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The desire to be free from all prejudice in the judgment of historical facts is, then, the key-note of all our philosophy of historical criticism; and the desire to retain interest—human interest—is the key-note of our philosophy of historical composition.

To attain either end, what perhaps is most required is catholicity of sympathies. There must be no race prejudice, no national prejudice. There must be no attempt to blacken or whiten historical characters, in correspondence with the personal bias. There must be no special pleading for or against any form of government, any racial propensity, or any individual deed. In a word, there must be freedom from prejudice in every field,—except indeed that prejudice in favour of the broad principles of right, regarding which all civilised nations of every age have been in virtual agreement. But the deeds, the motives, the superstitions of all times and of all races must be viewed, so far as such a thing is possible, through the same clear atmosphere of impartiality. As between Egyptian, Assyrian, Hebrew, Hindoo, Persian, Mongul—he who would produce a world history of truly catholic scope should have no inherent prejudice or preconception.

Equally must there be freedom from prejudice regarding various classes of ideas. “Whatever concerns mankind is of interest to me,” must be the editorial motto. Some persons are interested only in military events, in battles, treaties, and the like; others care only for constitutional and governmental affairs; yet others think most of literature and of art, or of science. But the editorial spirit of a world history should show a catholicity of taste that is receptive of each and all of these. Xerxes at Thermopylæ, and Æschylus writing his tragedy “The Persians”; Alexander mourning for Hephæstion, and Phidias building the Parthenon; Augustus Cæsar disputing the mastery of the world with Antony, and Dionysius telling of the myths of early Rome; Richard of the lion heart prosecuting a crusade, and Dante vitalising the Italian language; each and all of these and kindred topics up and down the scroll of history should equally, each in proportion to its relative influence, excite the sympathetic attention of the historian. With the same zeal he should tell of the alleged iniquities of a Messalina or a Catherine de’ Medici and of the noble self-abnegation of a Cornelia; of the self-seeking of a Cæsar and of the self-abnegation of a Cincinnatus or a St. Louis. With sound common-sense for a guide, he should strive to avoid on the one hand the over-credulity of the untrained mind, and on the other the dogmatic scepticism that so often perverts the judgment of the specialist.

But what then, it may be asked, of the moral of our story—of our drama? Shall we be content to present the bare facts, and leave their philosophical interpretation to chance? To this it may be replied, that in the minds of most of us a profound philosophical idea is one that accords with our own preconception;—other views are superficial, perverse, or obviously mistaken. Hence a wise interpreter of history will be extremely chary of putting forward his own more or less dogmatic interpretations of the events he relates. It does not follow that no opinion can ever be expressed; indeed, a tacit expression of opinion is implied in the selection of almost every excerpt. But witnesses from all sides must be given an impartial hearing in any case where a clear balance of evidence is not attainable; and where the evidence is demonstrative it must be presented with all fairness, and without reservation or innuendo, regardless of its apparent bearing.

Fortunately the study of world history in itself tends to make for precisely such impartiality. He who has attentively followed the story of the rise and fall of nations will have learned that human nature is everywhere at its foundation much the same; that no race, no nation, no individual even is ideally good or totally bad; that the Past has always been a Golden Age for the pessimist, the Future always utopian for the dreamer, and that a broad optimism regarding the Present—a belief that on the whole the conditions of any given time are about as good as the character of the time permits—is, perhaps, the safest philosophy of living.

In the main, then, we may rest content with the conviction that, however unobtrusive our philosophy, the great lessons of history will not fail to make themselves felt by any attentive reader of these pages. We greatly mistake the purport of the story if it does not on the whole make for broader views, for truer humanitarianism, for higher morals, personal and communal;—in a word, for better citizenship in the fullest and broadest meaning of the term. Indeed, to attain the plane of the best citizenship, historical studies are absolutely essential. No one can have a competent judgment regarding the affairs of his own country without such studies; no one is a fair judge of the political principles of the party he supports or of the one that he opposes, who has not prepared himself by a study of the political systems of the past. “Had I begun earlier and spent thirty years in reading history,” said Schiller, “I should be far different and a far better man than I am.” Echoing these words, we may say that the outlook for every constitutional government would be brighter if every youth and every man who exercises or is about to exercise the responsibilities of a voter, and every woman whose advice aids or stimulates a father, brother, husband, or son towards the performance of his civic duties, could spend not thirty years, let us say, but as many weeks in studying the history of nations. Little fear that the student who has got such a start as this would willingly stop there. He would have gained enough of insight to be keenly interested, and it would require no urging to send him on; for the panorama of history, once we gain a little insight into it as it unfolds before us its never ending variety of scenes, can hardly be viewed otherwise than with unflagging interest; unless indeed the view is befogged by the atmosphere through which it is presented. To prevent such befogging,—to present the story through a clear medium,—requires only that the narrative shall be true to the facts in its presentation of topics of real importance. This is what we had in mind when we said that interest—human interest—is the key-note of our philosophy of historical composition. It is the editorial conviction that attention, based upon interest, is the foundation of mental development. A literary work that lacks interest, might, indeed, subserve a useful purpose, but the scope of its influence is curtailed from the outset if the reader must go to it as a task and not as to a recreation. Interest breaks down the barriers between work and play. Interest fixes attention, and fixed attention is the basis of memorising.

Let it freely be asserted, then, that in the selection of material for our work the principle acted on has been that, other things being equal, the best account of any historical event is the most picturesque and entertaining account,—for what, after all, does picturesqueness imply, except an approach to the vivid reproduction of the actualities? Written words are intended to be read, and any writer who, like Polybius, despises the literary graces must expect to be despised in turn, or, at least, neglected. Properly presented, the narrative of history should have all the breathless interest of a novel,—for what is so fascinating as a true story from human life? In the present work an attempt is made to raise history towards the level of fiction in point of interest, without sacrificing anything of scientific accuracy. No account is given here merely because it is picturesque, to the exclusion of a truer narrative; but the preference is always given to the graphic story as against the dull, where the two have equal authority as to matters of fact. Further to enhance the vividness of presentation, pictures are everywhere introduced. There are thousands of these pictures in the aggregate, drawn from the most varied sources, and constituting, it is believed, one of the most remarkable series of historical illustrations ever collected.