Pope lived there. Those who followed, contented themselves with improving on the original plan. They found models at home; and therefore they did not look for them abroad. But, when enlightened men on the Continent began to think about political reformation, having no patterns before their eyes in their domestic history, they naturally had recourse to those remains of antiquity, the study of which is considered throughout Europe as an important part of education. The historians of whom we have been speaking had been members of large communities, and subjects of absolute sovereigns. Hence it is, as we have already said, that they commit such gross errors in speaking of the little republics of antiquity. Their works were now read in the spirit in which they had been written. They were read by men placed in circumstances closely resembling their own, unacquainted with the real nature of liberty, but inclined to believe everything good which could be told respecting it. How powerfully these books impressed these speculative reformers, is well known to all who have paid any attention to the French literature of the last century. But, perhaps, the writer on whom they produced the greatest effect was Vittorio Alfieri. In some of his plays, particularly in Virginia, Timoleon, and Brutus the Younger, he has even caricatured the extravagance of his masters.

It was not strange that the blind, thus led by the blind, should stumble. The transactions of the French Revolution, in some measure, took their character from these works. Without the assistance of these works, indeed, a revolution would have taken place,-a revolution productive of much good and much evil, tremendous but shortlived, evil dearly purchased, but durable good. But it would not have been exactly such a revolution. The style, the accessories, would have been in many respects different. There would have been less of bombast in language, less of affectation in manner, less of solemn trifling and ostentatious simplicity. The acts of legislative assemblies, and the correspondence of diplomatists, would not have been disgraced by rants worthy only of a college declamation. The government of a great and polished nation would not have rendered itself ridiculous by attempting to revive the usages of a world which had long passed away, or rather of a world which had never existed except in the description of a fantastic school of writers. These second-hand imitations resembled the originals about as much as the classical feast with which the Doctor in

Peregrine Pickle turned the stomachs of all his guests resembled one of the suppers of Lucullus in the Hall of Apollo.

These were mere follies. But the spirit excited by these writers produced more serious effects. The greater part of the crimes which disgraced the revolution sprung indeed from the relaxation of law, from popular ignorance, from the remembrance of past oppression, from the fear of foreign conquest, from rapacity, from ambition, from party-spirit. But many atrocious proceedings must, doubtless, be ascribed to heated imagination, to perverted principle, to a distaste for what was vulgar in morals, and a passion for what was startling and dubious. Mr. Burke has touched on this subject with great felicity of expression: "The gradation of their republic," says he, "is laid in moral paradoxes. All those instances to be found in history, whether real or fabulous, of a doubtful public spirit, at which morality is perplexed, reason is staggered, and from which affrighted nature recoils, are their chosen and almost sole examples for the instruction of their youth." This evil, we believe, is to be directly ascribed to the influence of the historians whom we have mentioned, and their modern imitators.

Livy had some faults in common with these writers. But on the whole he must be considered as forming a class by nimself: no historian with whom we are acquainted has shown so complete an indifference to truth. He seems to have cared only about the picturesque effect of his book, and the honour of his country. On the other hand, we do not know, in the whole range of literature, an instance of a bad thing so well done. The painting of the narrative is beyond description vivid and graceful. The abundance of interesting sentiments and splendid imagery in the speeches is almost miraculous. His mind is a soil which is never overteemed, a fountain which never seems to trickle. It pours forth profusely; yet it gives no sign of exhaustion. It was probably to this exuberance of thought and language, always fresh, always sweet, always pure, no sooner yielded than repaired, that the critics applied that expression which has been so much discussed, lactea ubertas.

All the merits and all the defects of Livy take a colouring from the character of his nation. He was a writer peculiarly Roman; the proud citizen of a commonwealth which had indeed lost the reality of liberty, but which still sacredly preserved its forms-in fact the subject of an arbitrary prince, but in his own estimation one of the masters of the world

with a hundred kings below him, and only the gods above him. He, therefore, looked back on former times with feelings far different from those which were naturally entertained by his Greek contemporaries, and which at a later period became general among men of letters throughout the Roman Empire. He contemplated the past with interest and delight, not because it furnished a contrast to the present, but because it had led to the present. He recurred to it, not to lose in proud recollections the sense of national degradation, but to trace the progress of national glory. It is true that his veneration for antiquity produced on him some of the effects. which it produced on those who arrived at it by a very different road. He has something of their exaggeration, something of their cant, something of their fondness for anomalies and lusus naturæ in morality. Yet even here we perceive a difference. They talk rapturously of patriotism and liberty in the abstract. He does not seem to think any country but Rome deserving of love: nor is it for liberty as liberty, but for liberty as a part of the Roman institutions, that he is zealous.

Of the concise and elegant accounts of the campaigns of Cæsar little can be said. They are incomparable models for military despatches. But histories they are not, and do not pretend to be.

The ancient critics placed Sallust in the same rank with Livy; and unquestionably the small portion of his works which has come down to us is calculated to give a high opinion of his talents. But his style is not very pleasant: and his most powerful work, the account of the Conspiracy of Catiline, has rather the air of a clever party pamphlet than that of a history. It abounds with strange inconsistencies, which, unexplained as they are, necessarily excite doubts as to the fairness of the narrative. It is true, that many circumstances now forgotten may have been familiar to his contemporaries, and may have rendered passages clear to them. which to us appear dubious and perplexing. But a great historian should remember that he writes for distant generations, for men who will perceive the apparent contradictions, and will possess no means of reconciling them. We can only vindicate the fidelity of Sallust at the expense of his skill. But in fact all the information which we have from contemporaries respecting this famous plot is liable to the same objection, and is read by discerning men with the same incredulity. It is all on one side. No answer has reached our times. Yet, on the showing of the accusers, the accused seem

entitled to acquittal. Catiline, we are told, intrigued with a Vestal virgin, and murdered his own son. His house was a den of gamblers and debauchees. No young man could cross his threshold without danger to his fortune and reputation. Yet this is the man with whom Cicero was willing to coalesce in a contest for the first magistracy of the republic; and whom he described, long after the fatal termination of the conspiracy, as an accomplished hypocrite, by whom he had himself been deceived, and who had acted with consummate skill the character of a good citizen and a good friend. We are told that the plot was the most wicked and desperate ever known, and, almost in the same breath, that the great body of the people, and many of the nobles, favoured it: that the richest citizens of Rome were eager for the spoliation of all property, and its highest functionaries for the destruction of all order; that Crassus, Cæsar, the Prætor Lentulus, one of the consuls of the year, one of the consuls elect, were proved or suspected to be engaged in a scheme for subverting institutions to which they owed the highest honours, and introducing universal anarchy. We are told that a government, which knew all this, suffered the conspirator, whose rank, talents, and courage, rendered him most dangerous, to quit Rome without molestation. We are told that bondmen and gladiators were to be armed against the citizens. Yet we find that Catiline rejected the slaves who crowded to enlist in his army, lest, as Sallust himself expresses it, "he should seem to identify their cause with that of the citizens." Finally, we are told that the magistrate, who was universally allowed to have saved all classes of his countrymen from conflagration and massacre, rendered himself so unpopular by his conduct that a marked insult was offered to him at the expiration of his office, and a severe punishment inflicted on him shortly after.

Sallust tells us, what, indeed, the letters and speeches of Cicero sufficiently prove, that some persons considered the shocking and atrocious parts of the plot as mere inventions of the government, designed to excuse its unconstitutional measures. We must confess ourselves to be of that opinion. There was, undoubtedly, a strong party desirous to change the administration. While Pompey held the command of an army, they could not effect their purpose without preparing means for repelling force, if necessary, by force. In all this there is nothing different from the ordinary practice of Roman factions. The other charges brought against the

conspirators are so inconsistent and improbable, that we give no credit whatever to them. If our readers think this scepticism unreasonable, let them turn to the contemporary accounts of the Popish plot. Let them look over the votes of Parliament, and the speeches of the king; the charges of Scroggs, and the harangues of the managers employed against Strafford. A person who should form his judgment from these pieces alone would believe that London was set on fire by the Papists, and that Sir Edmondsbury Godfrey was murdered for his religion. Yet these stories are now altogether exploded. They have been abandoned by statesmen to aldermen, by aldermen to clergymen, by clergymen to old women, and by old women to Sir Harcourt Lees.

Of the Latin historians, Tacitus was certainly the greatest. His style, indeed, is not only faulty in itself, but is, in some respects, peculiarly unfit for historical composition. He carries his love of effect far beyond the limits of moderation. He tells a fine story finely: but he cannot tell a plain story plainly. He stimulates till stimulants lose their power. Thucydides, as we have already observed, relates ordinary transactions with the unpretending clearness and succinctness of a gazette. His great powers of painting he reserves for events of which the slightest details are interesting. The simplicity of the setting gives additional lustre to the brilliants. There are passages in the narrative of Tacitus superior to the best which can be quoted from Thucydides. But they are not enchased and relieved with the same skill. They are far more striking when extracted from the body of the work to which they belong than when they occur in their place, and are read in connection with what precedes and follows.

In the delineation of character, Tacitus is unrivalled among historians, and has very few superiors among dramatists and novelists. By the delineation of character, we do not mean the practice of drawing up epigrammatic catalogues of good and bad qualities, and appending them to the names of emiment men. No writer, indeed, has done this more skilfully than Tacitus; but this is not his peculiar glory. All the persons who occupy a large space in his works have an individuality of character which seems to pervade all their words and actions. We know them as if we had lived with them. Claudius, Nero, Otho, both the Agrippinas, are masterpieces. But Tiberius is a still higher miracle of art. The historian undertook to make us intimately acquainted with a