Historic romance is a work of art, not of science, and its fidelity to past fact is only an expedient, often an excellent and easy one, for striking the key-note of present ideals. The insight attained, even when it is true insight into what some one else felt in some other age, draws its force and sublimity from current passions, passions potential in the auditor’s soul. Mary Queen of Scots, for instance, doubtless repeated, in many a fancied dialogue with Queen Elizabeth, the very words that Schiller puts into her mouth in the central scene of his play, “Denn ich bin Euer König!” Yet the dramatic force of that expression, its audacious substitution of ideals for facts, depends entirely on the scope which we lend it. Different actors and different readers would interpret it differently. Some might see in it nothing but a sally in a woman’s quarrel, reading it with the accent of mere spite and irritation. Then the tragedy, not perhaps without historic truth, would be reduced to a loud comedy. Other interpreters might find in the phrase the whole feudal system, all the chivalry, legality, and foolishness of the Middle Ages. Then the drama would become more interesting, and the poor queen’s cry, while that of a mind sophisticated and fanatical, would have great pathos and keenness. To reach sublimity, however, that moment would have to epitomise ideals which we deeply respected. We should have to believe in the sanctity of canon law and in the divine right of primogeniture. That a woman may have been very unhappy or that a state may have been held together by personal allegiance does not raise the fate of either to the tragic plane, unless “laws that are not of to-day nor yesterday,” aspirations native to the heart, shine through those legendary misfortunes.
It would matter nothing to the excellence of Schiller’s drama which of these interpretations might have been made by Mary Stuart herself at any given moment; doubtless her attitude toward her rival was coloured on different occasions by varying degrees of political insight and moral fervour. The successful historical poet would be he who caught the most significant attitude which a person in that position could possibly have assumed, and his Mary Stuart, whether accidentally resembling the real woman or not, would be essentially a mythical person. So Electra and Antigone and Helen of Troy are tragic figures absolved from historical accuracy, although possibly if the personages of heroic times were known to us we might find that our highest imagination had been anticipated in their consciousness.
History exists to be transcended.
Of the three parts into which the pursuit of history may be divided—investigation, theory, and story-telling—not one attains ideal finality. Investigation is merely useful, because its intrinsic ideal—to know every detail of everything—is not rational, and its acceptable function can only be to offer accurate information upon such points as are worth knowing for some ulterior reason. Historical theory, in turn, is a falsification of causes, since no causes are other than mechanical; it is an arbitrary foreshortening of physics, and it dissolves in the presence either of adequate knowledge or of clear ideals. Finally, historical romance passes, as it grows mature, into epics and tragedies, where the moral imagination disengages itself from all allegiance to particular past facts. Thus history proves to be an imperfect field for the exercise of reason; it is a provisional discipline; its values, with the mind’s progress, would empty into higher activities. The function of history is to lend materials to politics and to poetry. These arts need to dominate past events, the better to dominate the present situation and the ideal one. A good book of history is one that helps the statesman to formulate and to carry out his plans, or that helps the tragic poet to conceive what is most glorious in human destiny. Such a book, as knowledge and ignorance are now mingled, will have to borrow something from each of the methods by which history is commonly pursued. Investigation will be necessary, since the needful facts are not all indubitably known; theory will be necessary too, so that those facts may be conceived in their pertinence to public interests, and the latter may thereby be clarified; and romance will not be wholly excluded, because the various activities of the mind about the same matter cannot be divided altogether, and a dramatic treatment is often useful in summarising a situation, when all the elements of it cannot be summoned up in detail before the mind.
Its great rôle.
Fragmentary, arbitrary, and insecure as historical conceptions must remain, they are nevertheless highly important. In human consciousness the indispensable is in inverse ratio to the demonstrable. Sense is the foundation of everything. Without sense memory would be both false and useless. Yet memory rather than sense is knowledge in the pregnant acceptation of the word; for in sense object and process are hardly distinguished, whereas in memory significance inheres in the datum, and the present vouches for the absent. Similarly history, which is derived from memory, is superior to it; for while it merely extends memory artificially it shows a higher logical development than memory has and is riper for ideal uses. Trivial and useless matter has dropped out. Inference has gone a step farther, thought is more largely representative, and testimony conveyed by the reports of others or found in monuments leads the speculative mind to infer events that must have filled the remotest ages. This information is not passive or idle knowledge; it truly informs or shapes the mind, giving it new aptitudes. As an efficacious memory modifies instinct, by levelling it with a wider survey of the situation, so a memory of what human experience has been, a sense of what it is likely to be under specific circumstances, gives the will a new basis. What politics or any large drama deals with is a will cast into historic moulds, an imagination busy with what we call great interests. Great interests are a gift which history makes to the heart. A barbarian is no less subject to the past than is the civic man who knows what his past is and means to be loyal to it; but the barbarian, for want of a trans-personal memory, crawls among superstitions which he cannot understand or revoke and among persons whom he may hate or love, but whom he can never think of raising to a higher plane, to the level of a purer happiness. The whole dignity of human endeavour is thus bound up with historic issues; and as conscience needs to be controlled by experience if it is to become rational, so personal experience itself needs to be enlarged ideally if the failures and successes it reports are to touch impersonal interests.
CHAPTER III
MECHANISM
Recurrent forms in nature.