Mrs Carlyle entered heartily into her husband's proposal to remove to London. 'Burn our ships!' she gaily said to him one day (i.e., dismantle our house); 'carry all our furniture with us'; which they accordingly did. 'At sight of London,' Carlyle wrote, 'I remember humming to myself a ballad-stanza of "Johnnie o' Braidislea," which my dear old mother used to sing,

Carlyle lodged at Ampton Street again; but presently did 'immense stretches of walking in search of houses.' He found his way to Chelsea and there secured a small old-fashioned house at 5 (now numbered 24) Cheyne Row, at a rent of £35 a year. Mrs Carlyle followed in a short time and approved of his choice. They took possession on the 10th June 1834, and Carlyle recounts the 'cheerful gipsy life' they had there 'among the litter and carpenters for three incipient days.' Leigh Hunt was in the next street 'sending kind, unpractical messages,' dropping in to see them in the evenings.

When in London on a former occasion, Carlyle became acquainted with John Stuart Mill, and the intimacy was kept alive by correspondence to and from Craigenputtock. It was through Mill's letters that Carlyle's thoughts were turned towards the French Revolution. When he returned to London, Mill was very useful to him, lending him a fine collection of books on that subject. Mill's evenings in Cheyne Row were 'sensibly agreeable for most part,' remarks Carlyle. 'Talk rather wintry ("sawdustish," as old Sterling once called it), but always well-informed and sincere.' Carlyle was making rapid progress with the first volume of his French Revolution. Stern necessity gave a spurt to his pen, for in February 1835 he notes that 'some twenty-three months' had passed since he earned a single penny by the 'craft of literature.' The volume was completed and he lent the only copy to Mill. The MS. was unfortunately burnt by a servant-maid. 'How well do I still remember,' writes Carlyle in his Reminiscences, 'that night when he came to tell us, pale as Hector's ghost.... It was like half sentence of death to us both, and we had to pretend to take it lightly, so dismal and ghastly was his horror at it, and try to talk of other matters. He stayed three mortal hours or so; his departure quite a relief to us. Oh, the burst of sympathy my poor darling then gave me, flinging her arms round my neck, and openly lamenting, condoling, and encouraging like a nobler second self! Under heaven is nothing beautifuller. We sat talking till late; 'shall be written again,' my fixed word and resolution to her. Which proved to be such a task as I never tried before or since. I wrote out "Feast of Pikes" (Vol. II.), and then went at it. Found it fairly impossible for about a fortnight; passed three weeks (reading Marryat's novels), tried, cautious-cautiously, as on ice paper-thin, once more; and in short had a job more like breaking my heart than any other in my experience. Jeannie, alone of beings, burnt like a steady lamp beside me. I forget how much of money we still had. I think there was at first something like £300, perhaps £280, to front London with. Nor can I in the least remember where we had gathered such a sum, except that it was our own, no part of it borrowed or given us by anybody. "Fit to last till French Revolution is ready!" and she had no misgivings at all. Mill was penitently liberal; sent me £200 (in a day or two), of which I kept £100 (actual cost of house while I had written burnt volume); upon which he bought me "Biographie Universelle," which I got bound, and still have. Wish I could find a way of getting the now much macerated, changed, and fanaticised John Stuart Mill to take that £100 back; but I fear there is no way.'[15]

Carlyle went diligently to work at the French Revolution. Some conviction he had that the book was worth something. Once or twice among the flood of equipages at Hyde Park Corner, when taking his afternoon stroll, he thought to himself, 'Perhaps none of you could do what I am at!' But generally his feeling was, 'I will finish this book, throw it at your feet, buy a rifle and spade, and withdraw to the Transatlantic Wildernesses, far from human beggaries and basenesses!' 'This,' he says, 'had a kind of comfort to me; yet I always knew too, in the background, that this would not practically do. In short, my nervous system had got dreadfully irritated and inflamed before I quite ended, and my desire was intense, beyond words, to have done with it.' Then he adds: 'The last paragraph I well remember writing upstairs in the drawing-room that now is, which was then my writing-room; beside her there in a grey evening (summer, I suppose), soon after tea (perhaps); and thereupon, with her dear blessing on me, going out to walk. I had said before going out, "What they will do with this book, none knows, my Jeannie, lass; but they have not had, for a two hundred years, any book that came more truly from a man's very heart, and so let them trample it under foot and hoof as they see best!" "Pooh, pooh! they cannot trample that!" she would cheerily answer; for her own approval (I think she had read always regularly behind me) especially in Vol. III., was strong and decided.' Mrs Carlyle was right. No critic or clique of critics could trample the French Revolution.

A month before the completion of the first book of the French Revolution, Carlyle wrote in his journal: 'My first friend Edward Irving is dead. I am friendless here or as good as that.' In a week or two thereafter he met Southey, whom he describes as a 'lean, grey-white-headed man of dusky complexion, unexpectedly tall when he rises and still leaner then—the shallowest chin, prominent snubbed Roman nose, small carelined brow, huge brush of white-grey-hair on high crown and projecting on all sides, the most vehement pair of faint hazel eyes I have ever seen—a well-read, honest, limited (straitlaced even), kindly-hearted, most irritable man. We parted kindly, with no great purpose on either side, I imagine, to meet again.'[16] Later on Carlyle admits to his brother John that his prospects in London were not brightening; which fact left him gloomy and morose.

During his enforced leisure after the destruction of the first book of the French Revolution, Carlyle saw more of his friends, among whom he numbered John Sterling, fresh from Cambridge and newly ordained a clergyman. Sterling was of a 'vehement but most noble nature,' and he was one of the few who had studied Sartor Resartus seriously. He had been also caught by the Radical epidemic on the spiritual side. Although dissenting from much of what Carlyle taught, Sterling recognised in him 'a man not only brilliantly gifted, but differing from the common run of people in this, that he would not lie, that he would not equivocate, that he would say always what he actually thought, careless whether he pleased or offended.' He introduced Carlyle to his father, who was then the 'guiding genius' of the Times, and who offered Carlyle work there on the usual conditions. 'Carlyle,' says Froude, 'though with poverty at his door, and entire penury visible in the near future, turned away from a proposal which might have tempted men who had less excuse for yielding to it. He was already the sworn soldier of another chief. His allegiance from first to last was to truth, truth as it presented itself to his own intellect and his own conscience.'

On the 16th of February 1835 Carlyle wrote to his brother John: 'I positively do not care that periodical literature shuts her fist against me in these months. Let her keep it shut for ever, and go to the devil, which she mostly belongs to. The matter had better be brought to a crisis. There is perhaps a finger of Providence in it.... My only new scheme, since last letter, is a hypothesis—little more yet—about National Education. The newspapers had an advertisement about a Glasgow "Educational Association" which wants a man that would found a Normal School, first going over England and into Germany to get light on that matter. I wrote to that Glasgow Association afar off, enquiring who they were, what manner of man they expected, testifying myself very friendly to their project, and so forth—no answer as yet. It is likely they will want, as Jane says, a "Chalmers and Welsh" kind of character, in which case Va ben, felice notte. If otherwise, and they (almost by miracle) had the heart, I am the man for them. Perhaps my name is so heterodox in that circle, I shall not hear at all.'[17] Carlyle also remarks, in the same letter, that John Stuart Mill is very friendly: 'He is the nearest approach to a real man that I find here—nay, as far as negativeness goes, he is that man, but unhappily not very satisfactory much farther.'

Not long thereafter Carlyle met Wordsworth. 'I did not expect much,' he said in a letter, 'but got mostly what I expected. The old man has a fine shrewdness and naturalness in his expression of face, a long Cumberland figure; one finds also a kind of sincerity in his speech. But for prolixity, thinness, endless dilution, it excels all the other speech I had heard from mortals. A genuine man, which is much, but also essentially a small, genuine man.'

Early in October 1835 Carlyle started for his old home. His mother-in-law had arrived on a visit at Cheyne Row, and remained there with her daughter during Carlyle's absence in Scotland. He returned improved in health and spirits. Nothing came of the National Education scheme. Carlyle was not a person to push himself into notice, remarks Froude; and his friends did not exert themselves for him, or they tried and failed; 'governments, in fact, do not look out for servants among men who are speculating about the nature of the Universe. Then, as always, the doors leading into regular employment remained closed.' Shortly after his return from the North, he was offered the editorship of a newspaper at Lichfield. This was unaccepted for the same reason that weighed with him when he refused a post on the Times. In the following summer money matters had become so pressing that Carlyle wrote the article on Mirabeau, now printed among the Miscellanies, for Mill's review, which brought him £50. Mrs Carlyle's health began to suffer, and a visit to Annandale became imperative. She returned 'mended in spirits.' Writing of her arrival in London, she said: 'I had my luggage put on the backs of two porters, and walked on to Cheapside, when I presently found a Chelsea omnibus. By-and-bye the omnibus stopped, and amid cries of "No room, sir; can't get in," Carlyle's face, beautifully set off by a broad-brimmed white hat, gazed in at the door like the peri "who, at the gate of heaven, stood disconsolate." In hurrying along the Strand, his eye had lighted on my trunk packed on the top of the omnibus, and had recognised it. This seems to me one of the most indubitable proofs of genius which he ever manifested.'

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?

'But figure his thought, when Death is now clutching at his own heart-strings; unlooked for, inexorable! Yes, poor Louis, Death has found thee. No palace walls or lifeguards, gorgeous tapestries or gilt buckram of stiffest ceremonial could keep him out; but he is here, here at thy very life-breath, and will extinguish it. Thou, whose whole existence hitherto was a chimera and scenic show, at length becomest a reality; sumptuous Versailles bursts asunder, like a dream, into void Immensity: Time is done, and all the scaffolding of Time falls wrecked with hideous clangour round thy soul: the pale Kingdoms yawn open; there must thou enter, naked, all unking'd, and await what is appointed thee!... There are nods and sagacious glances, go-betweens, silk dowagers mysteriously gliding, with smiles for this constellation, sighs for that: there is tremor, of hope or desperation, in several hearts. There is the pale, grinning Shadow of Death, ceremoniously ushered along by another grinning Shadow, of Etiquette; at intervals the growl of Chapel Organs, like prayer by machinery; proclaiming, as in a kind of horrid diabolic horse-laughter, Vanity of vanities, all is Vanity!'

At every stage in the narrative, the reader is impressed with the dramatic texture of Carlyle's mind. No dramatic writer surpasses him in the art of producing effects by contrasts. In the midst of a vigorous description of the storming of the Bastille, he rings down the curtain for a moment in order to introduce the following scene of idyllic beauty: 'O evening sun of July, how, at this hour, thy beams fall slant on reapers amid peaceful woody fields; on old women spinning in cottages; on ships far out in the silent main; on Balls at the Orangerie of Versailles, where high-rouged Dames of the Palace are even now dancing with double-jacketed Hussar officers;—and also on this roaring Hell-porch of a Hotel-de-Ville!'

Equally effective is Carlyle in rendering vivid the doings of the individual actors in the drama. For photographic minuteness and startling realism what can equal the following:—'But see Camille Desmoulins, from the CafÉ de Foy, rushing out, sibylline in face; his hair streaming, in each hand a pistol! He springs to a table: the police satellites are eyeing him; alive they shall not take him, not they alive him alive. This time he speaks without stammering:—Friends! shall we die like hunted hares? Like sheep hounded into their pinfold; bleating for mercy, where is no mercy, but only a whetted knife? The hour is come, the supreme hour of Frenchman and Man; when Oppressors are to try conclusions with Oppressed; and the word is, swift Death, or Deliverance forever. Let such hour be well-come! Us, meseems, one cry only befits: To Arms! Let universal Paris, universal France, as with the throat of the whirlwind, sound only: To arms!—"To arms!" yell responsive the innumerable voices; like one great voice, as of a Demon yelling from the air: for all faces wax fire-eyed, all hearts burn up into madness. In such, or fitter words does Camille evoke the Elemental Powers, in this great moment—"Friends," continues Camille, "some rallying-sign! Cockades; green ones—the colour of Hope!"—As with the flight of locusts, these green tree-leaves; green ribands from the neighbouring shops: all green things are snatched, and made cockades of. Camille descends from his table; "stifled with embraces, wetted with tears;" has a bit of green riband handed him; sticks it in his hat. And now to Curtius' Image-shop there; to the Boulevards; to the four winds, and rest not till France be on fire!'

As a historical work, the French Revolution is unique. It is precisely the kind of book Isaiah would have written had there been a like Revolution in the Jewish kingdom; and just as we go to Isaiah, not for sociological guidance, but for ethical inspiration, so we turn to the French Revolution when the mind and heart are in a state of torpor in order to get a series of shocks from the Carlylean electric battery. From a historian a student expects light as well as heat, guidance as well as inspiration. It is not enough to have the great French explosion vividly photographed before his eyes; it is equally necessary to know the causes which led to the catastrophe. Here, as a historian, Carlyle is conspicuously weak. His habit of looking for dramatic situations, his passion for making commonplace incidents and commonplace men merely the satellites of commanding personalities, in a word, his theory that history should deal with the doings of great men, prevents Carlyle from dwelling upon the politico-economic side of national life. So absorbed is he in painting the Revolution, that he forgets to explain the Revolution. We have abundance of vague declamations against shams in high places, plenty of talk about God's judgments, in the style of the Hebrew prophets, but of patient diagnosis, there is none. As Mr Morley puts it in his luminous essay on Carlyle: 'To the question whether mankind gained or lost by the French Revolution, Carlyle nowhere gives a clear answer; indeed, on this subject more than any other, he clings closely to his favourite method of simple presentation, streaked with dramatic irony.... He draws its general moral lesson from the Revolution, and with clangorous note warns all whom it concerns from King to Church that imposture must come to an end. But for the precise amount and kind of dissolution which the West owes to it, for the political meaning of it, as distinguished from its moral or its dramatic significance, we seek in vain, finding no word on the subject, nor even evidence of consciousness that such word is needed.' Had Carlyle, in addition to his genius as a historical dramatist, possessed the patient diagnosing power of the writers and thinkers whom he derided, his French Revolution would have taken its place in historical literature as an epoch-making book. As it stands, the reader who desires to have an intelligible knowledge of the subject, is compelled to shake himself free of the Carlylean mesmerism, and have recourse to those writers whom Carlyle, under the opprobrious names of 'logic-choppers' and 'dry-as-dusts,' held up to public ridicule.