It is in connection with the dramatic scheme of the book that the third element, that of autobiography, enters into its texture, for the story of Teufelsdröckh is very largely a transfigured version of the story of Carlyle himself. In saying this, I am not of course thinking mainly of Carlyle's outer life. This, indeed, is in places freely drawn upon, as the outer lives of Dickens, George Eliot, Tolstoi are drawn upon in "David Copperfield," "The Mill on the Floss," "Anna Karénina." Entepfuhl is only another name for Ecclefechan; the picture of little Diogenes eating his supper out-of-doors on fine summer evenings, and meanwhile watching the sun sink behind the western hills, is clearly a loving transcript from memory; even the idyllic episode of Blumine may be safely traced back to a romance of Carlyle's youth. But to investigate the connection at these and other points between the mere externals of the two careers is a matter of little more than curious interest. It is because it incorporates and reproduces so much of Carlyle's inner history that the story of Teufelsdröckh is really important. Spiritually considered, the whole narrative is, in fact, a "symbolic myth," in which the writer's personal trials and conflicts are depicted with little change save in setting and accessories. Like Teufelsdröckh, Carlyle while still a young man had broken away from the old religious creed in which he had been bred; like Teufelsdröckh, he had thereupon passed into the "howling desert of infidelity;" like Teufelsdröckh, he had known all the agonies and anguish of a long period of blank scepticism and insurgent despair, during which, turn whither he would, life responded with nothing but negations to every question and appeal. And as to Teufelsdröckh in the Rue Saint-Thomas de l'Enfer in Paris, so to Carlyle in Leith Walk, Edinburgh, there had come a moment of sudden and marvellous illumination, a mystical crisis from which he had emerged a different man. The parallelism is so obvious and so close as to leave no room for doubt that the story of Teufelsdröckh is substantially a piece of spiritual autobiography.
This admitted, the question arises whether Carlyle had any purpose, beyond that of self-expression, in thus utilising his own experiences for the human setting of his philosophy. It seems evident that he had. As he conceived them, these experiences possessed far more than a merely personal interest and meaning. He wrote of himself because he saw in himself a type of his restless and much-troubled epoch; because he knew that in a broad sense his history was the history of thousands of other young men in the generation to which he belonged. The age which followed upon the vast upheaval of the Revolution was one of widespread turmoil and perplexity. Men felt themselves to be wandering aimlessly "between two worlds, one dead, the other powerless to be born." The old order had collapsed in shapeless ruin; but the promised Utopia had not been realised to take its place. In many directions the forces of reaction were at work. Religion, striving to maintain itself upon the dogmatic creeds of the past, was rapidly petrifying into a mere "dead Letter of Religion," from which all the living spirit had fled; and those who could not nourish themselves on hearsay and inherited formula knew not where to look for the renewal of faith and hope. The generous ardour and the splendid humanitarian enthusiasms which had been stirred by the opening phases of the revolutionary movement, had now ebbed away; revulsion had followed, and with it the mood of disillusion and despair. The spirit of doubt and denial was felt as a paralysing power in every department of life and thought, and the shadow of unbelief lay heavy on many hearts.