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After the brief period of Goethe-worship, from 1834 on through forty years of monastic seclusion and labour not monastic, but as of a literary Hercules, the shaping thought of his work, tyrannous and all-pervading, is that of the might, the majesty, and the mystery of war. One flame-picture after another sets this principle forth. What a contrast are his battle-paintings to those of Tolstoi!
The greatest epoch of Carlyle's life, the epoch of the writing of Frederick, is also that of the mightiest series of his battle-paintings. And finally, when his course is nearly run, he rouses himself to write the last of all his battles, yet at once in characterization and vividness of heroic vision one of his finest, the death of the great Berserker, Olaf Tryggvason, the old Norse king.
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