The Victorian age, if we knew it and its ideas better, would help us understand our own world, as the debates of that era remain the essence of today’s political discussions. In her major works and invaluable essays, Himmelfarb brings the Victorians back to life.
Past and Present: The Challenges of Modernity, from the Pre-Victorians to the Post-Modernists
by Gertrude Himmelfarb
Encounter Books, 2017, 256 pages, US$23.99
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That the past lectures us on the present is one of the reasons we read history. Such lectures are often merely whispers, and coded in a language very few of us speak. This is why historians are indispensable translators.
Past and Present presents some of Gertrude Himmelfarb’s (left) shorter and apparently minor essays. The present the title refers to is contemporary America as it has been shaped by political battles in the last fifty years—a period Himmelfarb has witnessed first hand. The past of the title is mainly, though not exclusively, Victorian England, of which Himmelfarb is a foremost historian. Now Professor Emerita at the Graduate School of the City University of New York, she is a scholar’s scholar. Her bibliography includes works on Lord Acton and Mill, and seminal editorship of the latter too; explorations of the “Victorian mind”; and a genuine classic, Darwin and the Darwinian Revolution (1959). Few historians of ideas have dug deeper in the British nineteenth century, and fewer still have done so from a conservative perspective. Himmelfarb, who married Irving Kristol, often considered the “godfather” of neoconservatism, by and large shared her husband’s views.
Himmelfarb’s conservatism can better be considered a style of arguing, rather than a consistent set of political ideas. Postmodernists have long been ruminating about the subjectivity of historians, making a theory of “a denial of the fixity of the past, of the reality of the past apart from what the historian chooses to make of it, and thus of any objective truth about the past”. Surely any work of history is vulnerable because historical records may be imperfect or imperfectly read by the historian, who is as fallible, conceited and biased as any other human being. But, Himmelfarb maintains, there is no reason to think history “is fatally flawed, that because there is no absolute, total, final truth, there are no relative, partial, contingent truths”.
The craft of the historian entails a struggle with her own subjectivity, a careful search for bits of truths whenever possible, a passion for making sense of them with the best of our analytical tools. Sure, history can never do without imagination, for no historian can do without putting himself in other people’s shoes. Macaulay thought that:
A perfect historian must possess an imagination sufficiently powerful to make his narrative affecting and picturesque. Yet he must control it so absolutely as to content himself with the materials which he finds, and to refrain from supplying deficiencies by additions of his own.
Such a description fits Himmelfarb’s own works, where the inspired writer never shines at the expense of the careful researcher.