Such is the period embraced: and to show these times, “their form and pressure,” Malmesbury collected every thing within his reach. His materials, as he often feelingly laments, were scanty and confined, more especially in the earlier annals. The Chronicles of that era afforded him but little, yet of that little he has made the most, through the diligence of his research and the soundness of his judgment. His discrimination in selecting, and his skill in arranging, are equally conspicuous. His inexhaustible patience, his learning, his desire to perpetuate every thing interesting or useful, are at all times evident. Sensibly alive to the deficiencies of the historians who preceded him, he constantly endeavours to give a clear and connected relation of every event. Indeed, nothing escaped his observation which could tend to elucidate the manners of the times in which he wrote. History was the darling pursuit of Malmesbury, and more especially biographical history, as being, perhaps, the most pleasing mode of conveying information. He knew the prevailing passion of mankind for anecdote, and was a skilful master in blending amusement with instruction. Few historians ever possessed such power of keeping alive the reader’s attention; few so ably managed their materials, or scattered so many flowers by the way. Of his apt delineation of character, and happy mode of seizing the most prominent features of his personages, it is difficult to speak in terms of adequate commendation. He does not weary with a tedious detail, “line upon line,” nor does he complete his portrait at a sitting. On the contrary, the traits are scattered, the proportions disunited, the body dismembered, as it were; but in a moment some master-stroke is applied, some vivid flash of Promethean fire animates the canvass, and the perfect figure darts into life and expression: hence we have the surly, ferocious snarl of the Conqueror, and the brutal horse-laugh of Rufus. Malmesbury’s history, indeed, may be called a kind of biographical drama; where, by a skilful gradation of character and variety of personage, the story is presented entire, though the tediousness of continued narrative is avoided. Again, by saying little on uninteresting topics, and dilating on such as are important, the tale, which might else disgust from the supineness or degeneracy of some principal actor, is artfully relieved by the force of contrast: and the mind, which perhaps recoils with indignation from the stupid indifference of an Ethelred, hangs, with fond delight, on the enterprising spirit and exertion of an Ironside.