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Rh in the search for truth, is generally but a poor artist, and his uncoloured picture of the past will never rank in literature beside the splendid distortions which glow in the pages of a Michelet or Macaulay. History the art, in so far as it is conditioned upon genius, has no single traceable line of development. Here the product of the age of Pericles remains unsurpassed still; the works of Herodotus and Thucydides standing along with those of Pheidias as models for all time. On the other hand, history the science has developed so that it has not only gained recognition among historians as a distinct subject, but it has raised with it a group of auxiliary sciences which serve either as tools for investigation or as a basis for testing the results. The advance in this branch of history in the 19th century was one of its greatest achievements. The vast gulf which lies between the history of Egypt by Herodotus and that by Flinders Petrie is the measure of its achievement. By the mechanism now at his disposal the scientific explorer can read more history from the dust-heaps of Ābydos than the greatest traveller of antiquity could gather from the priests of Saïs. In tracing the history of history we must therefore keep in mind the double aspect.

History itself, this double subject, the science and the art combined, begins with the dawn of memory and the invention of speech. It is wrong to term those ages pre-historic whose history has not come down to us, including in one category the pre-literary age and the literary whose traces have been lost. Even the pre-literary had its history, first in myth and then in saga. The saga, or epos, was a great advance upon the myth, for in it the deeds of men replace or tend to replace the deeds of the gods. But we are still largely in the realm of imagination. Poetry, as Thucydides complained, is a most imperfect medium for fact. The bard will exaggerate or distort his story. True history, as a record of what really has happened, first reached maturity in prose. Therefore, although much of the past has been handed down to us in epic, in ballad and in the legends of folk-lore, we must turn from them to what became history in the narrower sense.

The earliest prose origins of history are the inscriptions. Their inadequacy is evident from two standpoints. Their permanence depends not upon their importance, but upon the durability of the substance on which they are inscribed. A note for a wedding ring baked into the clay of Babylon has been preserved, while the history of the greatest events has perished. In the second place they are sealed to all but those who know how to read them, and so they lie forgotten for centuries while oral tradition flourishes,—being within the reach of every man. It is only recently that archaeology, turning from the field of art, has undertaken to interpret for us this first written history. The process by which the modern fits together all the obtainable remains of an antiquity, and reconstructs even that past which left no written record, lies outside the field of this article. But such enlargement of the field of history is a modern scientific product, and is to be distinguished from the imperfect beginnings of history-writing which the archaeologist is able to decipher.

Next to the inscriptions,—sometimes identical with them,—are the early chronicles. These are of various kinds. Family chronicles preserved the memory of heroic ancestors whose deeds in the earliest age would have passed into the keeping of the bards. Such family archives were perhaps the main source for Roman historians. But they are not confined to Rome or Greece. Genealogies also pass from the bald verse, which was the vehicle for oral transmission, to such elaborate tables as those in which Manetho has preserved the dynasties of Egyptian Pharaohs.

In this field the priest succeeds the poet. The temple itself became the chief repository of records. There were simple religious annals, votive tablets recording miracles accomplished at a shrine, lists of priests and priestesses, accounts of benefactions, of prodigies and portents. In some cases, as in Rome, the pontiffs kept a kind of register, not merely of religious history, but of important political events as well. Down to the time of the Gracchi (131 ) the Pontifex Maximus inscribed the year’s events upon annual tablets of wood which were preserved in the Regia, the official residence of the pontiff in the Forum. These pontifical “annals” thus came to be a sort of civic history. Chronicles of the Greek cities were commonly ascribed to mythical authors, as for instance that of Miletus, the oldest, to Cadmus the inventor of letters. But they were continued and edited by men in whom the critical spirit was awakening, as when the chroniclers of Ionian towns began the criticism of Homer.

The first historians were the logographi of these Ionian cities; men who carried their inquiry (historiē) beyond both written record and oral tradition to a study of the world around them. Their “saying” (logos) was gathered mostly from contemporaries; and upon the basis of a widened experience they became critics of their traditions. The opening lines of Hecataeus of Miletus begin the history of the true historic spirit in words which read like a sentence from Voltaire. “Hecataeus of Miletus thus speaks: I write as I deem true, for the traditions of the Greeks seem to me manifold and laughable.” Those words mark an epoch in the history of thought. They are the introduction to historical criticism and scientific investigation. Whatever the actual achievement of Hecataeus may have been, from his time onward the scientific movement was set going. Herodotus of Heraclea struggled to rationalize mythology, and established chronology on a solid basis. And finally Herodotus, a professional story-teller, rose to the height of genuine scientific investigation. Herodotus’ inquiry was not simply that of an idle tourist. He was a critical observer, who tested his evidence. It is easy for the student now to show the inadequacy of his sources, and his failure here or there to discriminate between fact and fable. But given the imperfect medium for investigation and the absence of an archaeological basis for criticism, the work of Herodotus remains a scientific achievement, as remarkable for its approximation to truth as for the vastness of its scope. Yet it was Herodotus’ chief glory to have joined to this scientific spirit an artistic sense which enabled him to cast the material into the truest literary form. He gathered all his knowledge of the ancient world, not simply for itself, but to mass it around the story of the war between the east and west, the Greeks and the Persians. He is first and foremost a story-teller; his theme is like that of the bards, a heroic event. His story is a vast prose epos, in which science is to this extent subordinated to art. “This is the showing forth of the Inquiry of Herodotus of Halicarnassus, to the end that neither the deeds of men may be forgotten by lapse of time, nor the works, great and marvellous, which have been produced, some by Hellenes, some by Barbarians, may lose their renown, and especially that the causes may be remembered for which these waged war with one another” (i.e. the Persian war).

In Thucydides a higher art than that of Herodotus was combined with a higher science. He scorned the story-teller “who seeks to please the ear rather than to speak the truth,” and yet his rhetoric is the culmination of Greek historical prose. He withdrew from vulgar applause, conscious that his narrative would be considered “disappointing to the ear,” yet he recast the materials out of which he constructed it in order to lift that narrative into the realm of pure literature. Speeches, letters and documents are reworded to be in tone with the rest of the story. It was his art, in fact, which really created the Peloponnesian war out of its separate parts. And yet this art was merely the language of a scientist. The “laborious task” of which he speaks is that of consulting all possible evidence, and weighing conflicting accounts. It is this which makes his rhetoric worth while, “an everlasting possession, not a prize competition which is heard and forgotten.”

From the sublimity of Thucydides, and Xenophon’s straight-forward story, history passed with Theopompus and Ephorus into the field of rhetoric. A revival of the scientific instinct of investigation is discernable in Timaeus the Sicilian, at the end of the 4th century, but his attack upon his predecessors was the text of a more crushing attack upon himself by Polybius, who declares him lacking in critical insight and biased by passion. Polybius’ comments upon Timaeus reach the dignity of a treatise upon history. He protests against its use for controversial pamphlets which distort the truth. “Directly a man assumes the moral attitude of an historian he ought to forget all