAR GOODY:

You said you would weary, and I do hope in my heart you are wearying. It
will be so sweet to make it all up to you in kisses when I return. You
will take me and hear all my bits of experiences, and your heart will
beat when you find how I have longed to return to you. Darling, dearest,
loveliest, the Lord bless you! I think of you every hour, every moment.
I love you and admire you, like--like anything. Oh, if I was there,
I could put my arms so close about your neck, and hush you into the
softest sleep you have had since I went away. Good night. Dream of me. I
am ever YOUR OWN GOODY.

It seems most fitting to remember Thomas Carlyle as a man of strength,
of honor, and of intellect; and his wife as one who was sorely tried,
but who came out of her suffering into the arms of death, purified and
calm and worthy to be remembered by her husband's side.





THE STORY OF THE HUGOS


Victor Hugo, after all criticisms have been made, stands as a literary
colossus. He had imaginative power which makes his finest passages
fairly crash upon the reader's brain like blasting thunderbolts. His
novels, even when translated, are read and reread by people of every
degree of education. There is something vast, something almost Titanic,
about the grandeur and gorgeousness of his fancy. His prose resembles
the sonorous blare of an immense military band. Readers of English care
less for his poetry; yet in his verse one can find another phase of his
intellect. He could write charmingly, in exquisite cadences, poems
for lovers and for little children. His gifts were varied, and he knew
thoroughly the life and thought of his own countrymen; and, therefore,
in his later days he was almost deified by them.

At the same time, there were defects in his intellect and character
which are perceptible in what he wrote, as well as in what he did. He
had the Gallic wit in great measure, but he was absolutely devoid of any
sense of humor. This is why, in both his prose and his poetry, his most
tremendous pages often come perilously near to bombast; and this is why,
again, as a man, his vanity was almost as great as his genius. He had
good reason to be vain, and yet, if he had possessed a gleam of humor,
he would never have allowed his egoism to make him arrogant. As it was,
he felt himself exalted above other mortals. Whatever he did or said or
wrote was right because he did it or said it or wrote it.

This often showed itself in rather whimsical ways. Thus, after he had
published the first edition of his novel, The Man Who Laughs, an English
gentleman called upon him, and, after some courteous compliments,
suggested that in subsequent editions the name of an English peer who
figures in the book should be changed from Tom Jim-Jack.

"For," said the Englishman, "Tom Jim-Jack is a name that could not
possibly belong to an English noble, or, indeed, to any Englishman. The
presence of it in your powerful story makes it seem to English readers a
little grotesque. "

Victor Hugo drew himself up with an air of high disdain.

"Who are you? " asked he.

"I am an Englishman," was the answer, "and naturally I know what names
are possible in English. "

Hugo drew himself up still higher, and on his face there was a smile of
utter contempt.

"Yes," said he. "You are an Englishman; but I--I am Victor Hugo. "

In another book Hugo had spoken of the Scottish bagpipes as "bugpipes. "
This gave some offense to his Scottish admirers. A great many persons
told him that the word was "bagpipes," and not "bugpipes. " But he
replied with irritable obstinacy:

"I am Victor Hugo; and if I choose to write it 'bugpipes,' it IS
'bugpipes. ' It is anything that I prefer to make it. It is so, because I
call it so! "

So, Victor Hugo became a violent republican, because he did not wish
France to be an empire or a kingdom, in which an emperor or a king
would be his superior in rank. He always spoke of Napoleon III as "M.
Bonaparte. " He refused to call upon the gentle-mannered Emperor of
Brazil, because he was an emperor; although Dom Pedro expressed an
earnest desire to meet the poet.

When the German army was besieging Paris, Hugo proposed to fight a duel
with the King of Prussia, and to have the result of it settle the war;
"for," said he, "the King of Prussia is a great king, but I am Victor
Hugo, the great poet. We are, therefore, equal. "

In spite, however, of his ardent republicanism, he was very fond of
speaking of his own noble descent. Again and again he styled himself "a
peer of France;" and he and his family made frequent allusions to the
knights and bishops and counselors of state with whom he claimed an
ancestral relation. This was more than inconsistent. It was somewhat
ludicrous; because Victor Hugo's ancestry was by no means noble. The
Hugos of the fifteenth and sixteenth centuries were not in any
way related to the poet's family, which was eminently honest and
respectable, but by no means one of distinction. His grandfather was
a carpenter. One of his aunts was the wife of a baker, another of a
barber, while the third earned her living as a provincial dressmaker.

If the poet had been less vain and more sincerely democratic, he would
have been proud to think that he sprang from good, sound, sturdy
stock, and would have laughed at titles. As it was, he jeered at
all pretensions of rank in other men, while he claimed for himself
distinctions that were not really his. His father was a soldier who rose
from the ranks until, under Napoleon, he reached the grade of general.
His mother was the daughter of a ship owner in Nantes.

Victor Hugo was born in February, 1802, during the Napoleonic wars, and
his early years were spent among the camps and within the sound of the
cannon-thunder. It was fitting that he should have been born and reared
in an age of upheaval, revolt, and battle. He was essentially the
laureate of revolt; and in some of his novels--as in Ninety-Three--the
drum and the trumpet roll and ring through every chapter.

The present paper has, of course, nothing to do with Hugo's public life;
yet it is necessary to remember the complicated nature of the man--all
his power, all his sweetness of disposition, and likewise all his vanity
and his eccentricities. We must remember, also, that he was French, so
that his story may be interpreted in the light of the French character.

At the age of fifteen he was domiciled in Paris, and though still a
schoolboy and destined for the study of law, he dreamed only of poetry
and of literature. He received honorable mention from the French
Academy in 1817, and in the following year took prizes in a poetical
competition. At seventeen he began the publication of a literary
journal, which survived until 1821. His astonishing energy became
evident in the many publications which he put forth in these boyish
days. He began to become known. Although poetry, then as now, was not
very profitable even when it was admired, one of his slender volumes
brought him the sum of seven hundred francs, which seemed to him
not only a fortune in itself, but the forerunner of still greater
prosperity.

It was at this time, while still only twenty years of age, that he met
a young girl of eighteen with whom he fell rather tempestuously in love.
Her name was Adele Foucher, and she was the daughter of a clerk in the
War Office. When one is very young and also a poet, it takes very little
to feed the flame of passion. Victor Hugo was often a guest at the
apartments of M. Foucher, where he was received by that gentleman
and his family. French etiquette, of course, forbade any direct
communication between the visitor and Adele. She was still a very young
girl, and was supposed to take no share in the conversation. Therefore,
while the others talked, she sat demurely by the fireside and sewed.

Her dark eyes and abundant hair, her grace of manner, and the picture
which she made as the firelight played about her, kindled a flame in the
susceptible heart of Victor Hugo. Though he could not speak to her,
he at least could look at her; and, before long, his share in the
conversation was very slight. This was set down, at first, to his
absent-mindedness; but looks can be as eloquent as spoken words. Mme.
Foucher, with a woman's keen intelligence, noted the adoring gaze of
Victor Hugo as he silently watched her daughter. The young Adele herself
was no less intuitive than her mother. It was very well understood,
in the course of a few months, that Victor Hugo was in love with Adele
Foucher.

Her father and mother took counsel about the matter, and Hugo himself,
in a burst of lyrical eloquence, confessed that he adored Adele and
wished to marry her. Her parents naturally objected. The girl was but
a child. She had no dowry, nor had Victor Hugo any settled income. They
were not to think of marriage. But when did a common-sense decision,
such as this, ever separate a man and a woman who have felt the
thrill of first love! Victor Hugo was insistent. With his supreme
self-confidence, he declared that he was bound to be successful, and
that in a very short time he would be illustrious. Adele, on her side,
created "an atmosphere" at home by weeping frequently, and by going
about with hollow eyes and wistful looks.

The Foucher family removed from Paris to a country town. Victor Hugo
immediately followed them. Fortunately for him, his poems had attracted
the attention of Louis XVIII, who was flattered by some of the verses.
He sent Hugo five hundred francs for an ode, and soon afterward settled
upon him a pension of a thousand francs. Here at least was an income--a
very small one, to be sure, but still an income. Perhaps Adele's father
was impressed not so much by the actual money as by the evidence of the
royal favor. At any rate, he withdrew his opposition, and the two young
people were married in October, 1822--both of them being under age,
unformed, and immature.

Their story is another warning against too early marriage. It is true
that they lived together until Mme. Hugo's death--a married life of
forty-six years--yet their story presents phases which would have made
this impossible had they not been French.

For a time, Hugo devoted all his energies to work. The record of his
steady upward progress is a part of the history of literature, and need
not be repeated here. The poet and his wife were soon able to leave the
latter's family abode, and to set up their own household god in a home
which was their own. Around them there were gathered, in a sort of
salon, all the best-known writers of the day--dramatists, critics,
poets, and romancers. The Hugos knew everybody.

Unfortunately, one of their visitors cast into their new life a drop of
corroding bitterness. This intruder was Charles Augustin Sainte-Beuve,
a man two years younger than Victor Hugo, and one who blended learning,
imagination, and a gift of critical analysis. Sainte-Beuve is to-day
best remembered as a critic, and he was perhaps the greatest critic ever
known in France. But in 1830 he was a slender, insinuating youth who
cultivated a gift for sensuous and somewhat morbid poetry.

He had won Victor Hugo's friendship by writing an enthusiastic notice of
Hugo's dramatic works. Hugo, in turn, styled Sainte-Beuve "an eagle,"
"a blazing star," and paid him other compliments no less gorgeous and
Hugoesque. But in truth, if Sainte-Beuve frequented the Hugo salon, it
was less because of his admiration for the poet than from his desire to
win the love of the poet's wife.

It is quite impossible to say how far he attracted the serious attention
of Adele Hugo. Sainte-Beuve represents a curious type, which is far more
common in France and Italy than in the countries of the north. Human
nature is not very different in cultivated circles anywhere. Man loves,
and seeks to win the object of his love; or, as the old English proverb
has it:

It's a man's part to try,
And a woman's to deny.

But only in the Latin countries do men who have tried make their
attempts public, and seek to produce an impression that they have been
successful, and that the woman has not denied. This sort of man, in
English-speaking lands, is set down simply as a cad, and is excluded
from people's houses; but in some other countries the thing is regarded
with a certain amount of toleration. We see it in the two books written
respectively by Alfred de Musset and George Sand. We have seen it still
later in our own times, in that strange and half-repulsive story in
which the Italian novelist and poet, Gabriele d'Annunzio, under a very
thin disguise, revealed his relations with the famous actress, Eleanora
Duse. Anglo-Saxons thrust such books aside with a feeling of disgust for
the man who could so betray a sacred confidence and perhaps exaggerate
a simple indiscretion into actual guilt. But it is not so in France and
Italy. And this is precisely what Sainte-Beuve attempted.

Dr. George McLean Harper, in his lately published study of Sainte-Beuve,
has summed the matter up admirably, in speaking of The Book of Love:

He had the vein of emotional self-disclosure, the vein of romantic or
sentimental confession. This last was not a rich lode, and so he was at
pains to charge it secretly with ore which he exhumed gloatingly, but
which was really base metal. The impulse that led him along this false
route was partly ambition, partly sensuality.