John Lothrop Motley, A Memoir — Complete

by Oliver Wendell Holmes

Without stopping to take breath, as it were,—for his was a task 'de longue haleine,'—he proceeded to his second great undertaking.

The first portion—consisting of two volumes—of the “History of the United Netherlands” was published in the year 1860. It maintained and increased the reputation he had already gained by his first history.

“The London Quarterly Review” devoted a long article to it, beginning with this handsome tribute to his earlier and later volumes:—

“Mr. Motley's 'History of the Rise of the Dutch Republic' is already
known and valued for the grasp of mind which it displays, for the
earnest and manly spirit in which he has communicated the results of
deep research and careful reflection. Again he appears before us,
rich with the spoils of time, to tell the story of the United
Netherlands from the time of William the Silent to the end of the
eventful year of the Spanish Armada, and we still find him in every
way worthy of this 'great argument.' Indeed, it seems to us that he
proceeds with an increased facility of style, and with a more
complete and easy command over his materials. These materials are
indeed splendid, and of them most excellent use has been made. The
English State Paper Office, the Spanish archives from Simancas, and
the Dutch and Belgian repositories, have all yielded up their
secrets; and Mr. Motley has enjoyed the advantage of dealing with a
vast mass of unpublished documents, of which he has not failed to
avail himself to an extent which places his work in the foremost
rank as an authority for the period to which it relates. By means
of his labor and his art we can sit at the council board of Philip
and Elizabeth, we can read their most private dispatches. Guided by
his demonstration, we are enabled to dissect out to their ultimate
issues the minutest ramifications of intrigue. We join in the
amusement of the popular lampoon; we visit the prison-house; we
stand by the scaffold; we are present at the battle and the siege.
We can scan the inmost characters of men and can view them in their
habits as they lived.”

After a few criticisms upon lesser points of form and style, the writer says:—

“But the work itself must be read to appreciate the vast and
conscientious industry bestowed upon it. His delineations are true
and life-like, because they are not mere compositions written to
please the ear, but are really taken from the facts and traits
preserved in those authentic records to which he has devoted the
labor of many years. Diligent and painstaking as the humblest
chronicler, he has availed himself of many sources of information
which have not been made use of by any previous historical writer.
At the same time he is not oppressed by his materials, but has
sagacity to estimate their real value, and he has combined with
scholarly power the facts which they contain. He has rescued the
story of the Netherlands from the domain of vague and general
narrative, and has labored, with much judgment and ability, to
unfold the 'Belli causas, et vitia, et modos,' and to assign to
every man and every event their own share in the contest, and their
own influence upon its fortunes. We do not wonder that his earlier
publication has been received as a valuable addition, not only to
English, but to European literature.”

One or two other contemporary criticisms may help us with their side lights. A critic in “The Edinburgh Review” for January, 1861, thinks that “Mr. Motley has not always been successful in keeping the graphic variety of his details subordinate to the main theme of his work.” Still, he excuses the fault, as he accounts it, in consideration of the new light thrown on various obscure points of history, and—

“it is atoned for by striking merits, by many narratives of great
events faithfully, powerfully, and vividly executed, by the clearest
and most life-like conceptions of character, and by a style which,
if it sacrifices the severer principles of composition to a desire
to be striking and picturesque, is always vigorous, full of
animation, and glowing with the genuine enthusiasm of the writer.
Mr. Motley combines as an historian two qualifications seldom found
united,—to great capacity for historical research he adds much
power of pictorial representation. In his pages we find characters
and scenes minutely set forth in elaborate and characteristic
detail, which is relieved and heightened in effect by the artistic
breadth of light and shade thrown across the broader prospects of
history. In an American author, too, we must commend the hearty
English spirit in which the book is written; and fertile as the
present age has been in historical works of the highest merit, none
of them can be ranked above these volumes in the grand qualities of
interest, accuracy, and truth.”

A writer in “Blackwood” (May, 1861) contrasts Motley with Froude somewhat in the way in which another critic had contrasted him with Prescott. Froude, he says, remembers that there are some golden threads in the black robe of the Dominican. Motley “finds it black and thrusts it farther into the darkness.”

Every writer carries more or less of his own character into his book, of course. A great professor has told me that there is a personal flavor in the mathematical work of a man of genius like Poisson. Those who have known Motley and Prescott would feel sure beforehand that the impulsive nature of the one and the judicial serenity of the other would as surely betray themselves in their writings as in their conversation and in their every movement. Another point which the critic of “Blackwood's Magazine” has noticed has not been so generally observed: it is what he calls “a dashing, offhand, rattling style,”—“fast” writing. It cannot be denied that here and there may be detected slight vestiges of the way of writing of an earlier period of Motley's literary life, with which I have no reason to think the writer just mentioned was acquainted. Now and then I can trace in the turn of a phrase, in the twinkle of an epithet, a faint reminiscence of a certain satirical levity, airiness, jauntiness, if I may hint such a word, which is just enough to remind me of those perilous shallows of his early time through which his richly freighted argosy had passed with such wonderful escape from their dangers and such very slight marks of injury. That which is pleasant gayety in conversation may be quite out of place in formal composition, and Motley's wit must have had a hard time of it struggling to show its spangles in the processions while his gorgeous tragedies went sweeping by.