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 leaf-stalk. His works are not to be studied, but read with a swift satisfaction. Their flavor and gust is like
