How much these principles are confirmed by Jewish history is obvious. There was doubtless much else in Jewish history—whole elements with which I am not here concerned. But so much is plain. The Jews were in the beginning the most unstable of nations; they were submitted to their law, and they came out the most stable of nations. Their polity was indeed defective in unity. After they asked for a king the spiritual and the secular powers (as we should speak) were never at peace, and never agreed. And the ten tribes who lapsed from their law, melted away into the neighbouring nations. Jeroboam has been called the 'first Liberal;' and, religion apart, there is a meaning in the phrase. He began to break up the binding polity which was what men wanted in that age, though eager and inventive minds always dislike it. But the Jews who adhered to their law became the Jews of the day, a nation of a firm set if ever there was one.
It is connected with this fixity that jurists tell us that the title 'contract' is hardly to be discovered in the oldest law. In modern days, in civilised days, men's choice determines nearly all they do. But in early times that choice determined scarcely anything. The guiding rule was the law of STATUS. Everybody was born to a place in the community: in that place he had to stay: in that place he found certain duties which he had to fulfil, and which were all he needed to think of. The net of custom caught men in distinct spots, and kept each where he stood.
What are called in European politics the principles of 1789, are therefore inconsistent with the early world; they are fitted only to the new world in which society has gone through its early task; when the inherited organisation is already confirmed and fixed; when the soft minds and strong passions of youthful nations are fixed and guided by hard transmitted instincts. Till then not equality before the law is necessary but inequality, for what is most wanted is an elevated elite who know the law: not a good government seeking the happiness of its subjects, but a dignified and overawing government getting its subjects to obey: not a good law, but a comprehensive law binding all life to one routine. Later are the ages of freedom; first are the ages of servitude. In 1789, when the great men of the Constituent Assembly looked on the long past, they hardly saw anything in it which could be praised, or admired, or imitated: all seemed a blunder—a complex error to be got rid of as soon as might be. But that error had made themselves. On their very physical organisation the hereditary mark of old times was fixed; their brains were hardened and their nerves were steadied by the transmitted results of tedious usages. The ages of monotony had their use, for they trained men for ages when they need not be monotonous.
IV
But even yet we have not realised the full benefit of those early polities and those early laws. They not only 'bound up' men in groups, not only impressed on men a certain set of common usages, but often, at least in an indirect way, suggested, if I may use the expression, national character.
We cannot yet explain—I am sure, at least, I cannot attempt to explain—all the singular phenomena of national character: how completely and perfectly they seem to be at first framed; how slowly, how gradually they can alone be altered, if they can be altered at all. But there is one analogous fact which may help us to see, at least dimly, how such phenomena are caused. There is a character of ages, as well as of nations; and as we have full histories of many such periods, we can examine exactly when and how the mental peculiarity of each began, and also exactly when and how that mental peculiarity passed away. We have an idea of Queen Anne's time, for example, or of Queen Elizabeth's time, or George II.'s time; or again of the age of Louis XIV., or Louis XV., or the French Revolution; an idea more or less accurate in proportion as we study, but probably even in the minds who know these ages best and most minutely, more special, more simple, more unique than the truth was. We throw aside too much, in making up our images of eras, that which is common to all eras. The English character was much the same in many great respects in Chaucer's time as it was in Elizabeth's time or Anne's time, or as it is now; But some qualities were added to this common element in one era and some in another; some qualities seemed to overshadow and eclipse it in one era, and others in another. We overlook and half forget the constant while we see and watch the variable. But—for that is the present point—why is there this variable? Everyone must, I think, have been puzzled about it. Suddenly, in a quiet time—say, in Queen Anne's time—arises a special literature, a marked variety of human expression, pervading what is then written and peculiar to it: surely this is singular.
The true explanation is, I think, something like this. One considerable writer gets a sort of start because what he writes is somewhat more—only a little more very often, as I believe—congenial to the minds around him than any other sort. This writer is very often not the one whom posterity remembers—not the one who carries the style of the age farthest towards its ideal type, and gives it its charm and its perfection. It was not Addison who began the essay-writing of Queen Anne's time, but Steele; it was the vigorous forward man who struck out the rough notion, though it was the wise and meditative man who improved upon it and elaborated it, and whom posterity reads. Some strong writer, or group of writers, thus seize on the public mind, and a curious process soon assimilates other writers in appearance to them. To some extent, no doubt, this assimilation is effected by a process most intelligible, and not at all curious—the process of conscious imitation; A sees that B's style of writing answers, and he imitates it. But definitely aimed mimicry like this is always rare; original men who like their own thoughts do not willingly clothe them in words they feel they borrow. No man, indeed, can think to much purpose when he is studying to write a style not his own. After all, very few men are at all equal to the steady labour, the stupid and mistaken labour mostly, of making a style. Most men catch the words that are in the air, and the rhythm which comes to them they do not know from whence; an unconscious imitation determines their words, and makes them say what of themselves they would never have thought of saying. Everyone who has written in more than one newspaper knows how invariably his style catches the tone of each paper while he is writing for it, and changes to the tone of another when in turn he begins to write for that. He probably would rather write the traditional style to which the readers of the journal are used, but he does not set himself to copy it; he would have to force himself in order NOT to write it if that was what he wanted. Exactly in this way, just as a writer for a journal without a distinctly framed purpose gives the readers of the journal the sort of words and the sort of thoughts they are used to—so, on a larger scale, the writers of an age, without thinking of it, give to the readers of the age the sort of words and the sort of thoughts—the special literature, in fact—which those readers like and prize. And not only does the writer, without thinking, choose the sort of style and meaning which are most in vogue, but the writer is himself chosen. A writer does not begin to write in the traditional rhythm of an age unless he feels, or fancies he feels, a sort of aptitude for writing it, any more than a writer tries to write in a journal in which the style is uncongenial or impossible to him. Indeed if he mistakes he is soon weeded out; the editor rejects, the age will not read his compositions. How painfully this traditional style cramps great writers whom it happens not to suit, is curiously seen in Wordsworth, who was bold enough to break through it, and, at the risk of contemporary neglect, to frame a style of his own. But he did so knowingly, and he did so with an effort. 'It is supposed,' he says, 'that by the act of writing in verse an author makes a formal engagement that he will gratify certain known habits of association; that he not only then apprizes the reader that certain classes of ideas and expressions will be found in his book, but that others will be carefully eschewed. The exponent or symbol held forth by metrical language must, in different ages of literature, have excited very different expectations; for example, in the age of Catullus, Terence, or Lucretius, and that of Statius or Claudian; and in our own country, in the age of Shakespeare and Beaumont and Metcher, and that of Donne and Cowley, or Pope.' And then, in a kind of vexed way, Wordsworth goes on to explain that he himself can't and won't do what is expected from him, but that he will write his own words, and only his own words. A strict, I was going to say a Puritan, genius will act thus, but most men of genius are susceptible and versatile, and fall into the style of their age. One very unapt at the assimilating process, but on that account the more curious about it, says:—