Liberty he attached less importance to than economic security: in that a true man of the people. "Liberty, I am told, is a divine thing. Liberty, when it becomes the 'Liberty to die by starvation' is not so divine." It is here that Carlyle links up with the socialist trend of thought in his age.

In the first place that appalling style, with its repetitiveness, its overemphasis, its perpetual note of adjuration, its shrillness and exaggeration, with no soft tones at all, the trumpets always braying and that rather discordantly: it makes him almost impossible to read... Yet for all his defects Carlyle was unmistakably a man of genius. He was that very unattractive kind of genius, a prophet. All prophets are misfits; and that throws a flood of light on the source and conditioning of their "message".

If you want one great name in English literature that sums up all that England does not stand for, a bitter spirit, sour, an extravagant, a worshipper of force and of the führerprinzip, it can be said in one name: Carlyle.

He saw human life and earthly happenings against a vast background of mystic spiritualism, of eternities and immensities; he was an individualist, to whom the development of the race depends on great personal virtues, on heroic abnegation and self-sacrificing activity. His rugged independence made it difficult for his contemporaries to 'place' him; he resolutely refused to be labelled, or to be identified with any specific intellectual, literary or political creed.

In the mid-nineteenth century and after, the fear of social disintegration was mostly a conservative concern. After the turbulent 1840s in England, the Victorian polemicist Thomas Carlyle worried about what force would discipline “the masses, full of beer and nonsense” as more and more of them received the right to vote. Carlyle’s remedy was a militarized welfare dictatorship, administered not by the existing ruling class but by a new elite composed of selfless captains of industry and other natural heroes of the order of Oliver Cromwell and Frederick the Great. The Nazis later claimed Carlyle as a forerunner.

Perhaps I owe more to Thomas Carlyle than to any other writer. The philosophy of the "Sage of Chelsea" always appealed to me from the time I first opened Heroes and Hero Worship. Sartor Resartus is, I think, the book I would save from my library if my house was on fire and I could only escape with one book.

When Froude took Lord Wolseley to see Carlyle, the sage bade the laurelled commander lock the doors of the parliamentary palaver, and walk off with the key.

When he [Joseph Chamberlain] was busy on temperance and the Gothenburg system, we had one of our talks with Carlyle. The sage told him that he rejoiced that this mighty reform was being attempted; then all at once he took fire at thought of compensation for the dispossessed publican, and burst into full blaze at its iniquity. Fiercely smiting the arms of his chair, with strong voice and flashing eye, he summoned an imaginary publican before him. "Compensation!" he cried, "you dare come to me for compensation! I'll tell you where to go for compensation! Go to your father the devil, let him compensate you".

I always felt the force of his [John Stuart Mill's] distrust of "thunderings" after an hour with Carlyle. You walked away from Chelsea stirred to the depths by a torrent of humour. But then it was splendid caricature: words and images infinitely picturesque and satiric, marvellous collocations and antitheses, impassioned railing against all the human and even superhuman elements in our blindly misguided universe. But of direction, of any sign-post or way out, not a trace was to be discovered, any more than a judicial page, or sense of any wisdom in the judicial, is to be found in his greatest pieces of history. After the grand humorist's despair was over, it was a healthy restorative in passing homeward along the Embankment to fling oneself into the arms of any statistician, politician, political economist, sanitary authority, poor-law reformer, prisoner-reformer, drainage enthusiast, or other practical friend of improvement, whom genial accident might throw in one's way.

This is not so much a history, as an epic poem; and notwithstanding, or even in consequence of this, the truest of histories. It is the history of the French Revolution, and the poetry of it, both in one; and on the whole no work of greater genius, either historical or poetical, has been produced in this country for many years.