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 Carlyle a little, of which one was glad, for, that night, he was in his more acrid mood; and, though much more brilliant than on the former evening, grew wearisome to me, who disclaimed and rejected almost every. thing he said. For a couple of hours, he was talking about poetry, and the whole harangue was one eloquent proclamation of the defects in his own mind. Tennyson wrote in verse because the schoolmasters had taught him that it was great to do so, and had thus, unfortunately, been turned from the true path for a man. Burns had, in like manner, been turned from his vocation. Shakspeare had not had the good sense to see that it would have been better to write straight on in prose;–and such nonsense, which, though amusing enough at first, he ran to death after a while. The most amusing part is always when he comes back to some refrain, as in the French Revolution of the sea-green. In this instance, it was Petrarch and Laura, the last word pronounced with his ineffable sarcasm of drawl. Although he said this over fifty times, I could not ever help laughing when Laura would come,—Carlyle running his chin out, when he spoke it, and his eyes glancing till they looked like the eyes and beak of a bird of prey. Poor Laura! Lucky for her that her poet had already got her safely canonized beyond the reach of this Teufelsdrockh vulture. The worst of hearing Carlyle is that you cannot interrupt him. I understand the habit and power of haranguing have increased very much upon him, so that you are a perfect prisoner when he has once got hold of you. To interrupt him is a physical impossibility. If you get a chance to remonstrate for a moment, he raises his voice and bears you down. True, he does
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