Miscellaneous Writings and Speeches — Volume 2Macaulay, Thomas Babington Macaulay, Baron
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Miscellaneous Writings and Speeches — Volume 2
Macaulay, Thomas Babington Macaulay, Baron
English essays
No picture, then, and no history, can present us with the whole truth:
but those are the best pictures and the best histories which exhibit
such parts of the truth as most nearly produce the effect of the whole.
He who is deficient in the art of selection may, by showing nothing
but the truth, produce all the effect of the grossest falsehood. It
perpetually happens that one writer tells less truth than another,
merely because he tells more truths. In the imitative arts we constantly
see this. There are lines in the human face, and objects in landscape,
which stand in such relations to each other, that they ought either to
be all introduced into a painting together or all omitted together. A
sketch into which none of them enters may be excellent; but, if some
are given and others left out, though there are more points of likeness,
there is less likeness. An outline scrawled with a pen, which seizes the
marked features of a countenance, will give a much stronger idea of it
than a bad painting in oils. Yet the worst painting in oils that ever
hung at Somerset House resembles the original in many more particulars.
A bust of white marble may give an excellent idea of a blooming face.
Colour the lips and cheeks of the bust, leaving the hair and eyes
unaltered, and the similarity, instead of being more striking, will be
less so.
History has its foreground and its background: and it is principally in
the management of its perspective that one artist differs from another.
Some events must be represented on a large scale, others diminished; the
great majority will be lost in the dimness of the horizon; and a general
idea of their joint effect will be given by a few slight touches.
In this respect no writer has ever equalled Thucydides. He was a perfect
master of the art of gradual diminution. His history is sometimes as
concise as a chronological chart; yet it is always perspicuous. It
is sometimes as minute as one of Lovelace's letters; yet it is never
prolix. He never fails to contract and to expand it in the right place.
Public-domain text, read in full here on John Shaqi.
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