For if there are no good and evil facts, but facts that are always good when understood in their intimate being and concreteness, there are not opposite sides, but that wider side that embraces both the adversaries and which happens just to be historical consideration. Historical consideration, therefore, recognizes as of equal right the Church of the catacombs and that of Gregory VII, the tribunes of the Roman people and the feudal barons, the Lombard League and the Emperor Barbarossa. History never metes out justice, but always justifies; she could not carry out the former act without making herself unjust—that is to say, confounding thought with life, taking the attractions and repulsions of sentiment for the judgments of thought.
Poetry is satisfied with the expression of sentiment, and it is worthy of note that a considerable historian, Schlosser, wishing to reserve for himself the right and duty of judging historical facts with Kantian austerity and abstraction, kept his eyes fixed on the Divine Comedy—that is to say, a poetical work—as his model of treatment. And since there are poetical elements in all myths, we understand why the conception of history known as dualistic—that is to say, of history as composed of two currents, which mix but never resolve in one another their waters of good and evil, truth and error, rationality and irrationality—should have formed a conspicuous part, not only of the Christian religion, but also of the mythologies (for they really are such) of humanism and of illuminism. But the detection of this problem of the duality of values and its solution in the superior unity of the conception of development is the work of the nineteenth century, which on this account and on account of other solutions of the same kind (certainly not on account of its philological and archæological richness, which was relatively common to the four preceding centuries) has been well called 'the century of history.'
Not only, therefore, is history unable to discriminate between facts that are good and facts that are evil, and between epochs that are progressive and those that are regressive, but it does not begin until the psychological conditions which rendered possible such antitheses have been superseded and substituted by an act of the spirit, which seeks to ascertain what function the fact or the epoch previously condemned has fulfilled—that is to say, what it has produced of its own in the course of development, and therefore what it has produced. And since all facts and epochs are productive in their own way, not only is not one of them to be condemned in the light of history, but all are to be praised and venerated. A condemned fact, a fact that is repugnant, is not yet a historical proposition, it is hardly even the premiss of a historical problem to be formulated. A negative history is a non-history so long as its negative process substitutes itself for thought, which is affirmative, and does not maintain itself within its practical and moral bounds and limit itself to poetical expressions and empirical modes of representation, in respect of all of which we can certainly speak (speak and not think), as we do speak at every moment, of bad men and periods of decadence and regression.
If the vice of negative history arises from the separation, the solidification, and the opposition of the dialectical antitheses of good and evil and the transformation of the ideal moments of development into entities, that other deviation of history which may be known as elegiac history arises from the misunderstanding of another necessity of that conception—that is to say, the perpetual constancy, the perpetual conservation of what has been acquired. But this is also false by definition. What is preserved and enriched in the course of history is history itself, spirituality. The past does not live otherwise than in the present, as the force of the present, resolved and transformed in the present. Every particular form, individual, action, institution, work, thought, is destined to perish: even art, which is called eternal (and is so in a certain sense), perishes, for it does not live, save to the extent that it is reproduced, and therefore transfigured and surrounded with new light, in the spirit of posterity. Finally, truth itself perishes, particular and determined truth, because it is not rethinkable, save when included in the system of a vaster truth, and therefore at the same time transformed. But those who do not rise to the conception of pure historical consideration, those who attach themselves with their whole soul to an individual, a work, a belief, an institution, and attach themselves so strongly that they cannot separate themselves from it in order to objectify it before themselves and think it, are prone to attribute the immortality which belongs to the spirit in universal to the spirit in one of its particular and determined forms; and since that form, notwithstanding their efforts, dies, and dies in their arms, the universe darkens before their gaze, and the only history that they can relate is the sad one of the agony and death of beautiful things. This too is poetry, and very lofty poetry. Who can do otherwise than weep at the loss of a beloved one, at separation from something dear to him, cannot see the sun extinguished and the earth tremble and the birds cease their flight and fall to earth, like Dante, on the loss of his beloved "who was so beautiful"? But history is never history of death, but history of life, and all know that the proper commemoration of the dead is the knowledge of what they did in life, of what they produced that is working in us, the history of their life and not of their death, which it behoves a gentle soul to veil, a soul barbarous and perverse to exhibit in its miserable nakedness and to contemplate with unhealthy persistence. For this reason all histories which narrate the death and not the life of peoples, of states, of institutions, of customs, of literary and artistic ideals, of religious conceptions, are to be considered false, or, we repeat, simply poetry, where they attain to the level of poetry. People grow sad and suffer and lament because that which was is no longer. This would resolve itself into a mere tautology (because if it was, it is evident that it is no longer), were it not conjoined to the neglect of recognizing what of that past has not perished—that is to say, that past in so far as it is not past but present, the eternal life of the past. It is in this neglect, in the incorrect view arising out of it, that the falsity of such histories resides.
It sometimes happens that historians, intent upon narrating those scenes of anguish in a lugubrious manner and upon celebrating the funerals which it pleases them to call histories, remain partly astounded and partly scandalized when they hear a peal of laughter, a cry of joy, a sigh of satisfaction, or find an enthusiastic impulse springing up from the documents that they are searching. How, they ask, could men live, make love, reproduce their species, sing, paint, discuss, when the trumps were sounding east and west to announce the end of the world? But they do not see that such an end of the world exists only in their own imaginations, rich in elegiac motives, but poor in understanding. They do not perceive that such importunate trumpet-calls have never in reality existed. These are very useful, on the other hand, for reminding those who may have forgotten it that history always pursues her indefatigable work, and that her apparent agonies are the travail of a new birth, and that what are believed to be her expiring sighs are moans that announce the birth of a new world. History differs from the individual who dies because, in the words of Alcmæon of Crete, he is not able τὴν ἀρχήν τῷ τέλει προσάψαι, to join his beginning to his end: history never dies, because she always joins her beginning to her end.
[1] For the complete development of these conceptions, see my study of The Conception of Becoming, in the Saggio sullo Hegel seguito da altri scritti di storia della filosofia, pp. 149-175 (Bari, 1913). (English translation of the work on Hegel by Douglas Ainslie. Macmillan, London.)
[2] For what relates to this section, see my treatment of Judgments of Value, in the work before cited.