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The search for models is not confined to contemporary historians, for the literary workmen of other branches have much to suggest. As already noted, the writer of fiction, even in the most severely historical romance, has an advantage over the historian in his freedom to supply incidents and descriptions when real materials fail, but from the novelist the history writer can learn much about the organization of his work, and how real facts can be most effectively stated. The novelist dramatizes his work in part by introducing conversation, or by letting one character relate the whole tale. The historian will not imitate this method, but he can study the art of description, because this is one of the gifts of the great novelists, and one which is based upon a principle fundamentally necessary to the student of history. Good description rests on accurate observation of essentials. Not every detail is necessary in a picture. A sketch of a few lines may give a more characteristic impression than a drawing with every leaf in sight. So in words, it is an art to know what to leave out.

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It is by the proper use of description that events The Art of Deand persons are visualized and set in motion, and scription.

it is the duty of the historian to give his matter life. He need not take time to depict the glories of the setting sun, nor revel in the whispering breezes so essential to a love story, but his characters and scenes should have color and movement, so that the reader may obtain the true impression. The best descriptions are the most concrete. The use of abstract terms is a necessity in certain kinds of

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Brevity.

Literary
Habits.

work, but the ordinary historical narrative will be most effective when abstractions are, as far as possible, avoided. The novelist has been spending his time studying social situations, varieties of persons, natural scenery and other matters, but he has learned to see essentials. His counsel will be useful to the more prosaic historian.

Finally, the world demands brevity, if it is to give its attention. Not abruptness in language, but compression of matter into reasonable compass, is a fair requirement. The study of perspective ought to include not only the contents of the work in hand, but the relation of the subject to history at large. Most of our labors would diminish in size if tested by their relative value. Writers of monographs are with difficulty convinced that their productions could be shortened, but their efforts would usually be far more effective if cut in twain.

The literary habits of historical writers have no peculiarities which set them apart from other scientific authors. The rules of mental hygiene which apply to one will apply to the others. The individual worker has to decide for himself the time of day when he is most effective, and will adjust his work so far as possible to that end. The majority of historical investigators at present are connected with institutions of learning, and their first duties must be directed to their academic work. This often places the research at the end of the day, or in hours of fatigue, with the result that tasks are prolonged, completion is deferred, and sometimes discouragement overcomes the ardent beginner.

One division of labor can be profitably borne in mind. Historical work consists in general of two parts, the collection of data and the construction of the results. The gathering of material does not call forth the same mental energy as the combination of ideas. One may collect statistics, compare titles, verify footnotes, or copy documents, at times when it would be unwise to attempt composition. On the other hand, constructive work, the long view of things, the final judgment upon the course of events, should have the best conditions of the mind and should not be hurried.

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As in literature in general, the work will improve Revision. with revision. History is not a subject which pours red hot from the writer's brain. Perhaps even poetry cannot claim that honor, but the historical narrative certainly needs repeated filing for two reasons, one, because the judgment improves with reconsideration, and the other, because the form of expression should by constant study be made more and more suitable to the truth. The great historians have not spared themselves in revision. George Bancroft, for example, was not only most methodical in the collection of materials, but his first draft would sometimes get seven revisions before the author was satisfied to send it to the printer.

Even when one is so fortunate as to command his Use of Time. own time it is necessary to be regular and methodical in work, and in academic surroundings still more so. It is rather depressing to observe that the monumental histories in the English tongue have been written by men of independent means, and who

were not actively connected with universities. This is not true in Germany, where the conception of the professor is that his first duty lies in research, and his academic appointments are made to suit that ideal. Yet even in America, where much more time is required for teaching and other duties, the hard-worked instructor is furnishing the fundamental investigations upon which historical knowledge is advancing.

In view of the large number of promising candidates annually sent out, the product is not so great as might well be expected. The fault is not altogether at the door of the young professor, but in any case the long and arduous investigations demanded by historical research can be accomplished only by self-discipline and the careful husbandry of time.

CHAPTER XXVI

THE HISTORICAL NOVEL

THE writer of history and the writer of historical novels do not usually unite in the same person, nor do the requirements of the art necessarily assist the labors of the science, but the border-line is so often crossed that it may be in place to consider the limits of the two vocations. As we have seen, the historian frequently gets abroad into the realm of imagination, and the novelist takes pride in the historical accuracy of his pictures. A few modern instances will illustrate the situation, which is here set forth, not with the expectation that the novelists will pay any attention to the recommendations, but to open the discussion for the historical student.

In the preface to her book entitled "The Conqueror" Miss Gertrude Atherton relates that it had been her "original intention to write a biography of Alexander Hamilton in a more flexible manner than is customary," but after visiting the scenes of his early life and becoming more widely acquainted with his career "the instinct of the novelist proved too strong." Consequently she wrote a novel with Hamilton as the chief figure, on the principle with which we can all agree that "the character is but a dramatized biography." Yet the author is sure that almost every incident is founded upon established

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