The Correspondence of Thomas Carlyle and Ralph Waldo Emerson, 1834-1872, Vol. I — Background and Themes

Carlyle's Self-Portrait as a Weary Salamander

In his first letter, Carlyle paints himself as a creature acclimated to suffering: "By degrees, the creature gets accustomed to its element; the salamander learns to live in fire, and be of the same temperature with it." This striking image conveys both endurance and numbness. He admits feeling "old" and finds life "weary, flat, stale, and unprofitable," yet hints at remaining work: "there is a stroke or two of work in me yet." The letter oscillates between complaint and gratitude, as when he notes he can "exist here for the while" and resolves to "be thankful." This tension between despair and duty defines Carlyle's early voice.

Emerson's Counterpoint: Hope and Restraint

Emerson's letters offer a contrasting temperament. In the editorial note, his phrase "spiritual gift" frames the exchange as something sacred. His early recognition of Carlyle's genius, mentioned in the introduction, suggests admiration without the dramatic self-deprecation Carlyle employs. Emerson's language is more measured; he writes of Concord as "beautiful in the blue of the horizon," a calm image compared to Carlyle's "Babylon." This difference in tone—Carlyle's fiery lament versus Emerson's serene hope—creates a dynamic tension that readers can trace through the correspondence.

The Role of Business and Practicalities

The editor, Charles Eliot Norton, notes that he printed "much concerning dealings with publishers, as illustrative of the material conditions of literature." Carlyle's letter exemplifies this: he discusses lecturing for "board wages," writing articles for the Westminster Review, and the pressure from editors. His mention of a "small scrub of a paper signed 'S.P.'" reveals a playful yet weary attitude toward hack work. These practical details ground the intellectual friendship in economic reality, showing how literary ambition contended with financial necessity.

Shifts in Address and Intimacy Over Time

As the correspondence progresses, the salutations and closings evolve. Early letters are formal, but later ones adopt more familiar terms. Carlyle's reference to "Concord and New England" as an "Idyllion" suggests a shared imaginative space. The editor's inclusion of recovered letters—thirteen from Carlyle, four from Emerson—indicates gaps that were later filled, hinting at lost intimacy or practical disruptions. Readers can observe how the writers' circumstances—Carlyle's health, Emerson's lecturing—shape the frequency and tone of their exchanges.

Readers approaching this volume should attend to the interplay between the letters themselves and the editorial apparatus. Norton's notes and omissions (marked by dashes) shape what we see. The correspondence is not a seamless narrative but a curated selection, with gaps that invite speculation. By comparing the writers' voices—Carlyle's volcanic self-portrayal and Emerson's serene counterpoint—one can trace the arc of a friendship that was both literary and deeply human.

I was thinking about how two minds can remain so distinct across years of letters, each choosing what to reveal. The same quiet awareness surfaced when remembering How it feels to be colored me — How it feels to be colored me — Context and Discussion — that tug between what is spoken and what is held close. Some friendships, like identities, live in those small, careful selections of self.