Baron Thomas Babington Macaulay Macaulay
Miscellaneous Writings and Speeches — Volume 2

MISCELLANEOUS WRITINGS OF LORD MACAULAY

CONTRIBUTIONS TO THE EDINBURGH REVIEW

JOHN DRYDEN. (January 1828.)

"The Poetical Works of John Dryden".  In 2 volumes.

University Edition.  London, 1826.

The public voice has assigned to Dryden the first place in the second rank of our poets,—no mean station in a table of intellectual precedency so rich in illustrious names. It is allowed that, even of the few who were his superiors in genius, none has exercised a more extensive or permanent influence on the national habits of thought and expression. His life was commensurate with the period during which a great revolution in the public taste was effected; and in that revolution he played the part of Cromwell. By unscrupulously taking the lead in its wildest excesses, he obtained the absolute guidance of it. By trampling on laws, he acquired the authority of a legislator. By signalising himself as the most daring and irreverent of rebels, he raised himself to the dignity of a recognised prince. He commenced his career by the most frantic outrages. He terminated it in the repose of established sovereignty,—the author of a new code, the root of a new dynasty.

Of Dryden, however, as of almost every man who has been distinguished either in the literary or in the political world, it may be said that the course which he pursued, and the effect which he produced, depended less on his personal qualities than on the circumstances in which he was placed. Those who have read history with discrimination know the fallacy of those panegyrics and invectives which represent individuals as effecting great moral and intellectual revolutions, subverting established systems, and imprinting a new character on their age. The difference between one man and another is by no means so great as the superstitious crowd supposes. But the same feelings which in ancient Rome produced the apotheosis of a popular emperor, and in modern Rome the canonisation of a devout prelate, lead men to cherish an illusion which furnishes them with something to adore. By a law of association, from the operation of which even minds the most strictly regulated by reason are not wholly exempt, misery disposes us to hatred, and happiness to love, although there may be no person to whom our misery or our happiness can be ascribed. The peevishness of an invalid vents itself even on those who alleviate his pain. The good humour of a man elated by success often displays itself towards enemies. In the same manner, the feelings of pleasure and admiration, to which the contemplation of great events gives birth, make an object where they do not find it. Thus, nations descend to the absurdities of Egyptian idolatry, and worship stocks and reptiles—Sacheverells and Wilkeses. They even fall prostrate before a deity to which they have themselves given the form which commands their veneration, and which, unless fashioned by them, would have remained a shapeless block. They persuade themselves that they are the creatures of what they have themselves created. For, in fact, it is the age that forms the man, not the man that forms the age. Great minds do indeed re-act on the society which has made them what they are; but they only pay with interest what they have received. We extol Bacon, and sneer at Aquinas. But, if their situations had been changed, Bacon might have been the Angelical Doctor, the most subtle Aristotelian of the schools; the Dominican might have led forth the sciences from their house of bondage. If Luther had been born in the tenth century, he would have effected no reformation. If he had never been born at all, it is evident that the sixteenth century could not have elapsed without a great schism in the church. Voltaire, in the days of Louis the Fourteenth, would probably have been, like most of the literary men of that time, a zealous Jansenist, eminent among the defenders of efficacious grace, a bitter assailant of the lax morality of the Jesuits and the unreasonable decisions of the Sorbonne. If Pascal had entered on his literary career when intelligence was more general, and abuses at the same time more flagrant, when the church was polluted by the Iscariot Dubois, the court disgraced by the orgies of Canillac, and the nation sacrificed to the juggles of Law, if he had lived to see a dynasty of harlots, an empty treasury and a crowded harem, an army formidable only to those whom it should have protected, a priesthood just religious enough to be intolerant, he might possibly, like every man of genius in France, have imbibed extravagant prejudices against monarchy and Christianity. The wit which blasted the sophisms of Escobar—the impassioned eloquence which defended the sisters of Port Royal—the intellectual hardihood which was not beaten down even by Papal authority—might have raised him to the Patriarchate of the Philosophical Church. It was long disputed whether the honour of inventing the method of Fluxions belonged to Newton or to Leibnitz. It is now generally allowed that these great men made the same discovery at the same time. Mathematical science, indeed, had then reached such a point that, if neither of them had ever existed, the principle must inevitably have occurred to some person within a few years. So in our own time the doctrine of rent, now universally received by political economists, was propounded, almost at the same moment, by two writers unconnected with each other. Preceding speculators had long been blundering round about it; and it could not possibly have been missed much longer by the most heedless inquirer. We are inclined to think that, with respect to every great addition which has been made to the stock of human knowledge, the case has been similar; that without Copernicus we should have been Copernicans,—that without Columbus America would have been discovered,—that without Locke we should have possessed a just theory of the origin of human ideas. Society indeed has its great men and its little men, as the earth has its mountains and its valleys. But the inequalities of intellect, like the inequalities of the surface of our globe, bear so small a proportion to the mass, that, in calculating its great revolutions, they may safely be neglected. The sun illuminates the hills, while it is still below the horizon, and truth is discovered by the highest minds a little before it becomes manifest to the multitude. This is the extent of their superiority. They are the first to catch and reflect a light, which, without their assistance, must, in a short time, be visible to those who lie far beneath them.

The same remark will apply equally to the fine arts. The laws on which depend the progress and decline of poetry, painting, and sculpture, operate with little less certainty than those which regulate the periodical returns of heat and cold, of fertility and barrenness. Those who seem to lead the public taste are, in general, merely outrunning it in the direction which it is spontaneously pursuing. Without a just apprehension of the laws to which we have alluded the merits and defects of Dryden can be but imperfectly understood. We will, therefore, state what we conceive them to be.

The ages in which the master-pieces of imagination have been produced have by no means been those in which taste has been most correct. It seems that the creative faculty, and the critical faculty, cannot exist together in their highest perfection. The causes of this phenomenon it is not difficult to assign.

It is true that the man who is best able to take a machine to pieces, and who most clearly comprehends the manner in which all its wheels and springs conduce to its general effect, will be the man most competent to form another machine of similar power. In all the branches of physical and moral science which admit of perfect analysis, he who can resolve will be able to combine. But the analysis which criticism can effect of poetry is necessarily imperfect. One element must for ever elude its researches; and that is the very element by which poetry is poetry. In the description of nature, for example, a judicious reader will easily detect an incongruous image. But he will find it impossible to explain in what consists the art of a writer who, in a few words, brings some spot before him so vividly that he shall know it as if he had lived there from childhood; while another, employing the same materials, the same verdure, the same water, and the same flowers, committing no inaccuracy, introducing nothing which can be positively pronounced superfluous, omitting nothing which can be positively pronounced necessary, shall produce no more effect than an advertisement of a capital residence and a desirable pleasure-ground. To take another example: the great features of the character of Hotspur are obvious to the most superficial reader. We at once perceive that his courage is splendid, his thirst of glory intense, his animal spirits high, his temper careless, arbitrary, and petulant; that he indulges his own humour without caring whose feelings he may wound, or whose enmity he may provoke, by his levity. Thus far criticism will go. But something is still wanting. A man might have all those qualities, and every other quality which the most minute examiner can introduce into his catalogue of the virtues and faults of Hotspur, and yet he would not be Hotspur. Almost everything that we have said of him applies equally to Falconbridge. Yet in the mouth of Falconbridge most of his speeches would seem out of place. In real life this perpetually occurs. We are sensible of wide differences between men whom, if we were required to describe them, we should describe in almost the same terms. If we were attempting to draw elaborate characters of them, we should scarcely be able to point out any strong distinction; yet we approach them with feelings altogether dissimilar. We cannot conceive of them as using the expressions or the gestures of each other. Let us suppose that a zoologist should attempt to give an account of some animal, a porcupine for instance, to people who had never seen it. The porcupine, he might say, is of the class mammalia, and the order glires. There are whiskers on its face; it is two feet long; it has four toes before, five behind, two fore teeth, and eight grinders. Its body is covered with hair and quills. And, when all this has been said, would any one of the auditors have formed a just idea of a porcupine? Would any two of them have formed the same idea? There might exist innumerable races of animals, possessing all the characteristics which have been mentioned yet altogether unlike to each other. What the description of our naturalist is to a real porcupine, the remarks of criticism are to the images of poetry. What it so imperfectly decomposes it cannot perfectly reconstruct. It is evidently as impossible to produce an Othello or a Macbeth by reversing an analytical process so defective, as it would be for an anatomist to form a living man out of the fragments of his dissecting-room. In both cases the vital principle eludes the finest instruments, and vanishes in the very instant in which its seat is touched. Hence those who, trusting to their critical skill, attempt to write poems give us, not images of things, but catalogues of qualities. Their characters are allegories—not good men and bad men, but cardinal virtues and deadly sins. We seem to have fallen among the acquaintances of our old friend Christian: sometimes we meet Mistrust and Timorous; sometimes Mr Hate-good and Mr Love-lust; and then again Prudence, Piety and Charity.

That critical discernment is not sufficient to make men poets, is generally allowed. Why it should keep them from becoming poets, is not perhaps equally evident; but the fact is, that poetry requires not an examining but a believing frame of mind. Those feel it most, and write it best, who forget that it is a work of art; to whom its imitations, like the realities from which they are taken, are subjects, not for connoisseurship, but for tears and laughter, resentment and affection; who are too much under the influence of the illusion to admire the genius which has produced it; who are too much frightened for Ulysses in the cave of Polyphemus to care whether the pun about Outis be good or bad; who forget that such a person as Shakspeare ever existed, while they weep and curse with Lear. It is by giving faith to the creations of the imagination that a man becomes a poet. It is by treating those creations as deceptions, and by resolving them, as nearly as possible, into their elements, that he becomes a critic. In the moment in which the skill of the artist is perceived, the spell of the art is broken.

These considerations account for the absurdities into which the greatest writers have fallen, when they have attempted to give general rules for composition, or to pronounce judgment on the works of others. They are unaccustomed to analyse what they feel; they, therefore, perpetually refer their emotions to causes which have not in the slightest degree tended to produce them. They feel pleasure in reading a book. They never consider that this pleasure may be the effect of ideas which some unmeaning expression, striking on the first link of a chain of associations, may have called up in their own minds—that they have themselves furnished to the author the beauties which they admire.

Cervantes is the delight of all classes of readers. Every school-boy thumbs to pieces the most wretched translations of his romance, and knows the lantern jaws of the Knight Errant, and the broad cheeks of the Squire, as well as the faces of his own playfellows. The most experienced and fastidious judges are amazed at the perfection of that art which extracts inextinguishable laughter from the greatest of human calamities without once violating the reverence due to it; at that discriminating delicacy of touch which makes a character exquisitely ridiculous, without impairing its worth, its grace, or its dignity. In Don Quixote are several dissertations on the principles of poetic and dramatic writing. No passages in the whole work exhibit stronger marks of labour and attention; and no passages in any work with which we are acquainted are more worthless and puerile. In our time they would scarcely obtain admittance into the literary department of the Morning Post. Every reader of the Divine Comedy must be struck by the veneration which Dante expresses for writers far inferior to himself. He will not lift up his eyes from the ground in the presence of Brunetto, all whose works are not worth the worst of his own hundred cantos. He does not venture to walk in the same line with the bombastic Statius. His admiration of Virgil is absolute idolatry. If, indeed, it had been excited by the elegant, splendid, and harmonious diction of the Roman poet, it would not have been altogether unreasonable; but it is rather as an authority on all points of philosophy, than as a work of imagination, that he values the Aeneid. The most trivial passages he regards as oracles of the highest authority, and of the most recondite meaning. He describes his conductor as the sea of all wisdom—the sun which heals every disordered sight. As he judged of Virgil, the Italians of the fourteenth century judged of him; they were proud of him; they praised him; they struck medals bearing his head; they quarrelled for the honour of possessing his remains; they maintained professors to expound his writings. But what they admired was not that mighty imagination which called a new world into existence, and made all its sights and sounds familiar to the eye and ear of the mind. They said little of those awful and lovely creations on which later critics delight to dwell—Farinata lifting his haughty and tranquil brow from his couch of everlasting fire—the lion-like repose of Sordello—or the light which shone from the celestial smile of Beatrice. They extolled their great poet for his smattering of ancient literature and history; for his logic and his divinity; for his absurd physics, and his most absurd metaphysics; for everything but that in which he pre-eminently excelled. Like the fool in the story, who ruined his dwelling by digging for gold, which, as he had dreamed, was concealed under its foundations, they laid waste one of the noblest works of human genius, by seeking in it for buried treasures of wisdom which existed only in their own wild reveries. The finest passages were little valued till they had been debased into some monstrous allegory. Louder applause was given to the lecture on fate and free-will, or to the ridiculous astronomical theories, than to those tremendous lines which disclose the secrets of the tower of hunger, or to that half-told tale of guilty love, so passionate and so full of tears.

We do not mean to say that the contemporaries of Dante read with less emotion than their descendants of Ugolino groping among the wasted corpses of his children, or of Francesca starting at the tremulous kiss and dropping the fatal volume. Far from it. We believe that they admired these things less than ourselves, but that they felt them more. We should perhaps say that they felt them too much to admire them. The progress of a nation from barbarism to civilisation produces a change similar to that which takes place during the progress of an individual from infancy to mature age. What man does not remember with regret the first time that he read Robinson Crusoe? Then, indeed, he was unable to appreciate the powers of the writer; or, rather, he neither knew nor cared whether the book had a writer at all. He probably thought it not half so fine as some rant of Macpherson about dark-browed Foldath, and white-bosomed Strinadona. He now values Fingal and Temora only as showing with how little evidence a story may be believed, and with how little merit a book may be popular. Of the romance of Defoe he entertains the highest opinion. He perceives the hand of a master in ten thousand touches which formerly he passed by without notice. But, though he understands the merits of the narrative better than formerly, he is far less interested by it. Xury, and Friday, and pretty Poll, the boat with the shoulder-of-mutton sail, and the canoe which could not be brought down to the water edge, the tent with its hedge and ladders, the preserve of kids, and the den where the old goat died, can never again be to him the realities which they were. The days when his favourite volume set him upon making wheel-barrows and chairs, upon digging caves and fencing huts in the garden, can never return. Such is the law of our nature. Our judgment ripens; our imagination decays. We cannot at once enjoy the flowers of the spring of life and the fruits of its autumn, the pleasures of close investigation and those of agreeable error. We cannot sit at once in the front of the stage and behind the scenes. We cannot be under the illusion of the spectacle, while we are watching the movements of the ropes and pulleys which dispose it.

The chapter in which Fielding describes the behaviour of Partridge at the theatre affords so complete an illustration of our proposition, that we cannot refrain from quoting some parts of it.

"Partridge gave that credit to Mr Garrick which he had denied to Jones, and fell into so violent a trembling that his knees knocked against each other. Jones asked him what was the matter, and whether he was afraid of the warrior upon the stage?—'O, la, sir,' said he, 'I perceive now it is what you told me. I am not afraid of anything, for I know it is but a play; and if it was really a ghost, it could do one no harm at such a distance and in so much company; and yet, if I was frightened, I am not the only person.'—'Why, who,' cries Jones, 'dost thou take to be such a coward here besides thyself?'—'Nay, you may call me a coward if you will; but if that little man there upon the stage is not frightened, I never saw any man frightened in my life'...He sat with his eyes fixed partly on the ghost and partly on Hamlet, and with his mouth open; the same passions which succeeded each other in Hamlet, succeeding likewise in him...

"Little more worth remembering occurred during the play, at the end of which Jones asked him which of the players he liked best? To this he answered, with some appearance of indignation at the question, 'The King, without doubt.'—'Indeed, Mr Partridge,' says Mrs Miller, 'you are not of the same opinion with the town; for they are all agreed that Hamlet is acted by the best player who was ever on the stage.'—'He the best player!' cries Partridge, with a contemptuous sneer; 'why I could act as well as he myself. I am sure if I had seen a ghost, I should have looked in the very same manner, and done just as he did. And then to be sure, in that scene, as you called it, between him and his mother, where you told me he acted so fine, why any man, that is, any good man, that had such a mother, would have done exactly the same. I know you are only joking with me; but indeed, madam, though I never was at a play in London, yet I have seen acting before in the country, and the King for my money; he speaks all his words distinctly, and half as loud again as the other. Anybody may see he is an actor.'"

In this excellent passage Partridge is represented as a very bad theatrical critic. But none of those who laugh at him possess the tithe of his sensibility to theatrical excellence. He admires in the wrong place; but he trembles in the right place. It is indeed because he is so much excited by the acting of Garrick, that he ranks him below the strutting, mouthing performer, who personates the King. So, we have heard it said that, in some parts of Spain and Portugal, an actor who should represent a depraved character finely, instead of calling down the applauses of the audience, is hissed and pelted without mercy. It would be the same in England, if we, for one moment, thought that Shylock or Iago was standing before us. While the dramatic art was in its infancy at Athens, it produced similar effects on the ardent and imaginative spectators. It is said that they blamed Aeschylus for frightening them into fits with his Furies. Herodotus tells us that, when Phyrnichus produced his tragedy on the fall of Miletus, they fined him in a penalty of a thousand drachmas for torturing their feelings by so pathetic an exhibition. They did not regard him as a great artist, but merely as a man who had given them pain. When they woke from the distressing illusion, they treated the author of it as they would have treated a messenger who should have brought them fatal and alarming tidings which turned out to be false. In the same manner, a child screams with terror at the sight of a person in an ugly mask. He has perhaps seen the mask put on. But his imagination is too strong for his reason; and he entreats that it may be taken off.

We should act in the same manner if the grief and horror produced in us by works of the imagination amounted to real torture. But in us these emotions are comparatively languid. They rarely affect our appetite or our sleep. They leave us sufficiently at ease to trace them to their causes, and to estimate the powers which produce them. Our attention is speedily diverted from the images which call forth our tears to the art by which those images have been selected and combined. We applaud the genius of the writer. We applaud our own sagacity and sensibility; and we are comforted.

Yet, though we think that in the progress of nations towards refinement the reasoning powers are improved at the expense of the imagination, we acknowledge that to this rule there are many apparent exceptions. We are not, however, quite satisfied that they are more than apparent. Men reasoned better, for example, in the time of Elizabeth than in the time of Egbert; and they also wrote better poetry. But we must distinguish between poetry as a mental act, and poetry as a species of composition. If we take it in the latter sense, its excellence depends not solely on the vigour of the imagination, but partly also on the instruments which the imagination employs. Within certain limits, therefore, poetry may be improving while the poetical faculty is decaying. The vividness of the picture presented to the reader is not necessarily proportioned to the vividness of the prototype which exists in the mind of the writer. In the other arts we see this clearly. Should a man, gifted by nature with all the genius of Canova, attempt to carve a statue without instruction as to the management of his chisel, or attention to the anatomy of the human body, he would produce something compared with which the Highlander at the door of a snuff shop would deserve admiration. If an uninitiated Raphael were to attempt a painting, it would be a mere daub; indeed, the connoisseurs say that the early works of Raphael are little better. Yet, who can attribute this to want of imagination? Who can doubt that the youth of that great artist was passed amidst an ideal world of beautiful and majestic forms? Or, who will attribute the difference which appears between his first rude essays and his magnificent Transfiguration to a change in the constitution of his mind? In poetry, as in painting and sculpture, it is necessary that the imitator should be well acquainted with that which he undertakes to imitate, and expert in the mechanical part of his art. Genius will not furnish him with a vocabulary: it will not teach him what word most exactly corresponds to his idea, and will most fully convey it to others: it will not make him a great descriptive poet, till he has looked with attention on the face of nature; or a great dramatist, till he has felt and witnessed much of the influence of the passions. Information and experience are, therefore, necessary; not for the purpose of strengthening the imagination, which is never so strong as in people incapable of reasoning—savages, children, madmen, and dreamers; but for the purpose of enabling the artist to communicate his conceptions to others.

In a barbarous age the imagination exercises a despotic power. So strong is the perception of what is unreal that it often overpowers all the passions of the mind and all the sensations of the body. At first, indeed, the phantasm remains undivulged, a hidden treasure, a wordless poetry, an invisible painting, a silent music, a dream of which the pains and pleasures exist to the dreamer alone, a bitterness which the heart only knoweth, a joy with which a stranger intermeddleth not. The machinery, by which ideas are to be conveyed from one person to another, is as yet rude and defective. Between mind and mind there is a great gulf. The imitative arts do not exist, or are in their lowest state. But the actions of men amply prove that the faculty which gives birth to those arts is morbidly active. It is not yet the inspiration of poets and sculptors; but it is the amusement of the day, the terror of the night, the fertile source of wild superstitions. It turns the clouds into gigantic shapes, and the winds into doleful voices. The belief which springs from it is more absolute and undoubting than any which can be derived from evidence. It resembles the faith which we repose in our own sensations. Thus, the Arab, when covered with wounds, saw nothing but the dark eyes and the green kerchief of a beckoning Houri. The Northern warrior laughed in the pangs of death when he thought of the mead of Valhalla.

The first works of the imagination are, as we have said, poor and rude, not from the want of genius, but from the want of materials. Phidias could have done nothing with an old tree and a fish-bone, or Homer with the language of New Holland.

Yet the effect of these early performances, imperfect as they must necessarily be, is immense. All deficiencies are supplied by the susceptibility of those to whom they are addressed. We all know what pleasure a wooden doll, which may be bought for sixpence, will afford to a little girl. She will require no other company. She will nurse it, dress it, and talk to it all day. No grown-up man takes half so much delight in one of the incomparable babies of Chantrey. In the same manner, savages are more affected by the rude compositions of their bards than nations more advanced in civilisation by the greatest master-pieces of poetry.

In process of time, the instruments by which the imagination works are brought to perfection. Men have not more imagination than their rude ancestors. We strongly suspect that they have much less. But they produce better works of imagination. Thus, up to a certain period, the diminution of the poetical powers is far more than compensated by the improvement of all the appliances and means of which those powers stand in need. Then comes the short period of splendid and consummate excellence. And then, from causes against which it is vain to struggle, poetry begins to decline. The progress of language, which was at first favourable, becomes fatal to it, and, instead of compensating for the decay of the imagination, accelerates that decay, and renders it more obvious. When the adventurer in the Arabian tale anointed one of his eyes with the contents of the magical box, all the riches of the earth, however widely dispersed, however sacredly concealed, became visible to him. But, when he tried the experiment on both eyes, he was struck with blindness. What the enchanted elixir was to the sight of the body, language is to the sight of the imagination. At first it calls up a world of glorious allusions; but, when it becomes too copious, it altogether destroys the visual power.

As the development of the mind proceeds, symbols, instead of being employed to convey images, are substituted for them. Civilised men think as they trade, not in kind, but by means of a circulating medium. In these circumstances, the sciences improve rapidly, and criticism among the rest; but poetry, in the highest sense of the word, disappears. Then comes the dotage of the fine arts, a second childhood, as feeble as the former, and far more hopeless. This is the age of critical poetry, of poetry by courtesy, of poetry to which the memory, the judgment, and the wit contribute far more than the imagination. We readily allow that many works of this description are excellent: we will not contend with those who think them more valuable than the great poems of an earlier period. We only maintain that they belong to a different species of composition, and are produced by a different faculty.

It is some consolation to reflect that this critical school of poetry improves as the science of criticism improves; and that the science of criticism, like every other science, is constantly tending towards perfection. As experiments are multiplied, principles are better understood.

In some countries, in our own for example, there has been an interval between the downfall of the creative school and the rise of the critical, a period during which imagination has been in its decrepitude, and taste in its infancy. Such a revolutionary interregnum as this will be deformed by every species of extravagance.

The first victory of good taste is over the bombast and conceits which deform such times as these. But criticism is still in a very imperfect state. What is accidental is for a long time confounded with what is essential. General theories are drawn from detached facts. How many hours the action of a play may be allowed to occupy,—how many similes an Epic Poet may introduce into his first book,—whether a piece, which is acknowledged to have a beginning and an end, may not be without a middle, and other questions as puerile as these, formerly occupied the attention of men of letters in France, and even in this country. Poets, in such circumstances as these, exhibit all the narrowness and feebleness of the criticism by which their manner has been fashioned. From outrageous absurdity they are preserved indeed by their timidity. But they perpetually sacrifice nature and reason to arbitrary canons of taste. In their eagerness to avoid the mala prohibita of a foolish code, they are perpetually rushing on the mala in se. Their great predecessors, it is true, were as bad critics as themselves, or perhaps worse, but those predecessors, as we have attempted to show, were inspired by a faculty independent of criticism, and, therefore, wrote well while they judged ill.

In time men begin to take more rational and comprehensive views of literature. The analysis of poetry, which, as we have remarked, must at best be imperfect, approaches nearer and nearer to exactness. The merits of the wonderful models of former times are justly appreciated. The frigid productions of a later age are rated at no more than their proper value. Pleasing and ingenious imitations of the manner of the great masters appear. Poetry has a partial revival, a Saint Martin's Summer, which, after a period of dreariness and decay, agreeably reminds us of the splendour of its June. A second harvest is gathered in; though, growing on a spent soil, it has not the heart of the former. Thus, in the present age, Monti has successfully imitated the style of Dante; and something of the Elizabethan inspiration has been caught by several eminent countrymen of our own. But never will Italy produce another Inferno, or England another Hamlet. We look on the beauties of the modern imaginations with feelings similar to those with which we see flowers disposed in vases, to ornament the drawing-rooms of a capital. We doubtless regard them with pleasure, with greater pleasure, perhaps, because, in the midst of a place ungenial to them, they remind us of the distant spots on which they flourish in spontaneous exuberance. But we miss the sap, the freshness, and the bloom. Or, if we may borrow another illustration from Queen Scheherezade, we would compare the writers of this school to the jewellers who were employed to complete the unfinished window of the palace of Aladdin. Whatever skill or cost could do was done. Palace and bazaar were ransacked for precious stones. Yet the artists, with all their dexterity, with all their assiduity, and with all their vast means, were unable to produce anything comparable to the wonders which a spirit of a higher order had wrought in a single night.

The history of every literature with which we are acquainted confirms, we think, the principles which we have laid down. In Greece we see the imaginative school of poetry gradually fading into the critical. Aeschylus and Pindar were succeeded by Sophocles, Sophocles by Euripides, Euripides by the Alexandrian versifiers. Of these last, Theocritus alone has left compositions which deserve to be read. The splendour and grotesque fairyland of the Old Comedy, rich with such gorgeous hues, peopled with such fantastic shapes, and vocal alternately with the sweetest peals of music and the loudest bursts of elvish laughter, disappeared forever. The master-pieces of the New Comedy are known to us by Latin translations of extraordinary merit. From these translations, and from the expressions of the ancient critics, it is clear that the original compositions were distinguished by grace and sweetness, that they sparkled with wit, and abounded with pleasing sentiment; but that the creative power was gone. Julius Caesar called Terence a half Menander,—a sure proof that Menander was not a quarter Aristophanes.

The literature of the Romans was merely a continuation of the literature of the Greeks. The pupils started from the point at which their masters had, in the course of many generations arrived. They thus almost wholly missed the period of original invention. The only Latin poets whose writings exhibit much vigour of imagination are Lucretius and Catullus. The Augustan age produced nothing equal to their finer passages.

In France that licensed jester, whose jingling cap and motley coat concealed more genius than ever mustered in the saloon of Ninon or of Madame Geoffrin, was succeeded by writers as decorous and as tiresome as gentlemen ushers.

The poetry of Italy and of Spain has undergone the same change. But nowhere has the revolution been more complete and violent than in England. The same person who, when a boy, had clapped his thrilling hands at the first representation of the Tempest might, without attaining to a marvellous longevity, have lived to read the earlier works of Prior and Addison. The change, we believe, must, sooner or later, have taken place. But its progress was accelerated, and its character modified, by the political occurrences of the times, and particularly by two events, the closing of the theatres under the Commonwealth, and the restoration of the House of Stuart.

We have said that the critical and poetical faculties are not only distinct, but almost incompatible. The state of our literature during the reigns of Elizabeth and James the First is a strong confirmation of this remark. The greatest works of imagination that the world has ever seen were produced at that period. The national taste, in the meantime, was to the last degree detestable. Alliterations, puns, antithetical forms of expression lavishly employed where no corresponding opposition existed between the thoughts expressed, strained allegories, pedantic allusions, everything, in short, quaint and affected, in matter and manner, made up what was then considered as fine writing. The eloquence of the bar, the pulpit, and the council-board, was deformed by conceits which would have disgraced the rhyming shepherds of an Italian academy. The king quibbled on the throne. We might, indeed, console ourselves by reflecting that his majesty was a fool. But the chancellor quibbled in concert from the wool-sack: and the chancellor was Francis Bacon. It is needless to mention Sidney and the whole tribe of Euphuists; for Shakspeare himself, the greatest poet that ever lived, falls into the same fault whenever he means to be particularly fine. While he abandons himself to the impulse of his imagination, his compositions are not only the sweetest and the most sublime, but also the most faultless, that the world has ever seen. But, as soon as his critical powers come into play, he sinks to the level of Cowley; or rather he does ill what Cowley did well. All that is bad in his works is bad elaborately, and of malice aforethought. The only thing wanting to make them perfect was, that he should never have troubled himself with thinking whether they were good or not. Like the angels in Milton, he sinks "with compulsion and laborious flight." His natural tendency is upwards. That he may soar, it is only necessary that he should not struggle to fall. He resembles an American Cacique, who, possessing in unmeasured abundance the metals which in polished societies are esteemed the most precious, was utterly unconscious of their value, and gave up treasures more valuable than the imperial crowns of other countries, to secure some gaudy and far-fetched but worthless bauble, a plated button, or a necklace of coloured glass.

We have attempted to show that, as knowledge is extended and as the reason develops itself, the imitative arts decay. We should, therefore, expect that the corruption of poetry would commence in the educated classes of society. And this, in fact, is almost constantly the case. The few great works of imagination which appear in a critical age are, almost without exception, the works of uneducated men. Thus, at a time when persons of quality translated French romances, and when the universities celebrated royal deaths in verses about tritons and fauns, a preaching tinker produced the Pilgrim's Progress. And thus a ploughman startled a generation which had thought Hayley and Beattie great poets, with the adventures of Tam O'Shanter. Even in the latter part of the reign of Elizabeth the fashionable poetry had degenerated. It retained few vestiges of the imagination of earlier times. It had not yet been subjected to the rules of good taste. Affectation had completely tainted madrigals and sonnets. The grotesque conceits and the tuneless numbers of Donne were, in the time of James, the favourite models of composition at Whitehall and at the Temple. But, though the literature of the Court was in its decay, the literature of the people was in its perfection. The Muses had taken sanctuary in the theatres, the haunts of a class whose taste was not better than that of the Right Honourables and singular good Lords who admired metaphysical love-verses, but whose imagination retained all its freshness and vigour; whose censure and approbation might be erroneously bestowed, but whose tears and laughter was never in the wrong. The infection which had tainted lyric and didactic poetry had but slightly and partially touched the drama. While the noble and the learned were comparing eyes to burning-glasses, and tears to terrestrial globes, coyness to an enthymeme, absence to a pair of compasses, and an unrequited passion to the fortieth remainder-man in an entail, Juliet leaning from the balcony, and Miranda smiling over the chess-board, sent home many spectators, as kind and simple-hearted as the master and mistress of Fletcher's Ralpho, to cry themselves to sleep.

No species of fiction is so delightful to us as the old English drama. Even its inferior productions possess a charm not to be found in any other kind of poetry. It is the most lucid mirror that ever was held up to nature. The creations of the great dramatists of Athens produce the effect of magnificent sculptures, conceived by a mighty imagination, polished with the utmost delicacy, embodying ideas of ineffable majesty and beauty, but cold, pale, and rigid, with no bloom on the cheek, and no speculation in the eye. In all the draperies, the figures, and the faces, in the lovers and the tyrants, the Bacchanals and the Furies, there is the same marble chillness and deadness. Most of the characters of the French stage resemble the waxen gentlemen and ladies in the window of a perfumer, rouged, curled, and bedizened, but fixed in such stiff attitudes, and staring with eyes expressive of such utter unmeaningness, that they cannot produce an illusion for a single moment. In the English plays alone is to be found the warmth, the mellowness, and the reality of painting. We know the minds of men and women, as we know the faces of the men and women of Vandyke.

The excellence of these works is in a great measure the result of two peculiarities, which the critics of the French school consider as defects,—from the mixture of tragedy and comedy, and from the length and extent of the action. The former is necessary to render the drama a just representation of a world in which the laughers and weepers are perpetually jostling each other,—in which every event has its serious and ludicrous side. The latter enables us to form an intimate acquaintance with characters with which we could not possibly become familiar during the few hours to which the unities restrict the poet. In this respect, the works of Shakspeare, in particular, are miracles of art. In a piece, which may be read aloud in three hours, we see a character gradually unfold all its recesses to us. We see it change with the change of circumstances. The petulant youth rises into the politic and warlike sovereign. The profuse and courteous philanthropist sours into a hater and scorner of his kind. The tyrant is altered, by the chastening of affliction, into a pensive moralist. The veteran general, distinguished by coolness, sagacity, and self-command, sinks under a conflict between love strong as death, and jealousy cruel as the grave. The brave and loyal subject passes, step by step, to the extremities of human depravity. We trace his progress, from the first dawnings of unlawful ambition to the cynical melancholy of his impenitent remorse. Yet, in these pieces, there are no unnatural transitions. Nothing is omitted: nothing is crowded. Great as are the changes, narrow as is the compass within which they are exhibited, they shock us as little as the gradual alterations of those familiar faces which we see every evening and every morning. The magical skill of the poet resembles that of the Dervise in the Spectator, who condensed all the events of seven years into the single moment during which the king held his head under the water.

It is deserving of remark, that, at the time of which we speak, the plays even of men not eminently distinguished by genius,—such, for example, as Jonson,—were far superior to the best works of imagination in other departments. Therefore, though we conceive that, from causes which we have already investigated, our poetry must necessarily have declined, we think that, unless its fate had been accelerated by external attacks, it might have enjoyed an euthanasia, that genius might have been kept alive by the drama till its place could, in some degree, be supplied by taste,—that there would have been scarcely any interval between the age of sublime invention and that of agreeable imitation. The works of Shakspeare, which were not appreciated with any degree of justice before the middle of the eighteenth century, might then have been the recognised standards of excellence during the latter part of the seventeenth; and he and the great Elizabethan writers might have been almost immediately succeeded by a generation of poets similar to those who adorn our own times.

But the Puritans drove imagination from its last asylum. They prohibited theatrical representations, and stigmatised the whole race of dramatists as enemies of morality and religion. Much that is objectionable may be found in the writers whom they reprobated; but whether they took the best measures for stopping the evil appears to us very doubtful, and must, we think, have appeared doubtful to themselves, when, after the lapse of a few years, they saw the unclean spirit whom they had cast out return to his old haunts, with seven others fouler than himself.

By the extinction of the drama, the fashionable school of poetry,—a school without truth of sentiment or harmony of versification,—without the powers of an earlier, or the correctness of a later age,—was left to enjoy undisputed ascendency. A vicious ingenuity, a morbid quickness to perceive resemblances and analogies between things apparently heterogeneous, constituted almost its only claim to admiration. Suckling was dead. Milton was absorbed in political and theological controversy. If Waller differed from the Cowleian sect of writers, he differed for the worse. He had as little poetry as they, and much less wit; nor is the languor of his verses less offensive than the ruggedness of theirs. In Denham alone the faint dawn of a better manner was discernible.

But, low as was the state of our poetry during the civil war and the Protectorate, a still deeper fall was at hand. Hitherto our literature had been idiomatic. In mind as in situation we had been islanders. The revolutions in our taste, like the revolutions in our government, had been settled without the interference of strangers. Had this state of things continued, the same just principles of reasoning which, about this time, were applied with unprecedented success to every part of philosophy would soon have conducted our ancestors to a sounder code of criticism. There were already strong signs of improvement. Our prose had at length worked itself clear from those quaint conceits which still deformed almost every metrical composition. The parliamentary debates, and the diplomatic correspondence of that eventful period, had contributed much to this reform. In such bustling times, it was absolutely necessary to speak and write to the purpose. The absurdities of Puritanism had, perhaps, done more. At the time when that odious style, which deforms the writings of Hall and of Lord Bacon, was almost universal, had appeared that stupendous work, the English Bible,—a book which, if everything else in our language should perish, would alone suffice to show the whole extent of its beauty and power. The respect which the translators felt for the original prevented them from adding any of the hideous decorations then in fashion. The groundwork of the version, indeed, was of an earlier age. The familiarity with which the Puritans, on almost every occasion, used the Scriptural phrases was no doubt very ridiculous; but it produced good effects. It was a cant; but it drove out a cant far more offensive.

The highest kind of poetry is, in a great measure, independent of those circumstances which regulate the style of composition in prose. But with that inferior species of poetry which succeeds to it the case is widely different. In a few years, the good sense and good taste which had weeded out affectation from moral and political treatises would, in the natural course of things, have effected a similar reform in the sonnet and the ode. The rigour of the victorious sectaries had relaxed. A dominant religion is never ascetic. The Government connived at theatrical representations. The influence of Shakspeare was once more felt. But darker days were approaching. A foreign yoke was to be imposed on our literature. Charles, surrounded by the companions of his long exile, returned to govern a nation which ought never to have cast him out or never to have received him back. Every year which he had passed among strangers had rendered him more unfit to rule his countrymen. In France he had seen the refractory magistracy humbled, and royal prerogative, though exercised by a foreign priest in the name of a child, victorious over all opposition. This spectacle naturally gratified a prince to whose family the opposition of Parliaments had been so fatal. Politeness was his solitary good quality. The insults which he had suffered in Scotland had taught him to prize it. The effeminacy and apathy of his disposition fitted him to excel in it. The elegance and vivacity of the French manners fascinated him. With the political maxims and the social habits of his favourite people, he adopted their taste in composition, and, when seated on the throne, soon rendered it fashionable, partly by direct patronage, but still more by that contemptible policy, which, for a time, made England the last of the nations, and raised Louis the Fourteenth to a height of power and fame, such as no French sovereign had ever before attained.

It was to please Charles that rhyme was first introduced into our plays. Thus, a rising blow, which would at any time have been mortal, was dealt to the English Drama, then just recovering from its languishing condition. Two detestable manners, the indigenous and the imported, were now in a state of alternate conflict and amalgamation. The bombastic meanness of the new style was blended with the ingenious absurdity of the old; and the mixture produced something which the world had never before seen, and which, we hope, it will never see again,—something, by the side of which the worst nonsense of all other ages appears to advantage—something, which those who have attempted to caricature it have, against their will, been forced to flatter—of which the tragedy of Bayes is a very favourable specimen. What Lord Dorset observed to Edward Howard might have been addressed to almost all his contemporaries—

     "As skilful divers to the bottom fall
     Swifter than those who cannot swim at all;
     So, in this way of writing without thinking,
     Thou hast a strange alacrity in sinking."

From this reproach some clever men of the world must be excepted, and among them Dorset himself. Though by no means great poets, or even good versifiers, they always wrote with meaning, and sometimes with wit. Nothing indeed more strongly shows to what a miserable state literature had fallen, than the immense superiority which the occasional rhymes, carelessly thrown on paper by men of this class, possess over the elaborate productions of almost all the professed authors. The reigning taste was so bad, that the success of a writer was in inverse proportion to his labour, and to his desire of excellence. An exception must be made for Butler, who had as much wit and learning as Cowley, and who knew, what Cowley never knew, how to use them. A great command of good homely English distinguishes him still more from the other writers of the time. As for Gondibert, those may criticise it who can read it. Imagination was extinct. Taste was depraved. Poetry, driven from palaces, colleges, and theatres, had found an asylum in the obscure dwelling where a Great Man, born out of due season, in disgrace, penury, pain and blindness, still kept uncontaminated a character and a genius worthy of a better age.

Everything about Milton is wonderful; but nothing is so wonderful as that, in an age so unfavourable to poetry, he should have produced the greatest of modern epic poems. We are not sure that this is not in some degree to be attributed to his want of sight. The imagination is notoriously most active when the external world is shut out. In sleep its illusions are perfect. They produce all the effect of realities. In darkness its visions are always more distinct than in the light. Every person who amuses himself with what is called building castles in the air must have experienced this. We know artists who, before they attempt to draw a face from memory, close their eyes, that they may recall a more perfect image of the features and the expression. We are therefore inclined to believe that the genius of Milton may have been preserved from the influence of times so unfavourable to it by his infirmity. Be this as it may, his works at first enjoyed a very small share of popularity. To be neglected by his contemporaries was the penalty which he paid for surpassing them. His great poem was not generally studied or admired till writers far inferior to him had, by obsequiously cringing to the public taste, acquired sufficient favour to reform it.

Of these, Dryden was the most eminent. Amidst the crowd of authors who, during the earlier years of Charles the Second, courted notoriety by every species of absurdity and affectation, he speedily became conspicuous. No man exercised so much influence on the age. The reason is obvious. On no man did the age exercise so much influence. He was perhaps the greatest of those whom we have designated as the critical poets; and his literary career exhibited, on a reduced scale, the whole history of the school to which he belonged,—the rudeness and extravagance of its infancy,—the propriety, the grace, the dignified good sense, the temperate splendour of its maturity. His imagination was torpid, till it was awakened by his judgment. He began with quaint parallels and empty mouthing. He gradually acquired the energy of the satirist, the gravity of the moralist, the rapture of the lyric poet. The revolution through which English literature has been passing, from the time of Cowley to that of Scott, may be seen in miniature within the compass of his volumes.

His life divides itself into two parts. There is some debatable ground on the common frontier; but the line may be drawn with tolerable accuracy. The year 1678 is that on which we should be inclined to fix as the date of a great change in his manner. During the preceding period appeared some of his courtly panegyrics—his Annus Mirabilis, and most of his plays; indeed, all his rhyming tragedies. To the subsequent period belong his best dramas,—All for Love, the Spanish Friar, and Sebastian,—his satires, his translations, his didactic poems, his fables, and his odes.

Of the small pieces which were presented to chancellors and princes it would scarcely be fair to speak. The greatest advantage which the Fine Arts derive from the extension of knowledge is, that the patronage of individuals becomes unnecessary. Some writers still affect to regret the age of patronage. None but bad writers have reason to regret it. It is always an age of general ignorance. Where ten thousand readers are eager for the appearance of a book, a small contribution from each makes up a splendid remuneration for the author. Where literature is a luxury, confined to few, each of them must pay high. If the Empress Catherine, for example, wanted an epic poem, she must have wholly supported the poet;—just as, in a remote country village, a man who wants a muttonchop is sometimes forced to take the whole sheep;—a thing which never happens where the demand is large. But men who pay largely for the gratification of their taste, will expect to have it united with some gratification to their vanity. Flattery is carried to a shameless extent; and the habit of flattery almost inevitably introduces a false taste into composition. Its language is made up of hyperbolical commonplaces,—offensive from their triteness,—still more offensive from their extravagance. In no school is the trick of overstepping the modesty of nature so speedily acquired. The writer, accustomed to find exaggeration acceptable and necessary on one subject, uses it on all. It is not strange, therefore, that the early panegyrical verses of Dryden should be made up of meanness and bombast. They abound with the conceits which his immediate predecessors had brought into fashion. But his language and his versification were already far superior to theirs.

The Annus Mirabilis shows great command of expression, and a fine ear for heroic rhyme. Here its merits end. Not only has it no claim to be called poetry, but it seems to be the work of a man who could never, by any possibility, write poetry. Its affected similes are the best part of it. Gaudy weeds present a more encouraging spectacle than utter barrenness. There is scarcely a single stanza in this long work to which the imagination seems to have contributed anything. It is produced, not by creation, but by construction. It is made up, not of pictures, but of inferences. We will give a single instance, and certainly a favourable instance,—a quatrain which Johnson has praised. Dryden is describing the sea-fight with the Dutch—

     "Amidst whole heaps of spices lights a ball;
     And now their odours armed against them fly.
     Some preciously by shattered porcelain fall,
     And some by aromatic splinters die."

The poet should place his readers, as nearly as possible, in the situation of the sufferers or the spectators. His narration ought to produce feelings similar to those which would be excited by the event itself. Is this the case here? Who, in a sea-fight, ever thought of the price of the china which beats out the brains of a sailor; or of the odour of the splinter which shatters his leg? It is not by an act of the imagination, at once calling up the scene before the interior eye, but by painful meditation,—by turning the subject round and round,—by tracing out facts into remote consequences,—that these incongruous topics are introduced into the description. Homer, it is true, perpetually uses epithets which are not peculiarly appropriate. Achilles is the swift-footed, when he is sitting still. Ulysses is the much-enduring, when he has nothing to endure. Every spear casts a long shadow, every ox has crooked horns, and every woman a high bosom, though these particulars may be quite beside the purpose. In our old ballads a similar practice prevails. The gold is always red, and the ladies always gay, though nothing whatever may depend on the hue of the gold, or the temper of the ladies. But these adjectives are mere customary additions. They merge in the substantives to which they are attached. If they at all colour the idea, it is with a tinge so slight as in no respect to alter the general effect. In the passage which we have quoted from Dryden the case is very different. "Preciously" and "aromatic" divert our whole attention to themselves, and dissolve the image of the battle in a moment. The whole poem reminds us of Lucan, and of the worst parts of Lucan,—the sea-fight in the Bay of Marseilles, for example. The description of the two fleets during the night is perhaps the only passage which ought to be exempted from this censure. If it was from the Annus Mirabilis that Milton formed his opinion, when he pronounced Dryden a good rhymer but no poet, he certainly judged correctly. But Dryden was, as we have said, one of those writers in whom the period of imagination does not precede, but follow, the period of observation and reflection.

His plays, his rhyming plays in particular, are admirable subjects for those who wish to study the morbid anatomy of the drama. He was utterly destitute of the power of exhibiting real human beings. Even in the far inferior talent of composing characters out of those elements into which the imperfect process of our reason can resolve them, he was very deficient. His men are not even good personifications; they are not well-assorted assemblages of qualities. Now and then, indeed, he seizes a very coarse and marked distinction, and gives us, not a likeness, but a strong caricature, in which a single peculiarity is protruded, and everything else neglected; like the Marquis of Granby at an inn-door, whom we know by nothing but his baldness; or Wilkes, who is Wilkes only in his squint. These are the best specimens of his skill. For most of his pictures seem, like Turkey carpets, to have been expressly designed not to resemble anything in the heavens above, in the earth beneath, or in the waters under the earth.

The latter manner he practises most frequently in his tragedies, the former in his comedies. The comic characters are, without mixture, loathsome and despicable. The men of Etherege and Vanbrugh are bad enough. Those of Smollett are perhaps worse. But they do not approach to the Celadons, the Wildbloods, the Woodalls, and the Rhodophils of Dryden. The vices of these last are set off by a certain fierce hard impudence, to which we know nothing comparable. Their love is the appetite of beasts; their friendship the confederacy of knaves. The ladies seem to have been expressly created to form helps meet for such gentlemen. In deceiving and insulting their old fathers they do not perhaps exceed the license which, by immemorial prescription, has been allowed to heroines. But they also cheat at cards, rob strong boxes, put up their favours to auction, betray their friends, abuse their rivals in the style of Billingsgate, and invite their lovers in the language of the Piazza. These, it must be remembered, are not the valets and waiting-women, the Mascarilles and Nerines, but the recognised heroes and heroines who appear as the representatives of good society, and who, at the end of the fifth act, marry and live very happily ever after. The sensuality, baseness, and malice of their natures is unredeemed by any quality of a different description,—by any touch of kindness,—or even by any honest burst of hearty hatred and revenge. We are in a world where there is no humanity, no veracity, no sense of shame,—a world for which any good-natured man would gladly take in exchange the society of Milton's devils. But as soon as we enter the regions of Tragedy, we find a great change. There is no lack of fine sentiment there. Metastasio is surpassed in his own department. Scuderi is out-scuderied. We are introduced to people whose proceedings we can trace to no motive,—of whose feelings we can form no more idea than of a sixth sense. We have left a race of creatures, whose love is as delicate and affectionate as the passion which an alderman feels for a turtle. We find ourselves among beings, whose love is a purely disinterested emotion,—a loyalty extending to passive obedience,—a religion, like that of the Quietists, unsupported by any sanction of hope or fear. We see nothing but despotism without power, and sacrifices without compensation.

We will give a few instances. In Aurengzebe, Arimant, governor of Agra, falls in love with his prisoner Indamora. She rejects his suit with scorn; but assures him that she shall make great use of her power over him. He threatens to be angry. She answers, very coolly:

     "Do not:  your anger, like your love, is vain:
     Whene'er I please, you must be pleased again.
     Knowing what power I have your will to bend,
     I'll use it; for I need just such a friend."

This is no idle menace. She soon brings a letter addressed to his rival,—orders him to read it,—asks him whether he thinks it sufficiently tender,—and finally commands him to carry it himself. Such tyranny as this, it may be thought, would justify resistance. Arimant does indeed venture to remonstrate:—

     "This fatal paper rather let me tear,
     Than, like Bellerophon, my sentence bear."

The answer of the lady is incomparable:—

     "You may; but 'twill not be your best advice;
     'Twill only give me pains of writing twice.
     You know you must obey me, soon or late.
     Why should you vainly struggle with your fate?"

Poor Arimant seems to be of the same opinion. He mutters something about fate and free-will, and walks off with the billet-doux.

In the Indian Emperor, Montezuma presents Almeria with a garland as a token of his love, and offers to make her his queen. She replies:—

     "I take this garland, not as given by you;
     But as my merit's and my beauty's due;
     As for the crown which you, my slave, possess,
     To share it with you would but make me less."

In return for such proofs of tenderness as these, her admirer consents to murder his two sons and a benefactor to whom he feels the warmest gratitude. Lyndaraxa, in the Conquest of Granada, assumes the same lofty tone with Abdelmelech. He complains that she smiles upon his rival.

     "Lynd.  And when did I my power so far resign,
             That you should regulate each look of mine?
     Abdel.  Then, when you gave your love, you gave that power.
     Lynd.  'Twas during pleasure—'tis revoked this hour.
     Abdel.  I'll hate you, and this visit is my last.
     Lynd.  Do, if you can:  you know I hold you fast."

That these passages violate all historical propriety, that sentiments to which nothing similar was ever even affected except by the cavaliers of Europe, are transferred to Mexico and Agra, is a light accusation. We have no objection to a conventional world, an Illyrian puritan, or a Bohemian seaport. While the faces are good, we care little about the back-ground. Sir Joshua Reynolds says that the curtains and hangings in an historical painting ought to be, not velvet or cotton, but merely drapery. The same principle should be applied to poetry and romance. The truth of character is the first object; the truth of place and time is to be considered only in the second place. Puff himself could tell the actor to turn out his toes, and remind him that Keeper Hatton was a great dancer. We wish that, in our own time, a writer of a very different order from Puff had not too often forgotten human nature in the niceties of upholstery, millinery, and cookery.

We blame Dryden, not because the persons of his dramas are not Moors or Americans, but because they are not men and women;—not because love, such as he represents it, could not exist in a harem or in a wigwam, but because it could not exist anywhere. As is the love of his heroes, such are all their other emotions. All their qualities, their courage, their generosity, their pride, are on the same colossal scale. Justice and prudence are virtues which can exist only in a moderate degree, and which change their nature and their name if pushed to excess. Of justice and prudence, therefore, Dryden leaves his favourites destitute. He did not care to give them what he could not give without measure. The tyrants and ruffians are merely the heroes altered by a few touches, similar to those which transformed the honest face of Sir Roger de Coverley into the Saracen's head. Through the grin and frown the original features are still perceptible.

It is in the tragi-comedies that these absurdities strike us most. The two races of men, or rather the angels and the baboons, are there presented to us together. We meet in one scene with nothing but gross, selfish, unblushing, lying libertines of both sexes, who, as a punishment, we suppose, for their depravity, are condemned to talk nothing but prose. But, as soon as we meet with people who speak in verse, we know that we are in society which would have enraptured the Cathos and Madelon of Moliere, in society for which Oroondates would have too little of the lover, and Clelia too much of the coquette.

As Dryden was unable to render his plays interesting by means of that which is the peculiar and appropriate excellence of the drama, it was necessary that he should find some substitute for it. In his comedies he supplied its place, sometimes by wit, but more frequently by intrigue, by disguises, mistakes of persons, dialogues at cross purposes, hair-breadth escapes, perplexing concealments, and surprising disclosures. He thus succeeded at least in making these pieces very amusing.

In his tragedies he trusted, and not altogether without reason, to his diction and his versification. It was on this account, in all probability, that he so eagerly adopted, and so reluctantly abandoned, the practice of rhyming in his plays. What is unnatural appears less unnatural in that species of verse than in lines which approach more nearly to common conversation; and in the management of the heroic couplet Dryden has never been equalled. It is unnecessary to urge any arguments against a fashion now universally condemned. But it is worthy of observation, that, though Dryden was deficient in that talent which blank verse exhibits to the greatest advantage, and was certainly the best writer of heroic rhyme in our language, yet the plays which have, from the time of their first appearance, been considered as his best, are in blank verse. No experiment can be more decisive.

It must be allowed that the worst even of the rhyming tragedies contains good description and magnificent rhetoric. But, even when we forget that they are plays, and, passing by their dramatic improprieties, consider them with reference to the language, we are perpetually disgusted by passages which it is difficult to conceive how any author could have written, or any audience have tolerated, rants in which the raving violence of the manner forms a strange contrast with the abject tameness of the thought. The author laid the whole fault on the audience, and declared that, when he wrote them, he considered them bad enough to please. This defence is unworthy of a man of genius, and after all, is no defence. Otway pleased without rant; and so might Dryden have done, if he had possessed the powers of Otway. The fact is, that he had a tendency to bombast, which, though subsequently corrected by time and thought, was never wholly removed, and which showed itself in performances not designed to please the rude mob of the theatre.

Some indulgent critics have represented this failing as an indication of genius, as the profusion of unlimited wealth, the wantonness of exuberant vigour. To us it seems to bear a nearer affinity to the tawdriness of poverty, or the spasms and convulsions of weakness. Dryden surely had not more imagination than Homer, Dante, or Milton, who never fall into this vice. The swelling diction of Aeschylus and Isaiah resembles that of Almanzor and Maximin no more than the tumidity of a muscle resembles the tumidity of a boil. The former is symptomatic of health and strength, the latter of debility and disease. If ever Shakspeare rants, it is not when his imagination is hurrying him along, but when he is hurrying his imagination along,—when his mind is for a moment jaded,—when, as was said of Euripides, he resembles a lion, who excites his own fury by lashing himself with his tail. What happened to Shakspeare from the occasional suspension of his powers happened to Dryden from constant impotence. He, like his confederate Lee, had judgment enough to appreciate the great poets of the preceding age, but not judgment enough to shun competition with them. He felt and admired their wild and daring sublimity. That it belonged to another age than that in which he lived and required other talents than those which he possessed, that, in aspiring to emulate it, he was wasting, in a hopeless attempt, powers which might render him pre-eminent in a different career, was a lesson which he did not learn till late. As those knavish enthusiasts, the French prophets, courted inspiration by mimicking the writhings, swoonings, and gaspings which they considered as its symptoms, he attempted, by affected fits of poetical fury, to bring on a real paroxysm; and, like them, he got nothing but his distortions for his pains.

Horace very happily compares those who, in his time, imitated Pindar to the youth who attempted to fly to heaven on waxen wings, and who experienced so fatal and ignominious a fall. His own admirable good sense preserved him from this error, and taught him to cultivate a style in which excellence was within his reach. Dryden had not the same self-knowledge. He saw that the greatest poets were never so successful as when they rushed beyond the ordinary bounds, and that some inexplicable good fortune preserved them from tripping even when they staggered on the brink of nonsense. He did not perceive that they were guided and sustained by a power denied to himself. They wrote from the dictation of the imagination; and they found a response in the imaginations of others. He, on the contrary, sat down to work himself, by reflection and argument, into a deliberate wildness, a rational frenzy.

In looking over the admirable designs which accompany the Faust, we have always been much struck by one which represents the wizard and the tempter riding at full speed. The demon sits on his furious horse as heedlessly as if he were reposing on a chair. That he should keep his saddle in such a posture, would seem impossible to any who did not know that he was secure in the privileges of a superhuman nature. The attitude of Faust, on the contrary, is the perfection of horsemanship. Poets of the first order might safely write as desperately as Mephistopheles rode. But Dryden, though admitted to communion with higher spirits, though armed with a portion of their power, and intrusted with some of their secrets, was of another race. What they might securely venture to do, it was madness in him to attempt. It was necessary that taste and critical science should supply his deficiencies.

We will give a few examples. Nothing can be finer than the description of Hector at the Grecian wall:—

     o d ar esthore phaidimos Ektor,
     Nukti thoe atalantos upopia lampe de chalko
     Smerdaleo, ton eesto peri chroi doia de chersi
     Dour echen ouk an tis min erukakoi antibolesas,
     Nosphi theun, ot esalto pulas puri d osse dedeei.
     —Autika d oi men teichos uperbasan, oi de kat autas
     Poietas esechunto pulas Danaioi d ephobethen
     Neas ana glaphuras omados d aliastos etuchthe.

What daring expressions! Yet how significant! How picturesque! Hector seems to rise up in his strength and fury. The gloom of night in his frown,—the fire burning in his eyes,—the javelins and the blazing armour,—the mighty rush through the gates and down the battlements,—the trampling and the infinite roar of the multitude,—everything is with us; everything is real.

Dryden has described a very similar event in Maximin, and has done his best to be sublime, as follows:—

     "There with a forest of their darts he strove,
     And stood like Capaneus defying Jove;
     With his broad sword the boldest beating down,
     Till Fate grew pale, lest he should win the town,
     And turn'd the iron leaves of its dark book
     To make new dooms, or mend what it mistook."

How exquisite is the imagery of the fairy-songs in the Tempest and the Midsummer Night's Dream; Ariel riding through the twilight on the bat, or sucking in the bells of flowers with the bee; or the little bower-women of Titania, driving the spiders from the couch of the Queen! Dryden truly said, that

     "Shakspeare's magic could not copied be;
     Within that circle none durst walk but he."

It would have been well if he had not himself dared to step within the enchanted line, and drawn on himself a fate similar to that which, according to the old superstition, punished such presumptuous interference. The following lines are parts of the song of his fairies:—

     "Merry, merry, merry, we sail from the East,
     Half-tippled at a rainbow feast.
     In the bright moonshine, while winds whistle loud,
     Tivy, tivy, tivy, we mount and we fly,
     All racking along in a downy white cloud;
     And lest our leap from the sky prove too far,
     We slide on the back of a new falling star,
     And drop from above
     In a jelly of love."

These are very favourable instances. Those who wish for a bad one may read the dying speeches of Maximin, and may compare them with the last scenes of Othello and Lear.

If Dryden had died before the expiration of the first of the periods into which we have divided his literary life, he would have left a reputation, at best, little higher than that of Lee or Davenant. He would have been known only to men of letters; and by them he would have been mentioned as a writer who threw away, on subjects which he was incompetent to treat, powers which, judiciously employed, might have raised him to eminence; whose diction and whose numbers had sometimes very high merit, but all whose works were blemished by a false taste, and by errors of gross negligence. A few of his prologues and epilogues might perhaps still have been remembered and quoted. In these little pieces he early showed all the powers which afterwards rendered him the greatest of modern satirists. But, during the latter part of his life, he gradually abandoned the drama. His plays appeared at longer intervals. He renounced rhyme in tragedy. His language became less turgid—his characters less exaggerated. He did not indeed produce correct representations of human nature; but he ceased to daub such monstrous chimeras as those which abound in his earlier pieces. Here and there passages occur worthy of the best ages of the British stage. The style which the drama requires changes with every change of character and situation. He who can vary his manner to suit the variation is the great dramatist; but he who excels in one manner only will, when that manner happens to be appropriate, appear to be a great dramatist; as the hands of a watch which does not go point right once in the twelve hours. Sometimes there is a scene of solemn debate. This a mere rhetorician may write as well as the greatest tragedian that ever lived. We confess that to us the speech of Sempronius in Cato seems very nearly as good as Shakspeare could have made it. But when the senate breaks up, and we find that the lovers and their mistresses, the hero, the villain, and the deputy-villain, all continue to harangue in the same style, we perceive the difference between a man who can write a play and a man who can write a speech. In the same manner, wit, a talent for description, or a talent for narration, may, for a time, pass for dramatic genius. Dryden was an incomparable reasoner in verse. He was conscious of his power; he was proud of it; and the authors of the Rehearsal justly charged him with abusing it. His warriors and princesses are fond of discussing points of amorous casuistry, such as would have delighted a Parliament of Love. They frequently go still deeper, and speculate on philosophical necessity and the origin of evil.

There were, however, some occasions which absolutely required this peculiar talent. Then Dryden was indeed at home. All his best scenes are of this description. They are all between men; for the heroes of Dryden, like many other gentlemen, can never talk sense when ladies are in company. They are all intended to exhibit the empire of reason over violent passion. We have two interlocutors, the one eager and impassioned, the other high, cool, and judicious. The composed and rational character gradually acquires the ascendency. His fierce companion is first inflamed to rage by his reproaches, then overawed by his equanimity, convinced by his arguments, and soothed by his persuasions. This is the case in the scene between Hector and Troilus, in that between Antony and Ventidius, and in that between Sebastian and Dorax. Nothing of the same kind in Shakspeare is equal to them, except the quarrel between Brutus and Cassius, which is worth them all three.

Some years before his death, Dryden altogether ceased to write for the stage. He had turned his powers in a new direction, with success the most splendid and decisive. His taste had gradually awakened his creative faculties. The first rank in poetry was beyond his reach; but he challenged and secured the most honourable place in the second. His imagination resembled the wings of an ostrich; it enabled him to run, though not to soar. When he attempted the highest flights, he became ridiculous; but, while he remained in a lower region, he out-stripped all competitors.

All his natural and all his acquired powers fitted him to found a good critical school of poetry. Indeed he carried his reforms too far for his age. After his death our literature retrograded; and a century was necessary to bring it back to the point at which he left it. The general soundness and healthfulness of his mental constitution, his information, of vast superficies, though of small volume, his wit scarcely inferior to that of the most distinguished followers of Donne, his eloquence, grave, deliberate, and commanding, could not save him from disgraceful failure as a rival of Shakspeare, but raised him far above the level of Boileau. His command of language was immense. With him died the secret of the old poetical diction of England,—the art of producing rich effects by familiar words. In the following century it was as completely lost as the Gothic method of painting glass, and was but poorly supplied by the laborious and tesselated imitations of Mason and Gray. On the other hand, he was the first writer under whose skilful management the scientific vocabulary fell into natural and pleasing verse. In this department, he succeeded as completely as his contemporary Gibbons succeeded in the similar enterprise of carving the most delicate flowers from heart of oak. The toughest and most knotty parts of language became ductile at his touch. His versification, in the same manner, while it gave the first model of that neatness and precision which the following generation esteemed so highly, exhibited at the same time, the last examples of nobleness, freedom, variety of pause, and cadence. His tragedies in rhyme, however worthless in themselves, had at least served the purpose of nonsense-verses; they had taught him all the arts of melody which the heroic couplet admits. For bombast, his prevailing vice, his new subjects gave little opportunity; his better taste gradually discarded it.

He possessed, as we have said, in a pre-eminent degree the power of reasoning in verse; and this power was now peculiarly useful to him. His logic is by no means uniformly sound. On points of criticism, he always reasons ingeniously; and when he is disposed to be honest, correctly. But the theological and political questions which he undertook to treat in verse were precisely those which he understood least. His arguments, therefore, are often worthless. But the manner in which they are stated is beyond all praise. The style is transparent. The topics follow each other in the happiest order. The objections are drawn up in such a manner that the whole fire of the reply may be brought to bear on them. The circumlocutions which are substituted for technical phrases are clear, neat, and exact. The illustrations at once adorn and elucidate the reasoning. The sparkling epigrams of Cowley, and the simple garrulity of the burlesque poets of Italy, are alternately employed, in the happiest manner, to give effect to what is obvious or clearness to what is obscure.

His literary creed was catholic, even to latitudinarianism; not from any want of acuteness, but from a disposition to be easily satisfied. He was quick to discern the smallest glimpse of merit; he was indulgent even to gross improprieties, when accompanied by any redeeming talent. When he said a severe thing, it was to serve a temporary purpose,—to support an argument, or to tease a rival. Never was so able a critic so free from fastidiousness. He loved the old poets, especially Shakspeare. He admired the ingenuity which Donne and Cowley had so wildly abused. He did justice, amidst the general silence, to the memory of Milton. He praised to the skies the school-boy lines of Addison. Always looking on the fair side of every object, he admired extravagance on account of the invention which he supposed it to indicate; he excused affectation in favour of wit; he tolerated even tameness for the sake of the correctness which was its concomitant.

It was probably to this turn of mind, rather than to the more disgraceful causes which Johnson has assigned, that we are to attribute the exaggeration which disfigures the panegyrics of Dryden. No writer, it must be owned, has carried the flattery of dedication to a greater length. But this was not, we suspect, merely interested servility: it was the overflowing of a mind singularly disposed to admiration,—of a mind which diminished vices, and magnified virtues and obligations. The most adulatory of his addresses is that in which he dedicates the State of Innocence to Mary of Modena. Johnson thinks it strange that any man should use such language without self-detestation. But he has not remarked that to the very same work is prefixed an eulogium on Milton, which certainly could not have been acceptable at the Court of Charles the Second. Many years later, when Whig principles were in a great measure triumphant, Sprat refused to admit a monument of John Phillips into Westminster Abbey—because, in the epitaph, the name of Milton incidentally occurred. The walls of his church, he declared, should not be polluted by the name of a republican! Dryden was attached, both by principle and interest, to the Court. But nothing could deaden his sensibility to excellence. We are unwilling to accuse him severely, because the same disposition, which prompted him to pay so generous a tribute to the memory of a poet whom his patrons detested, hurried him into extravagance when he described a princess distinguished by the splendour of her beauty and the graciousness of her manners.

This is an amiable temper; but it is not the temper of great men. Where there is elevation of character, there will be fastidiousness. It is only in novels and on tombstones that we meet with people who are indulgent to the faults of others, and unmerciful to their own; and Dryden, at all events, was not one of these paragons. His charity was extended most liberally to others; but it certainly began at home. In taste he was by no means deficient. His critical works are, beyond all comparison, superior to any which had, till then, appeared in England. They were generally intended as apologies for his own poems, rather than as expositions of general principles; he, therefore, often attempts to deceive the reader by sophistry which could scarcely have deceived himself. His dicta are the dicta, not of a judge, but of an advocate:—often of an advocate in an unsound cause. Yet, in the very act of misrepresenting the laws of composition, he shows how well he understands them. But he was perpetually acting against his better knowledge. His sins were sins against light. He trusted that what was bad would be pardoned for the sake of what was good. What was good, he took no pains to make better. He was not, like most persons who rise to eminence, dissatisfied even with his best productions. He had set up no unattainable standard of perfection, the contemplation of which might at once improve and mortify him. His path was not attended by an unapproachable mirage of excellence, for ever receding, and for ever pursued. He was not disgusted by the negligence of others; and he extended the same toleration to himself. His mind was of a slovenly character,—fond of splendour, but indifferent to neatness. Hence most of his writings exhibit the sluttish magnificence of a Russian noble, all vermin and diamonds, dirty linen and inestimable sables. Those faults which spring from affectation, time and thought in a great measure removed from his poems. But his carelessness he retained to the last. If towards the close of his life he less frequently went wrong from negligence, it was only because long habits of composition rendered it more easy to go right. In his best pieces we find false rhymes,—triplets, in which the third line appears to be a mere intruder, and, while it breaks the music, adds nothing to the meaning,—gigantic Alexandrines of fourteen and sixteen syllables, and truncated verses for which he never troubled himself to find a termination or a partner.

Such are the beauties and the faults which may be found in profusion throughout the later works of Dryden. A more just and complete estimate of his natural and acquired powers,—of the merits of his style and of its blemishes,—may be formed from the Hind and Panther, than from any of his other writings. As a didactic poem, it is far superior to the Religio Laici. The satirical parts, particularly the character of Burnet, are scarcely inferior to the best passages in Absalom and Achitophel. There are, moreover, occasional touches of a tenderness which affects us more, because it is decent, rational, and manly, and reminds us of the best scenes in his tragedies. His versification sinks and swells in happy unison with the subject; and his wealth of language seems to be unlimited. Yet, the carelessness with which he has constructed his plot, and the innumerable inconsistencies into which he is every moment falling, detract much from the pleasure which such various excellence affords.

In Absalom and Achitophel he hit upon a new and rich vein, which he worked with signal success. They ancient satirists were the subjects of a despotic government. They were compelled to abstain from political topics, and to confine their attention to the frailties of private life. They might, indeed, sometimes venture to take liberties with public men,

     "Quorum Flaminia tegitur cinis atque Latina."

Thus Juvenal immortalised the obsequious senators who met to decide the fate of the memorable turbot. His fourth satire frequently reminds us of the great political poem of Dryden; but it was not written till Domitian had fallen: and it wants something of the peculiar flavour which belongs to contemporary invective alone. His anger has stood so long that, though the body is not impaired, the effervescence, the first cream, is gone. Boileau lay under similar restraints; and, if he had been free from all restraints, would have been no match for our countryman.

The advantages which Dryden derived from the nature of his subject he improved to the very utmost. His manner is almost perfect. The style of Horace and Boileau is fit only for light subjects. The Frenchman did indeed attempt to turn the theological reasonings of the Provincial Letters into verse, but with very indifferent success. The glitter of Pope is gold. The ardour of Persius is without brilliancy. Magnificent versification and ingenious combinations rarely harmonise with the expression of deep feeling. In Juvenal and Dryden alone we have the sparkle and the heat together. Those great satirists succeeded in communicating the fervour of their feelings to materials the most incombustible, and kindled the whole mass into a blaze, at once dazzling and destructive. We cannot, indeed, think, without regret, of the part which so eminent a writer as Dryden took in the disputes of that period. There was, no doubt, madness and wickedness on both sides. But there was liberty on the one, and despotism on the other. On this point, however, we will not dwell. At Talavera the English and French troops for a moment suspended their conflict, to drink of a stream which flowed between them. The shells were passed across from enemy to enemy without apprehension or molestation. We, in the same manner, would rather assist our political adversaries to drink with us of that fountain of intellectual pleasure, which should be the common refreshment of both parties, than disturb and pollute it with the havoc of unseasonable hostilities.

Macflecnoe is inferior to Absalom and Achitophel only in the subject. In the execution it is even superior. But the greatest work of Dryden was the last, the Ode on Saint Cecilia's Day. It is the masterpiece of the second class of poetry, and ranks but just below the great models of the first. It reminds us of the Pedasus of Achilles—

     os, kai thnetos eon, epeth ippois athanatoisi.

By comparing it with the impotent ravings of the heroic tragedies we may measure the progress which the mind of Dryden had made. He had learned to avoid a too audacious competition with higher natures, to keep at a distance from the verge of bombast or nonsense, to venture on no expression which did not convey a distinct idea to his own mind. There is none of that "darkness visible" of style which he had formerly affected, and in which the greatest poets only can succeed. Everything is definite, significant, and picturesque. His early writings resembled the gigantic works of those Chinese gardeners who attempt to rival nature herself, to form cataracts of terrific height and sound, to raise precipitous ridges of mountains, and to imitate in artificial plantations the vastness and the gloom of some primeval forest. This manner he abandoned; nor did he ever adopt the Dutch taste which Pope affected, the trim parterres, and the rectangular walks. He rather resembled our Kents and Browns, who imitating the great features of landscape without emulating them, consulting the genius of the place, assisting nature and carefully disguising their art, produced, not a Chamouni or a Niagara, but a Stowe or a Hagley.

We are, on the whole, inclined to regret that Dryden did not accomplish his purpose of writing an epic poem. It certainly would not have been a work of the highest rank. It would not have rivalled the Iliad, the Odyssey, or the Paradise Lost; but it would have been superior to the productions of Apollonius, Lucan, or Statius, and not inferior to the Jerusalem Delivered. It would probably have been a vigorous narrative, animated with something of the spirit of the old romances, enriched with much splendid description, and interspersed with fine declamations and disquisitions. The danger of Dryden would have been from aiming too high; from dwelling too much, for example, on his angels of kingdoms, and attempting a competition with that great writer who in his own time had so incomparably succeeded in representing to us the sights and sounds of another world. To Milton, and to Milton alone, belonged the secrets of the great deep, the beach of sulphur, the ocean of fire, the palaces of the fallen dominations, glimmering through the everlasting shade, the silent wilderness of verdure and fragrance where armed angels kept watch over the sleep of the first lovers, the portico of diamond, the sea of jasper, the sapphire pavement empurpled with celestial roses, and the infinite ranks of the Cherubim, blazing with adamant and gold. The council, the tournament, the procession, the crowded cathedral, the camp, the guard-room, the chase, were the proper scenes for Dryden.

But we have not space to pass in review all the works which Dryden wrote. We, therefore, will not speculate longer on those which he might possibly have written. He may, on the whole, be pronounced to have been a man possessed of splendid talents, which he often abused, and of a sound judgment, the admonitions of which he often neglected; a man who succeeded only in an inferior department of his art, but who, in that department, succeeded pre-eminently; and who with a more independent spirit, a more anxious desire of excellence, and more respect for himself, would, in his own walk, have attained to absolute perfection.

HISTORY. (May 1828.)

     "The Romance of History.  England."  By Henry Neele.

     London, 1828.

To write history respectably—that is, to abbreviate despatches, and make extracts from speeches, to intersperse in due proportion epithets of praise and abhorrence, to draw up antithetical characters of great men, setting forth how many contradictory virtues and vices they united, and abounding in "withs" and "withouts"—all this is very easy. But to be a really great historian is perhaps the rarest of intellectual distinctions. Many scientific works are, in their kind, absolutely perfect. There are poems which we should be inclined to designate as faultless, or as disfigured only by blemishes which pass unnoticed in the general blaze of excellence. There are speeches, some speeches of Demosthenes particularly, in which it would be impossible to alter a word without altering it for the worse. But we are acquainted with no history which approaches to our notion of what a history ought to be—with no history which does not widely depart, either on the right hand or on the left, from the exact line.

The cause may easily be assigned. This province of literature is a debatable land. It lies on the confines of two distinct territories. It is under the jurisdiction of two hostile powers; and, like other districts similarly situated, it is ill defined, ill cultivated, and ill regulated. Instead of being equally shared between its two rulers, the Reason and the Imagination, it falls alternately under the sole and absolute dominion of each. It is sometimes fiction. It is sometimes theory.

History, it has been said, is philosophy teaching by examples. Unhappily, what the philosophy gains in soundness and depth the examples generally lose in vividness. A perfect historian must possess an imagination sufficiently powerful to make his narrative affecting and picturesque. Yet he must control it so absolutely as to content himself with the materials which he finds, and to refrain from supplying deficiencies by additions of his own. He must be a profound and ingenious reasoner. Yet he must possess sufficient self-command to abstain from casting his facts in the mould of his hypothesis. Those who can justly estimate these almost insuperable difficulties will not think it strange that every writer should have failed, either in the narrative or in the speculative department of history.

It may be laid down as a general rule, though subject to considerable qualifications and exceptions, that history begins in novel and ends in essay. Of the romantic historians Herodotus is the earliest and the best. His animation, his simple-hearted tenderness, his wonderful talent for description and dialogue, and the pure sweet flow of his language, place him at the head of narrators. He reminds us of a delightful child. There is a grace beyond the reach of affectation in his awkwardness, a malice in his innocence, an intelligence in his nonsense, an insinuating eloquence in his lisp. We know of no writer who makes such interest for himself and his book in the heart of the reader. At the distance of three-and-twenty centuries, we feel for him the same sort of pitying fondness which Fontaine and Gay are said to have inspired in society. He has written an incomparable book. He has written something better perhaps than the best history; but he has not written a good history; he is, from the first to the last chapter, an inventor. We do not here refer merely to those gross fictions with which he has been reproached by the critics of later times. We speak of that colouring which is equally diffused over his whole narrative, and which perpetually leaves the most sagacious reader in doubt what to reject and what to receive. The most authentic parts of his work bear the same relation to his wildest legends which Henry the Fifth bears to the Tempest. There was an expedition undertaken by Xerxes against Greece; and there was an invasion of France. There was a battle at Plataea; and there was a battle at Agincourt. Cambridge and Exeter, the Constable and the Dauphin, were persons as real as Demaratus and Pausanias. The harangue of the Archbishop on the Salic Law and the Book of Numbers differs much less from the orations which have in all ages proceeded from the right reverend bench than the speeches of Mardonius and Artabanus from those which were delivered at the council-board of Susa. Shakspeare gives us enumerations of armies, and returns of killed and wounded, which are not, we suspect, much less accurate than those of Herodotus. There are passages in Herodotus nearly as long as acts of Shakspeare, in which everything is told dramatically, and in which the narrative serves only the purpose of stage-directions. It is possible, no doubt, that the substance of some real conversations may have been reported to the historian. But events which, if they ever happened, happened in ages and nations so remote that the particulars could never have been known to him, are related with the greatest minuteness of detail. We have all that Candaules said to Gyges, and all that passed between Astyages and Harpagus. We are, therefore, unable to judge whether, in the account which he gives of transactions respecting which he might possibly have been well informed, we can trust to anything beyond the naked outline; whether, for example, the answer of Gelon to the ambassadors of the Grecian confederacy, or the expressions which passed between Aristides and Themistocles at their famous interview, have been correctly transmitted to us. The great events are, no doubt, faithfully related. So, probably, are many of the slighter circumstances; but which of them it is impossible to ascertain. The fictions are so much like the facts, and the facts so much like the fictions, that, with respect to many most interesting particulars, our belief is neither given nor withheld, but remains in an uneasy and interminable state of abeyance. We know that there is truth; but we cannot exactly decide where it lies.

The faults of Herodotus are the faults of a simple and imaginative mind. Children and servants are remarkably Herodotean in their style of narration. They tell everything dramatically. Their "says hes" and "says shes" are proverbial. Every person who has had to settle their disputes knows that, even when they have no intention to deceive, their reports of conversation always require to be carefully sifted. If an educated man were giving an account of the late change of administration, he would say—"Lord Goderich resigned; and the King, in consequence, sent for the Duke of Wellington." A porter tells the story as if he had been hid behind the curtains of the royal bed at Windsor: "So Lord Goderich says, 'I cannot manage this business; I must go out.' So the King says,—says he, 'Well, then, I must send for the Duke of Wellington—that's all.'" This is in the very manner of the father of history.

Herodotus wrote as it was natural that he should write. He wrote for a nation susceptible, curious, lively, insatiably desirous of novelty and excitement; for a nation in which the fine arts had attained their highest excellence, but in which philosophy was still in its infancy. His countrymen had but recently begun to cultivate prose composition. Public transactions had generally been recorded in verse. The first historians might, therefore, indulge without fear of censure in the license allowed to their predecessors the bards. Books were few. The events of former times were learned from tradition and from popular ballads; the manners of foreign countries from the reports of travellers. It is well known that the mystery which overhangs what is distant, either in space or time, frequently prevents us from censuring as unnatural what we perceive to be impossible. We stare at a dragoon who has killed three French cuirassiers, as a prodigy; yet we read, without the least disgust, how Godfrey slew his thousands, and Rinaldo his ten thousands. Within the last hundred years, stories about China and Bantam, which ought not to have imposed on an old nurse, were gravely laid down as foundations of political theories by eminent philosophers. What the time of the Crusades is to us, the generation of Croesus and Solon was to the Greeks of the time of Herodotus. Babylon was to them what Pekin was to the French academicians of the last century.

For such a people was the book of Herodotus composed; and, if we may trust to a report, not sanctioned indeed by writers of high authority, but in itself not improbable, it was composed, not to be read, but to be heard. It was not to the slow circulation of a few copies, which the rich only could possess, that the aspiring author looked for his reward. The great Olympian festival,—the solemnity which collected multitudes, proud of the Grecian name, from the wildest mountains of Doris, and the remotest colonies of Italy and Libya,—was to witness his triumph. The interest of the narrative, and the beauty of the style, were aided by the imposing effect of recitation,—by the splendour of the spectacle,—by the powerful influence of sympathy. A critic who could have asked for authorities in the midst of such a scene must have been of a cold and sceptical nature; and few such critics were there. As was the historian, such were the auditors,—inquisitive, credulous, easily moved by religious awe or patriotic enthusiasm. They were the very men to hear with delight of strange beasts, and birds, and trees,—of dwarfs, and giants, and cannibals—of gods, whose very names it was impiety to utter,—of ancient dynasties, which had left behind them monuments surpassing all the works of later times,—of towns like provinces,—of rivers like seas,—of stupendous walls, and temples, and pyramids,—of the rites which the Magi performed at daybreak on the tops of the mountains,—of the secrets inscribed on the eternal obelisks of Memphis. With equal delight they would have listened to the graceful romances of their own country. They now heard of the exact accomplishment of obscure predictions, of the punishment of crimes over which the justice of heaven had seemed to slumber,—of dreams, omens, warnings from the dead,—of princesses, for whom noble suitors contended in every generous exercise of strength and skill,—of infants, strangely preserved from the dagger of the assassin, to fulfil high destinies.

As the narrative approached their own times, the interest became still more absorbing. The chronicler had now to tell the story of that great conflict from which Europe dates its intellectual and political supremacy,—a story which, even at this distance of time, is the most marvellous and the most touching in the annals of the human race,—a story abounding with all that is wild and wonderful, with all that is pathetic and animating; with the gigantic caprices of infinite wealth and despotic power—with the mightier miracles of wisdom, of virtue, and of courage. He told them of rivers dried up in a day,—of provinces famished for a meal,—of a passage for ships hewn through the mountains,—of a road for armies spread upon the waves,—of monarchies and commonwealths swept away,—of anxiety, of terror, of confusion, of despair!—and then of proud and stubborn hearts tried in that extremity of evil, and not found wanting,—of resistance long maintained against desperate odds,—of lives dearly sold, when resistance could be maintained no more,—of signal deliverance, and of unsparing revenge. Whatever gave a stronger air of reality to a narrative so well calculated to inflame the passions, and to flatter national pride, was certain to be favourably received.

Between the time at which Herodotus is said to have composed his history, and the close of the Peloponnesian war, about forty years elapsed,—forty years, crowded with great military and political events. The circumstances of that period produced a great effect on the Grecian character; and nowhere was this effect so remarkable as in the illustrious democracy of Athens. An Athenian, indeed, even in the time of Herodotus, would scarcely have written a book so romantic and garrulous as that of Herodotus. As civilisation advanced, the citizens of that famous republic became still less visionary, and still less simple-hearted. They aspired to know where their ancestors had been content to doubt; they began to doubt where their ancestors had thought it their duty to believe. Aristophanes is fond of alluding to this change in the temper of his countrymen. The father and son, in the Clouds, are evidently representatives of the generations to which they respectively belonged. Nothing more clearly illustrates the nature of this moral revolution than the change which passed upon tragedy. The wild sublimity of Aeschylus became the scoff of every young Phidippides. Lectures on abstruse points of philosophy, the fine distinctions of casuistry, and the dazzling fence of rhetoric, were substituted for poetry. The language lost something of that infantine sweetness which had characterised it. It became less like the ancient Tuscan, and more like the modern French.

The fashionable logic of the Greeks was, indeed, far from strict. Logic never can be strict where books are scarce, and where information is conveyed orally. We are all aware how frequently fallacies, which, when set down on paper, are at once detected, pass for unanswerable arguments when dexterously and volubly urged in Parliament, at the bar, or in private conversation. The reason is evident. We cannot inspect them closely enough to perceive their inaccuracy. We cannot readily compare them with each other. We lose sight of one part of the subject before another, which ought to be received in connection with it, comes before us; and as there is no immutable record of what has been admitted and of what has been denied, direct contradictions pass muster with little difficulty. Almost all the education of a Greek consisted in talking and listening. His opinions on government were picked up in the debates of the assembly. If he wished to study metaphysics, instead of shutting himself up with a book, he walked down to the market-place to look for a sophist. So completely were men formed to these habits, that even writing acquired a conversational air. The philosophers adopted the form of dialogue, as the most natural mode of communicating knowledge. Their reasonings have the merits and the defects which belong to that species of composition, and are characterised rather by quickness and subtilty than by depth and precision. Truth is exhibited in parts, and by glimpses. Innumerable clever hints are given; but no sound and durable system is erected. The argumentum ad hominem, a kind of argument most efficacious in debate, but utterly useless for the investigation of general principles, is among their favourite resources. Hence, though nothing can be more admirable than the skill which Socrates displays in the conversations which Plato has reported or invented, his victories, for the most part, seem to us unprofitable. A trophy is set up; but no new province is added to the dominions of the human mind.

Still, where thousands of keen and ready intellects were constantly employed in speculating on the qualiies of actions and on the principles of government, it was impossible that history should retain its whole character. It became less gossiping and less picturesque; but much more accurate, and somewhat more scientific.

The history of Thucydides differs from that of Herodotus as a portrait differs from the representation of an imaginary scene; as the Burke or Fox of Reynolds differs from his Ugolino or his Beaufort. In the former case, the archetype is given: in the latter it is created. The faculties which are required for the latter purpose are of a higher and rarer order than those which suffice for the former, and indeed necessarily comprise them. He who is able to paint what he sees with the eye of the mind will surely be able to paint what he sees with the eye of the body. He who can invent a story, and tell it well, will also be able to tell, in an interesting manner, a story which he has not invented. If, in practice, some of the best writers of fiction have been among the worst writers of history, it has been because one of their talents had merged in another so completely that it could not be severed; because, having long been habituated to invent and narrate at the same time, they found it impossible to narrate without inventing.

Some capricious and discontented artists have affected to consider portrait-painting as unworthy of a man of genius. Some critics have spoken in the same contemptuous manner of history. Johnson puts the case thus: The historian tells either what is false or what is true: in the former case he is no historian: in the latter he has no opportunity for displaying his abilities: for truth is one: and all who tell the truth must tell it alike.

It is not difficult to elude both the horns of this dilemma. We will recur to the analogous art of portrait-painting. Any man with eyes and hands may be taught to take a likeness. The process, up to a certain point, is merely mechanical. If this were all, a man of talents might justly despise the occupation. But we could mention portraits which are resemblances,—but not mere resemblances; faithful,—but much more than faithful; portraits which condense into one point of time, and exhibit, at a single glance, the whole history of turbid and eventful lives—in which the eye seems to scrutinise us, and the mouth to command us—in which the brow menaces, and the lip almost quivers with scorn—in which every wrinkle is a comment on some important transaction. The account which Thucydides has given of the retreat from Syracuse is, among narratives, what Vandyke's Lord Strafford is among paintings.

Diversity, it is said, implies error: truth is one, and admits of no degrees. We answer, that this principle holds good only in abstract reasonings. When we talk of the truth of imitation in the fine arts, we mean an imperfect and a graduated truth. No picture is exactly like the original; nor is a picture good in proportion as it is like the original. When Sir Thomas Lawrence paints a handsome peeress, he does not contemplate her through a powerful microscope, and transfer to the canvas the pores of the skin, the blood-vessels of the eye, and all the other beauties which Gulliver discovered in the Brobdingnagian maids of honour. If he were to do this, the effect would not merely be unpleasant, but, unless the scale of the picture were proportionably enlarged, would be absolutely FALSE. And, after all, a microscope of greater power than that which he had employed would convict him of innumerable omissions. The same may be said of history. Perfectly and absolutely true it cannot be: for, to be perfectly and absolutely true, it ought to record ALL the slightest particulars of the slightest transactions—all the things done and all the words uttered during the time of which it treats. The omission of any circumstance, however insignificant, would be a defect. If history were written thus, the Bodleian Library would not contain the occurrences of a week. What is told in the fullest and most accurate annals bears an infinitely small proportion to what is suppressed. The difference between the copious work of Clarendon and the account of the civil wars in the abridgment of Goldsmith vanishes when compared with the immense mass of facts respecting which both are equally silent.

No picture, then, and no history, can present us with the whole truth: but those are the best pictures and the best histories which exhibit such parts of the truth as most nearly produce the effect of the whole. He who is deficient in the art of selection may, by showing nothing but the truth, produce all the effect of the grossest falsehood. It perpetually happens that one writer tells less truth than another, merely because he tells more truths. In the imitative arts we constantly see this. There are lines in the human face, and objects in landscape, which stand in such relations to each other, that they ought either to be all introduced into a painting together or all omitted together. A sketch into which none of them enters may be excellent; but, if some are given and others left out, though there are more points of likeness, there is less likeness. An outline scrawled with a pen, which seizes the marked features of a countenance, will give a much stronger idea of it than a bad painting in oils. Yet the worst painting in oils that ever hung at Somerset House resembles the original in many more particulars. A bust of white marble may give an excellent idea of a blooming face. Colour the lips and cheeks of the bust, leaving the hair and eyes unaltered, and the similarity, instead of being more striking, will be less so.

History has its foreground and its background: and it is principally in the management of its perspective that one artist differs from another. Some events must be represented on a large scale, others diminished; the great majority will be lost in the dimness of the horizon; and a general idea of their joint effect will be given by a few slight touches.

In this respect no writer has ever equalled Thucydides. He was a perfect master of the art of gradual diminution. His history is sometimes as concise as a chronological chart; yet it is always perspicuous. It is sometimes as minute as one of Lovelace's letters; yet it is never prolix. He never fails to contract and to expand it in the right place.

Thucydides borrowed from Herodotus the practice of putting speeches of his own into the mouths of his characters. In Herodotus this usage is scarcely censurable. It is of a piece with his whole manner. But it is altogether incongruous in the work of his successor, and violates, not only the accuracy of history, but the decencies of fiction. When once we enter into the spirit of Herodotus, we find no inconsistency. The conventional probability of his drama is preserved from the beginning to the end. The deliberate orations, and the familiar dialogues, are in strict keeping with each other. But the speeches of Thucydides are neither preceded nor followed by anything with which they harmonise. They give to the whole book something of the grotesque character of those Chinese pleasure-grounds in which perpendicular rocks of granite start up in the midst of a soft green plain. Invention is shocking where truth is in such close juxtaposition with it.

Thucydides honestly tells us that some of these discourses are purely fictitious. He may have reported the substance of others correctly, but it is clear from the internal evidence that he has preserved no more than the substance. His own peculiar habits of thought and expression are everywhere discernible. Individual and national peculiarities are seldom to be traced in the sentiments, and never in the diction. The oratory of the Corinthians and Thebans is not less Attic, either in matter or in manner, than that of the Athenians. The style of Cleon is as pure, as austere, as terse, and as significant, as that of Pericles.

In spite of this great fault, it must be allowed that Thucydides has surpassed all his rivals in the art of historical narration, in the art of producing an effect on the imagination, by skilful selection and disposition, without indulging in the license of invention. But narration, though an important part of the business of a historian, is not the whole. To append a moral to a work of fiction is either useless or superfluous. A fiction may give a more impressive effect to what is already known; but it can teach nothing new. If it presents to us characters and trains of events to which our experience furnishes us with nothing similar, instead of deriving instruction from it, we pronounce it unnatural. We do not form our opinions from it; but we try it by our preconceived opinions. Fiction, therefore, is essentially imitative. Its merit consists in its resemblance to a model with which we are already familiar, or to which at least we can instantly refer. Hence it is that the anecdotes which interest us most strongly in authentic narrative are offensive when introduced into novels; that what is called the romantic part of history is in fact the least romantic. It is delightful as history, because it contradicts our previous notions of human nature, and of the connection of causes and effects. It is, on that very account, shocking and incongruous in fiction. In fiction, the principles are given, to find the facts: in history, the facts are given, to find the principles; and the writer who does not explain the phenomena as well as state them, performs only one half of his office. Facts are the mere dross of history. It is from the abstract truth which interpenetrates them, and lies latent among them like gold in the ore, that the mass derives its whole value: and the precious particles are generally combined with the baser in such a manner that the separation is a task of the utmost difficulty.

Here Thucydides is deficient: the deficiency, indeed, is not discreditable to him. It was the inevitable effect of circumstances. It was in the nature of things necessary that, in some part of its progress through political science, the human mind should reach that point which it attained in his time. Knowledge advances by steps, and not by leaps. The axioms of an English debating club would have been startling and mysterious paradoxes to the most enlightened statesmen of Athens. But it would be as absurd to speak contemptuously of the Athenian on this account as to ridicule Strabo for not having given us an account of Chili, or to talk of Ptolemy as we talk of Sir Richard Phillips. Still, when we wish for solid geographical information, we must prefer the solemn coxcombry of Pinkerton to the noble work of Strabo. If we wanted instruction respecting the solar system, we should consult the silliest girl from a boarding-school, rather than Ptolemy.

Thucydides was undoubtedly a sagacious and reflecting man. This clearly appears from the ability with which he discusses practical questions. But the talent of deciding on the circumstances of a particular case is often possessed in the highest perfection by persons destitute of the power of generalisation. Men skilled in the military tactics of civilised nations have been amazed at the far-sightedness and penetration which a Mohawk displays in concerting his stratagems, or in discerning those of his enemies. In England, no class possesses so much of that peculiar ability which is required for constructing ingenious schemes, and for obviating remote difficulties, as the thieves and the thief-takers. Women have more of this dexterity than men. Lawyers have more of it than statesmen: statesmen have more of it than philosophers. Monk had more of it than Harrington and all his club. Walpole had more of it than Adam Smith or Beccaria. Indeed, the species of discipline by which this dexterity is acquired tends to contract the mind, and to render it incapable of abstract reasoning.

The Grecian statesmen of the age of Thucydides were distinguished by their practical sagacity, their insight into motives, their skill in devising means for the attainment of their ends. A state of society in which the rich were constantly planning the oppression of the poor, and the poor the spoliation of the rich, in which the ties of party had superseded those of country, in which revolutions and counter-revolutions were events of daily occurrence, was naturally prolific in desperate and crafty political adventurers. This was the very school in which men were likely to acquire the dissimulation of Mazarin, the judicious temerity of Richelieu, the penetration, the exquisite tact, the almost instinctive presentiment of approaching events which gave so much authority to the counsel of Shaftesbury, that "it was as if a man had inquired of the oracle of God." In this school Thucydides studied; and his wisdom is that which such a school would naturally afford. He judges better of circumstances than of principles. The more a question is narrowed, the better he reasons upon it. His work suggests many most important considerations respecting the first principles of government and morals, the growth of factions, the organisation of armies, and the mutual relations of communities. Yet all his general observations on these subjects are very superficial. His most judicious remarks differ from the remarks of a really philosophical historian, as a sum correctly cast up by a bookkeeper from a general expression discovered by an algebraist. The former is useful only in a single transaction; the latter may be applied to an infinite number of cases.

This opinion will, we fear, be considered as heterodox. For, not to speak of the illusion which the sight of a Greek type, or the sound of a Greek diphthong, often produces, there are some peculiarities in the manner of Thucydides which in no small degree have tended to secure to him the reputation of profundity. His book is evidently the book of a man and a statesman; and in this respect presents a remarkable contrast to the delightful childishness of Herodotus. Throughout it there is an air of matured power, of grave and melancholy reflection, of impartiality and habitual self-command. His feelings are rarely indulged, and speedily repressed. Vulgar prejudices of every kind, and particularly vulgar superstitions, he treats with a cold and sober disdain peculiar to himself. His style is weighty, condensed, antithetical, and not unfrequently obscure. But, when we look at his political philosophy, without regard to these circumstances, we find him to have been, what indeed it would have been a miracle if he had not been, simply an Athenian of the fifth century before Christ.

Xenophon is commonly placed, but we think without much reason, in the same rank with Herodotus and Thucydides. He resembles them, indeed, in the purity and sweetness of his style; but in spirit, he rather resembles that later school of historians whose works seem to be fables composed for a moral, and who, in their eagerness to give us warnings and examples, forget to give us men and women. The Life of Cyrus, whether we look upon it as a history or as a romance, seems to us a very wretched performance. The Expedition of the Ten Thousand, and the History of Grecian Affairs, are certainly pleasant reading; but they indicate no great power of mind. In truth, Xenophon, though his taste was elegant, his disposition amiable, and his intercourse with the world extensive, had, we suspect, rather a weak head. Such was evidently the opinion of that extraordinary man to whom he early attached himself, and for whose memory he entertained an idolatrous veneration. He came in only for the milk with which Socrates nourished his babes in philosophy. A few saws of morality, and a few of the simplest doctrines of natural religion, were enough for the good young man. The strong meat, the bold speculations on physical and metaphysical science, were reserved for auditors of a different description. Even the lawless habits of a captain of mercenary troops could not change the tendency which the character of Xenophon early acquired. To the last, he seems to have retained a sort of heathen Puritanism. The sentiments of piety and virtue which abound in his works are those of a well-meaning man, somewhat timid and narrow-minded, devout from constitution rather than from rational conviction. He was as superstitious as Herodotus, but in a way far more offensive. The very peculiarities which charm us in an infant, the toothless mumbling, the stammering, the tottering, the helplessness, the causeless tears and laughter, are disgusting in old age. In the same manner, the absurdity which precedes a period of general intelligence is often pleasing; that which follows it is contemptible. The nonsense of Herodotus is that of a baby. The nonsense of Xenophon is that of a dotard. His stories about dreams, omens, and prophecies, present a strange contrast to the passages in which the shrewd and incredulous Thucydides mentions the popular superstitions. It is not quite clear that Xenophon was honest in his credulity; his fanaticism was in some degree politic. He would have made an excellent member of the Apostolic Camarilla. An alarmist by nature, an aristocrat by party, he carried to an unreasonable excess his horror of popular turbulence. The quiet atrocity of Sparta did not shock him in the same manner; for he hated tumult more than crimes. He was desirous to find restraints which might curb the passions of the multitude; and he absurdly fancied that he had found them in a religion without evidences or sanction, precepts or example, in a frigid system of Theophilanthropy, supported by nursery tales.

Polybius and Arrian have given us authentic accounts of facts; and here their merit ends. They were not men of comprehensive minds; they had not the art of telling a story in an interesting manner. They have in consequence been thrown into the shade by writers who, though less studious of truth than themselves, understood far better the art of producing effect,—by Livy and Quintus Curtius.

Yet Polybius and Arrian deserve high praise when compared with the writers of that school of which Plutarch may be considered as the head. For the historians of this class we must confess that we entertain a peculiar aversion. They seem to have been pedants, who, though destitute of those valuable qualities which are frequently found in conjunction with pedantry, thought themselves great philosophers and great politicians. They not only mislead their readers in every page, as to particular facts, but they appear to have altogether misconceived the whole character of the times of which they write. They were inhabitants of an empire bounded by the Atlantic Ocean and the Euphrates, by the ice of Scythia and the sands of Mauritania; composed of nations whose manners, whose languages, whose religion, whose countenances and complexions, were widely different; governed by one mighty despotism, which had risen on the ruins of a thousand commonwealths and kingdoms. Of liberty, such as it is in small democracies, of patriotism, such as it is in small independent communities of any kind, they had, and they could have, no experimental knowledge. But they had read of men who exerted themselves in the cause of their country with an energy unknown in later times, who had violated the dearest of domestic charities, or voluntarily devoted themselves to death for the public good; and they wondered at the degeneracy of their contemporaries. It never occurred to them that the feelings which they so greatly admired sprung from local and occasional causes; that they will always grow up spontaneously in small societies; and that, in large empires, though they may be forced into existence for a short time by peculiar circumstances, they cannot be general or permanent. It is impossible that any man should feel for a fortress on a remote frontier as he feels for his own house; that he should grieve for a defeat in which ten thousand people whom he never saw have fallen as he grieves for a defeat which has half unpeopled the street in which he lives; that he should leave his home for a military expedition in order to preserve the balance of power, as cheerfully as he would leave it to repel invaders who had begun to burn all the corn fields in his neighbourhood.

The writers of whom we speak should have considered this. They should have considered that in patriotism, such as it existed amongst the Greeks, there was nothing essentially and eternally good; that an exclusive attachment to a particular society, though a natural, and, under certain restrictions, a most useful sentiment, implies no extraordinary attainments in wisdom or virtue; that, where it has existed in an intense degree, it has turned states into gangs of robbers whom their mutual fidelity has rendered more dangerous, has given a character of peculiar atrocity to war, and has generated that worst of all political evils, the tyranny of nations over nations.

Enthusiastically attached to the name of liberty, these historians troubled themselves little about its definition. The Spartans, tormented by ten thousand absurd restraints, unable to please themselves in the choice of their wives, their suppers, or their company, compelled to assume a peculiar manner, and to talk in a peculiar style, gloried in their liberty. The aristocracy of Rome repeatedly made liberty a plea for cutting off the favourites of the people. In almost all the little commonwealths of antiquity, liberty was used as a pretext for measures directed against everything which makes liberty valuable, for measures which stifled discussion, corrupted the administration of justice, and discouraged the accumulation of property. The writers, whose works we are considering, confounded the sound with the substance, and the means with the end. Their imaginations were inflamed by mystery. They conceived of liberty as monks conceive of love, as cockneys conceive of the happiness and innocence of rural life, as novel-reading sempstresses conceive of Almack's and Grosvenor Square, accomplished Marquesses and handsome Colonels of the Guards. In the relation of events, and the delineation of characters, they have paid little attention to facts, to the costume of the times of which they pretend to treat, or to the general principles of human nature. They have been faithful only to their own puerile and extravagant doctrines. Generals and statesmen are metamorphosed into magnanimous coxcombs, from whose fulsome virtues we turn away with disgust. The fine sayings and exploits of their heroes remind us of the insufferable perfections of Sir Charles Grandison, and affect us with a nausea similar to that which we feel when an actor, in one of Morton's or Kotzebue's plays, lays his hand on his heart, advances to the ground-lights, and mouths a moral sentence for the edification of the gods.

These writers, men who knew not what it was to have a country, men who had never enjoyed political rights, brought into fashion an offensive cant about patriotism and zeal for freedom. What the English Puritans did for the language of Christianity, what Scuderi did for the language of love, they did for the language of public spirit. By habitual exaggeration they made it mean. By monotonous emphasis they made it feeble. They abused it till it became scarcely possible to use it with effect.

Their ordinary rules of morality are deduced from extreme cases. The common regimen which they prescribe for society is made up of those desperate remedies which only its most desperate distempers require. They look with peculiar complacency on actions which even those who approve them consider as exceptions to laws of almost universal application—which bear so close an affinity to the most atrocious crimes that, even where it may be unjust to censure them, it is unsafe to praise them. It is not strange, therefore, that some flagitious instances of perfidy and cruelty should have been passed unchallenged in such company, that grave moralists, with no personal interest at stake, should have extolled, in the highest terms, deeds of which the atrocity appalled even the infuriated factions in whose cause they were perpetrated. The part which Timoleon took in the assassination of his brother shocked many of his own partisans. The recollection of it preyed long on his own mind. But it was reserved for historians who lived some centuries later to discover that his conduct was a glorious display of virtue, and to lament that, from the frailty of human nature, a man who could perform so great an exploit could repent of it.

The writings of these men, and of their modern imitators, have produced effects which deserve some notice. The English have been so long accustomed to political speculation, and have enjoyed so large a measure of practical liberty, that such works have produced little effect on their minds. We have classical associations and great names of our own which we can confidently oppose to the most splendid of ancient times. Senate has not to our ears a sound so venerable as Parliament. We respect to the Great Charter more than the laws of Solon. The Capitol and the Forum impress us with less awe than our own Westminster Hall and Westminster Abbey, the place where the great men of twenty generations have contended, the place where they sleep together! The list of warriors and statesmen by whom our constitution was founded or preserved, from De Montfort down to Fox, may well stand a comparison with the Fasti of Rome. The dying thanksgiving of Sidney is as noble as the libation which Thrasea poured to Liberating Jove: and we think with far less pleasure of Cato tearing out his entrails than of Russell saying, as he turned away from his wife, that the bitterness of death was past. Even those parts of our history over which, on some accounts, we would gladly throw a veil may be proudly opposed to those on which the moralists of antiquity loved most to dwell. The enemy of English liberty was not murdered by men whom he had pardoned and loaded with benefits. He was not stabbed in the back by those who smiled and cringed before his face. He was vanquished on fields of stricken battle; he was arraigned, sentenced, and executed in the face of heaven and earth. Our liberty is neither Greek nor Roman; but essentially English. It has a character of its own,—a character which has taken a tinge from the sentiments of the chivalrous ages, and which accords with the peculiarities of our manners and of our insular situation. It has a language, too, of its own, and a language singularly idiomatic, full of meaning to ourselves, scarcely intelligible to strangers.

Here, therefore, the effect of books such as those which we have been considering has been harmless. They have, indeed, given currency to many very erroneous opinions with respect to ancient history. They have heated the imaginations of boys. They have misled the judgment and corrupted the taste of some men of letters, such as Akenside and Sir William Jones. But on persons engaged in public affairs they have had very little influence. The foundations of our constitution were laid by men who knew nothing of the Greeks but that they denied the orthodox procession and cheated the Crusaders; and nothing of Rome, but that the Pope lived there. Those who followed, contented themselves with improving on the original plan. They found models at home and therefore they did not look for them abroad. But, when enlightened men on the Continent began to think about political reformation, having no patterns before their eyes in their domestic history, they naturally had recourse to those remains of antiquity, the study of which is considered throughout Europe as an important part of education. The historians of whom we have been speaking had been members of large communities, and subjects of absolute sovereigns. Hence it is, as we have already said, that they commit such gross errors in speaking of the little republics of antiquity. Their works were now read in the spirit in which they had been written. They were read by men placed in circumstances closely resembling their own, unacquainted with the real nature of liberty, but inclined to believe everything good which could be told respecting it. How powerfully these books impressed these speculative reformers, is well known to all who have paid any attention to the French literature of the last century. But, perhaps, the writer on whom they produced the greatest effect was Vittorio Alfieri. In some of his plays, particularly in Virginia, Timoleon, and Brutus the Younger, he has even caricatured the extravagance of his masters.

It was not strange that the blind, thus led by the blind, should stumble. The transactions of the French Revolution, in some measure, took their character from these works. Without the assistance of these works, indeed, a revolution would have taken place,—a revolution productive of much good and much evil, tremendous but shortlived, evil dearly purchased, but durable good. But it would not have been exactly such a revolution. The style, the accessories, would have been in many respects different. There would have been less of bombast in language, less of affectation in manner, less of solemn trifling and ostentatious simplicity. The acts of legislative assemblies, and the correspondence of diplomatists, would not have been disgraced by rants worthy only of a college declamation. The government of a great and polished nation would not have rendered itself ridiculous by attempting to revive the usages of a world which had long passed away, or rather of a world which had never existed except in the description of a fantastic school of writers. These second-hand imitations resembled the originals about as much as the classical feast with which the Doctor in Peregrine Pickle turned the stomachs of all his guests resembled one of the suppers of Lucullus in the Hall of Apollo.

These were mere follies. But the spirit excited by these writers produced more serious effects. The greater part of the crimes which disgraced the revolution sprung indeed from the relaxation of law, from popular ignorance, from the remembrance of past oppression, from the fear of foreign conquest, from rapacity, from ambition, from party-spirit. But many atrocious proceedings must, doubtless, be ascribed to heated imagination, to perverted principle, to a distaste for what was vulgar in morals, and a passion for what was startling and dubious. Mr Burke has touched on this subject with great felicity of expression: "The gradation of their republic," says he, "is laid in moral paradoxes. All those instances to be found in history, whether real or fabulous, of a doubtful public spirit, at which morality is perplexed, reason is staggered, and from which affrighted nature recoils, are their chosen and almost sole examples for the instruction of their youth." This evil, we believe, is to be directly ascribed to the influence of the historians whom we have mentioned, and their modern imitators.

Livy had some faults in common with these writers. But on the whole he must be considered as forming a class by himself: no historian with whom we are acquainted has shown so complete an indifference to truth. He seems to have cared only about the picturesque effect of his book, and the honour of his country. On the other hand, we do not know, in the whole range of literature, an instance of a bad thing so well done. The painting of the narrative is beyond description vivid and graceful. The abundance of interesting sentiments and splendid imagery in the speeches is almost miraculous. His mind is a soil which is never over-teemed, a fountain which never seems to trickle. It pours forth profusely; yet it gives no sign of exhaustion. It was probably to this exuberance of thought and language, always fresh, always sweet, always pure, no sooner yielded than repaired, that the critics applied that expression which has been so much discussed lactea ubertas.

All the merits and all the defects of Livy take a colouring from the character of his nation. He was a writer peculiarly Roman; the proud citizen of a commonwealth which had indeed lost the reality of liberty, but which still sacredly preserved its forms—in fact, the subject of an arbitrary prince, but in his own estimation one of the masters of the world, with a hundred kings below him, and only the gods above him. He, therefore, looked back on former times with feelings far different from those which were naturally entertained by his Greek contemporaries, and which at a later period became general among men of letters throughout the Roman Empire. He contemplated the past with interest and delight, not because it furnished a contrast to the present, but because it had led to the present. He recurred to it, not to lose in proud recollections the sense of national degradation, but to trace the progress of national glory. It is true that his veneration for antiquity produced on him some of the effects which it produced on those who arrived at it by a very different road. He has something of their exaggeration, something of their cant, something of their fondness for anomalies and lusus naturae in morality. Yet even here we perceive a difference. They talk rapturously of patriotism and liberty in the abstract. He does not seem to think any country but Rome deserving of love; nor is it for liberty as liberty, but for liberty as a part of the Roman institutions, that he is zealous.

Of the concise and elegant accounts of the campaigns of Caesar little can be said. They are incomparable models for military despatches. But histories they are not, and do not pretend to be.

The ancient critics placed Sallust in the same rank with Livy; and unquestionably the small portion of his works which has come down to us is calculated to give a high opinion of his talents. But his style is not very pleasant: and his most powerful work, the account of the Conspiracy of Catiline, has rather the air of a clever party pamphlet than that of a history. It abounds with strange inconsistencies, which, unexplained as they are, necessarily excite doubts as to the fairness of the narrative. It is true, that many circumstances now forgotten may have been familiar to his contemporaries, and may have rendered passages clear to them which to us appear dubious and perplexing. But a great historian should remember that he writes for distant generations, for men who will perceive the apparent contradictions, and will possess no means of reconciling them. We can only vindicate the fidelity of Sallust at the expense of his skill. But in fact all the information which we have from contemporaries respecting this famous plot is liable to the same objection, and is read by discerning men with the same incredulity. It is all on one side. No answer has reached our times. Yet on the showing of the accusers the accused seem entitled to acquittal. Catiline, we are told, intrigued with a Vestal virgin, and murdered his own son. His house was a den of gamblers and debauchees. No young man could cross his threshold without danger to his fortune and reputation. Yet this is the man with whom Cicero was willing to coalesce in a contest for the first magistracy of the republic; and whom he described, long after the fatal termination of the conspiracy, as an accomplished hypocrite, by whom he had himself been deceived, and who had acted with consummate skill the character of a good citizen and a good friend. We are told that the plot was the most wicked and desperate ever known, and, almost in the same breath, that the great body of the people, and many of the nobles, favoured it; that the richest citizens of Rome were eager for the spoliation of all property, and its highest functionaries for the destruction of all order; that Crassus, Caesar, the Praetor Lentulus, one of the consuls of the year, one of the consuls elect, were proved or suspected to be engaged in a scheme for subverting institutions to which they owed the highest honours, and introducing universal anarchy. We are told that a government, which knew all this, suffered the conspirator, whose rank, talents, and courage rendered him most dangerous, to quit Rome without molestation. We are told that bondmen and gladiators were to be armed against the citizens. Yet we find that Catiline rejected the slaves who crowded to enlist in his army, lest, as Sallust himself expresses it, "he should seem to identify their cause with that of the citizens." Finally, we are told that the magistrate, who was universally allowed to have saved all classes of his countrymen from conflagration and massacre, rendered himself so unpopular by his conduct that a marked insult was offered to him at the expiration of his office, and a severe punishment inflicted on him shortly after.

Sallust tells us, what, indeed, the letters and speeches of Cicero sufficiently prove, that some persons consider the shocking, and atrocious parts of the plot as mere inventions of the government, designed to excuse its unconstitutional measures. We must confess ourselves to be of that opinion. There was, undoubtedly, a strong party desirous to change the administration. While Pompey held the command of an army, they could not effect their purpose without preparing means for repelling force, if necessary, by force. In all this there is nothing different from the ordinary practice of Roman factions. The other charges brought against the conspirators are so inconsistent and improbable, that we give no credit whatever to them. If our readers think this scepticism unreasonable, let them turn to the contemporary accounts of the Popish plot. Let them look over the votes of Parliament, and the speeches of the king; the charges of Scroggs, and the harangues of the managers employed against Strafford. A person who should form his judgment from these pieces alone would believe that London was set on fire by the Papists, and that Sir Edmondbury Godfrey was murdered for his religion. Yet these stories are now altogether exploded. They have been abandoned by statesmen to aldermen, by aldermen to clergymen, by clergymen to old women, and by old women to Sir Harcourt Lees.

Of the Latin historians, Tacitus was certainly the greatest. His style, indeed, is not only faulty in itself, but is, in some respects, peculiarly unfit for historical composition. He carries his love of effect far beyond the limits of moderation. He tells a fine story finely, but he cannot tell a plain story plainly. He stimulates till stimulants lose their power. Thucydides, as we have already observed, relates ordinary transactions with the unpretending clearness and succinctness of a gazette. His great powers of painting he reserves for events of which the slightest details are interesting. The simplicity of the setting gives additional lustre to the brilliants. There are passages in the narrative of Tacitus superior to the best which can be quoted from Thucydides. But they are not enchased and relieved with the same skill. They are far more striking when extracted from the body of the work to which they belong than when they occur in their place, and are read in connection with what precedes and follows.

In the delineation of character, Tacitus is unrivalled among historians, and has very few superiors among dramatists and novelists. By the delineation of character, we do not mean the practice of drawing up epigrammatic catalogues of good and bad qualities, and appending them to the names of eminent men. No writer, indeed, has done this more skilfully than Tacitus; but this is not his peculiar glory. All the persons who occupy a large space in his works have an individuality of character which seems to pervade all their words and actions. We know them as if we had lived with them. Claudius, Nero, Otho, both the Agrippinas, are masterpieces. But Tiberius is a still higher miracle of art. The historian undertook to make us intimately acquainted with a man singularly dark and inscrutable,—with a man whose real disposition long remained swathed up in intricate folds of factitious virtues, and over whose actions the hypocrisy of his youth, and the seclusion of his old age, threw a singular mystery. He was to exhibit the specious qualities of the tyrant in a light which might render them transparent, and enable us at once to perceive the covering and the vices which it concealed. He was to trace the gradations by which the first magistrate of a republic, a senator mingling freely in debate, a noble associating with his brother nobles, was transformed into an Asiatic sultan; he was to exhibit a character, distinguished by courage, self-command, and profound policy, yet defiled by all

     "th' extravagancy
     And crazy ribaldry of fancy."

He was to mark the gradual effect of advancing age and approaching death on this strange compound of strength and weakness; to exhibit the old sovereign of the world sinking into a dotage which, though it rendered his appetites eccentric, and his temper savage, never impaired the powers of his stern and penetrating mind—conscious of failing strength, raging with capricious sensuality, yet to the last the keenest of observers, the most artful of dissemblers, and the most terrible of masters. The task was one of extreme difficulty. The execution is almost perfect.

The talent which is required to write history thus bears a considerable affinity to the talent of a great dramatist. There is one obvious distinction. The dramatist creates; the historian only disposes. The difference is not in the mode of execution, but in the mode of conception. Shakspeare is guided by a model which exists in his imagination; Tacitus, by a model furnished from without. Hamlet is to Tiberius what the Laocoon is to the Newton of Roubilliac.

In this part of his art Tacitus certainly had neither equal nor second among the ancient historians. Herodotus, though he wrote in a dramatic form, had little of dramatic genius. The frequent dialogues which he introduces give vivacity and movement to the narrative, but are not strikingly characteristic. Xenophon is fond of telling his readers, at considerable length, what he thought of the persons whose adventures he relates. But he does not show them the men, and enable them to judge for themselves. The heroes of Livy are the most insipid of all beings, real or imaginary, the heroes of Plutarch always excepted. Indeed, the manner of Plutarch in this respect reminds us of the cookery of those continental inns, the horror of English travellers, in which a certain nondescript broth is kept constantly boiling, and copiously poured, without distinction, over every dish as it comes up to table. Thucydides, though at a wide interval, comes next to Tacitus. His Pericles, his Nicias, his Cleon, his Brasidas, are happily discriminated. The lines are few, the colouring faint: but the general air and expression is caught.

We begin, like the priest in Don Quixote's library, to be tired with taking down books one after another for separate judgment, and feel inclined to pass sentence on them in masses. We shall therefore, instead of pointing out the defects and merits of the different modern historians, state generally in what particulars they have surpassed their predecessors, and in what we conceive them to have failed.

They have certainly been, in one sense, far more strict in their adherence to truth than most of the Greek and Roman writers. They do not think themselves entitled to render their narrative interesting by introducing descriptions, conversations, and harangues which have no existence but in their own imagination. This improvement was gradually introduced. History commenced among the modern nations of Europe, as it had commenced among the Greeks, in romance. Froissart was our Herodotus. Italy was to Europe what Athens was to Greece. In Italy, therefore, a more accurate and manly mode of narration was early introduced. Machiavelli and Guicciardini, in imitation of Livy and Thucydides, composed speeches for their historical personages. But, as the classical enthusiasm which distinguished the age of Lorenzo and Leo gradually subsided, this absurd practice was abandoned. In France, we fear, it still, in some degree, keeps its ground. In our own country, a writer who should venture on it would be laughed to scorn. Whether the historians of the last two centuries tell more truth than those of antiquity, may perhaps be doubted. But it is quite certain that they tell fewer falsehoods.

In the philosophy of history, the moderns have very far surpassed the ancients. It is not, indeed, strange that the Greeks and Romans should not have carried the science of government, or any other experimental science, so far as it has been carried in our time; for the experimental sciences are generally in a state of progression. They were better understood in the seventeenth century than in the sixteenth, and in the eighteenth century than in the seventeenth. But this constant improvement, this natural growth of knowledge, will not altogether account for the immense superiority of the modern writers. The difference is a difference not in degree, but of kind. It is not merely that new principles have been discovered, but that new faculties seem to be exerted. It is not that at one time the human intellect should have made but small progress, and at another time have advanced far: but that at one time it should have been stationary, and at another time constantly proceeding. In taste and imagination, in the graces of style, in the arts of persuasion, in the magnificence of public works, the ancients were at least our equals. They reasoned as justly as ourselves on subjects which required pure demonstration. But in the moral sciences they made scarcely any advance. During the long period which elapsed between the fifth century before the Christian era and the fifth century after it little perceptible progress was made. All the metaphysical discoveries of all the philosophers, from the time of Socrates to the northern invasion, are not to be compared in importance with those which have been made in England every fifty years since the time of Elizabeth. There is not the least reason to believe that the principles of government, legislation, and political economy, were better understood in the time of Augustus Caesar than in the time of Pericles. In our own country, the sound doctrines of trade and jurisprudence have been, within the lifetime of a single generation, dimly hinted, boldly propounded, defended, systematised, adopted by all reflecting men of all parties, quoted in legislative assemblies, incorporated into laws and treaties.

To what is this change to be attributed? Partly, no doubt, to the discovery of printing, a discovery which has not only diffused knowledge widely, but, as we have already observed, has also introduced into reasoning a precision unknown in those ancient communities, in which information, was, for the most part, conveyed orally. There was, we suspect, another cause, less obvious, but still more powerful.

The spirit of the two most famous nations of antiquity was remarkably exclusive. In the time of Homer the Greeks had not begun to consider themselves as a distinct race. They still looked with something of childish wonder and awe on the riches and wisdom of Sidon and Egypt. From what causes, and by what gradations, their feelings underwent a change, it is not easy to determine. Their history, from the Trojan to the Persian war, is covered with an obscurity broken only by dim and scattered gleams of truth. But it is certain that a great alteration took place. They regarded themselves as a separate people. They had common religious rites, and common principles of public law, in which foreigners had no part. In all their political systems, monarchical, aristocratical, and democratical, there was a strong family likeness. After the retreat of Xerxes and the fall of Mardonius, national pride rendered the separation between the Greeks and the barbarians complete. The conquerors considered themselves men of a superior breed, men who, in their intercourse with neighbouring nations, were to teach, and not to learn. They looked for nothing out of themselves. They borrowed nothing. They translated nothing. We cannot call to mind a single expression of any Greek writer earlier than the age of Augustus, indicating an opinion that anything worth reading could be written in any language except his own. The feelings which sprung from national glory were not altogether extinguished by national degradation. They were fondly cherished through ages of slavery and shame. The literature of Rome herself was regarded with contempt by those who had fled before her arms, and who bowed beneath her fasces. Voltaire says, in one of his six thousand pamphlets, that he was the first person who told the French that England had produced eminent men besides the Duke of Marlborough. Down to a very late period, the Greeks seem to have stood in need of similar information with respect to their masters. With Paulus Aemilius, Sylla, and Caesar, they were well acquainted. But the notions which they entertained respecting Cicero and Virgil were, probably, not unlike those which Boileau may have formed about Shakspeare. Dionysius lived in the most splendid age of Latin poetry and eloquence. He was a critic, and, after the manner of his age, an able critic. He studied the language of Rome, associated with its learned men, and compiled its history. Yet he seems to have thought its literature valuable only for the purpose of illustrating its antiquities. His reading appears to have been confined to its public records, and to a few old annalists. Once, and but once, if we remember rightly, he quotes Ennius, to solve a question of etymology. He has written much on the art of oratory: yet he has not mentioned the name of Cicero.

The Romans submitted to the pretensions of a race which they despised. Their epic poet, while he claimed for them pre-eminence in the arts of government and war, acknowledged their inferiority in taste, eloquence, and science. Men of letters affected to understand the Greek language better than their own. Pomponius preferred the honour of becoming an Athenian, by intellectual naturalisation, to all the distinctions which were to be acquired in the political contests of Rome. His great friend composed Greek poems and memoirs. It is well-known that Petrarch considered that beautiful language in which his sonnets are written, as a barbarous jargon, and intrusted his fame to those wretched Latin hexameters which, during the last four centuries, have scarcely found four readers. Many eminent Romans appear to have felt the same contempt for their native tongue as compared with the Greek. The prejudice continued to a very late period. Julian was as partial to the Greek language as Frederic the Great to the French: and it seems that he could not express himself with elegance in the dialect of the state which he ruled.

Even those Latin writers who did not carry this affectation so far looked on Greece as the only fount of knowledge. From Greece they derived the measures of their poetry, and, indeed, all of poetry that can be imported. From Greece they borrowed the principles and the vocabulary of their philosophy. To the literature of other nations they do not seem to have paid the slightest attention. The sacred books of the Hebrews, for example, books which, considered merely as human compositions, are invaluable to the critic, the antiquarian, and the philosopher, seem to have been utterly unnoticed by them. The peculiarities of Judaism, and the rapid growth of Christianity, attracted their notice. They made war against the Jews. They made laws against the Christians. But they never opened the books of Moses. Juvenal quotes the Pentateuch with censure. The author of the treatise on "the Sublime" quotes it with praise: but both of them quote it erroneously. When we consider what sublime poetry, what curious history, what striking and peculiar views of the Divine nature and of the social duties of men, are to be found in the Jewish scriptures, when we consider that two sects on which the attention of the government was constantly fixed appealed to those scriptures as the rule of their faith and practice, this indifference is astonishing. The fact seems to be, that the Greeks admired only themselves, and that the Romans admired only themselves and the Greeks. Literary men turned away with disgust from modes of thought and expression so widely different from all that they had been accustomed to admire. The effect was narrowness and sameness of thought. Their minds, if we may so express ourselves, bred in and in, and were accordingly cursed with barrenness and degeneracy. No extraneous beauty or vigour was engrafted on the decaying stock. By an exclusive attention to one class of phenomena, by an exclusive taste for one species of excellence, the human intellect was stunted. Occasional coincidences were turned into general rules. Prejudices were confounded with instincts. On man, as he was found in a particular state of society—on government, as it had existed in a particular corner of the world, many just observations were made; but of man as man, or government as government, little was known. Philosophy remained stationary. Slight changes, sometimes for the worse and sometimes for the better, were made in the superstructure. But nobody thought of examining the foundations.

The vast despotism of the Caesars, gradually effacing all national peculiarities, and assimilating the remotest provinces of the empire to each other, augmented the evil. At the close of the third century after Christ, the prospects of mankind were fearfully dreary. A system of etiquette, as pompously frivolous as that of the Escurial, had been established. A sovereign almost invisible; a crowd of dignitaries minutely distinguished by badges and titles; rhetoricians who said nothing but what had been said ten thousand times; schools in which nothing was taught but what had been known for ages: such was the machinery provided for the government and instruction of the most enlightened part of the human race. That great community was then in danger of experiencing a calamity far more terrible than any of the quick, inflammatory, destroying maladies, to which nations are liable,—a tottering, drivelling, paralytic longevity, the immortality of the Struldbrugs, a Chinese civilisation. It would be easy to indicate many points of resemblance between the subjects of Diocletian and the people of that Celestial Empire, where, during many centuries, nothing has been learned or unlearned; where government, where education, where the whole system of life, is a ceremony; where knowledge forgets to increase and multiply, and, like the talent buried in the earth, or the pound wrapped up in the napkin, experiences neither waste no augmentation.

The torpor was broken by two great revolutions, the one moral, the other political, the one from within, the other from without. The victory of Christianity over Paganism, considered with relation to this subject only, was of great importance. It overthrew the old system of morals; and with it much of the old system of metaphysics. It furnished the orator with new topics of declamation, and the logician with new points of controversy. Above all, it introduced a new principle, of which the operation was constantly felt in every part of society. It stirred the stagnant mass from the inmost depths. It excited all the passions of a stormy democracy in the quiet and listless population of an overgrown empire. The fear of heresy did what the sense of oppression could not do; it changed men, accustomed to be turned over like sheep from tyrant to tyrant, into devoted partisans and obstinate rebels. The tones of an eloquence which had been silent for ages resounded from the pulpit of Gregory. A spirit which had been extinguished on the plains of Philippi revived in Athanasius and Ambrose.

Yet even this remedy was not sufficiently violent for the disease. It did not prevent the empire of Constantinople from relapsing, after a short paroxysm of excitement, into a state of stupefaction, to which history furnishes scarcely any parallel. We there find that a polished society, a society in which a most intricate and elaborate system of jurisprudence was established, in which the arts of luxury were well understood, in which the works of the great ancient writers were preserved and studied, existed for nearly a thousand years without making one great discovery in science, or producing one book which is read by any but curious inquirers. There were tumults, too, and controversies, and wars in abundance: and these things, bad as they are in themselves, have generally been favourable to the progress of the intellect. But here they tormented without stimulating. The waters were troubled; but no healing influence descended. The agitations resembled the grinnings and writhings of a galvanised corpse, not the struggles of an athletic man.

From this miserable state the Western Empire was saved by the fiercest and most destroying visitation with which God has ever chastened his creatures—the invasion of the Northern nations. Such a cure was required for such a distemper. The fire of London, it has been observed was a blessing. It burned down the city; but it burned out the plague. The same may be said of the tremendous devastation of the Roman dominions. It annihilated the noisome recesses in which lurked the seeds of great moral maladies; it cleared an atmosphere fatal to the health and vigour of the human mind. It cost Europe a thousand years of barbarism to escape the fate of China.

At length the terrible purification was accomplished; and the second civilisation of mankind commenced, under circumstances which afforded a strong security that it would never retrograde and never pause. Europe was now a great federal community. Her numerous states were united by the easy ties of international law and a common religion. Their institutions, their languages, their manners, their tastes in literature, their modes of education, were widely different. Their connection was close enough to allow of mutual observation and improvement, yet not so close as to destroy the idioms of national opinion and feeling.

The balance of moral and intellectual influence thus established between the nations of Europe is far more important than the balance of political power. Indeed, we are inclined to think that the latter is valuable principally because it tends to maintain the former. The civilised world has thus been preserved from a uniformity of character fatal to all improvement. Every part of it has been illuminated with light reflected from every other. Competition has produced activity where monopoly would have produced sluggishness. The number of experiments in moral science which the speculator has an opportunity of witnessing has been increased beyond all calculation. Society and human nature, instead of being seen in a single point of view, are presented to him under ten thousand different aspects. By observing the manners of surrounding nations, by studying their literature, by comparing it with that of his own country and of the ancient republics, he is enabled to correct those errors into which the most acute men must fall when they reason from a single species to a genus. He learns to distinguish what is local from what is universal: what is transitory from what is eternal; to discriminate between exceptions and rules; to trace the operation of disturbing causes; to separate those general principles which are always true and everywhere applicable from the accidental circumstances with which, in every community, they are blended, and with which, in an isolated community, they are confounded by the most philosophical mind.

Hence it is that, in generalisation, the writers of modern times have far surpassed those of antiquity. The historians of our own country are unequalled in depth and precision of reason; and, even in the works of our mere compilers, we often meet with speculations beyond the reach of Thucydides or Tacitus.

But it must, at the same time, be admitted that they have characteristic faults, so closely connected with their characteristic merits, and of such magnitude, that it may well be doubted whether, on the whole, this department of literature has gained or lost during the last two-and-twenty centuries.

The best historians of later times have been seduced from truth, not by their imagination, but by their reason. They far excel their predecessors in the art of deducing general principles from facts. But unhappily they have fallen into the error of distorting facts to suit general principles. They arrive at a theory from looking at some of the phenomena; and the remaining phenomena they strain or curtail to suit the theory. For this purpose it is not necessary that they should assert what is absolutely false; for all questions in morals and politics are questions of comparison and degree. Any proposition which does not involve a contradiction in terms may by possibility be true; and, if all the circumstances which raise a probability in its favour, be stated and enforced, and those which lead to an opposite conclusion be omitted or lightly passed over, it may appear to be demonstrated. In every human character and transaction there is a mixture of good and evil: a little exaggeration, a little suppression, a judicious use of epithets, a watchful and searching scepticism with respect to the evidence on one side, a convenient credulity with respect to every report or tradition on the other, may easily make a saint of Laud, or a tyrant of Henry the Fourth.

This species of misrepresentation abounds in the most valuable works of modern historians. Herodotus tells his story like a slovenly witness, who, heated by partialities and prejudices, unacquainted with the established rules of evidence, and uninstructed as to the obligations of his oath, confounds what he imagines with what he has seen and heard, and brings out facts, reports, conjectures, and fancies, in one mass. Hume is an accomplished advocate. Without positively asserting much more than he can prove, he gives prominence to all the circumstances which support his case; he glides lightly over those which are unfavourable to it; his own witnesses are applauded and encouraged; the statements which seem to throw discredit on them are controverted; the contradictions into which they fall are explained away; a clear and connected abstract of their evidence is given. Everything that is offered on the other side is scrutinised with the utmost severity; every suspicious circumstance is a ground for comment and invective; what cannot be denied is extenuated, or passed by without notice; concessions even are sometimes made: but this insidious candour only increases the effect of the vast mass of sophistry.

We have mentioned Hume as the ablest and most popular writer of his class; but the charge which we have brought against him is one to which all our most distinguished historians are in some degree obnoxious. Gibbon, in particular, deserves very severe censure. Of all the numerous culprits, however, none is more deeply guilty than Mr Mitford. We willingly acknowledge the obligations which are due to his talents and industry. The modern historians of Greece had been in the habit of writing as if the world had learned nothing new during the last sixteen hundred years. Instead of illustrating the events which they narrated by the philosophy of a more enlightened age, they judged of antiquity by itself alone. They seemed to think that notions, long driven from every other corner of literature, had a prescriptive right to occupy this last fastness. They considered all the ancient historians as equally authentic. They scarcely made any distinction between him who related events at which he had himself been present and him who five hundred years after composed a philosophic romance for a society which had in the interval undergone a complete change. It was all Greek, and all true! The centuries which separated Plutarch from Thucydides seemed as nothing to men who lived in an age so remote. The distance of time produced an error similar to that which is sometimes produced by distance of place. There are many good ladies who think that all the people in India live together, and who charge a friend setting out for Calcutta with kind messages to Bombay. To Rollin and Barthelemi, in the same manner, all the classics were contemporaries.

Mr Mitford certainly introduced great improvements; he showed us that men who wrote in Greek and Latin sometimes told lies; he showed us that ancient history might be related in such a manner as to furnish not only allusions to schoolboys, but important lessons to statesmen. From that love of theatrical effect and high-flown sentiment which had poisoned almost every other work on the same subject his book is perfectly free. But his passion for a theory as false, and far more ungenerous, led him substantially to violate truth in every page. Statements unfavourable to democracy are made with unhesitating confidence, and with the utmost bitterness of language. Every charge brought against a monarch or an aristocracy is sifted with the utmost care. If it cannot be denied, some palliating supposition is suggested; or we are at least reminded that some circumstances now unknown MAY have justified what at present appears unjustifiable. Two events are reported by the same author in the same sentence; their truth rests on the same testimony; but the one supports the darling hypothesis, and the other seems inconsistent with it. The one is taken and the other is left.

The practice of distorting narrative into a conformity with theory is a vice not so unfavourable as at first sight it may appear to the interests of political science. We have compared the writers who indulge in it to advocates; and we may add, that their conflicting fallacies, like those of advocates, correct each other. It has always been held, in the most enlightened nations, that a tribunal will decide a judicial question most fairly when it has heard two able men argue, as unfairly as possible, on the two opposite sides of it; and we are inclined to think that this opinion is just. Sometimes, it is true, superior eloquence and dexterity will make the worse appear the better reason; but it is at least certain that the judge will be compelled to contemplate the case under two different aspects. It is certain that no important consideration will altogether escape notice.

This is at present the state of history. The poet laureate appears for the Church of England, Lingard for the Church of Rome. Brodie has moved to set aside the verdicts obtained by Hume; and the cause in which Mitford succeeded is, we understand, about to be reheard. In the midst of these disputes, however, history proper, if we may use the term, is disappearing. The high, grave, impartial summing up of Thucydides is nowhere to be found.

While our historians are practising all the arts of controversy, they miserably neglect the art of narration, the art of interesting the affections and presenting pictures to the imagination. That a writer may produce these effects without violating truth is sufficiently proved by many excellent biographical works. The immense popularity which well-written books of this kind have acquired deserves the serious consideration of historians. Voltaire's Charles the Twelfth, Marmontel's Memoirs, Boswell's Life of Johnson, Southey's account of Nelson, are perused with delight by the most frivolous and indolent. Whenever any tolerable book of the same description makes its appearance, the circulating libraries are mobbed; the book societies are in commotion; the new novel lies uncut; the magazines and newspapers fill their columns with extracts. In the meantime histories of great empires, written by men of eminent ability, lie unread on the shelves of ostentatious libraries.

The writers of history seem to entertain an aristocratical contempt for the writers of memoirs. They think it beneath the dignity of men who describe the revolutions of nations to dwell on the details which constitute the charm of biography. They have imposed on themselves a code of conventional decencies as absurd as that which has been the bane of the French drama. The most characteristic and interesting circumstances are omitted or softened down, because, as we are told, they are too trivial for the majesty of history. The majesty of history seems to resemble the majesty of the poor King of Spain, who died a martyr to ceremony because the proper dignitaries were not at hand to render him assistance.

That history would be more amusing if this etiquette were relaxed will, we suppose, be acknowledged. But would it be less dignified or less useful? What do we mean when we say that one past event is important and another insignificant? No past event has any intrinsic importance. The knowledge of it is valuable only as it leads us to form just calculations with respect to the future. A history which does not serve this purpose, though it may be filled with battles, treaties, and commotions, is as useless as the series of turnpike tickets collected by Sir Matthew Mite.

Let us suppose that Lord Clarendon, instead of filling hundreds of folio pages with copies of state papers, in which the same assertions and contradictions are repeated till the reader is overpowered with weariness, had condescended to be the Boswell of the Long Parliament. Let us suppose that he had exhibited to us the wise and lofty self-government of Hampden, leading while he seemed to follow, and propounding unanswerable arguments in the strongest forms with the modest air of an inquirer anxious for information; the delusions which misled the noble spirit of Vane; the coarse fanaticism which concealed the yet loftier genius of Cromwell, destined to control a motionless army and a factious people, to abase the flag of Holland, to arrest the victorious arms of Sweden, and to hold the balance firm between the rival monarchies of France and Spain. Let us suppose that he had made his Cavaliers and Roundheads talk in their own style; that he had reported some of the ribaldry of Rupert's pages, and some of the cant of Harrison and Fleetwood. Would not his work in that case have been more interesting? Would it not have been more accurate?

A history in which every particular incident may be true may on the whole be false. The circumstances which have most influence on the happiness of mankind, the changes of manners and morals, the transition of communities from poverty to wealth, from knowledge to ignorance, from ferocity to humanity—these are, for the most part, noiseless revolutions. Their progress is rarely indicated by what historians are pleased to call important events. They are not achieved by armies, or enacted by senates. They are sanctioned by no treaties, and recorded in no archives. They are carried on in every school, in every church, behind ten thousand counters, at ten thousand firesides. The upper current of society presents no certain criterion by which we can judge of the direction in which the under current flows. We read of defeats and victories. But we know that nations may be miserable amidst victories and prosperous amidst defeats. We read of the fall of wise ministers and of the rise of profligate favourites. But we must remember how small a proportion the good or evil effected by a single statesman can bear to the good or evil of a great social system.

Bishop Watson compares a geologist to a gnat mounted on an elephant, and laying down theories as to the whole internal structure of the vast animal, from the phenomena of the hide. The comparison is unjust to the geologists; but is very applicable to those historians who write as if the body politic were homogeneous, who look only on the surface of affairs, and never think of the mighty and various organisation which lies deep below.

In the works of such writers as these, England, at the close of the Seven Years' War, is in the highest state of prosperity: at the close of the American war she is in a miserable and degraded condition; as if the people were not on the whole as rich, as well governed, and as well educated at the latter period as at the former. We have read books called Histories of England, under the reign of George the Second, in which the rise of Methodism is not even mentioned. A hundred years hence this breed of authors will, we hope, be extinct. If it should still exist, the late ministerial interregnum will be described in terms which will seem to imply that all government was at an end; that the social contract was annulled; and that the hand of every man was against his neighbour, until the wisdom and virtue of the new cabinet educed order out of the chaos of anarchy. We are quite certain that misconceptions as gross prevail at this moment respecting many important parts of our annals.

The effect of historical reading is analogous, in many respects, to that produced by foreign travel. The student, like the tourist, is transported into a new state of society. He sees new fashions. He hears new modes of expression. His mind is enlarged by contemplating the wide diversities of laws, of morals, and of manners. But men may travel far, and return with minds as contracted as if they had never stirred from their own market-town. In the same manner, men may know the dates of many battles and the genealogies of many royal houses, and yet be no wiser. Most people look at past times as princes look at foreign countries. More than one illustrious stranger has landed on our island amidst the shouts of a mob, has dined with the king, has hunted with the master of the stag-hounds, has seen the guards reviewed, and a knight of the garter installed, has cantered along Regent Street, has visited Saint Paul's, and noted down its dimensions; and has then departed, thinking that he has seen England. He has, in fact, seen a few public buildings, public men, and public ceremonies. But of the vast and complex system of society, of the fine shades of national character, of the practical operation of government and laws, he knows nothing. He who would understand these things rightly must not confine his observations to palaces and solemn days. He must see ordinary men as they appear in their ordinary business and in their ordinary pleasures. He must mingle in the crowds of the exchange and the coffee-house. He must obtain admittance to the convivial table and the domestic hearth. He must bear with vulgar expressions. He must not shrink from exploring even the retreats of misery. He who wishes to understand the condition of mankind in former ages must proceed on the same principle. If he attends only to public transactions, to wars, congresses, and debates, his studies will be as unprofitable as the travels of those imperial, royal, and serene sovereigns who form their judgment of our island from having gone in state to a few fine sights, and from having held formal conferences with a few great officers.

The perfect historian is he in whose work the character and spirit of an age is exhibited in miniature. He relates no fact, he attributes no expression to his characters, which is not authenticated by sufficient testimony. But, by judicious selection, rejection, and arrangement, he gives to truth those attractions which have been usurped by fiction. In his narrative a due subordination is observed: some transactions are prominent; others retire. But the scale on which he represents them is increased or diminished, not according to the dignity of the persons concerned in them, but according to the degree in which they elucidate the condition of society and the nature of man. He shows us the court, the camp, and the senate. But he shows us also the nation. He considers no anecdote, no peculiarity of manner, no familiar saying, as too insignificant for his notice which is not too insignificant to illustrate the operation of laws, of religion, and of education, and to mark the progress of the human mind. Men will not merely be described, but will be made intimately known to us. The changes of manners will be indicated, not merely by a few general phrases or a few extracts from statistical documents, but by appropriate images presented in every line.

If a man, such as we are supposing, should write the history of England, he would assuredly not omit the battles, the sieges, the negotiations, the seditions, the ministerial changes. But with these he would intersperse the details which are the charm of historical romances. At Lincoln Cathedral there is a beautiful painted window, which was made by an apprentice out of the pieces of glass which had been rejected by his master. It is so far superior to every other in the church, that, according to the tradition, the vanquished artist killed himself from mortification. Sir Walter Scott, in the same manner, has used those fragments of truth which historians have scornfully thrown behind them in a manner which may well excite their envy. He has constructed out of their gleanings works which, even considered as histories, are scarcely less valuable than theirs. But a truly great historian would reclaim those materials which the novelist has appropriated. The history of the government, and the history of the people, would be exhibited in that mode in which alone they can be exhibited justly, in inseparable conjunction and intermixture. We should not then have to look for the wars and votes of the Puritans in Clarendon, and for their phraseology in Old Mortality; for one half of King James in Hume, and for the other half in the Fortunes of Nigel.

The early part of our imaginary history would be rich with colouring from romance, ballad, and chronicle. We should find ourselves in the company of knights such as those of Froissart, and of pilgrims such as those who rode with Chaucer from the Tabard. Society would be shown from the highest to the lowest,—from the royal cloth of state to the den of the outlaw; from the throne of the legate to the chimney-corner where the begging friar regaled himself. Palmers, minstrels, crusaders,—the stately monastery, with the good cheer in its refectory and the high-mass in its chapel,—the manor-house, with its hunting and hawking,—the tournament, with the heralds and ladies, the trumpets and the cloth of gold,—would give truth and life to the representation. We should perceive, in a thousand slight touches, the importance of the privileged burgher, and the fierce and haughty spirit which swelled under the collar of the degraded villain. The revival of letters would not merely be described in a few magnificent periods. We should discern, in innumerable particulars, the fermentation of mind, the eager appetite for knowledge, which distinguished the sixteenth from the fifteenth century. In the Reformation we should see, not merely a schism which changed the ecclesiastical constitution of England and the mutual relations of the European powers, but a moral war which raged in every family, which set the father against the son, and the son against the father, the mother against the daughter, and the daughter against the mother. Henry would be painted with the skill of Tacitus. We should have the change of his character from his profuse and joyous youth to his savage and imperious old age. We should perceive the gradual progress of selfish and tyrannical passions in a mind not naturally insensible or ungenerous; and to the last we should detect some remains of that open and noble temper which endeared him to a people whom he oppressed, struggling with the hardness of despotism and the irritability of disease. We should see Elizabeth in all her weakness and in all her strength, surrounded by the handsome favourites whom she never trusted, and the wise old statesmen whom she never dismissed, uniting in herself the most contradictory qualities of both her parents,—the coquetry, the caprice, the petty malice of Anne,—the haughty and resolute spirit of Henry. We have no hesitation in saying that a great artist might produce a portrait of this remarkable woman at least as striking as that in the novel of Kenilworth, without employing a single trait not authenticated by ample testimony. In the meantime, we should see arts cultivated, wealth accumulated, the conveniences of life improved. We should see the keeps, where nobles, insecure themselves, spread insecurity around them, gradually giving place to the halls of peaceful opulence, to the oriels of Longleat, and the stately pinnacles of Burleigh. We should see towns extended, deserts cultivated, the hamlets of fishermen turned into wealthy havens, the meal of the peasant improved, and his hut more commodiously furnished. We should see those opinions and feelings which produced the great struggle against the House of Stuart slowly growing up in the bosom of private families, before they manifested themselves in parliamentary debates. Then would come the civil war. Those skirmishes on which Clarendon dwells so minutely would be told, as Thucydides would have told them, with perspicuous conciseness. They are merely connecting links. But the great characteristics of the age, the loyal enthusiasm of the brave English gentry, the fierce licentiousness of the swearing, dicing, drunken reprobates, whose excesses disgraced the royal cause,—the austerity of the Presbyterian Sabbaths in the city, the extravagance of the independent preachers in the camp, the precise garb, the severe countenance, the petty scruples, the affected accent, the absurd names and phrases which marked the Puritans,—the valour, the policy, the public spirit, which lurked beneath these ungraceful disguises,—the dreams of the raving Fifth-monarchy-man, the dreams, scarcely less wild, of the philosophic republican, all these would enter into the representation, and render it at once more exact and more striking.

The instruction derived from history thus written would be of a vivid and practical character. It would be received by the imagination as well as by the reason. It would be not merely traced on the mind, but branded into it. Many truths, too, would be learned, which can be learned in no other manner. As the history of states is generally written, the greatest and most momentous revolutions seem to come upon them like supernatural inflictions, without warning or cause. But the fact is, that such revolutions are almost always the consequences of moral changes, which have gradually passed on the mass of the community, and which originally proceed far before their progress is indicated by any public measure. An intimate knowledge of the domestic history of nations is therefore absolutely necessary to the prognosis of political events. A narrative, defective in this respect, is as useless as a medical treatise which should pass by all the symptoms attendant on the early stage of a disease and mention only what occurs when the patient is beyond the reach of remedies.

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