a chance, but bears down all opposition, not only by his wit and onset of words, resistless in their sharpness as so many bayonets, but by actual physical superiority, — raising his voice, and rushing on his opponent with a torrent of sound. This is not in the least from unwillingness to allow freedom to others. On the contrary, no man would more enjoy a manly resistance to his thought. But it is the habit of a mind accustomed to follow out its own impulse, as the hawk its prey, and which knows not how to stop in the chase. Carlyle, indeed, is arrogant and overbearing; but in his arrogance there is no littleness, — no self-love. It is the heroic arrogance of some old Scandinavian conqueror; — it is his nature, and the untamable energy that has given him power to crush the dragons. You do not love him, perhaps, nor revere; and perhaps, also, he would only laugh at you if you did; but you like him heartily, and like to see him the powerful smith, the Siegfried, melting all the old iron in his furnace till it glows to a sunset red, and burns you, if you senselessly go too near. He seems, to me, quite isolated, — lonely as the desert, — yet never was a man more fitted to prize a man, could he find one to match his mood. He finds them, but only in the past. He sings, rather than talks. He pours upon you a kind of satirical, heroical, critical poem, with regular cadences, and generally, near the beginning, hits upon some singular epithet, which serves as a refrain when his song is full, or with which, as with a knitting needle, he catches up the stitches, if he has chanced, now and then, to let fall a row. For the higher kinds of poetry he has no sense, and his talk on that subject is delightfully and gorgeously absurd. He sometimes stops a minute to laugh at it himself, then begins anew with
