The Historians' History of the World 01

Let it freely be asserted, then, that in the selection of material for our work the principle acted on has been that, other things being equal, the best account of any historical event is the most picturesque and entertaining account,—for what, after all, does picturesqueness imply, except an approach to the vivid reproduction of the actualities? Written words are intended to be read, and any writer who, like Polybius, despises the literary graces must expect to be despised in turn, or, at least, neglected. Properly presented, the narrative of history should have all the breathless interest of a novel,—for what is so fascinating as a true story from human life? In the present work an attempt is made to raise history towards the level of fiction in point of interest, without sacrificing anything of scientific accuracy. No account is given here merely because it is picturesque, to the exclusion of a truer narrative; but the preference is always given to the graphic story as against the dull, where the two have equal authority as to matters of fact. Further to enhance the vividness of presentation, pictures are everywhere introduced. There are thousands of these pictures in the aggregate, drawn from the most varied sources, and constituting, it is believed, one of the most remarkable series of historical illustrations ever collected.

All in all, then, one might describe our intention as the desire to dramatise the story of history,—for, again, what is dramatisation but the mimicry of life? Our various books and sections are the settings for the acts and scenes of the play, and it is hoped that, with the aid of the introductions by way of proem, and the pictures to aid the eye, the characters are made to move across the stage before the reader with something like the vividness of living actors. One cannot quite dare promise that there shall be no dull scenes, but it is hoped that, in the main, the play will be found to move lightly on, as with words spoken “trippingly upon the tongue.”

In particular, it is hoped that our dramatisation of history will present the events of the long play in something like a true perspective, the large events looming large in our story, the lesser ones forced into the background. As an aid to this treatment, tables of chronology are everywhere introduced before the curtain rises, if it be permissible to hold to our metaphor. These are virtually the lists of dramatis personæ. Even the minor characters will be named here, though they act only as chorus, or prate a few lines in the play where the chief personages will dominate the situation as they dominated it in real life, and as they dominate it in the memory of posterity. Alexander, Cæsar, Charlemagne, Napoleon—such figures will loom large in our drama of history; yet it will never be forgotten that the play is not a monologue. The minor actors will be given a fair hearing from first to last.

It follows from this that the main story of our history has to do with the deeds of men of action. But here at the very outset an important question may be raised: do the deeds of men of action then, after all, constitute the great events of history? An affirmative answer may be given with much confidence. Great men of action carve out the contour of history. High culture can only rise from soil fertilised by material prosperity. The swords of Leonidas, Themistocles, and Pausanias must prune the tree of civilisation before the flower of Periclesian culture can bloom at Athens. There are no names like Livy, Horace, Ovid, and Virgil in the annals of Rome before the conquests and the carnage of Marius, Sulla, and Cæsar. But let us hasten to add that the deeds of men of action can never be rightly understood unless they are considered in relation to the intellectual and social surroundings in which these men of action moved. In other words, the civilisation and culture of each succeeding period cannot be ignored. It will be found to be as fully treated here in all its phases as the limitations of space permit. It furnishes the atmosphere everywhere for our picture, or, if you prefer, the setting for our stage.

In a word, then, our work becomes, if its intent has been realised in actuality, a Comprehensive History of Human Progress in all departments of action and of thought, told dramatically and picturesquely, yet authoritatively, in the words of the great historical writers of every age. Recurring to our metaphor, it is the book of a veritable Drama of History; our unity of action being Historic Truth; our unity of time, the Age of Man; our stage, the World.

BOOK II. A GLIMPSE INTO THE PREHISTORIC PERIOD

CHAPTER I

INTRODUCTORY