John Lothrop Motley.
Grand with all that the young earth had of vigorous and queenly to adorn her, rich with the spoils of victories not all bought with battle-axe and sword, stately with a pride that had won its just and inalienable majesty from elastic centuries of progress and culture, History, the muse to whom fewest songs were sung, yet whose march was music's sublimest voice, trembled upon the brink of the Dark Ages, and leaped, in her armor, into the abyss of ignorance before her. A poetry the purest, an art the noblest, a religion deeply symbolical, a freedom bold and magnificent, had given to the world-histories of those early days a melody varied and faultless, a form flowing yet well-defined, an earnestness that was sacred, a truth that was divine. A philosophy rich and largely suggestive had made the great men of Greece and Rome alert, vigilant, penetrating, before luxury and oppression had dragged them down to ruin and ignorance; and at last Ambition, splendid but destructive, becoming the world's artist, blended the midnight tints of decline and suffering with the carnation of triumph and liberty, and cast over the pictures of History the Rembrandt-like shadows, heavy and wavering, that add a fearful intensity to their charms.
To these eras, once splendid and promising, succeeded a night, long, hopeless, disastrous. Its hours were counted by contentions, its darkness was deepened by crime. The sun had set upon a mighty empire, regnant upon her seven hills, glorious with conquest, drunken with power: when the day dawned upon the thousandth year of the Christian era, its crumbled arches and moss-grown walls alone testified to the truth of History that had survived the universal destruction.
And now came the age of knight and paladin, of crusades and talismans. The rough, vigorous life that had been developing at the North, exuberant with a strength not yet so mature that it could be employed in the wise and practical pursuits of civilized life, burst forth into an enthusiasm half military, half religious, that pervaded all ranks, but was 'mightiest in the mighty.' The Saxons, fair-haired, with wild blue eyes, whence looked an inflexible perseverance, the dark-browed Normans, and the men of fair Bretagne, swooped down falcon-like from their nests among the rocks and by the seas of Northern Europe upon the impetuous Saracens, and fought brave poems that were written on sacred soil with their blood. From the strife of years the heroes returned, their flowing locks whitened by years and suffering, the fair Saxon faces browned by the fervent suns of the distant East. From hardship and imprisonment they marched with gay songs amid acclamations and welcome to their homes upon the Northern shores. Their once shining armor was dimmed and rusted with their own blood; but they bore upon their 'spears the light' of a culture more refined, a knowledge more subtle, than those high latitudes had ever before known.
From this marriage of the barbaric vigor of the North with the delicate and infinitely pliable sensuousness of the South, the classic union of Strength and Desire, Chivalry was born. Leaping forth to light and power, a majestic creation, glittering in the knightly panoply, noble by its knightly vows, it stood resplendent against the dark background of the past ages, the inevitable and legitimate offspring of the times and circumstances that gave it birth. The courtly baptism was eagerly sought, its requirements rigidly obeyed. The lands bristled with the lances of their valiant sons, and Quixotic expeditions were the order of the age. But not alone with sword and spear were gallant contests decided; the gauntlet thrown at the feet of a proud foe was not always of iron. El gai saber, the gaye science, held its august courts, where princesses entered the lists and vanquished gallant troubadours with the concord of their sweet measures. Slowly, yet with resistless strength, a new social world was rising upon the splendid ruins of the old. Its principles were just, if their garb was fantastical. It began with that almost superstitious reverence for woman, which had borrowed its religion from the Teuton, its romance from the Minnesinger and the Trouveur: it will end in the honesty and freedom of a world mature for its enjoyment.
Thus, while the kingdoms of Europe were rising to a height where to oppress, to torture, to fight, were to seem their sole aim and purpose, in a hitherto obscure corner of the great theatre of modern life an unknown element was developing itself, which was in time to shake the greatest nations with its power, to inflame all Europe with jealousy and cupidity, and to dictate to empires the very terms of their existence. And this element was LABOR. The rich lowlands of the 'double-armed' Rhine teemed with a busy life, that, king-like, demanded a tribute of the sea, and wrenched from the greedy waves a treasure that its industry made priceless. Each man became a prince in his own divine right, and every occupation had its lords and its lore, its 'mysteries,' and its social rights. The seamen, merchants, and artisans of the Netherlands had made their country the richest in Europe. They ranged the seas and learned the value of the land; and while they fed the great despot of the Middle Ages, the light of intelligence, born of energy and nurtured by activity, cast its benignant gleams from the central island of the Rhine, and drove from their mountain nooks the owls and bats of tyranny and superstition. They fought first, these lords of the soil, among themselves, for local privileges, advancing in their continuous struggles upon the very threshold of the church. By strong alliances they kept at bay their feudal lords, and fettered the ecclesiastical power with the yoke of a justice, meagre, indeed, and sadly unfruitful, but still ominous of a better day. Within the alabaster vase of despotism, frail, yet old as ambition, the lamp of freedom had long burned dimly: now its flames were licking, with serpent-like tongues, the enclosure so long deemed sacred, and threatened, as they dyed the air with their amber flood of light, to shiver their temple to fragments. The theory of the divine right of kings was but another 'Luck of Edenhall.' Its slender stem trembled now within the rough grasp of the sacrilegious and burly Netherlanders, who hesitated not long ere they dashed it with the old superstition to the ground, shaking the civilized world to its centre by the shock. But out of the ruins a statelier edifice was to rise, whose windows, like those of the old legend, were stained by the lifeblood of its architect.
The historian who would worthily depict such an age, such a people, such principles, must be an artist, but one in whom the creative faculty does not blind the moral obligations. He must bring to the work a republican sympathy, must be governed by a republican justice, and wear a character as noble as the struggle that he paints. And such an artist, such a historian, such a man, we have in JOHN LOTHROP MOTLEY.
The honors of Harvard, early and nobly earned, had given to the boy at seventeen the privileges and dignity of manhood. He was destined to become a scholar, eminent, even among the rarely and richly cultured minds of his own New England, for his universal knowledge, clearness of intellect, prompt energy, and indomitable perseverance. Inspired by these gifts and attainments, it was only natural, almost inevitable, that his first appearance upon the literary stage should have been in the rôle of a novelist. The active young intellect was pliant and strong, but had not yet learned its power. Before him lay the broad fields of romance, fascinating with their royal fleurs de lis, rich with the contributions of every age, some quaint and laughter-moving, some pompous and exaggerated, some soul-stirring and grand. Impelled, perhaps, less by a thirst for fame than a desire to satisfy the resistless impulses of an energetic nature, and lay those fair ghosts of enterprises dimly recognized that beckoned him onward, he followed the first path that lay before him, and became a romance writer. His first work, Morton's Hope, or the Memoirs of a Provincial, was published in 1839, and subsequently appeared Merry Mount, a Romance of Massachusetts. It is curious to trace in these first flights of a genius that has since learned its legitimate field, a tendency to the breadth of Motley's later efforts, an instinctive and evidently unconscious passion for the descriptive, an admirably curbed yet still powerful impatience of the light fetters, the toy regulations of the realm of Fiction, and an earnestness that has since bloomed in the world of Fact and History. The very imperfections of the novelist have become the charms of the historian. His student-life in Germany, his after-plot in the stirring Revolutionary times, strongly as they are drawn, animated as they are with dashes of that vivid power that stamps every page of the histories of their author, yet lack the proof of that unquestioned yet unobtrusive consciousness of genius that harden the telling sentences of the Rise of the Dutch Republic and the United Netherlands into blocks of adamant, polished by friction with each other to a diamond brightness, and reflecting only the noblest sentiments, the most profound principles. The dice had been thrown a second time, and Motley had not won a victory. The applause of the press was insufficient to the man, who felt that he had not yet struck the key-note of his destiny. To be counted the follower of Cooper was not the meet guerdon of an intellect to which the shapely monuments of ancient literature yielded the clue to their hieroglyphic labyrinths of knowledge, and that pierced with lightning swiftness the shell of events, and possessed the latent principles of life in their warm hearts. He returned, therefore, to Europe, leaving behind him a reputation which at no distant day was destined to spring from a new and more noble foundation into a lasting and more stately pile.
To a mind like Motley's, the department of history presented the most attractive features. There could honestly be no dabbling with the specious and seductive alchemy of Fiction. Truth had molded every period of the world's life. Truth defied had tripped up nations in their headlong race after dominion and unrighteous power. Truth victorious had smiled upon their steady growth to greatness and honor. To write history was to write poetry, art, philosophy, religion, life. The pen that sketched the rise, the progress, and the fate of nations, was in fact the chisel of a sculptor, whose theme was humanity.