I lately reread the Correspondence, mainly to bring my mind again in contact with these noble spirits, so much more exalted than any in our own time, but partly to see what new light the letters threw upon the lives of these two men. There is little of the character of intimate and friendly letters in these remarkable documents. It is not Dear Tom or Dear Waldo. It is Dear Emerson or Dear Carlyle. They are not letters, they are epistles, like Paul's Epistle to the Ephesians, or to the Thessalonians, or to the Romans. Each of them contains the fragments of a gospel that both were preaching, each in his own way, but at bottom the same--the beauty and majesty of the moral law. Let the heavens fall, the moral law and our duty to God and man will stand. These two men, so different in character and temperament, were instantly drawn together by that magnet--the moral sentiment. Carlyle's works were occupied almost entirely with men--with history, biography, political events, and government; Emerson's with ideas, nature, and poetry; yet the bed rock in each was the same. Both preached an evangel, but how different! Emerson makes a note of the days on which he received a letter from, or wrote one to, his great Scottish friend. Both were important events with him. It is evident that Emerson makes more of an effort to write his best in these letters than does Carlyle. Carlyle tosses his off with more ease and unconscious mastery. The exchange is always in favor of the Scot. Carlyle was, of course, the more prodigious personality, and had the advantage in the richness and venerableness of the Old World setting. But Emerson did not hesitate to discount him in his letters and in his Journals, very wisely sometimes, not so wisely at others. "O Carlyle, the merit of glass is not to be seen, but to be seen through; but every crystal and lamina of the Carlyle glass is visible." Of course Carlyle might reply that stained glass has other merits than transparency, or he might ask: Why should an author's style be compared to glass anyhow, since it is impossible to dissociate it from the matter of his discourse? It is not merely to reveal truth; it is also to enhance its beauty. There is the charm and witchery of style, as in Emerson's own best pages, as well as the worth of the subject-matter. Is it not true that in the description of any natural object or scene or event we want something more than to see it through a perfectly transparent medium? We want the added charm or illusion of the writer's own way of seeing it, the hue of his own spirit.