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To some extent this is easily intelligible to any one who, with some equipment, reads any considerable quantity of his work; but it would be idle to pretend that the great stumbling-block of all criticism—the attention to matter rather than to form—has had nothing to do with it. Clarendon, at first not a very zealous Royalist, was the only man of decided literary genius who, with contemporary knowledge, wrote the history of the great debate between king and commonwealth. The effect of his history in deciding the question on the Royalist side was felt in England for more than a century; and since popular judgment has somewhat veered round to the other side, its chief exponents have found it necessary either to say as little as possible about Clarendon or to depreciate him. His interesting political history cannot be detailed here. Of a good Cheshire family, but not originally wealthy, he was educated as a lawyer, was early adopted into the "tribe of Ben," and was among the first to take advantage of the opening which the disputes between king and parliament gave to men of his birth, education, and gifts. At first he was a moderate opponent of the king's attempts to dispense with parliament; but the growing evidence that the House of Commons was seeking to increase its own constitutional power at the expense of the prerogative, and especially the anti-Church tendencies of the parliamentary leaders, converted him at first into a moderate and then into a strong Royalist. One of the chief of the king's constitutional advisers, he was after the Restoration the most distinguished by far of those Cavaliers who had parliamentary and constitutional experience; and with the title and office of Chancellor, he exercised a practical premiership during the first seven years of the Restoration. But ill-fortune, and it must be confessed some unwisdom, marked his government. He has been often and truly said to have been a statesman of Elizabeth, born three-quarters of a century too late. He was thought by the public to be arbitrary, a courtier, and even to some extent corrupt. He seemed to the king to be a tiresome formalist and censor, who was only scrupulous in resisting the royal will. So he was impeached; and, being compelled to quit the kingdom, spent the last seven years of his life in France. His great works, begun during his first exile and completed during his second, are the History of the Rebellion and his own Life, the former being by much the more important though the latter (divided into a "Life" and a "Continuation," the last of which starts from the Restoration) contains much interesting and important biographical and historical matter. The text of these works was conveyed by his heirs to the University of Oxford, and long remained an exception to the general rule of the terminableness of copyright.

Clarendon is a very striking example of the hackneyed remark, that in some cases at any rate men's merits are their own and their faults those of their time. His literary merits are, looked at by themselves, of nearly the highest kind. He is certainly the best English writer (and may challenge any foreigner without much fear of the result) in the great, difficult, and now almost lost art of character-(or, as it was called in his time, portrait-) drawing—that is to say, sketching in words the physical, moral, and mental, but especially the moral and mental, peculiarities of a given person. Not a few of these characters of his are among the well-known "beauties" justified in selection by the endorsement of half a dozen generations. They are all full of life; and even where it may be thought that prejudice has had something to do with the picture, still the subject lives, and is not a mere bundle of contradictory or even of superficially compatible characteristics. Secondly, Clarendon is at his best an incomparable narrator. Many of his battles, though related with apparent coolness, and without the slightest attempt to be picturesque, may rank as works of art with his portraits, just as the portraits and battle pieces of a great painter may rank together. The sober vivid touches, the little bits of what the French call reportage or mere reproduction of the actual words and deeds of the personages, the elaborate and carefully-concealed art of the composition, all deserve the highest praise. Here, for instance, is a fair average passage, showing Clarendon's masterly skill in summary narration and his equally masterly, though, as some hold, rather unscrupulous faculty of insinuating depreciation:—

"Since there will be often occasion to mention this gentleman, Sir Richard Granvil, in the ensuing discourse, and because many men believed that he was hardly dealt with in the next year, where all the proceedings will be set down at large, it will not be unfit in this place to say somewhat of him, and of the manner and merit of his entering into the king's service some months before the time we are now upon. He was of a very ancient and worthy family in Cornwall which had in several ages produced men of great courage, and very signal in their fidelity to and service of the crown; and was himself younger brother (though in his nature or humour not of kin to him) to the brave Sir Basil Granvil who so courageously lost his life at the battle of Lansdowne. Being a younger brother and a very young man, he went into the Low Countries to learn the profession of a soldier; to which he had devoted himself under the greatest general of that age, Prince Maurice, and in the regiment of my Lord Vere, who was general of all the English. In that service he was looked upon as a man of courage and a diligent officer, in the quality of a captain, to which he attained after four years' service. About this time, in the end of the reign of King James, the war broke out between England and Spain; and in the expedition to Cadiz this gentleman served as a major to a regiment of foot, and continued in the same command in the war that shortly after followed against France; and at the Isle of Rhé insinuated himself into the very good graces of the Duke of Buckingham, who was the general in that mission; and after the unfortunate retreat from thence was made colonel of a regiment with general approbation and as an officer that well deserved it.

"His credit increased every day with the duke: who, out of the generosity of his nature, as a most generous person he was, resolved to raise his fortune; towards the beginning of which, by his countenance and solicitation, he prevailed with a rich widow to marry him, who had been a lady of extraordinary beauty, which she had not yet outlived; and though she had no great dower by her husband, a younger brother of the Earl of Suffolk, yet she inherited a fair fortune of her own near Plymouth, and was besides very rich in a personal estate, and was looked upon as the richest marriage of the West. This lady, by the duke's credit, Sir Richard Granvil (for he was now made a knight and baronet) obtained, and was thereby possessed of a plentiful estate upon the borders of his own country, and where his own family had great credit and authority. The war being now at an end and he deprived of his great patron, [he] had nothing to depend upon but the fortune of his wife: which, though ample enough to have supported the expense a person of his quality ought to have made, was not large enough to satisfy his vanity and ambition, nor so great as he upon common reports had possessed himself by her. By being not enough pleased with her fortune he grew displeased with his wife, who, being a woman of a haughty and imperious nature and of a wit superior to his, quickly resented the disrespect she received from him and in no respect studied to make herself easy to him. After some years spent together in those domestic unsociable contestations, in which he possessed himself of all her estate as the sole master of it, without allowing her out of her own any competency for herself, and indulged to himself all those licenses in her own house which to women are most grievous, she found means to withdraw herself from him; and was with all kindness received into that family in which she had before been married and was always very much respected."

To superficial observers, or observers who have convinced themselves that high lights and bright colourings are of the essence of the art of the prose writer, Clarendon may seem tame and jejune. He is in reality just the contrary. His wood is tough enough and close-grained enough, but there is plenty of sap coursing through it. In yet a third respect, which is less closely connected with the purely formal aspect of style, Clarendon stands, if not pre-eminent, very high among historians. This is his union of acute penetration and vigorous grasp in the treatment of complicated events. It has been hinted that he seems to have somewhat lost grasp, if not penetration, after the Restoration. But at the time of his earlier participation in public affairs, and of his composition of the greater part of his historical writings, he was in the very vigour and prime of life; and though it may be that he was "a Janus of one face," and looked rather backward than forward, even then he was profoundly acquainted with the facts of English history, with the character of his countrymen, and with the relations of events as they happened. It may even be contended by those who care for might-have-beens, that but for the headlong revolt against Puritanism, which inspired the majority of the nation with a kind of carnival madness for many years after 1660, and the strange deficiency of statesmen of even moderately respectable character on both sides (except Clarendon himself, and the fairly upright though time-serving Temple, there is hardly a respectable man to be found on any side of politics for forty years), Clarendon's post-Restoration policy itself would not have been the failure that it was. But it is certain that on the events of his own middle age he looked with the keenest discernment, and with the widest comprehension.

Against these great merits must be set a treble portion of the great defect which, as we have said, vitiates all the English prose work of his time, the unconscious or wilful ignoring of the very fundamental principles of sentence-and paragraph-architecture. His mere syntax, in the most restricted sense of that word, is not very bad; he seldom indulges out of mere incuria in false concords or blunders over a relative. But he is the most offending soul alive at any time in English literature in one grave point. No one has put together, or, to adopt a more expressive phrase, heaped together such enormous paragraphs; no one has linked clause on clause, parenthesis on parenthesis, epexegesis on exegesis, in such a bewildering concatenation of inextricable entanglement. Sometimes, of course, the difficulty is more apparent than real, and by simply substituting full stops and capitals for his colons and conjunctions, one may, to some extent, simplify the chaos. But it is seldom that this is really effective: it never produces really well balanced sentences and really well constructed paragraphs; and there are constant instances in which it is not applicable at all. It is not that the jostling and confused relatives are as a rule grammatically wrong, like the common blunder of putting an "and which" where there is no previous "which" expressed or implied. They, simply, put as they are, bewilder

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