Both write of Christianity as "a thing of beauty," a perennial power, a spreading tree, a fountain of youth; but Goethe was too much of a Greek--though, as has been said, "a very German Greek"--to be, in any proper sense of the word, a Christian; Carlyle too much of a Goth. His Mythology is Norse; his Ethics, despite his prejudice against the race, are largely Jewish. He proclaimed his code with the thunders of Sinai, not in the reconciling voice of the Beatitudes. He gives or forces on us world-old truths splendidly set, with a leaning to strength and endurance rather than to advancing thought. He did not, says a fine critic of morals, recognise that "morality also has passed through the straits." He did not really believe in Content, which has been called the Catholic, nor in Progress, more questionably styled the Protestant virtue. His often excellent practical rule to "do the duty nearest to hand" may be used to gag the intellect in its search after the goal; so that even his Everlasting Yea, as a predetermined affirmation, may ultimately result in a deeper negation. [Footnote: _Vide_ Professor Jones's _Browning as a Philosophical and Religious, Teacher_, pp. 66-90.] "Duty," to him as to Wordsworth, "stern daughter of the voice of God," has two aspects, on each of which he dwells with a persistent iteration. The _first_ is _Surrender_ to something higher and wider than ourselves. That he has nowhere laid the line between this abnegation and the self-assertion which in his heroes he commends, partly means that correct theories of our complex life are impossible; but Matthew Arnold's criticism, that his Ethics "are made paradoxical by his attack on Happiness, which he should rather have referred to as the result of Labour and of Truth," can only be rebutted by the assertion that the pursuit of pleasure as an end defeats itself. The _second_ aspect of his "Duty" is _Work_. His master Goethe is to him as Apollo to Hercules, as Shakespeare to Luther; the one entire as the chrysolite, the other like the Schreckhorn rent and riven; the words of the former are oracles, of the latter battles; the one contemplates and beautifies truth, the other wrestles and fights for it. Carlyle has a limited love of abstract truth; of action his love is unlimited. His lyre is not that of Orpheus, but that of Amphion which built the walls of Thebes. _Laborare est orare._ He alone is honourable who does his day's work by sword or plough or pen. Strength is the crown of toil. Action converts the ring of necessity that girds us into a ring of duty, frees us from dreams, and makes us men. The midnight phantoms feel the spell, The shadows sweep away. There are few grander passages in literature than some of those litanies of labour. They have the roll of music that makes armies march, and if they have been made so familiar as to cease to seem new, it is largely owing to the power of the writer which has compelled them to become common property.