On the 22nd of January 1837 Carlyle wrote to his mother: 'The book [_French Revolution_] is actually done; all written to the last line; and now, after much higgling and maffling, the printers have got fairly afloat, and we are to go on with the wind and the sea.' But no money could be expected from the book for a considerable time. Meanwhile, Miss Harriet Martineau (who had introduced herself into Cheyne Row), and Miss Wilson, another accomplished friend, thought that Carlyle should begin a course of lectures in London, and thereby raise a little money. Carlyle, it seems, gave 'a grumbling consent.' Nothing daunted, the ladies found two hundred persons ready each to subscribe a guinea to hear a course of lectures from him. The end of it was that he delivered six discourses on German literature, which were 'excellent in themselves, and delivered with strange impressiveness,' and £135 went into his purse. In the summer the _French Revolution_ appeared. The sale at first was slow, almost nothing, for it was not 'subscribed for' among the booksellers. Alluding to the criticisms which appeared, Carlyle said: 'Some condemn me, as is very natural, for affectation; others are hearty, even passionate, in their estimation; on the whole, it strikes me as not unlikely that the book may take some hold of the English people, and do them and itself a little good.' He was right. Other historians have described the Revolution: Carlyle reproduces the Revolution. He approaches history like a dramatist. Give him, as in the French Revolution, a weird, tragic, awe-inspiring theme, and he will utilise his characters, scenes, and circumstances in artistic subordination to the central idea. Carlyle might be called a subjective dramatist--that is to say, his own spirit, thoughts, and reflections get so mixed up with the history that it is difficult to imagine the one without the other. Every now and then the dramatist interrupts the tragedy to interject his own reflections; in the history the Carlylean philosophy plays the part of a Greek chorus. As an example of Carlyle's genius for a dramatic situation, take his opening of the great drama with the death scene of Louis XV. Who does not feel, in reading that scene, as if the Furies were not far off? who does not detect in the grotesque jostling of the comedy and tragedy of life premonitions of the coming storm?