Studies in Literature and History

himself, of his motives, of the working of his mind in speech and action? Later investigation, minute scrutiny of old and new material, suggest doubts, different interpretations of conduct and character. Take, again, his description of the battle of Dunbar, Cromwell's great victory. Carlyle explains to us the nature of the ground, the movements of the troops, the tactics, the points of attack, with admirable force and clearness--it is a marvellous specimen of literary execution. Yet recent and very careful examination of the locality, and a comparison of the evidence of eye-witnesses, have proved beyond doubt that Carlyle had not studied the ground, had made some important errors. He was, in fact, giving a dramatic representation of the battle, which, if it had come down to us from some mediaeval annalist, would have been universally accepted as genuine. In short, these three artists have all suffered damage under scientific treatment. Now I am not here to disparage Macaulay, Froude, or Carlyle. They were all, in my opinion, authors of rare genius, whose places in the forefront of the literature of the nineteenth century are permanently secure. Yet I fear that the tendency of the twentieth century is unfavourable to the artistic historian. It seems to me probable, much to my personal regret, that the scientific writing of history, based upon exhaustive research, accumulation and minute sifting of all available details, relentless verification of every statement, will gradually discourage and supersede the art of picturesque composition. In the first place the spirit of doubt and distrust is abroad, every statement is scrutinised and tested. The imaginative historian cannot lay on his colours, or fill up his canvas, by effective and lively touches without finding his work placed under the microscope of erudite analysts, some of whom, like Iago, are nothing if not critical, are not only exact but very exacting. In these days a writer who endeavours to illuminate some scene of ages past, to show us, as by a magic lantern, the moving figures brought out in relief against the surrounding darkness, is liable to be set down as an illusionist, possibly even as a charlatan or conjurer. Yet one feels the charm of the splendid vision, though it may fade into the light of common day when it falls under relentless scrutiny, and one is haunted by the doubt whether the scientific historian, with all his conscientious accuracy, is after all much nearer the reality than the literary artist. For it is seriously questionable whether the precise truth about bygone events and men long dead can ever actually be discovered, whether, by piecing together what has come down to us in documents, we can resuscitate from the dust-heap of records the state of society many centuries ago. And in regard to historical portrait painting Lord Acton has warned intending historians to seek no unity of character--to remember that allowance must always be made for human inconsistencies; that a man is never all of one piece. But cautious conclusions, nice weighing of evidence, do not satisfy the ordinary reader. The vivid impressions that are stamped on his mind by the power of style are what he mostly requires and retains; and these we are all reluctant to lose. We must concede to the writer, as to the painter, some indulgence of his imaginative faculty. Otherwise we must leave the battle scenes and the national portrait gallery to the poets and romancers of genius--to Shakespeare and Walter Scott, whose art had nothing to gain from accuracy, who have only to give us the types, the right colouring and strong outline of life and character in days bygone. However, I think we shall be compelled to accept the change from the artistic to the scientific school of historians, though we may regret it as unavoidable. It is the vast enlargement of the field of historical study, the strong critical searchlight that is turned on all the dark corners and outlying tracts of this field, that is irresistibly affecting the work of writers, enforcing the need of caution, of scrutinising every point, of weighing evidence in the finest scales, of assaying its precise value. The contemporary writer has to deal with the huge accumulation of material to which I have already referred; he must ransack archives, hunt through records piled up, public and private, must decipher ancient manuscript, must follow the labours of the wandering collector of inscriptions and the excavator of old tombs. He has to make extracts from correspondence, diaries, and notes of travel which are coming for the first time to the light; he must keep abreast of foreign literature and criticism. The mass and multiplicity of documentary evidence now at his disposal, most of which may not have been available to his predecessors, is enormous. Some twelve years ago Lord Acton wrote: 'The honest student has to hew his way through multitudinous transactions, periodicals and official publications, where it is difficult to sweep the horizon or to keep abreast. The result has been that the classics of historical literature are found inadequate, are being re-written, and the student has to be warned that they have been superseded by later discoveries.' What has been the effect of this altered situation upon the writer of history at the present time? On such an extensive field of operations, which has to be cultivated so intensely, he finds himself compelled to contract the scope of his operations; he can only take up very narrow ground. So in many instances he limits himself to a period, or even to a single reign, to a particular class of historical personage, or to some special department of human activity. He looks about for a plot that he can work thoroughly; he concentrates his attention upon some line or aspect of a subject in which he may hope that he has not been anticipated by others. Lord Acton has laid down that 'every student ought to know that mastery is acquired by acknowledged limitation'--he must peg out his small holding and keep within its bounds. Histories are now written by many and various hands--as in the case of the Cambridge Modern History, which already counts numerous volumes--and so the general area is divided and subdivided among experts, each of whom dips deeply into his particular allotment, and takes heavy crops off his ground. Yet the productiveness of the field at large seems still inexhaustible, for there is always some new theory to be established, some fresh vein of facts to be opened, some corrections or additions to be made. Moreover, the experts, while they toil at their own special work, while they attack a difficult problem from different sides, must nevertheless co-operate with each other. Sir William Ramsay, a noted archaeologist, tells us that for a new study of history there is needed a group of scholars working in unison; that the solitary historian is doomed to failure. He adds that the history of the Roman empire has still to be re-written. The late Lord Acton, when as Professor of Modern History at Cambridge he drew out his plan for a modern history that would satisfy the scientific demand for completeness and exactitude, proposed to distribute the work among more than a hundred writers. He observed that the entire bulk of new matter which the last forty years have supplied amounts to many thousand volumes. When history becomes the product of many hands and various minds the artistic element is likely to disappear. One obvious result of this state of things is that we hear no more of the old-fashioned histories embracing vast subjects, the work of a single author--of histories of the world, or a history of Europe like Alison's in thirty volumes. Indeed it is not long since Buckle found his _History of European Civilisation_ unmanageable; he died before he could finish it. At the present time historical subjects are divided and subdivided by classes, periods, or even single events. Art, literature, philosophy, war, diplomacy, receive separate treatment. We have colonial histories in numerous thick volumes; though no English colony has a long past. We have histories of the queens who have reigned in their own right, like Queen Elizabeth, and of Queens Consort: we have even a book on the bachelor kings of England, written by a lady who proves undeniably that these unlucky bachelors--there were only three of them--all came to a bad or sad end. As to military historians, Kinglake's _History of the Crimean War_ takes up, I think, some eight volumes. The whole course of the recent Boer War has been related in five substantial volumes. Neither of these wars lasted more than two years, yet both histories are many times larger than Schiller's History of the Thirty Years' War in Germany. The only edition of Schiller's work that I have found in the library of this University is in four small volumes. Now, the drawback to the composition of histories on this ample and elaborate scale is obviously this--that the ordinary man or woman can hardly be expected to read them, or at most to read more than two or three of them. So there has sprung up a natural demand for something lighter and shorter; the amplification has produced a supply of abbreviation. The massive volumes, the heaps of material, are taken in hand by very capable writers with a clear eye for the main points, for striking incidents and personalities. The big books are sliced up into convenient portions, and served up in attractive form and manageable quantities. The work is often done with admirable skill and judgment. You thus obtain a bird's-eye view of the past; you have the loftier prominences and bold outlines of the historic landscape. In these serials, which are deservedly popular, you can read short biographies, for example, of English Men of Letters, of English Men of Action, of famous Scotsmen, Rulers of India, Heroes of the Nation. You have also a story of all the nations in series, and thus you can limit your mental survey to separate periods, events, countries, and figures. You are carried swiftly and adroitly over the dry interspaces which lie between startling incidents or between supremely interesting epochs. Now I have no doubt that these series, which contain much sound information very skilfully condensed, have been of real service in the propagation of historical knowledge. On the other hand, we have to consider that this kind of reading is disconnected in style and subject. The reader can make a long jump from one period to another, or from the statesman of one century to another who flourished in a very different country and age. And the handling of these diverse subjects is not uniform; the points of view or lines of thought are various, and may be contradictory. It may be expedient to warn those who use these excellent summaries against the habit of neglecting the great English classics for short biographies or compendious sketches of periods and personages, as if one could learn enough of Edmund Burke, or Milton, or Oliver Cromwell, or master the events of some important period, from a well-written serial in some two hundred pages. The demand for these historical handbooks has evidently been created by the spread of general education, which stimulates the laudable desire to learn something about subjects of which it is hardly respectable, in these days, to be ignorant. Such knowledge is very useful to those who have no leisure for more; and it is far superior to mere desultory reading, to the habit of picking out amusing bits here and there. Yet I hope it is unnecessary to impress on earnest students of history that they must go further; must push up as near as possible to the fountain heads of the rivers of knowledge; must make