Oscar Wilde: Essays and Lectures

THE RISE OF HISTORICAL CRITICISM 4. CHAPTER IV (continued)

The new age is the age of style. The same spirit of exclusive attention to form which made Euripides often, like Swinburne, prefer music to meaning and melody to morality, which gave to the later Greek statues that refined effeminacy, that overstrained gracefulness of attitude, was felt in the sphere of history. The rules laid down for historical composition are those relating to the aesthetic value of digressions, the legality of employing more than one metaphor in the same sentence, and the like; and historians are ranked not by their power of estimating evidence but by the goodness of the Greek they write.

I must note also the important influence on literature exercised by Alexander the Great; for while his travels encouraged the more accurate research of geography, the very splendour of his achievements seems to have brought history again into the sphere of romance. The appearance of all great men in the world is followed invariably by the rise of that mythopoeic spirit and that tendency to look for the marvellous, which is so fatal to true historical criticism. An Alexander, a Napoleon, a Francis of Assisi and a Mahomet are thought to be outside the limiting conditions of rational law, just as comets were supposed to be not very long ago. While the founding of that city of Alexandria, in which Western and Eastern thought met with such strange result to both, diverted the critical tendencies of the Greek spirit into questions of grammar, philology and the like, the narrow, artificial atmosphere of that University town (as we may call it) was fatal to the development of that independent and speculative spirit of research which strikes out new methods of inquiry, of which historical criticism is one.