FullReads

There are many ways of writing what is called history. The earliest and simplest was to record in the form of annals, without investigating, whatever the writer could lay hold of, the only thread of connection being the order of time, so that events have no more relation to each other than so many beads on a string. Higher then this, because more picturesque, and because living men take the place of mere names, are the better class of chronicles, like Froissart’s, in which the scenes sometimes have the minute vividness of illumination, and the page seems to take life and motion as we read. The annalist still survives, a kind of literary dodo, in the “standard” historian, respectable, immitigable,–with his philosophy of history, and his stereotyped phrase, his one Amurath succeeding another, so very dead, so unlike anything but historical characters, that we can scarce believe they ever lived,–and only differing from his ancient congener of the monastery by his skill in making ten words do the duty of one. His are the fatal books without which no gentleman’s library can be complete; his the storied pages which ingenuous youth is invited to turn, and is apt to turn four or five together. With him something is still always sure to transpire in the course of these negotiations, still the traditional door is opened to the inroad of democratic innovation, still it is impossible to interpret the motives which inspired the conduct of so-and-so in this particular emergency. So little does he himself conceive of any possible past or future life in his characters that he periphrases death into a disappearance from the page of history, as if they were bodiless and soulless creatures of pen and ink; mere names, not things. Picturesqueness he sternly avoids as the Delilah of the philosophic mind, liveliness as a snare of the careless investigator; and so, stopping both ears, he slips safely by those Sirens, keeping safe that sobriety of style which his fellow-men call by another name. Unhappy books, which we know by heart before we read them, and which a mysterious superstition yet compels many unoffending persons to read! What has not the benevolent reader had to suffer at the hands of the so-called impartial historian, who, wholly disinterested and disinteresting, writes with as mechanic an industry and as little emotion as he would have brought to the weaving of calico or the digging of potatoes, under other circumstances! Far truer, at least to nature and to some conceivable theory of an immortal soul in man, is the method of the poet, who makes his personages luminous from within by an instinctive sympathy with human motives of action, and a conception of the essential unity of character through every change of fate.

Of late years men have begun to question the prescriptive right of this “great gyant Asdryasdust, who has choked many men,” to choke them also because he had worked his wicked will on their fathers. It occurred to an inquiring mind here and there that if the representation of men’s action and passion on the theatre could be made interesting, there was no good reason why the great drama of history should be dull as a miracle-play. Need philosophy teaching by example be so tiresome that the pupils would rather burst in ignorance than go within earshot of the pedagogue? Hence the historical romance, sometimes honestly called so, and limited by custom in number of volumes; sometimes not called so, and without any such limitation. This latter variety admits several styles of treatment. Sometimes a special epoch is chosen, where one heroic figure may serve as a centre round which events and subordinate characters group themselves, with no more sacrifice of truth than is absolutely demanded by artistic keeping. This may be called the epic style, of which Carlyle is the acknowledged master. Sometimes a period is selected, where the facts, by coloring and arrangement, may be made to support the views of a party, and history becomes a political pamphlet indefinitely prolonged. Here point is the one thing needful,–to be attained at all hazards, whether by the turn of a sentence or the twisting of a motive. Macaulay is preeminent in this kind, and woe to the party or the man that comes between him and his epigrammatic necessity! Again, there is the new light, or perhaps, more properly, the forlorn-hope method, where the author accepts a brief against the advocatus diaboli, and strives to win a reverse of judgment, as Mr. Froude has done in the case of Henry VIII. The latest fashion of all is the a priori, in which a certain dominant principle is taken for granted, and everything is deduced from x, instead of serving to prove what x may really be. The weakness of this heroic treatment, it seems to us, is in allowing too little to human nature as an element in the problem. This would be a fine world, if facts would only be as subservient to theory in real life as in the author’s inkstand. Mr. Buckle stands at the head of this school, and has just found a worthy disciple in M. Taine, who, in his Histoire de la Litterature Anglaise, having first assumed certain ethnological postulates, seems rather to shape the character of the literature to the race than to illustrate that of the race by the literature.