We should omit a main attraction in these books, if we said nothing of their humor. Of this indispensable pledge of sanity, without some leaven, of which the abstruse thinker may justly be suspected of mysticism, fanaticism, or insanity, there is a super-abundance in Carlyle. Especially the transcendental philosophy needs the leaven of humor to render it light and digestible. In his later and longer works it is an unfailing accompaniment, reverberating through pages and chapters, long sustained without effort. The very punctuation, the italics, the quotation marks, the blank spaces and dashes, and the capitals, each and all are pressed into its service. Every man, of course, has his fane, from which even the most innocent conscious humor is excluded; but in proportion as the writer’s position is high above his fellows, the range of his humor is extended. To the thinker, all the institutions of men, as all imperfection, viewed from the point of equanimity, are legitimate subjects of humor. Whatever is not necessary, no matter how sad or personal, or universal a grievance, is, indeed, a jest more or less sublime. Carlyle’s humor is vigorous and Titanic, and has more sense in it than the sober philosophy of many another. It is not to be disposed of by laughter and smiles merely; it gets to be too serious for that—only they may laugh who are not hit by it. For those who love a merry jest, this is a strange kind of fun—rather too practical joking, if they understand it. The pleasant humor which the public loves, is but the innocent pranks of the ball-room, harmless flow of animal spirits, the light plushy pressure of dandy pumps, in comparison. But when an elephant takes to treading on your corns, why then you are lucky if you sit high, or wear cowhide. His humor is always subordinate to a serious purpose, though often the real charm for the reader, is not so much in the essential progress and final upshot of the chapter, as in this indirect side-light illustration of every hue. He sketches first with strong, practical English pencil, the essential features in outline, black on white, more faithfully than Dryasdust would have done, telling us wisely whom and what to mark, to save time, and then with brush of camel’s hair, or sometimes with more expeditious swab, he lays on the bright and fast colors of his humor everywhere. One piece of solid work, be it known, we have determined to do, about which let there be no jesting, but all things else under the heavens, to the right and left of that, are for the time fair game. To us this humor is not wearisome, as almost every other is. Rabelais, for instance, is intolerable; one chapter is better than a volume—it may be sport to him, but it is death to us. A mere humorist, indeed, is a most unhappy man; and his readers are most unhappy also.