laboriously conquers the Earth and makes her Man's."

Carlyle had a large fund of incisive wit and humor, which often appear
in picturesque setting, as when he said to a physician: "A man might
as well pour his sorrows into the long hairy ear of a jackass." As the
satiric censor of his time, Carlyle found frequent occasion for
caustic wit. He lashed the age for its love of the "swine's trough,"
of "Pig-science, Pig-enthusiasm and devotion." Although his intentions
were good, his satire was not always just or discriminating, and he
was in consequence bitterly criticized. The following Dutch parable is
in some respects specially applicable to Carlyle:--

"There was a man once,--a satirist. In the natural course of time
his friends slew him and he died. And the people came and stood
about his corpse. 'He treated the whole round world as his
football,' they said indignantly, 'and he kicked it.' The dead man
opened one eye. 'But always toward the goal,' he said."

This goal toward which Carlyle struggled to drive humanity was the
goal of moral achievement. Young people on both sides of the Atlantic
responded vigorously to his appeals. The scientist John Tyndall said
to his students:--

"The reading of the works of two men has placed me here to-day.
These men are the English Carlyle and the American Emerson.
I must ever remember with gratitude that through three long, cold
German winters, Carlyle placed me in my tub, even when ice was on
its surface, at five o'clock every morning ... determined, whether
victor or vanquished, not to shrink from difficulty... They told me
what I ought to do in a way that caused me to do it, and all my
consequent intellectual action is to be traced to this purely moral
force... They called out. 'Act!' I hearkened to the summons."

Huxley aptly defined Carlyle as a "great tonic,--a source of
intellectual invigoration and moral stimulus."

Carlyle is not only a "great Awakener" but also a great literary
artist. His style is vivid, forceful, and often poetic. He loves to
present his ideas with such picturesqueness that the corresponding
images develop clearly in the reader's mind. Impressive epithets and
phrases abound. His metaphors are frequent and forceful. Mirabeau's
face is pictured as "rough-hewn, seamed, carbuncled." In describing
Daniel Webster, Carlyle speaks of "the tanned complexion, that
amorphous crag-like face; the dull black eyes under their precipi