Historical and Political Essays. William Edward Hartpole Lecky

moral standard of our own age. This is especially the error of novices in history and of those who without any wide and general culture devote themselves exclusively to a single period. While the primary and essential elements of right and wrong remain unchanged, nothing is more certain than that the standard or ideal of duty is continually altering. A very humane man in another age may have done things which would now be regarded as atrociously barbarous. A very virtuous man may have done things which would now indicate extreme profligacy. We seldom indeed make sufficient allowance for the degree in which the judgments and dispositions of even the best man are coloured by the moral tone of the time or society in which they live. And what is true of individuals is equally true of nations. In order to judge equitably the legislation of any people, we must always consider corresponding contemporary legislations and ideas. When this is neglected our judgments of the past become wholly false. How often, for example, has such a subject as the history of the penal laws against Irish Catholics been treated without the smallest reference to the contemporary laws against Protestants that existed in every Catholic nation and the contemporary laws against Catholics that existed in almost every Protestant country in Europe. How often have the English commercial restrictions on the American colonies been treated as if they were instances of extreme and exceptional tyranny, while a more extended knowledge would show that they were simply the expression of ideas of commercial policy and about the relation of dependencies to the mother-country which then almost universally prevailed.

      It is not merely the moral standard that changes. A corresponding change takes place in the moral type, or, in other words, in the class of virtues which is especially cultivated and especially valued. To know an age aright we should above all things seek to understand its ideal, the direction in which the stream of its self-sacrifice and moral energy naturally flowed. Few things in history are more interesting and more valuable than a study of the causes that produced and modified these successive ideals. Thus in the moral type of pagan antiquity the civic virtues occupied incomparably the foremost place. The idea of a supremely good man was essentially that of a man of action, of a man whose whole life was devoted to the service of his country. The life and death of Cato were for generations the favourite model. He was deemed, in the words of an old Latin historian, to be of all men the one 'most like to virtue.' This pattern retained its force till the softening influence of the Greek spirit, permeating Roman life, made the stoical ideal seem too hard and unsympathising; till the corruption and despotism of the Empire had withdrawn the best men from political life and attached a certain taint or stigma to public employment; till new religions arose in the East, bringing with them new ideals to govern the world. Gradually we may trace the contemplative virtues rising to the foremost place until, about the fifth century, the ideal had totally changed. The heroic type was replaced by the saintly type. The supremely good man was now the ascetic. The first condition of sanctity was a complete abandonment of secular duties and cares and a complete subjugation of the body. A vast literature of legends arose reflecting and glorifying the prevailing ideal and holding up the hermit life as the supreme pattern of perfection, and this literature occupies a place in mediævalism very similar to that held by the 'Lives' of Plutarch in antiquity.

      Ancient art was essentially the glorification of the body, a representation of the full strength and beauty of developed manhood. The saint of the mediæval mosaic represents the body in its extreme maceration and humiliation. The rhetorician, Dio Chrysostom, in a somewhat whimsical passage, which was suggested by a remark of Plato, found a special moral significance in the fact that Homer, though he places his heroes on the the banks of what he calls 'the fishy Hellespont,' never makes them eat fish, but always flesh and the flesh of oxen, for this, as he says, is 'strength-producing food' and is therefore suited for the formation of heroes and the proper diet for men of virtue. Compare this judgment with the protracted, and indeed incredible, fasts which the monkish writers delighted in attributing to the saints of the desert, and we have a vivid picture of the change that had passed over the ideal.

      But as time moved on the ascetic ideal gradually declined and was replaced by the very different ideal of chivalry. It consisted chiefly of three new elements. The first element was a spirit of gallantry which gave women a wholly new place in the imaginations of men. It was in part a reaction against the extreme austerity of the saints, and this reaction was much intensified after the cessation of the panic which had risen at the close of the tenth century about the approaching end of the world. It was in part produced by the softer and more epicurean civilisation which grew up in the country bordering on the Pyrenees. It was especially represented in the romances and poems of the Troubadours, and the new tendency even received some assistance from the Church when the Council of Clermont, which originated the Crusades, imposed on the knight the religious obligation of defending all widows and orphans.

      The second element was an increased reverence for secular rank, which grew out of the feudal system, when a great hereditary aristocracy arose and all European society was moulded into a compact hierarchy, of which the serf was the basis and the emperor the apex. The principle of subordination and obedience ran through the whole edifice, and a respect for rank was universally diffused. Men came to associate their ideal of greatness with regal or noble authority, and they were therefore prepared to idealise any great sovereign who might arise. Such a sovereign appeared in Charlemagne, who exercised upon Christendom a fascination not less powerful than that which Alexander had once exercised upon Greece, and he accordingly soon became the centre of a whole literature of romance.

      The third element was the fusion of religious enthusiasm with the military spirit. Christianity in its first phases was utterly opposed to the military spirit; but this opposition was naturally mitigated when the Church triumphed under Constantine and became associated with governments and armies. The hostility was still further qualified when many tribes of warlike barbarians embraced the faith, and the military obligation which was an essential element of feudalism acted in the same direction. But, above all, the rise and conquests of Mohammedanism awoke the military energies of Christendom and determined the direction it should take. In the Crusades the two great streams of military enthusiasm and of religious enthusiasm met, and the result was the formation of a new ideal which for a long period mainly governed the imagination of Christendom.

      It for a time absorbed, eclipsed, and transformed all purely national ideals. No poet was ever more intensely English in his character and sympathies than Chaucer, and he wrote when the dazzling glories of Crécy and Poitiers were still very recent. Yet it is not on these fields, but in the long wars with the Moslems, that his pattern knight had won his renown. The military expeditions of Charlemagne were directed almost exclusively against the Saxons and against Slavonic tribes. With the Spanish Mohammedans he came but very slightly in contact. He made in person but one expedition against them, and that expedition was both insignificant and unsuccessful. But in the Karlovingian romances, which were written when the crusading enthusiasm was at its height, the figure of the great emperor underwent a strange and most significant transformation. The German wars were scarcely noticed. Charlemagne is surrounded with the special glory that ought to have belonged to Charles Martel. He is represented as having passed his entire life in a victorious struggle with the Mohammedans of Europe, and is even gravely credited with a triumphant expedition to Jerusalem. The three romances of the Crusades which are believed to be the oldest were all written by monks, and they all make Charlemagne their hero. Even geography was transformed by the new enthusiasm, and old maps sometimes represent Jerusalem as the centre of the world.

      In few periods has there been so great a difference between the ideals created by the popular imagination and the realities that are recognised by history. Few wars have been accompanied by more cruelty, more outrage, and more licentiousness than the Crusades or have brought a blacker cloud of disasters in their train. Yet the idea that inspired them was a lofty one, and they were so speedily transfigured by the imaginations of men that in combination with the other influences I have mentioned they created an ideal which is one of the most beautiful in the history of the world. We may trace it clearly in the romances of Arthur and Charlemagne and of the "Cid;" in the "Red-Cross Knight" of Tasso and Spenser; in the old ballads which paint so vividly the hero of chivalry, ever ready to draw his sword for his faith and his lady-love and in the cause of the feeble and the oppressed. The glorification of military courage and self-sacrifice which had been so prominent in antiquity was again in the ascendant, but it was combined with a new kind of honour and with