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 Sanscrit; 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 farm-houses 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 travelling, 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
