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By Root 827 0

surroundings and conveying it to the reader or the viewer of a picture, which distinguishes the artist. What the artist has is an extra vision and an inner vision plus the ability to express it. He supplies a view or an understanding that the viewer or reader would not have gained without the aid of the artist’s creative vision. This is what Monet does in one of those shimmering rivers reflecting poplars, or El Greco in the stormy sky over Toledo, or Jane Austen compressing a whole society into Mr. and Mrs. Bennet, Lady Catherine, and Mr. Darcy. We realtors, at least those of us who aspire to write literature, do the same thing. Lytton Strachey perceived a truth about Queen Victoria and the Eminent Victorians, and the style and form which he created to portray what he saw have changed the whole approach to biography since his time. Rachel Carson perceived truth about the seashore or the silent spring, Thoreau about Walden Pond, De Tocqueville and James Bryce about America, Gibbon about Rome, Karl Marx about Capital, Carlyle about the French Revolution. Their work is based on study, observation, and accumulation of fact, but does anyone suppose that these realtors did not make use of their imagination? Certainly they did; that is what gave them their extra vision.

Trevelyan wrote that the best historian was he who combined knowledge of the evidence with “the largest intellect, the warmest human sympathy and the highest imaginative powers.” The last two qualities are no different than those necessary to a great novelist. They are a necessary part of the historian’s equipment because they are what enable him to understand the evidence he has accumulated. Imagination stretches the available facts—extrapolates from them, so to speak, thus often supplying an otherwise missing answer to the “Why” of what happened. Sympathy is essential to the understanding of motive. Without sympathy and imagination the historian can copy figures from a tax roll forever—or count them by computer as they do nowadays—but he will never know or be able to portray the people who paid the taxes.

When I say that I felt like an artist, I mean that I constantly found myself perceiving a historical truth (at least, what I believe to be truth) by seizing upon a suggestion; then, after careful gathering of the evidence, conveying it in turn to the reader, not by piling up a list of all the facts I have collected, which is the way of the Ph.D., but by exercising the artist’s privilege of selection.

Actually the idea for The Proud Tower evolved in that way from a number of such perceptions. The initial impulse was a line I quoted in The Guns of August from Belgian Socialist poet Emile Verhaeren. After a lifetime as a pacifist dedicated to the social and humanitarian ideas which were then believed to erase national lines, he found himself filled with hatred of the German invader and disillusioned in all he had formerly believed in. And yet, as he wrote, “Since it seems to me that in this state of hatred my conscience becomes diminished, I dedicate these pages, with emotion, to the man I used to be.”

I was deeply moved by this. His confession seemed to me so poignant, so evocative of a time and mood, that it decided me to try to retrieve that vanished era. It led to the last chapter in The Proud Tower on the Socialists, to Jaurès as the authentic Socialist, to his prophetic lines, “I summon the living, I mourn the dead,” and to his assassination as the perfect and dramatically right ending for the book, both chronologically and symbolically.

Then there was Lord Ribblesdale. I owe this to American Heritage, which back in October 1961 published a piece on Sargent and Whistler with a handsome reproduction of the Ribblesdale portrait. In Sargent’s painting Ribblesdale stared out upon the world, as I later wrote in The Proud Tower, “in an attitude of such natural arrogance, elegance and self-confidence as no man of a later day would ever achieve.” Here too was a vanished era which came together in my mind with Verhaeren’s line, “the man I used to be”—like two