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7/26/2019 UPHAM, A.H. (1918) Rabelaisianism in Carlyle.pdf
1/8
Rabelaisianism in Carlyle
Author(s): A. H. UphamSource: Modern Language Notes, Vol. 33, No. 7 (Nov., 1918), pp. 408-414Published by: The Johns Hopkins University PressStable URL: http://www.jstor.org/stable/2915763.
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7/26/2019 UPHAM, A.H. (1918) Rabelaisianism in Carlyle.pdf
2/8
408
MODERN
LANGUAGE
NOTES
sion of the
countrey
which
Englishmen
had
so
long
held,
after
good
deliberation ee determined
o leave somemen
behinde
to
reteilneossession ftheCountrey." (Page 347.)
And ours to
hold,
VIRGINIA,
Earth's
onely Paradise.
Drayton
perhaps
intelnded
o
acknowledge is
indebtednesso
Hakluyt
n
the
concluding
tanza:
Thy
Voyages
attend,
Industrious
Hacklvit,
Whose Reading shall inflame
Men to
seeke
Fame,
And
much
commend
To
after-Times
thy
Wit.
It
might e
worth
while o
search
or
other
nstances
f
Drayton's
ilndebtedness
o the
Priniicipal
avigations.3
Indeed
the
influence
of
the
literature
f
the sea
upon
the
Elizabethanpoets
might
well
constitute
he
work
of a
doctoral
dissertation.
JOSEPH
QUINCY ADAMS.
Cornell
Univer^sitpy.
RABELAISIANISMi IN
CARLYLE
Professor
liss
Perry's
recent
tudy
of
Carlyle,1
hough
written
primarily orthe generalreader,should commend tselfto the
more careful
studelnt
n
accouint
f
the
directnesswith which
t
proceeds
o
its task
alnd
he
vitality
t
imparts o its
subject.
The
conceptiont
presents
f
the
workilngf
Carlyle's
mind
and of
the
doctrines
hereevolved s
in
most
respects
omplete
lnough; tLt
olne ide
of his
mental
activity,
nd
one
in
which
he stands
unique
in his
generation,
as
received
very
slight
consideration.
No
ac-
3 The list
of
borrowings
in
the poem just considered might be increased.
For
the
adjective
"
vse-full
as
applied to sassafras,
see
page 355;
and for
the lines:
And
as
there
Plenty
growes
Of Lawrell
euery
where
see
page
304. The
apostrophe
"
You
braue
Heroique
minds
"
was
possibly
addressed to
those persons
whose
names are
given
on
apage
317.
I
Bliss
Perry,
Thomas
Carlyle:
How
to
Know
Himn.
Indianapolis,
The
Bobbs-Mlerrill
Co.,
1915.
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7/26/2019 UPHAM, A.H. (1918) Rabelaisianism in Carlyle.pdf
3/8
RABELAISIANISMi
IN
CARLYLE
409
quaintance
with
Carlyle
s complete
without
due
con;sideration
f
his humor.
Perhaps
t
wou-Lld
e
neither
resumptuous
or
nappro-
priateto suggest possible nterpretationf this element n his
work,
mploying
n
part
Professor
erry's
method
f making
the
subject
peak
for
himself.
Analyzing,
r
even
describing
umor
is
difficult
t
all
times,"
declares
Carlyle
in
the
second
Richter
essay.
"It is
like
a
fine
essence,
ike a
soul,"
he explains;
"
we
discover
t only
n
whole
works
nd
delineations,
s
the
soul
is
only
to be seen
in the
living,
body,not in detached
imbs
anid
fragments."
His various
defini-
tions
of humor,
n
the
Richter
essays
and
elsewhere,
re
in
extremely
eneral
ncl
oniventional
erms.
Humor
s
" sensibility,"
or
rather
he
"sport
of sensibility";
"the
playful
teasing
fond-
ness
of
a
mother
or
her
child."
It is
"
gentle
and genial,"
"
full
yet
ethereal."
In fact,
t appears
to
be
suLmmed
p
in
the
simple
formula:
sensibility,
portfullness,
nd
love.
To
go farther
nto
detail
than
this,
one
needs
to have
some
concrete asis forcomparison,ome suggestion t least of source
or inspiration
by
which
to clarify
he problem.
The
humorous
turn
of
mindwas
native
wTith
arlvle.
At
the
a(re
of
eighteen
e
wrote
o
his friend
Robert
MAitchell
1814):
"N7Vap
he Mighty,
who,
but
a
few
months
ago,
made
the
sovereirns
f Europe
tremble
t
his
nod;
who
has
trampled
on
thrones
ancl
sceptres,
kings
alnclpriests,
and
prineipalities
nd
powers,
and carried
ruin
and
bavoc
and
blood
and
fire,
from
Gibraltar o Archangel-N7ap heMighitys-gone to pot "
Another
etter,
ix
months
ater,
contained
his promise:
"After
this
long
preamble,
you
are
not
to expect
that
I,
all
jaded
as
I am, can
even
attempt
o
amnuse
you
thisbout,
ut,
my
dear
Bov,
sencd
me
a letter nforming
me
that
you
are
reconciled,
and
I'll
warrant
you
recei-ve
letter
full
of
qairk
and
oddity,
covered
hick
nd
threefold
ith
mirth
lhumor,
it,
nd
the
several
other
ppendages
equisite
or
forming
n
unexceptionable
orceau
d'e'loquencet d'esprit."
By
the
time
Carlyle
wrote
of
his
Ge'rmans,
ifteen
ears
after
this
correspondenice,
e
was
able not only
to
repeat
earned
com-
monplaces
bout
humor
n the abstract,
ut
to illustrate
hese
with
abundant
references,
n
a
familiar,well-aequainted
one,
to
a
con-
siderable
ody
f
humorists.
These,
t
should
be
noted,
re
English,
French,
nd Spanish,
rather
han
Gernman.
Humor
meant
to
him,
after ll, not merely he sportfulnessfwholesonmeensibility,ut
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7/26/2019 UPHAM, A.H. (1918) Rabelaisianism in Carlyle.pdf
4/8
410
-MODERN
LANGUAGE
NOTES
more
oncretely
he
mlloods
nd
utteralnces
f
Rabelais
and
Cervantes,
of
Samuel
Butler,
Dean
Swift,
Arbuthnot,
nd Sterne,
nd
finally
ofRichter.
Trhat
e
had
been
reading
these
uthors
nd had learned
to
love
them
s well
established.
He
has
mentioned
udibras
and
Tristram
Shandy
as
his earliest
favorites.
His university
orrespondence
has
frequent
eferences
o
Swift,
Sterne,
nd
Cervantes,
ne
friend
addressing
im variously
s
"
Dean,"
" Jonathanl,"
nd
"Doctor."
He insisted
n his
letters
that
tfohn
Carlyle,
his
brother,
hould
readtheTale ofa Tub andDon Quixote. It is hardly
hance
that
during
his
courtship
Jane
Welsh
owned
a dog
named
"
Shandy,"
or
that
oln
his first isit
to
France
the
party n which
he
traveled
used
the Sentimental
Journey
s
a
Baedeker.
The
same group
of
authors
s
richly epreselnted
n the references
nd allusions
strewn
so plentifully
mong
his essays,
with
Sterne
in the
lead,
and
Cervantes
close
second.
Taken
as a basis
for
the
consideration
f
Carlyle's
own
humor,
thisgroup s moreuniifiedhan at firstt may appear. However
distinct
n
time
and
place
and
dominating
purpose,
these
men
suggested
o the
general
reader
f England
or
Scotlanda
compara-
tively
short
period
in
English
thought,
he
era
of
satire
anid
burlesque
hat
followed
lose
upoln
the StuartRestoration.
iterary
England
at
that
time was
largely
under
foreign
nfluence,
articu-
larly
in the
cultivation
f the
satiric
forms,
uch as
burlesque,
mock-heroic,
omnan
clef,
nd the
device
of
the naive
and detached
observer. EveryE'nglish uthor n Carlyle'shumorgroupshared
largely
n the
influence
f a
great
French
master
of
satire,
and
they
pparently
erived
rom
him much
that
made
them
trongest
and most sympathetic-much,
ndeed,
of what Carlyle
himself
an
be shown
to
possess,
whether
ative
in his
genius
or derived
at
first
r second
hand.
The
only difficulty
s
that
thisauthor
s
the
one
mentioned
east
of the whole
group
by
Carlyle
himself-
Franigois abelais.
In actual
practice
he
nfluence
f Rabelais
and that
of
Ceirvantes
permeated
England
together.
But
wvhile
he
popularity
f
Don
Quixote
gave
decided
mpulse
to
prose
mock-heroic
s a form
nd
operated
o restraini
arious
mitations
within
the limits
of
good
taste,
Rabelais's
Lucianic
marvels
provided
storehouse
f
strange
and
adaptable
things.
Giants
by
generations,
haracters
f
almost
obtrusive ersolnalities,
stoundinig
dventures
n uncharted
eas,
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RABELAISIANISM
IN
CARLYLE
411
keen
satile
of such
familiar
ubjects
as
law
courts
and
religious
ceremony
nd
scholarship:
dd
to
these
the
elemelnt
f
a new
style,
and the result s a literary emptationntirely oo strong o be
r
sisted
by
U
rquhart,
he
Scottish
translator;
by Butler,
Swift,
Ailbuthnot,
ind
Sterlne;
ndl
probably
by
their
ineal
descendant
Carlyle.
It cainnot
e far amiss,
then,
to consider
n
Carlyle's
writings
the
obviouts
raits
of
Rabelaisian
style
hus tralnsmitted
o
modern
times.
MIore
direct
analogies
between
Rabelais
and
Carlyle
need
notbe surprising.
As noted
above,
we findCarlyle,
arly
n
life,
cultivating
rhapsodical
or dithyrambic
ort
of
extravaganlce
n
passages
of satire,
which
ater
he was
to extend
o longer
organized
discourses,
t
least
approaching
he
scope
of
the
Gargantua
or
Pantagruel.
The
outburst
egarding
Nap
the
mighty
may
be
paralleled
in countlessparagraphs,
particularly
n
the
French
Revolution,
while
the
entire
essays
on Count
Cagliostro
nd
The
Diamond
Necklace
are
admirable
specimens
of
mock-ronmance
entirelyn this same vein. Fundamentally,f course,Rabelais's
great
work
s
only
a mock-romance,
nd
was
projected
ike
Don
Quixote
s
a
burlesque
f
the popular
type.
Hence
it
is
interesting
to note
in
Carlyle's
Sartor
Resar
us
the
further
ppearance
of
romantic
onventions.
Herr Teufelsdrockh,
or
all
his
bachelor
seclusion
nd
clouds
of tobacco
moke, uggests
hero
of
romance
in
the
mystery
hat
enshrouds
his
parentage,
his
birth,
nd
his
supposed
passing."
The experiences
f
his youth,
arefully
ut-
lined,serveas travestyo theenfances f manysuchheroes. He
is experienced
n love,far-traveled,
agnanimous,
nd
in
his
obser-
vation
nd judgment
lmost
uperhuman.
His
aery
bove
the
city,
from
which
he
overlooks
he
teeming
ife
of street
nd
tenement,
suggests
t
once
Le
Sage's
Diable
Boiteutx.
Teufelsdr6ckh
ike-
wise
has
his
fidus
Achates
n the
person
f theHofrath
Heuschrecke,
corresponding
o
the Sancho
Panza
of Quixote,
he
Ralpho
of
Sir
Hudibras,and-at
a
very
considerable
istance-the
Panurge
of
Pantagruel.
One may
wonder
too how
far
the
wanderings
f
Teufelsdr6ckh
oward
the
"Everlasting
Yeg"
correspond
o
the
search
of
these
ast
two
for the Oracle
of the Bottle.
But
the
analogy
weakens
t this point.
Goethe
nd
his
WVanderjahre
ere
too
close
at
hand.
Carlyle
has
a
peculiar
appreciation
or the gigantic
or
Titanic
figures
n
history
ndl
iterature.
His
spiritual
giants
oom
quite
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412
MODERN
LANGUAGE
NO,TES
as large
as the material
ones in
Rabelais.
All
his selections
of
"
Heroes
"
are
Titans
in their
way, nd
when
they re treated
lse-
wheren his writingshisgigantic uality s sure tobe emphasized,
as
in
the
case of MIirabeau
nd
Burns. Richter,
who is
Carlyle's
most humorous
of
Germans,
e constantly
resents
s a spiritual
giant:-"
A
Titan in
his sport
as in
his earnestness,
e
oversteps
all
bound
ndriots
without
aw
or measure.
He heaps
Pclion
upon
Ossa,
and
hurls
the universe
ogether
nd asunder
ike
a case of
playthings."
Even
Teufelsdr6ckh's
nique
laugh,
as described
n
the firstbook of Sartor,has something f the colossal
about it.
Dean Swifthad
caught
from
Rabelais
a trick
fpresenting
iants,
and
in
the process
he provided
Carlyle
with a good
mouth-filling
word to
characterize
he immensities
hatappealed
to
him.
The
Norse
myths,
for
example, show
"
huge untutoredBrobdignag
genius ;
there s
"
a great
broad
Brobdignlag
rin
of true
humor"
in
the god
Skrymir;
nd
the
wholeScandinavian
onception
f the
creation
f cosmos s
a
"
Hyper-Brobdignagian
usiness."
One of theclosest ynonymsor the" sportfulness in Carlyle's
humor-program
s "whimsicality,"
nd
whimsicality
s clearly
a
feature
of
which
he
was
very
fond.
In
this
regard
Sterne
approached
nearest to
Rabelais,
but
Carlyle
finds
numerous
ilnstances
n all his favorite uthors,
gain
including
Richter.
In
Rabelais
this
whimsicality
as
chiefly
n matters
f
detail,
though
it
appeared
as
distinctly
n
certain
of
the
larg,e
onceptions
f
his
work,
uch
as
the
old convention
f
depending
n
a
mysterious
manuscripturiouslv oncealed n a tomb, hewholenotionof the
essential herb
"
pantagruelion,"
nd the fantastic
ourney
to
the
equally
fantasticOracle
of
the Bottle. Swift
and Sterne
particu-
larly
reveled
n
tricks
ike these.
Carlyle's
best known
pproxima-
tion
of them
s
in
Sartor,
where
he
poses
as
merely
he
English
editor
f a German
cholar,
whose
biography
omesto him n "
six
considerable
aper
Bags,
carefully
ealed,
and marked
uccessively
in gilt china-ink,with the symbols f the Six Southern
Zodiacal
signs,
beg,inning
t
Libra."
Carlyle
s
always
trifling
ith
his reader's
redulity
n this
way.
Teufelsdrockh
s
not
the
author
of
Die
Kleider-
merely;
but also
of
a
chapter
on The Greatness
f Great
Men,
fromwhich
Carlyle
quotes
n
his
essay
on Goetlhe's
Works.
Herr
Professor
auerteig
is
a favorite
uthor of his,
whose
mysterious
works ppear
again
and
again
in his
pages.
Twice
at least he reworks is own
critical
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RABELAISIANISM
IN
CARLYLE
413
dicta,
acknowledging
bligation
o
"a
writer
n
this
subject"
and
to
"
one
of
Richter's
English
critics."
In
The
Diamond Necklace
he introduces long burlesque ddressbyCountCagliostro o his
faithful
followers.
The
fantastic
titles
of
various
of
Richter's
books
please
Carlyle
mmensely,
nd
he notes
of that
author
with
great
satisfaction
hat
he
"has
a whole
imaginary
eography
f
Europe
in
his
novels."
With
visualizing
uch
geography
arlyle
was
much
ess
concerned
than
Rabelais
or
Swift,
ut
at times
when
he set
his
mind
upon
it
he produced
its of fantastic
escription
uite
on
a par with
either
of these.
Witness he
rather
xtensive
ictures
f SouthAmerican
life n
Dr. Francia,
orthe
vivid,naively-drawn
ortrayal
f
English
dandies
and
Irish
Poor Slaves
at
the
end
of Saitor.
Carlyle's
real
interest
ay
in
depicting
ot peoples
but
people
that
were
unusual
to
thepoint
of fantasy,
rom
Richard
Arkwright,
he
"
bag-cheeked,
pot-bellied,
much-enduring,
uch-inventing
arber"
of
Chartism,
to sea-green
obespierre
nd the
rest
of
the
Processioln
f Deputies.
Moreover, arlyle ppearstohavehad faith n thepower fnames
equalled
only
by
that
of
Pantagruel
and Walter
Shandy.
Every
German
proper
name
in
Sartor
Resartus
repays
lose scrutiny,
ut
the
author's
possibilities
n his owu language
are equally
large.
Sansculottist
nd
Sanspotato,
igman
and
Soap-bubble
guild,
MT.
and
Mrs. Rigmarole
nd
Don
Fatpauncho
Usandwonto
ake
second
place
to
nothing
met
by
Pantagruel
on
his
wanderings.
Carlyle,
ike
Rabelais
and others
of the
humor-group,
epends
for much of his pictorialeffect n a realism of detail that is
grotesque
nd
often
trifle
ough.
Frequently
his
is
arrived
t
in
the
manner
of
genuine
burlesque-by
a
vocabulary
f
collo-
quialism.
The
Cagliostro
essay,
appropriately
nough,
s
packed
with expressions
f this kind. Elesewhere
he
readermay
happen
at
any
turn
upon
descriptions
ike
that
in
Dr. Francia
of
the
wearied
oldiers
who " sank
soon
enough
nto
steady
nose-melody,
into
the
foolishest ough
colt-dance
f
unimaginable
reams."
One
of
the most
conspicuous
eatures
f Rabelaisian
style
was
the
fondness
for
accumulating
xpressions
n long
and
utterly
useless
processions.
Sometimes
here
was
a common nding
for
all
these,
but more often
their effect epended
upon
the
hopelessly
miscellaneous
haracter
f
the series.
Urquhart
njoyed
his
device
thoroughly
nd
managed
o
lengthen
most
of theseprocessions
till
farther
n translation.
Sterne
found
t
easy
to
imitate
nd
worked
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7/26/2019 UPHAM, A.H. (1918) Rabelaisianism in Carlyle.pdf
8/8
414
MODERN
LANGUAGE
NOTES
it habituallv. Carlile
adopted
t earlyand made
it
very
much his
own, producing
effects
to use
his own words
of
poor Teufels-
dr6ckh's ook " like somemad banquet,wherein ll courseshad
been confounded,
lnd
fishand flesh,
oup and
solid,
oyster-sauce,
lettuces,
Rhine
wine and French
mustard,
were
hurled into one
huge
tureen
or ti'ough, nd the
hungry
public
invited to
help
itself."
As earlyas 1822
he was
writing
o his brother:
I have
written
n
a strange
humourtonight,
Jack: melancholickish,
ll-
naturedish,
ffectionatish-all
n
ish-for I
am
very weak
and
weary." Even the " Nap the mighty passage, indeed, shows
tendencies
his way.
Of
all
his work
the
essays
on Diderot
and
CoulntCagliostro
re
perhaps
the
richest n these effects. Sartor
Resartus
has
one famous
passage,
in
which
"kings
and
beggars,
and angels
and
demons,
nd
stars
and
street-sweepings
are
"
cha-
otically
whirled." Part at least
of
the life
and movement
n
the
French
Revolution
s secured
by a
skillfulmanipulation
f this
same
device.
It maybe objectedthatthequalities enumerated ere are con-
cerned
with
oily
one
phase
of
Carlyle's
humor its
sportfulness-
and
thus
fairly
beg,
he
question
n favor
of Rabelais.
They are,
and
they
do. But
sportfulness
s
the
tangible hing
bout
humor,
sensibility
nd
love
are " the
fine ssence
ike a soul
"'
that
Carlyle
himself dvises
us
not to seek
n "
detached
imbs and
fragments."
Hence sportfulness
s
the
only
imitable
thing
about
humor;
sensibility
nd
love-or
a
genuinely
responsive
ympathy,
hich
embraces hemboth-must be sought n the core*of man's own
iiature.
It remains
nly
to
poilnt
ut that
these
lemiients
n
Carlyle
are analogous
in
degree
and
kind
to those
in
the
hearts
of
the
English
Rabelaisians
nd their
French
master.
Cervantes,
arlyle
confesses,
s in a class
by
himself.
Carlyle
had
a
consistently
igher
moral
purpose
and
tone
than
Rabelais,
or
several
f his
English
mitators.
He
was not so
readily
maovedo emotion s Sterneand lnotnearly o fondof the expe-
rience.
Like
Swifthe
was
inconasistent
nd
many
times unfair
n
his
sympathy
nd
severity.
But as a man
and
a
scholar,
with
a
man's
reactions
n life and
an
appreciation
f
passions
becausehe
had
felt
them nd wrestled
with
them
ime out of
mind,
he
shows
striking
inship
with
the secular
Benedictine
f
France,
who
oved
mankind
while
he shook
his sides
n
laughter
t
it.
Miami
Univer
ity.
A. H.
UPHAMr.
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