He told them of rivers dried up in a day,—of provinces famished for a meal,-of a passage for ships hewn through the mountains,-of a road for armies spread upon the waves,—of monarchies and commonwealths swept away,-of anxiety, of terror, of confusion, of despair!-and then of proud and stubborn hearts tried in that extremity of evil, and not found wanting,—of resistance long maintained against desperate odds,-of lives dearly sold, when resistance could be maintained no more,-of signal deliverance, and of unsparing revenge. Whatever gave a stronger air of reality to a narrative so well calculated to inflame the passions, and to flatter national pride, was certain to be favourably received.

Between the time at which Herodotus is said to have composed his history, and the close of the Peloponnesian war, about forty years elapsed,-forty years, crowded with great military and political events. The circumstances of that period produced a great effect on the Grecian character; and nowhere was this effect so remarkable as in the illustrious democracy of Athens. An Athenian, indeed, even in the time of Herodotus, would scarcely have written a book so romantic and garrulous as that of Herodotus. As civilisation advanced, the citizens of that famous republic became still less visionary, and still less simplehearted. They aspired to know where their ancestors had been content to doubt; they began to doubt where their ancestors had thought it their duty to believe. Aristophanes is fond of alluding to this change in the temper of his countrymen. The father and son, in the Clouds, are evidently representatives of the generations to which they respectively belonged. Nothing more clearly illustrates the nature of this moral revolution than the change which passed upon tragedy. The wild sublimity of Eschylus became the scoff of every young Phidippides. Lectures on abstruse points of philosophy, the fine distinctions

of casuistry, and the dazzling fence of rhetoric, were substituted for poetry. The language lost something of that infantine sweetness which had characterised it. It became less like the ancient Tuscan, and more like the modern French.

The fashionable logic of the Greeks was, indeed, far from strict. Logic never can be strict where books are scarce, and where information is conveyed orally. We are all aware how frequently fallacies, which, when set down on paper, are at once detected, pass for unanswerable arguments when dexterously and volubly urged in Parliament, at the bar, or in private conversation. The reason is evident. We cannot inspect them closely enough to perceive their inaccuracy. We cannot readily compare them with each other. We lose sight of one part of the subject before another, which ought to be received in connection with it, comes before us; and, as there is no immutable record of what has been admitted and of what has been denied, direct contradictions pass muster with little difficulty. Almost all the education of a Greek consisted in talking and listening. His opinions on government were picked up in the debates of the assembly. If he wished to study metaphysics, instead of shutting himself up with a book, he walked down to the market-place to look for a sophist. So completely were men formed to these habits, that even writing acquired a conversational air. The philosophers adopted the form of dialogue, as the most natural mode of communicating knowledge. Their reasonings have the merits. and the defects which belong to that species of composition, and are characterised rather by quickness and subtilty than by depth and precision. Truth is exhibited in parts, and by glimpses. Innumerable clever hints are given; but no sound and durable system is erected. The argumentum ad hominem, a kind of argument most efficacious in debate, but utterly

useless for the investigation of general principles, is among their favourite resources. Hence, though nothing can be more admirable than the skill which Socrates displays in the conversations which Plato has reported or invented, his victories, for the most part, seem to us unprofitable. A trophy is set up; but no new province is added to the dominions of the human mind.

Still, where thousands of keen and ready intellects were constantly employed in speculating on the qualities of actions and on the principles of government, it was impossible that history should retain its old character. It became less gossiping and less picturesque; but much more accurate, and somewhat more scientific.

The history of Thucydides differs from that of Herodotus as a portrait differs from the representation of an imaginary scene; as the Burke or Fox of Reynolds differs from his Ugolino or his Beaufort. In the former case, the archetype is given: in the latter, it is created. The faculties which are required for the latter purpose are of a higher and rarer order than those which suffice for the former, and indeed necessarily comprise them. He who is able to paint what he sees with the eye of the mind will surely be able to paint what he sees with the eye of the body. He who can invent a story, and tell it well, will also be able to tell, in an interesting manner, a story which he has not invented. If, in practice, some of the best writers of fiction have been among the worst writers of history, it has been because one of their talents had merged in another so completely that it could not be severed; because, having long been habituated to invent and narrate at the same time, they found it impossible to narrate without inventing.

Some capricious and discontented artists have affected to consider portrait-painting as unworthy of a man of genius. Some critics have spoken in the

same contemptuous manner of history. Johnson puts the case thus: The historian tells either what is false or what is true: in the former case he is no historian in the latter he has no opportunity for displaying his abilities: for truth is one: and all who tell the truth must tell it alike.

It is not difficult to elude both the horns of this dilemma. We will recur to the analogous art of portrait-painting. Any man with eyes and hands may be taught to take a likeness. The process, up to a certain point, is merely mechanical. If this were all, a man of talents might justly despise the occupation. But we could mention portraits which are resemblances, but not mere resemblances; faithful,— but much more than faithful; portraits which condense into one point of time, and exhibit, at a single glance, the whole history of turbid and eventful lives ----in which the eye seems to scrutinise us, and the mouth to command us- -in which the brow menaces, and the lip almost quivers with scorn-in which every wrinkle is a comment on some important transaction. The account which Thucydides has given of the retreat from Syracuse is, among narratives, what Vandyk's Lord Strafford is among paintings.

Diversity, it is said, implies error: truth is one, and admits of no degrees. We answer, that this principle holds good only in abstract reasonings. When we talk of the truth of imitation in the fine arts, we mean an imperfect and a graduated truth. No picture is exactly like the original; nor is a picture good in proportion as it is like the original. When Sir Thomas Lawrence paints a handsome peeress, he does not contemplate her through a powerful microscope, and transfer to the canvass the pores of the skin, the blood-vessels of the eye, and all the other beauties which Gulliver discovered in the Brobdignaggian maids of honour. If he were to do this, the effect would not merely be unpleasant, but, unless

the scale of the picture were proportionably enlarged, would be absolutely false. And, after all, a microscope of greater power than that which he had employed would convict him of innumerable omissions. The same may be said of history. Perfectly and absolutely true it cannot be: for, to be perfectly and absolutely true, it ought to record all the slightest particulars of the slightest transactions-all the things done and all the words uttered during the time of which it treats. The omission of any circumstance, however insignificant, would be a defect. If history were written thus, the Bodleian library would not contain the occurrences of a week. What is told in the fullest and most accurate annals bears an infinitely small proportion to what is suppressed. The difference between the copious work of Clarendon and the account of the civil wars in the abridgment of Goldsmith vanishes when compared with the immense mass of facts respecting which both are equally silent.

No picture, then, and no history, can present us with the whole truth: but those are the best pictures and the best histories which exhibit such parts of the truth as most nearly produce the effect of the whole. He who is deficient in the art of selection may, by showing nothing but the truth, produce all the effect of the grossest falsehood. It perpetually happens that one writer tells less truth than another, merely because he tells more truths. In the imitative arts we constantly see this. There are lines in the human face, and objects in landscape, which stand in such relations to each other, that they ought either to be all introduced into a painting together or all omitted. together. A sketch into which none of them enters. may be excellent; but, if some are given and others left out, though there are more points of likeness, there is less likeness. An outline scrawled with a pen, which seizes the marked features of a counterance, will give a much stronger idea of it than a bad