"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 Motley has enjoyed the advantage of dealing with a vast mass of unpublished documents, of which he has not failed to avail himself to an extent which places his work in the foremost rank as an authority for the period to which it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.
ETEXT EDITOR'S BOOKMARKS:
All classes are conservative by necessity
Already looking forward to the revolt of the slave States
Attacked by the poetic mania
Becoming more learned, and therefore more ignorant
But not thoughtlessly indulgent to the boy
Cold water of conventional and commonplace encouragement
Could paint a character with the ruddy life-blood coloring
Emulation is not capability
Excused by their admirers for their shortcomings
Excuses to disarm the criticism he had some reason to fear
Fear of the laugh of the world at its sincerity
Fitted "To warn, to comfort, and command"
How many more injured by becoming bad copies of a bad ideal
Ignoble facts which strew the highways of political life
Indoor home life imprisons them in the domestic circle
Intellectual dandyisms of Bulwer
Kindly shadow of oblivion
Misanthropical, sceptical philosopher
Most entirely truthful child whe had ever seen
Nearsighted liberalism
No two books, as he said, ever injured each other
Not a single acquaintance in the place, and we glory in the fact
Only foundation fit for history,—original contemporary document
Radical, one who would uproot, is a man whose trade is dangerous
Sees the past in the pitiless light of the present
Self-educated man, as he had been a self-taught boy
Solitary and morose, the necessary consequence of reckless study
Spirit of a man who wishes to be proud of his country
Studied according to his inclinations rather than by rule
Style above all other qualities seems to embalm for posterity
Talked impatiently of the value of my time
The dead men of the place are my intimate friends
The fellow mixes blood with his colors!
The loss of hair, which brings on premature decay
The personal gifts which are nature's passport everywhere
Twenty assaults upon fame and had forty books killed under him
Vain belief that they were men at eighteen or twenty
Weight of a thousand years of error