There stands my model, then: fearless, incorruptible, independent, a believer in frankness and veracity; one that will call a spade a spade, make no concession to likes and dislikes, nor spare any man for pity or respect-or propriety; an impartial judge, kind to all, but too kind to none; a literary cosmopolite with neither suzerain nor king, never heeding what this or that man may think, but setting down the thing that befell.

Thucydides is our noble legislator; he marked the admiration that met Herodotus and gave the Muses’ names to his nine books; and thereupon he drew the line which parts a good historian from a bad: our work is to be a possession for ever, not a bid for present reputation; we are not to seize upon the sensational, but bequeath the truth to them that come after; he applies the test of use, and defines the end which a wise historian will set before himself: it is that, should history ever repeat itself, the records of the past may give present guidance.

Such are to be my historian’s principles. As for diction and style, he is not to set about his work armed to the teeth from the rhetorician’s arsenal of impetuosity and incisiveness, rolling periods, close-packed arguments, and the rest; for him a serener mood. His matter should be homogeneous and compact, his vocabulary fit to be understanded of the people, for the clearest possible setting forth of his subject.

For to those marks which we set up for the historic spirit— frankness and truth—corresponds one at which the historic style should first of all aim, namely, a lucidity which leaves nothing obscure, impartially avoiding abstruse out-of-the-way expressions, and the illiberal jargon of the market; we wish the vulgar to comprehend, the cultivated to commend us. Ornament should be unobtrusive, and never smack of elaboration, if it is not to remind us of over-seasoned dishes.

The historian’s spirit should not be without a touch of the poetical; it needs, like poetry, to employ impressive and exalted tones, especially when it finds itself in the midst of battle array and conflicts by land or sea; it is then that the poetic gale must blow to speed the vessel on, and help her ride the waves in majesty. But the diction is to be content with terra firma, rising a little to assimilate itself to the beauty and grandeur of the subject, but never startling the hearer, nor forgetting a due restraint; there is great risk at such times of its running wild and falling into poetic frenzy; and then it is that writers should hold themselves in with bit and bridle; with them as with horses an uncontrollable temper means disaster. At these times it is best for the spirit to go a-horseback, and the expression to run beside on foot, holding on to the saddle so as not to be outstripped.

As to the marshalling of your words, a moderate compromise is desirable between the harshness which results from separating what belongs together, and the jingling concatenations—one may almost call them—which are so common; one extreme is a definite vice, and the other repellent.

Facts are not to be collected at haphazard, but with careful, laborious, repeated investigation; when possible, a man should have been present and seen for himself; failing that, he should prefer the disinterested account, selecting the informants least likely to diminish or magnify from partiality. And here comes the occasion for exercising the judgement in weighing probabilities.

The material once complete, or nearly so, an abstract should be made of it, and a rough draught of the whole work put down, not yet distributed into its parts; the detailed arrangement should then be introduced, after which adornment may be added, the diction receive its colour, the phrasing and rhythm be perfected.

The historian’s position should now be precisely that of Zeus in Homer, surveying now the Mysians’, now the Thracian horsemen’s land. Even so 4e will survey now his own party (telling us what we looked like to him from his post of vantage), now the Persians, and yet again both at once, if they come to blows. And when they are face to face, his eyes are not to be on one division, nor yet on one man, mounted or afoot—unless it be a Brasidas leading the forlorn hope, or a Demosthenes repelling it; his attention should be for the generals first of all; their exhortations should be recorded, the dispositions they make, and the motives and plans that prompted them. When the engagement has begun, he should give us a bird’s-eye view of it, show the scales oscillating, and accompany pursuers and pursued alike.

All this, however, with moderation; a subject is not to be ridden to death; no neglect of proportion, no childish engrossment, but easy transitions. He should call a halt here, while he crosses over to another set of operations which demands attention; that settled up, he can return to the first set, now ripe for him; he must pass swiftly to each in turn, keeping his different lines of advance as nearly as possible level, fly from Armenia to Media, thence swoop straight upon Iberia, and then take wing for Italy, everywhere present at the nick-of time.

He has to make of his brain a mirror, unclouded, bright, and true of surface; then he will reflect events as they presented themselves to him, neither distorted, discoloured, nor variable. Historians are not writing fancy school essays; what they have to say is before them, and will get itself said somehow, being solid fact; their task is to arrange and put it into words; they have not to consider what to say, but how to sayit. The historian, we may say, should be like Phidias, Praxiteles, Alcamenes, or anygreat sculptor. They similarly did not create the gold, silver, ivory, or other material they used; it was ready to their hands, provided by Athens, Elis, or Argos; they only made the model, sawed, polished, cemented, proportioned the ivory, and plated it with gold; that was what their art consisted in the right arrangement of their material. The historian’s business is similar to superinduce upon events the charm of order, and set them forth in the most lucid fashion he can manage. When subsequently a hearer feels as though he were looking at what is being told him, and expresses his approval, then our historical Phidias’s work has reached perfection, and received its appropriate reward.

When all is ready, a writer will sometimes start without formal preface, if there is no pressing occasion to clear away preliminaries by that means, though even then his explanation of what he is te say constitutes a virtual preface.

When a formal preface is used, one of the three objects to which a public speaker devotes his exordium may be neglected; the historian, that is, has not to bespeak goodwill—only attention andan open mind. The way to secure the reader’s attention is to show that the affairs to be narrated are great in themselves, throw light on Destiny, or come home to his business and bosom; and as to the open mind, the lucidity in the body of the work, which is to secure that, will be facilitated by a preliminary view of the causes in operation and a precise summary of events.

Prefaces of this character have been employed by the best historians—by Herodotus, ‘to the end that what befell may not grow dim by lapse of time, seeing that it was great and wondrous, and showed forth withal Greeks vanquishing and barbarians vanquished’; and by Thucydides, ‘believing that that war would be great and memorable beyond any previous one; for indeed great calamities took place during its course.’

After the preface, long or short in proportion to the subject, should come an easy natural transition to the narrative; for the body of the history which remains is nothing from beginning to end but a long narrative; it must therefore be graced with the narrative virtues—smooth, level, and consistent progress, neither soaring nor crawling, and the charm of lucidity—which is attained, as I remarked above, partly by the diction, and partly by the treatment of connected events. For, though all parts must be independently perfected, when the first is complete the second will be brought into essential connexion with it, and attached like one link of a chain to another; there must be no possibility of separating them; no mere bundle of parallel threads; the first is not simply to be next to the second, but part of it, their extremities intermingling.

Brevity is always desirable, and especially where matter is abundant; and the problem is less a grammatical than a substantial one; the solution, I mean, is to deal summarily with all immaterial details, and give adequate treatment to the principal events; much, indeed, is better omitted altogether. Suppose yourself giving a dinner, and extremely well provided; there is pastry, game, kickshaws without end, wild boar, hare, sweetbreads; well, you will not produce among these a pike, or a bowl of peasoup, just because they are there in the kitchen; you will dispense with such common things.

Restraint in descriptions of mountains, walls, rivers, and the like, is very important; you must not give the impression that you are making a tasteless display of word-painting, and expatiating independently while the history takes care of itself. Just a light touch—no more than meets the need of clearness—, and you should pass on, evading the snare, and denying yourself all such indulgences, You have the mighty Homer’s example in such a case; poet as he is, he yet hurries past Tantalus and Ixion, Tityus and the rest of them. If Parthenius, Euphorion, or Callimachus had been in his place, how many lines do you suppose it would have taken to get the water to Tantalus’s lip; how many more to set Ixion spinning? Better still, mark how Thucydides—a very sparing dealer in desctiption—leaves the subject at once, as soon as he has given an idea (very necessary and useful, too) of an engine or a siege-operation, of the conformation of Epipolae, or the Syracusan harbour. It may occur to you that his account of the plague is long; but you must allow for the subject; then you will appreciate his brevity; he is hastening on; it is only that the weight of matter holds him back in spite of himself.

When it comes in your way to introduce a speech, the first requirement is that it should suit the character both of the speaker and of the occasion; the second is (once more) lucidity; but in these cases you have the counsel’s right of showing your eloquence.

Not so with praise or censure; these should be sparing, cautious, avoiding hypercriticism and producing proofs, always brief, and never intrusive; historical characters are not prisoners on trial. Without these precautions you will share the ill name of Theopompus, who delights in flinging accusations broadcast, makes a business of the thing in fact, and of himself rather a public prosecutor than a historian.

It may occasionally happen that some extraordinary story has to be introduced; it should be simply narrated, without guarantee of its truth, thrown down for any one to make what he can of it; the writer takes no risks and shows no preference.