The Historians' History of the World 01

As one considers the field of extant manuscripts, one is led naturally to reflect on the quality of work that was likely thus to insure perpetuity, and the more we consider the subject, limiting the view for our present purpose to historical compositions, the more clear it becomes that the one prime quality that gave a lease of life to the composition of an author was the quality of human interest. In other words, such historical compositions as were works of art, rather than such as depended upon other merits, were the ones which successive generations of copyists reproduced, and which ultimately were enabled to pass the final ordeal imposed by the monks of the middle ages, who made palimpsests of many an author deserving a better fate. The upshot of this process of the survival of the fittest was that all Greek would-be historians prior to Herodotus were allowed to sink into oblivion, causing Herodotus himself to stand out as apparently the absolute creator of a new art. In point of fact, could we know the whole truth, it would doubtless appear that there was no real revolution of method effected by the writings of Herodotus. He surpassed all of his predecessors in such a measure that the future copyist saw no necessity for preserving any work but the one, since this one practically covered the field of all the rest. It is, perhaps, an ill method of phrasing, to say that these copyists saw no reason for preserving those earlier manuscripts. There was no thought in their minds of the preservation of one book and the destruction of another; they merely copied the work which interested them, or which they believed would interest the book-buying public. The disappearance of the works not copied was a mere negative result, about which no one directly concerned himself.

The proof of the value of the work of Herodotus is found in the fact that it has come down to us entire in numerous copies, something that can be said of only three or four other considerable historical compositions of the entire classical period; two others of this select company being Thucydides and Xenophon, both of whom were contemporaries of Herodotus, though considerably younger, and therefore, properly enough, counted as belonging to the next generation. Of the other Greek historians, the biographical works of Plutarch, the works of Strabo and Pausanius, which are geographical rather than strictly historical, and the Life of Alexander the Great

by Arrian, are the sole ones of the large number undoubtedly written that have come down to us intact. A survey of the Roman historians furnishes an even more striking illustration, for here no one of the great historical works has been preserved in its entirety. Livy’s monumental work is entire as to the earlier books, which treat of the mythical and half-mythical period of Roman development; but the parts of it that treated of later Roman history, concerning which the author could have spoken, and probably did speak, with first-hand knowledge, are almost entirely lost. In other words, the copyists of the middle ages preserved the least valuable portion of Livy, doubtless because they found the hero tales of mythical Rome more interesting than the matter-of-fact recitals of the events of the later republic and the early empire. We can hardly suppose that Livy detailed the events of the later period with less art than characterised his earlier work, but different conditions were imposed upon him. He had now to deal with much fuller records than hitherto, and no doubt he treated many subjects that seemed important to him, simply because they were near at hand, but which another generation found tiresome and not worth the trouble of copying. Thus we see emphasised again the salient point that the interesting story rather than the important historical narrative proved itself most fit for preservation in the estimate of posterity.

Of the other great historians of Rome, Tacitus, Dionysius, Dion Cassius, Polybius, have all fared rather worse than Livy, although a few briefer masterpieces, like the two histories of Sallust and the Gallic Wars of Cæsar, and such biographies as the “Lives” of Suetonius and Cornelius Nepos, were able to fight their way through the middle ages and gain the safe shelter of the printing-press without material loss.