PROGRESS OF THE HISTORICAL ART.
But the historical works which were written in the Portuguese language in the sixteenth century, are more important to the lover of literature, as well as the politician, than the other compositions in prose which have just been noticed. In Portugal, as well as in Spain, relations of real events had long been completely distinguished from romantic prose. But before the old chronicle style could become entirely obsolete, it was necessary that the old chronicle spirit should yield to the nobler spirit of historic art; and to this in that age, with all its great events, there was little inducement in Portugal. The ancient classic historians were, it is true, read and studied; but when Portuguese writers attempted to imitate them, they at most only succeeded in producing some resemblance to their force of description, and in a certain degree to their elegance of expression, but failed altogether in the arrangement of events according to the just idea of historical utility, and in the delicacy of the shades of an historical picture. Indeed the rude spirit of the chronicles seemed then to belong no less essentially to the narration of modern events, than the rhyme and the metres of romantic verse to modern poetry. He who felt himself called to be the historian of his native country, necessarily endeavoured to render himself no less intimate with the old chronicles than with classic authors; and, if, fully imbued with his subject, he took up the thread of the narrative where an earlier chronicler had dropped it, he unconsciously fell into the style of that chronicler. Had fate transplanted for several years to Italy, and placed in a sphere of political and literary activity, a Portuguese possessing the talent and energy of Diego de Mendoza, he would probably, like that distinguished Spaniard, have there learned to compose an historical work according to justly conceived ideas of historical art, independently of the influence of the chronicles.[240] But in India, to which at that time all Portuguese subjects who wished to rise in the service of their country eagerly hastened, it was not to be expected that a historian could be formed. Still, however, the historical literature of the Portuguese of the sixteenth century, when considered with reference to its rhetorical character, possesses a degree of interest which the elegant compilations of later historians cannot excite. The men who at that memorable epoch, either from their own inclination, or as Cronistas in the service of the government, related the history of their native country, and more particularly of the Portuguese discoveries and conquests, were inspired with ardent national feeling, and that feeling they communicated to their works. Their narratives have character. The manner in which that character displays itself, is doubtless too prominent in cases in which the national interests come into conflict with claims of foreign powers. But an endeavour to preserve historical fidelity, is in general observable in the works of these writers. To confound them with the common chroniclers would be doing them great injustice. They earnestly endeavoured to introduce into their narratives as much of the style of the ancient classics as could be united with the style of the chronicle; and the remote traces of that historical art in which they were deficient are to be recognized in their works. It was not so much their object to string facts together, as to combine remarkable events as far as they were able, under one practical point of view.