Fuller on Carlyle

[Margaret Fuller to Ralph Waldo Emerson]

Paris, Dec., 1846.

. . . Accustomed to the infinite wit and exuberant richness of his [Carlyle's] writings, his talk is still an amazement and a splendor scarcely to be faced with steady eyes. He does not converse;---only harangues. It is the usual misfortune of such marked men,--happily not one invariable or inevitable,--that they cannot allow other minds room to breathe, and show themselves in their atmosphere, and thus miss the refreshment and instruction which the greatest never cease to need from the experience of the humblest. Carlyle allows no one 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. . . . 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 himself, then begins anew with fresh vigor; for all the spirits he is driving before him seem to him as Fata Morgana, ugly masks, in fact, if he can but make them turn about; but he laughs that they seem to others such dainty Ariels. His talk, like his books, is full of pictures; his critical strokes masterly. Allow for his point of view, and his survey is admirable. He is a large subject. I cannot speak more or wiselier of him now,--the Siegfried of England,--great and powerful, if not quite invulnerable, and of a might rather to destroy evil, than legislate for good. . . .

-from The Friendly Craft: a Collection of American Letters edited by Elizabeth Deering Hanscom, Ph.D. (New York: Macmillan, 1908) p. 160-162.

Emerson Commends a Friend

[Ralph Waldo Emerson to Thomas and Jane Carlyle]

Concord, 31 July, 1846

My Dear Friend,

. . . I send this letter by Margaret Fuller, of whose approach I believe I wrote you some word. There is no foretelling how you visited and crowded English will like our few educated men or women, and in your learned populace my luminaries may easily be overlooked. But of all the travellers whom you have so kindly received from me, I think of none, since Alcott went to England, whom I so much desired that you should see and like, as this dear old friend of mine. For two years now I have scarcely seen her, as she has been at New York, engaged by Horace Greeley as a literary editor of his Tribune newspaper. This employment was made acceptable to her by good pay, great local and personal conveniences of all kinds, and unbounded confidence and respect from Greeley himself, and all other parties connected with this influential journal (of 30,000 subscriber, I believe). And Margaret Fuller's work as critic of all new books, critic of the drama, of music, and good arts in New York, has been honorable to her. Still this employment is not satisfactory to me. She is full of all nobleness, and with the generosity native to her mind and character appears to me an exotic in New England, a foreigner from some more sultry and expansive climate. She is, I suppose, the earliest reader and lover of Goethe in this Country, and nobody here knows him so well. Her love too of whatever is good in French, and specially in Italian genius, give her the best title to travel. In short, she is our citizen of the world by quite special diploma. And I am heartily glad that she has an opportunity of going abroad that pleases her.

Mr. Spring, a merchant of great moral merits, (and, as I am informed, an assiduous reader of your books,) has grown rich, and resolves to see the world with his wife and son, and has wisely invited Miss Fuller to show it to him. Now, in the first place, I wish you to see Margaret when you are in special good humor, and have an hour of boundless leisure. And I entreat Jane Carlyle to abet and exalt and secure this satisfaction to me. I need not, and yet perhaps I need say, that M. F. is the safest of all possible persons who ever took pen in hand. Prince Metternich's closet not closer or half so honorable. In the next place, I should be glad if you can easily manage to show her the faces of Tennyson and of Browning. She has a sort of right to them both, not only because she likes their poetry, but because she has made their merits widely known among our young people. And be it known to my friend Jane Carlyle, whom, if I cannot see, I delight to name, that her visitor is an immense favorite in the parlor, as well as in the library, in all good houses where she is known. And so I commend her to you.

Yours affectionately,
R. W. Emerson

-from The Friendly Craft: A Collection of American Letters edited by Elizabeth Deering Hanscom (New York: Macmillan, 1908) p. 159-60.

Margaret Fuller Visits George Sand

Naples, March 17, 1847.

. . . Our eyes met. I never shall forget her look at that moment. The doorway made a frame for her figure; she is large, but well-formed. She was dressed in a robe of dark violet silk, with a black mantle on her shoulders, her beautiful hair dressed with the greatest taste, her whole appearance and attitude, in its simple and ladylike dignity, presenting an almost ludicrous contrast to the vulgar caricature idea of George Sand. Her face is a very little like the portraits, but much finer; the upper part of the forehead and eyes are beautiful, the lower, strong and masculine, expressive of a hardy temperament and strong passions, but not in the least coarse; the complexion olive, and the air of the whole head Spanish, (as, indeed, she was born at Madrid, and is only on one side of French blood.) All these details I saw at a glance; but what fixed my attention was the expression of goodness, nobleness, and power, that pervaded the whole,--the truly human heart and nature that shone in the eyes. As our eyes met, she said, "C'est vous," and held out her hand. I took it, and went into her little study; we sat down a moment, then I said, "Il me fait de bien de vous voir," and I am sure I said it with my whole heart, for it made me very happy to see such a woman, so large and so developed a character, and everything that is good in it so really good. I loved, shall always love her.

She looked away, and said, "Ah! vous m'avez ecrit une lettre charmante." This was all the preliminary of our talk, which then went on as if we had always known one another. . . .

Her way of talking is just like her writing,--lively, picturesque, with an undertone of deep feeling, and the same skill in striking the nail on the head every now and then with a blow.

We did not talk at all of personal or private matters. I saw, as one sees in her writings, the want of an independent, interior life, but I did not feel it as a fault, there is so much in her of her kind. I heartily enjoyed the sense of so rich, so prolific, so ardent a genius. I liked the woman in her, too, very much; I never liked a woman better. . . .

I forgot to mention, that, while talking, she does smoke all the time her little cigarette. This is now a common practice among ladies abroad, but I believe originated with her. . . .

[Margaret Fuller]

-from The Friendly Craft: a Collection of American Letters edited by Elizabeth Deering Hanscom, Ph.D. (New York: Macmillan, 1908) p. 178-179.