But Herodotus is not the only model by whom the Greeks have established a standard for modern writers. He has about him the air of a story-teller, and he repeats many legends and wonders, so that graver and more sceptical generations set him down as a credulous traveller easily deceived by lying reports, if not as a deliberate writer of fiction. So many of these so-called lies or inventions have turned out after all to be true or probable (_e.g._, the tradition that the Etruscans came to Italy from the coast of Asia Minor by sea) that even from this point of view Herodotus has been vindicated by modern research. If you want a model of the other kind of history--that which professes to be a sober record of carefully sifted facts, which professes to discard all that is miraculous or legendary, and insist upon testimony, then in the opinion of all the ages you find its perfection in Thucydides. There used to be a general agreement that in contrast to the obviously artistic turn of Herodotus, his successor had exalted history, as far as was possible, to the rank of an exact science. We now know that this view is very far from the truth. Thucydides, as his speeches should always have clearly demonstrated, was an artist just as consciously as Herodotus, nay rather a more subtle artist, in that he concealed his art and deluded mankind under the guise of a solemn and dignified person, telling nothing but the unvarnished truth.[11] For he too felt that the tragedies of human affairs were a fit and noble subject for the contemplation of men; he too felt that the lessons conveyed by the catastrophes in the affairs of brilliant polities and brilliant men are as valuable as those borrowed from legendary story for the tragic stage. The speeches he puts into the mouths of his characters are not those actually delivered, either in language, or probably even in substance. They are rather rhetorical expositions of the political situations, as the historian conceived them, and reflections which he thinks the reader ought to make. He also knows the more modern way of dealing with this side of history. His reflections on the Corcyrean massacre[12] are a famous specimen of this artistic or subjective writing. I have taken pains elsewhere to show that his picture of the degradation of politics in Greece so far as he represents it to be new and sudden, is false. All the vices which make up his brilliant but lurid sketch were old, well known, and ingrained in the Greek character.[13] But it was part of his artistic scheme to represent the vices of that age, and especially at Athens, culminating in a brutal and wholly unhistorical dialogue with the Melians, as the proper prelude to the great disaster in Sicily and the consequent fall of Athens. Thus choosing a far smaller and poorer subject than Herodotus, treating it also in a far poorer and narrower way, he has by those very restrictions intensified his book, and infused into it such dignity and pathos as to