His sympathy, as we said, is with the men of endeavor; not using the life got, but still bravely getting their life. “In fact,” as he says of Cromwell, “everywhere we have to notice the decisive practical eye of this man, how he drives toward the practical and practicable; has a genuine insight into what is fact.” You must have very stout legs to get noticed at all by him. He is thoroughly English in his love of practical men, and dislike for cant, and ardent, enthusiastic heads that are not supported by any legs. He would kindly knock them down that they may regain some vigor by touching their mother earth. We have often wondered how he ever found out Burns, and must still refer a good share of his delight in him to neighborhood and early association. The Lycidas and Comus, appearing in Blackwood’s Magazine, would probably go unread by him, nor lead him to expect a Paradise Lost. The condition-of-England question is a practical one. The condition of England demands a hero, not a poet. Other things demand a poet; the poet answers other demands. Carlyle in London, with this question pressing on him so urgently, sees no occasion for minstrels and rhapsodists there. Kings may have their bards when there are any kings. Homer would certainly go a-begging there. He lives in Chelsea, not on the plains of Hindostan, nor on the prairies of the West, where settlers are scarce, and a man must at least go whistling to himself.

What he says of poetry is rapidly uttered, and suggestive of a thought, rather than the deliberate development of any. He answers your question, What is poetry? by writing a special poem, as that Norse one, for instance, in the Book of Heroes, altogether wild and original; — answers your question, What is light? by kindling a blaze which dazzles you, and pales sun and moon, and not as a peasant might, by opening a shutter.

Carlyle is not a seer, but a brave looker-on and reviewer; not the most free and catholic observer of men and events, for they are likely to find him preoccupied, but unexpectedly free and catholic when they fall within the focus of his lens. He does not live in the present hour, and read men and books as they occur for his theme, but having chosen this, he directs his studies to this end. If we look again at his page, we are apt to retract somewhat that we have said. Often a genuine poetic feeling dawns through it, like the texture of the earth seen through the dead grass and leaves in the spring. The “History of the French Revolution” is a poem, at length translated into prose — an Iliad, indeed, as he himself has it — “The destructive wrath of Sansculottism, this is what we speak, having unhappily no voice for singing.”

One improvement we could suggest in this last, as indeed in most epics — that he should let in the sun oftener upon his picture. It does not often enough appear, but it is all revolution, the old way of human life turned simply bottom upward, so that when at length we are inadvertently reminded of the “Brest Shipping,” a St. Domingo colony, and that anybody thinks of owning plantations, and simply turning up the soil there, and that now at length, after some years of this revolution, there is a falling off in the importation of sugar, we feel a queer surprise.