Emile, Jean-Jacques Rousseau [fantasy books to read txt] 📗

is the time for history; with its help he will read the hearts of men without any lessons in philosophy; with its help he will view them as a mere spectator, dispassionate and without prejudice; he will view them as their judge, not as their accomplice or their accuser.

To know men you must behold their actions. In society we hear them talk; they show their words and hide their deeds; but in history the veil is drawn aside, and they are judged by their deeds. Their sayings even help us to understand them; for comparing what they say and what they do, we see not only what they are but what they would appear; the more they disguise themselves the more thoroughly they stand revealed.

Unluckily this study has its dangers, its drawbacks of several kinds. It is difficult to adopt a point of view which will enable one to judge one’s fellow-creatures fairly. It is one of the chief defects of history to paint men’s evil deeds rather than their good ones; it is revolutions and catastrophes that make history interesting; so long as a nation grows and prospers quietly in the tranquillity of a peaceful government, history says nothing; she only begins to speak of nations when, no longer able to be self-sufficing, they interfere with their neighbours’ business, or allow their neighbours to interfere with their own; history only makes them famous when they are on the downward path; all our histories begin where they ought to end. We have very accurate accounts of declining nations; what we lack is the history of those nations which are multiplying; they are so happy and so good that history has nothing to tell us of them; and we see indeed in our own times that the most successful governments are least talked of. We only hear what is bad; the good is scarcely mentioned. Only the wicked become famous, the good are forgotten or laughed to scorn, and thus history, like philosophy, is for ever slandering mankind.

Moreover, it is inevitable that the facts described in history should not give an exact picture of what really happened; they are transformed in the brain of the historian, they are moulded by his interests and coloured by his prejudices. Who can place the reader precisely in a position to see the event as it really happened?

Ignorance or partiality disguises everything. What a different impression may be given merely by expanding or contracting the circumstances of the case without altering a single historical incident. The same object may be seen from several points of view, and it will hardly seem the same thing, yet there has been no change except in the eye that beholds it. Do you indeed do honour to truth when what you tell me is a genuine fact, but you make it appear something quite different? A tree more or less, a rock to the right or to the left, a cloud of dust raised by the wind, how often have these decided the result of a battle without any one knowing it? Does that prevent history from telling you the cause of defeat or victory with as much assurance as if she had been on the spot? But what are the facts to me, while I am ignorant of their causes, and what lessons can I draw from an event, whose true cause is unknown to me? The historian indeed gives me a reason, but he invents it; and criticism itself, of which we hear so much, is only the art of guessing, the art of choosing from among several lies, the lie that is most like truth.

Have you ever read Cleopatra or Cassandra or any books of the kind?

The author selects some well-known event, he then adapts it to his purpose, adorns it with details of his own invention, with people who never existed, with imaginary portraits; thus he piles fiction on fiction to lend a charm to his story. I see little difference between such romances and your histories, unless it is that the novelist draws more on his own imagination, while the historian slavishly copies what another has imagined; I will also admit, if you please, that the novelist has some moral purpose good or bad, about which the historian scarcely concerns himself.

You will tell me that accuracy in history is of less interest than a true picture of men and manners; provided the human heart is truly portrayed, it matters little that events should be accurately recorded; for after all you say, what does it matter to us what happened two thousand years ago? You are right if the portraits are indeed truly given according to nature; but if the model is to be found for the most part in the historian’s imagination, are you not falling into the very error you intended to avoid, and surrendering to the authority of the historian what you would not yield to the authority of the teacher? If my pupil is merely to see fancy pictures, I would rather draw them myself; they will, at least, be better suited to him.

The worst historians for a youth are those who give their opinions.

Facts! Facts! and let him decide for himself; this is how he will learn to know mankind. If he is always directed by the opinion of the author, he is only seeing through the eyes of another person, and when those ayes are no longer at his disposal he can see nothing.

I leave modern history on one side, not only because it has no character and all our people are alike, but because our historians, wholly taken up with effect, think of nothing but highly coloured portraits, which often represent nothing. [Footnote: Take, for instance, Guicciardini, Streda, Solis, Machiavelli, and sometimes even De Thou himself. Vertot is almost the only one who knows how to describe without giving fancy portraits.] The old historians generally give fewer portraits and bring more intelligence and common-sense to their judgments; but even among them there is plenty of scope for choice, and you must not begin with the wisest but with the simplest. I would not put Polybius or Sallust into the hands of a youth; Tacitus is the author of the old, young men cannot understand him; you must learn to see in human actions the simplest features of the heart of man before you try to sound its depths. You must be able to read facts clearly before you begin to study maxims. Philosophy in the form of maxims is only fit for the experienced. Youth should never deal with the general, all its teaching should deal with individual instances.

To my mind Thucydides is the true model of historians. He relates facts without giving his opinion; but he omits no circumstance adapted to make us judge for ourselves. He puts everything that he relates before his reader; far from interposing between the facts and the readers, he conceals himself; we seem not to read but to see. Unfortunately he speaks of nothing but war, and in his stories we only see the least instructive part of the world, that is to say the battles. The virtues and defects of the Retreat of the Ten Thousand and the Commentaries of Caesar are almost the same. The kindly Herodotus, without portraits, without maxims, yet flowing, simple, full of details calculated to delight and interest in the highest degree, would be perhaps the best historian if these very details did not often degenerate into childish folly, better adapted to spoil the taste of youth than to form it; we need discretion before we can read him. I say nothing of Livy, his turn will come; but he is a statesman, a rhetorician, he is everything which is unsuitable for a youth.

History in general is lacking because it only takes note of striking and clearly marked facts which may be fixed by names, places, and dates; but the slow evolution of these facts, which cannot be definitely noted in this way, still remains unknown. We often find in some battle, lost or won, the ostensible cause of a revolution which was inevitable before this battle took place. War only makes manifest events already determined by moral causes, which few historians can perceive.

The philosophic spirit has turned the thoughts of many of the historians of our times in this direction; but I doubt whether truth has profited by their labours. The rage for systems has got possession of all alike, no one seeks to see things as they are, but only as they agree with his system.

Add to all these considerations the fact that history shows us actions rather than men, because she only seizes men at certain chosen times in full dress; she only portrays the statesman when he is prepared to be seen; she does not follow him to his home, to his study, among his family and his friends; she only shows him in state; it is his clothes rather than himself that she describes.

I would prefer to begin the study of the human heart with reading the lives of individuals; for then the man hides himself in vain, the historian follows him everywhere; he never gives him a moment’s grace nor any comer where he can escape the piercing eye of the spectator; and when he thinks he is concealing himself, then it is that the writer shows him up most plainly.

“Those who write lives,” says Montaigne, “in so far as they delight more in ideas than in events, more in that which comes from within than in that which comes from without, these are the writers I prefer; for this reason Plutarch is in every way the man for me.”

It is true that the genius of men in groups or nations is very different from the character of the individual man, and that we have a very imperfect knowledge of the human heart if we do not also examine it in crowds; but it is none the less true that to judge of men we must study the individual man, and that he who had a perfect knowledge of the inclinations of each individual might foresee all their combined effects in the body of the nation.

We must go back again to the ancients, for the reasons already stated, and also because all the details common and familiar, but true and characteristic, are banished by modern stylists, so that men are as much tricked out by our modern authors in their private life as in public. Propriety, no less strict in literature than in life, no longer permits us to say anything in public which we might not do in public; and as we may only show the man dressed up for his part, we never see a man in our books any more than we do on the stage. The lives of kings may be written a hundred times, but to no purpose; we shall never have another Suetonius.

The excellence of Plutarch consists in these very details which we are no longer permitted to describe. With inimitable grace he paints the great man in little things; and he is so happy in the choice of his instances that a word, a smile, a gesture, will often suffice to indicate the nature of his hero. With a jest Hannibal cheers his frightened soldiers, and leads them laughing to the battle which will lay Italy at his feet; Agesilaus riding on a stick makes me love the conqueror of the great king; Caesar passing through a poor village and chatting with his friends unconsciously betrays the traitor who professed that he only wished to be Pompey’s equal. Alexander swallows a draught without a word—it is the finest moment in his life; Aristides writes his own name on the shell and so justifies his title; Philopoemen, his mantle laid aside, chops firewood in