Prose Masterpieces from Modern Essayists, Volume 3 of 3

by Unknown

The "Iliad" is from two to three thousand years older than "Macbeth," and yet it is as fresh as if it had been written yesterday. We have there no lessons save in the emotions which rise in us as we read. Homer had no philosophy; he never struggles to press upon us his views about this or that; you can scarcely tell, indeed, whether his sympathies are Greek or Trojan: but he represents to us faithfully the men and women among whom he lived. He sang the tale of Troy, he touched his lyre, he drained the golden beaker in the halls of men like those on whom he was conferring immortality. And thus, although no Agamemnon, king of men, ever led a Grecian fleet to Ilium; though no Priam sought the midnight tent of Achilles; though Ulysses and Diomed and Nestor were but names, and Helen but a dream, yet, through Homer's power of representing men and women, those old Greeks will still stand out from amidst the darkness of the ancient world with a sharpness of outline which belongs to no period of history except the most recent. For the mere hard purposes of history, the "Iliad" and "Odyssey" are the most effective books which ever were written. We see the hall of Menelaus, we see the garden of Alcinous, we see Nausicaa among her maidens on the shore, we see the mellow monarch sitting with ivory sceptre in the market-place dealing out genial justice. Or, again, when the wild mood is on, we can hear the crash of the spears, the rattle of the armor as the heroes fall, and the plunging of the horses among the slain. Could we enter the palace of an old Ionian lord, we know what we should see there; we know the words in which he would address us. We could meet Hector as a friend. If we could choose a companion to spend an evening with over a fireside, it would be the man of many counsels, the husband of Penelope.

I am not going into the vexed question whether history or poetry is the more true. It has been sometimes said that poetry is the more true, because it can make things more like what our moral sense would prefer they should be. We hear of poetic justice and the like, as if nature and fact were not just enough.

I entirely dissent from that view. So far as poetry attempts to improve on truth in that way, so far it abandons truth, and is false to itself. Even literal facts, exactly as they were, a great poet will prefer whenever he can get them. Shakespeare in the historical plays is studious, wherever possible, to give the very words which he finds to have been used; and it shows how wisely he was guided in this, that those magnificent speeches of Wolsey are taken exactly, with no more change than the metre makes necessary, from Cavendish's Life. Marlborough read Shakespeare for English history, and read nothing else. The poet only is not bound, when it is inconvenient, to what may be called the accidents of facts. It was enough for Shakespeare to know that Prince Hal in his youth had lived among loose companions, and the tavern in Eastcheap came in to fill out his picture; although Mrs. Quickly and Falstaff and Poins and Bardolph were more likely to have been fallen in with by Shakespeare himself at the Mermaid, than to have been comrades of the true Prince Henry. It was enough for Shakespeare to draw real men, and the situation, whatever it might be, would sit easy on them. In this sense only it is that poetry is truer than History,—that it can make a picture more complete. It may take liberties with time and space, and give the action distinctness by throwing it into more manageable compass. But it may not alter the real conditions of things, or represent life as other than it is. The greatness of the poet depends on his being true to Nature, without insisting that Nature shall theorize with him, without making her more just, more philosophical, more moral than reality; and, in difficult matters, leaving much to reflection which cannot be explained.

And if this be true of poetry—if Homer and Shakespeare are what they are from the absence of every thing didactic about them—may we not thus learn something of what history should be, and in what sense it should aspire to teach?

If poetry must not theorize, much less should the historian theorize, whose obligations to be true to fact are even greater than the poet's. If the drama is grandest when the action is least explicable by laws, because then it best resembles life, then history will be grandest also under the same conditions. "Macbeth," were it literally true, would be perfect history; and so far as the historian can approach to that kind of model, so far as he can let his story tell itself in the deeds and words of those who act it out, so far is he most successful. His work is no longer the vapor of his own brain, which a breath will scatter; it is the thing itself, which will have interest for all time. A thousand theories may be formed about it,—spiritual theories. Pantheistic theories, cause and effect theories? but each age will have its own philosophy of history, and all these in turn will fail and die. Hegel falls out of date, Schlegel falls out of date, and Comte in good time will fall out of date; the thought about the thing must change as we change; but the thing itself can never change; and a history is durable or perishable as it contains more or least of the writer's own speculations. The splendid intellect of Gibbon for the most part kept him true to the right course in this; yet the philosophical chapters for which he has been most admired or censured may hereafter be thought the least interesting in his work. The time has been when they would not have been comprehended; the time may come when they will seem commonplace.

It may be said, that in requiring history to be written like a drama, we require an impossibility.

For history to be written with the complete form of a drama, doubtless is impossible; but there are periods, and these the periods, for the most part, of greatest interest to mankind, the history of which may be so written that the actors shall reveal their characters in their own words; where mind can be seen matched against mind, and the great passions of the epoch not simply be described as existing, but be exhibited at their white heat in the souls and hearts possessed by them. There are all the elements of drama—drama of the highest order—where the huge forces of the times are as the Grecian destiny, and the power of the man is seen either stemming the stream till it overwhelms him, or ruling while he seems to yield to it.

It is Nature's drama,—not Shakespeare's, but a drama none the less.

So at least it seems to me. Wherever possible, let us not be told about this man or that. Let us hear the man himself speak, let us see him act, and let us be left to form our own opinions about him. The historian, we are told, must not leave his readers to themselves. He must not only lay the facts before them: he must tell them what he himself thinks about those facts. In my opinion, this is precisely what he ought not to do. Bishop Butler says somewhere, that the best book which could be written would be a book consisting only of premises, from which the readers should draw conclusions for themselves. The highest poetry is the very thing which Butler requires, and the highest history ought to be. We should no more ask for a theory of this or that period of history, than we should ask for a theory of "Macbeth" or "Hamlet." Philosophies of history, sciences of history,—all these there will continue to be: the fashions of them will change, as our habits of thought will change; each new philosopher will find his chief employment in showing that before him no one understood any thing; but the drama of history is imperishable, and the lessons of it will be like what we learn from Homer or Shakespeare,—lessons for which we have no words.

The address of history is less to the understanding than to the higher emotions. We learn in it to sympathize with what is great and good; we learn to hate what is base. In the anomalies of fortune we feel the mystery of our mortal existence; and in the companionship of the illustrious natures who have shaped the fortunes of the world, we escape from the littlenesses which cling to the round of common life, and our minds are tuned in a higher and nobler key.