Miscellaneous Writings and Speeches - Volume 1 by Thomas Babington Macaulay (top young adult novels .txt) 📕

the Duke of Brunswick, and strips him, sending his belt to Napoleon. The English fall back on Waterloo. Jupiter calls a council of the gods, and commands that none shall interfere on either side. Mars and Neptune make very eloquent speeches. The battle of Waterloo commences. Napoleon kills Picton and Delancy. Ney engages Ponsonby and kills him. The Prince of Orange is wounded by Soult. Lord Uxbridge flies to check the carnage. He is severely wounded by Napoleon, and only saved by the assistance of Lord Hill. In the meantime the Duke makes a tremendous carnage among the French. He encounters General Duhesme and vanquishes him, but spares his life. He kills Toubert, who kept the gaming-house in the Palais Royal, and Maronet, who loved to spend whole nights in drinking champagne. Clerval, who had been hooted from the stage, and had then become a captain in the Imperial Guard, wished that he had still continued to face the more harmless enmity of the Parisian pit. But Larrey, the son of Esculapius, whom his father had instructed in all the secrets of his art, and who was surgeon-general of the French army, embraced the knees of the destroyer, and conjured him not to give death to one whose office it was to give life. The Duke raised him, and bade him live.

But we must hasten to the close. Napoleon rushes to encounter Wellington. Both armies stand in mute amaze. The heroes fire their pistols; that of Napoleon misses, but that of Wellington, formed by the hand of Vulcan, and primed by the Cyclops, wounds the Emperor in the thigh. He flies, and takes refuge among his troops. The flight becomes promiscuous. The arrival of the Prussians, from a motive of patriotism, the poet completely passes over.

BOOK XII.

Things are now hastening to the catastrophe. Napoleon flies to London, and, seating himself on the hearth of the Regent, embraces the household gods and conjures him, by the venerable age of George III., and by the opening perfections of the Princess Charlotte, to spare him. The Prince is inclined to do so; when, looking on his breast, he sees there the belt of the Duke of Brunswick. He instantly draws his sword, and is about to stab the destroyer of his kinsman. Piety and hospitality, however, restrain his hand. He takes a middle course, and condemns Napoleon to be exposed on a desert island. The King of France re-enters Paris; and the poem concludes.

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ON MITFORD'S HISTORY OF GREECE.

(November 1824.)

This is a book which enjoys a great and increasing popularity: but, while it has attracted a considerable share of the public attention, it has been little noticed by the critics. Mr Mitford has almost succeeded in mounting, unperceived by those whose office it is to watch such aspirants, to a high place among historians. He has taken a seat on the dais without being challenged by a single seneschal. To oppose the progress of his fame is now almost a hopeless enterprise. Had he been reviewed with candid severity, when he had published only his first volume, his work would either have deserved its reputation, or would never have obtained it. "Then," as Indra says of Kehama, "then was the time to strike." The time was neglected; and the consequence is that Mr Mitford like Kehama, has laid his victorious hand on the literary Amreeta, and seems about to taste the precious elixir of immortality. I shall venture to emulate the courage of the honest Glendoveer- "When now He saw the Amreeta in Kehama's hand, An impulse that defied all self-command, In that extremity, Stung him, and he resolved to seize the cup, And dare the Rajah's force in Seeva's sight, Forward he sprung to tempt the unequal fray."

In plain words, I shall offer a few considerations, which may tend to reduce an overpraised writer to his proper level.

The principal characteristic of this historian, the origin of his excellencies and his defects, is a love of singularity. He has no notion of going with a multitude to do either good or evil. An exploded opinion, or an unpopular person, has an irresistible charm for him. The same perverseness may be traced in his diction. His style would never have been elegant; but it might at least have been manly and perspicuous; and nothing but the most elaborate care could possibly have made it so bad as it is. It is distinguished by harsh phrases, strange collocations, occasional solecisms, frequent obscurity, and, above all, by a peculiar oddity, which can no more be described than it can be overlooked. Nor is this all. Mr Mitford piques himself on spelling better than any of his neighbours; and this not only in ancient names, which he mangles in defiance both of custom and of reason, but in the most ordinary words of the English language. It is, in itself, a matter perfectly indifferent whether we call a foreigner by the name which he bears in his own language, or by that which corresponds to it in ours; whether we say Lorenzo de Medici, or Lawrence de Medici, Jean Chauvin, or John Calvin. In such cases established usage is considered as law by all writers except Mr Mitford. If he were always consistent with himself, he might be excused for sometimes disagreeing with his neighbours; but he proceeds on no principle but that of being unlike the rest of the world. Every child has heard of Linnaeus; therefore Mr Mitford calls him Linne: Rousseau is known all over Europe as Jean Jacques; therefore Mr Mitford bestows on him the strange appellation of John James.

Had Mr Mitford undertaken a History of any other country than Greece, this propensity would have rendered his work useless and absurd. His occasional remarks on the affairs of ancient Rome and of modern Europe are full of errors: but he writes of times with respect to which almost every other writer has been in the wrong; and, therefore, by resolutely deviating from his predecessors, he is often in the right.

Almost all the modern historians of Greece have shown the grossest ignorance of the most obvious phenomena of human nature. In their representations the generals and statesmen of antiquity are absolutely divested of all individuality. They are personifications; they are passions, talents, opinions, virtues, vices, but not men. Inconsistency is a thing of which these writers have no notion. That a man may have been liberal in his youth and avaricious in his age, cruel to one enemy and merciful to another, is to them utterly inconceivable. If the facts be undeniable, they suppose some strange and deep design, in order to explain what, as every one who has observed his own mind knows, needs no explanation at all. This is a mode of writing very acceptable to the multitude who have always been accustomed to make gods and daemons out of men very little better or worse than themselves; but it appears contemptible to all who have watched the changes of human character-to all who have observed the influence of time, of circumstances, and of associates, on mankind-to all who have seen a hero in the gout, a democrat in the church, a pedant in love, or a philosopher in liquor. This practice of painting in nothing but black and white is unpardonable even in the drama. It is the great fault of Alfieri; and how much it injures the effect of his compositions will be obvious to every one who will compare his Rosmunda with the Lady Macbeth of Shakspeare. The one is a wicked woman; the other is a fiend. Her only feeling is hatred; all her words are curses. We are at once shocked and fatigued by the spectacle of such raving cruelty, excited by no provocation, repeatedly changing its object, and constant in nothing but in its in- extinguishable thirst for blood.

In history this error is far more disgraceful. Indeed, there is no fault which so completely ruins a narrative in the opinion of a judicious reader. We know that the line of demarcation between good and bad men is so faintly marked as often to elude the most careful investigation of those who have the best opportunities for judging. Public men, above all, are surrounded with so many temptations and difficulties that some doubt must almost always hang over their real dispositions and intentions. The lives of Pym, Cromwell, Monk, Clarendon, Marlborough, Burnet, Walpole, are well known to us. We are acquainted with their actions, their speeches, their writings; we have abundance of letters and well- authenticated anecdotes relating to them: yet what candid man will venture very positively to say which of them were honest and which of them were dishonest men? It appears easier to pronounce decidedly upon the great characters of antiquity, not because we have greater means of discovering truth, but simply because we have less means of detecting error. The modern historians of Greece have forgotten this. Their heroes and villains are as consistent in all their sayings and doings as the cardinal virtues and the deadly sins in an allegory. We should as soon expect a good action from giant Slay-good in Bunyan as from Dionysius; and a crime of Epaminondas would seem as incongruous as a faux-pas of the grave and comely damsel called Discretion, who answered the bell at the door of the house Beautiful.

This error was partly the cause and partly the effect of the high estimation in which the later ancient writers have been held by modern scholars. Those French and English authors who have treated of the affairs of Greece have generally turned with contempt from the simple and natural narrations of Thucydides and Xenophon to the extravagant representations of Plutarch, Diodorus, Curtius, and other romancers of the same class,-men who described military operations without ever having handled a sword, and applied to the seditions of little republics speculations formed by observation on an empire which covered half the known world. Of liberty they knew nothing. It was to them a great mystery-a superhuman enjoyment. They ranted about liberty and patriotism, from the same cause which leads monks to talk more ardently than other men about love and women. A wise man values political liberty, because it secures the persons and the possessions of citizens; because it tends to prevent the extravagance of rulers, and the corruption of judges; because it gives birth to useful sciences and elegant arts; because it excites the industry and increases the comforts of all classes of society. These theorists imagined that it possessed something eternally and intrinsically good, distinct from the blessings which it generally produced. They considered it not as a means but as an end; an end to be attained at any cost. Their favourite heroes are those who have sacrificed, for the mere name of freedom, the prosperity-the security-the justice-from which freedom derives its value.

There is another remarkable characteristic of these writers, in which their modern worshippers have carefully imitated them-a great fondness for good stories. The most established facts, dates, and characters are never suffered to come into competition with a splendid saying, or a romantic exploit. The early historians have left us natural and simple descriptions of the great events which they witnessed, and the great men with whom they associated. When we read the account which Plutarch and Rollin have given of the same period, we