Theory & History of Historiography

being accomplished, as consciousness of that act: it is, for instance, the history that I make of myself while I am in the act of composing these pages; it is the thought of my composition, linked of necessity to the work of composition. 'Contemporary' would be well employed in this case, just because this, like every act of the spirit, is outside time (of the first and after) and is formed 'at

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the historian and that they are intelligible. That a narrative or a series of narratives of the fact is united and mingled with it merely means that the fact has proved more rich, not that it has lost its quality of being present: what were narratives or judgments before are now themselves facts, 'documents' to be interpreted and judged. History is never constructed from narratives, but always from documents, or from narratives that have been reduced to documents and treated as such. Thus if contemporary history springs straight from li

bic philosophy. For me at the present moment they are without interest, and therefore for me at this present moment those histories are not histories, but at the most simply titles of historical works. They have been or will be histories in those that have thought or will think them, and in me too when I have thought or shall think them, re-elaborating them according to my spiritual needs. If, on the other hand, we limit ourselves to real history, to the history that one really thinks in the act of thinking, it will be easily seen that this is perfectly identical with the most personal and contemporary of histories. When the development of the culture of my historical moment presents to me (it would be superfluous and perhaps also inexact to add to myself as an individual) the proble

it is without one of the essential conditions of existence. A history without relation to the document would be an unverifiable history; and since the reality of history lies in this verifiability, and the narrative in which it is given concrete form is historical narrative only in so far as it is a critical exposition of the document (intuition and reflection, consciousness and auto-consciousness, etc.), a history of that sort, being without meaning and without truth, would be inexistent as history. How could a history of painting be composed by one who had not seen and

ssed as to the certainty and the utility of history disappear altogether in a moment. How could that which is a present producing of

lied when saying that we all of us in turn find ourselves thus placed with respect to this or that part of history. The history of Hellenic painting is in great part a history without documents for us, as are all histories of peoples concerning whom one does not know exactly where they lived, the thoughts and feelings chat they experienced, or the individual appearanc

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ed history in the sense that we call a man the corpse of a man, what remains is not for that reason nothing (not even the corpse is really nothing). Were it nothing, it would be

in the descriptions that have reached us; or a graduated series, going from praise to blame, of these painters and their works, together with names, anecdotes, subjects, judgments, arranged more or less chronologically. But the names of painters separated from the direct knowledge of their works are empty names; the anecdotes are empty, as are the descriptions of subjects, the judgment of approval or of disapproval, and the chronological arrangement, because merely arithmetical and

Athenian, and that when we utter the word 'battle,' or 'Helen,' we think of a battle, indeed of a battle of hoplites, or of a beautiful woman, similar to those familiar to us in Hellenic sculptur

must reply that it was true for this or that witness, and that for us it is neither true nor false, or (which comes to the same thing) that it is true only on the evidence of those witnesses—that is to say, for an extrinsic reason, whereas truth always requires intrinsic reasons. And since that proposition is not true (neither true nor false), it is not useful either, because where there is nothing the king loses his rights,

t of thought that thinks them (in which case they would soon be filled), but by an act of will, which thinks it useful for certain ends of its own to preserve

ry and[Pg 19] chronicle in the conception of what interests and of what does not interest (the general interests and not the particular, the great interests and not the little, etc.). A just sentiment is also to be noted in other considerations that are wont to be adduced, such as the close bond between events that there is in history and the disconnectedness that appears on the other hand in chronicle, the logical order of the first, the purely chronological order of the second, the penetration of the first into the core of events and the limitation of the second to the superficial or external, and the like. But the differential character is here rather metaphorized than thought, and when metaphors are not employed as simple forms expressive of thought we lose a moment after what has just been gained. The truth is that chronicle and history are not distinguishable as two forms of history, mutually complementary, or as one subordinate to the other, but as two different spiritual attitudes. History is living chronicle, chronicle is dead history; history is contemporary history, chronicle is past history; history is principall

upposition—namely, that of the priority of chronicle in respect to history. Primo annales [chronicles] fuere, post histori? fact? sunt, the saying of the old grammarian, Mario Vittorino, has been repeated, generalized, and universalized. But precisely the opposite of this is the outcome of the inquiry into the character an

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parated from life, is nothing but a thing like another, a complex of sounds or of[Pg 21] other signs—for example, the sounds and the letters in which a law was once communicated; the l

of consciousness and of thought): with an act of will, which abstracts the sound from the thought, in which dwelt the certainty and concreteness of the sound. In the same way, these dead documents exist to the extent that they are the manifestations of a new life, as the lifeless corpse is really itself also a process of vital creation, although it appears to be one of dec

ng us back to the other. And when we seek to determine the relation of the two kinds of sources with a view to avoiding the inconvenient parallelism, what happens is this: either the relation is stated to depend upon the superiority of the one over the other, and the distinction vanishes, because the superior form absorbs into itself and annuls the inferior form; or a third term is established, in which the two forms are supposed to become united with a distinction: but this is another way of declaring them to be inexistent in that abstractness. For this reason it does not seem to me to be without significance that the partition of accounts and documents should not have been adopted by the most empirical of the methodologists. They do not involve themselves in these subtleties, but content themselves with grouping the historical sources into those that are written and those that are represented, or in other similar ways. In Germany, however, Droysen availed himself of these distinctions between narratives and documents, traditions, etc., in his valuable Elements of Historicism

, they are within the synthesis, they form a constituent part of it and are constituted by it. Hence the idea of a history with its sources outside itself is another fancy to be dispelled, together with that of history being the opposite of chronicle. The two erroneous fancies converge to form one. Sources, in the extrinsic sense of the empiricists, like things, are equ

orate. What is the object of these acts of will which go to the preservation of what is empty and dead? Perhaps illusion or foolishness, which preserves a little while the worn-out elements of mortality on the confines of Dis by means of the erection of mausoleums and sepulchres? But sepulchres are not foolishness and illusion; they are, on the contrary, an act of morality,

he primitive forms of civilization, so gross and so barbaric, lay forgotten, or[Pg 25] but little regarded, or misunderstood, until that new phase of the European spirit, which was known as Romanticism or Restoration, 'sympathized' with

itself is history, maker of history at every moment of its existence, and also the result of all anterior history. Thus the spirit bears with it all its history, which coincides with itself. To forget one aspect of history and to remember another one is nothing but the rhythm of the life of the spirit, which operates by determining and individualizing itself, and by always rendering indeterminate and disindividualizing previou

they collect evidence and narrations, as arch?ologists and archivists when they collect documents and monuments, as the places where such objects are kept (the "silent white abodes of the dead") are called libraries, archives, and museums. Can there be any ill-feeling against these men of erudition, these archivists and arch?ologists, who fulfil a necessary and therefore a useful and important function? The fact remains that there is a tendency to mock at them and to regard them with compassio

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