The first full-scale revaluation in nearly twenty years, this eloquent book highlights Carlyle's histories as the central expression of his genius. History, as Carlyle understood it, is poetry, prophecy, biography, and social criticism all in one. In the writing of history he found his vocation. The story opens with Carlyle's self-creation, during his years in the wilderness of Craigenputtoch, as a prophecy and exegete of the “scripture” of history. Carlyle conceived of his histories as modern prose epics; in The French Revolution, a seminal work in the development of nineteenth-century narrative, Carlyle came closest to realizing this ambition.

John Rosenberg's reading of Carlyle's masterpiece recaptures for the modern reader the excitement and power it exerted on the imaginations of writers as diverse as Mill and Emerson, Dickens and George Eliot, Thackeray and Whitman. The concluding chapters address the later, more problematic writings in which Carlyle's vision narrows and his compassion stiffens into contempt. His indictment of the brutality of laissez-faire capitalism in Past and Present inspired Dickens, Ruskin, and Engels; yet he supported slavery in the American South, and in our own century his Frederick the Great solaced Hitler during the final hours in the Berlin bunker.

Past and Present is Carlyle's last great work and the first in which he loses his way. His confidence in his ability to read the design of history falters, and as the past grows unintelligible, the present becomes intolerable. He retreats within himself, and the signs of that long withdrawal are evident in the fitful brilliance of Cromwell and Frederick the Great, his final meditations on history.

A sense of history and concern for the meaning of history dominated English thought in the nineteenth century; Peter Dale is concerned with this historicizing as it affected Victorian theories about the nature of poetry and art. Examining the critical writings of three of the period's most influential figures—Carlyle, Arnold, and Pater—Dale finds these men preoccupied with the impermanence of moral and intellectual systems and of the artistic values that depended upon them. In adjusting the absolutes of earlier periods to the new historicism the Victorians helped to usher in twentieth-century formalism.

The Victorian Critic and the Idea of History has much to offer to anyone interested in Victorian thought, as well as to modernists concerned with tracing the roots of twentieth-century poetics. It represents an admirable combination of close argument and precision with breadth of view and implication.