Historians Quotes

“Chicks dig historians.”

“A historian tries to understand what happened, why it happened, what was the context, who did what, and what assumptions led them to act as they did. A historian customarily displays a certain diffidence about trying to influence events, knowing that unanticipated developments often lead to unintended consequences.”

“The past is the occupational realm of historians—their daily work—and scholars have debated what their stance toward these social issues should be. As citizens and professionals, historians may naturally form a desire, as Carl Becker puts it, “to do work in the world.” That is, they might aspire to write history that is not only of scholarly value but also has a salutary impact in society. Becker defines the appropriate impact and the historian’s proper role as “correcting and rationalizing for common use Mr. Everyman’s mythological adaption of what actually happened.”That process is never simple, however, when the subject involves divisions so deep that they led to civil wars. One issue that inevitably leads to controversy is the extent to which history involves moral judgment. Another is the power of myths, exerting their influence on society and acting in opposition to the findings of historical research [190—91].”

“The art historians are the real wreckers of art, Reger said. The art historians twaddle so long about art until they have killed it with their twaddle. Art is killed by the twaddle of the art historians. My God, I often think, sitting here on the settee while the art historians are driving their helpless flocks past me, what a pity about all these people who have all art driven out of them, driven out of them for good, by these very art historians. The art historians’ trade is the vilest trade there is, and a twaddling art historian, but then there are only twaddling art historians, deserves to be chased out with a whip, chased out of the world of art, Reger said, all art historians deserve to be chased out of the world of art, because art historians are the real wreckers of art and we should not allow art to be wrecked by the art historians who are really art wreckers. Listening to an art historian we feel sick, he said, by listening to an art historian we see the art he is twaddling about being ruined, with the twaddle of the art historian art shrivels and is ruined. Thousands, indeed tens of thousands of art historians wreck art by their twaddle and ruin it, he said. The art historians are the real killers of art, if we listen to an art historian we participate in the wrecking of art, wherever an art historian appears art is wrecked, that is the truth.”

“...history is inherently an eclectic discipline and the skills it requires are correspondingly diverse. And therein lie its strengths. Eclecticism is sometimes treated as a dirty word. At the very least it sounds untidy - just so: if historians treat the past in too tidy a manner they lose a great deal...It is precisely the ability to embrace complexities while making sense of them, and to think flexibly about diverse phenomena at distinct analytical levels, that characterises historians' purchase on the past.”

“Is it really true... that our aim as historians is in some sense to recapture past reality, “to retrieve the truth about the past?” If so, what do “past reality” and “the truth about the past” mean? How does the historian’s understanding of “reality” and “truth” differ—as most surely it does—from that of the direct participant? And what implications does this difference have for what we do as historians? It is not likely that questions of this sort will ever be finally answered. Yet clearly we must keep asking such questions if we are to maintain the highest levels of honesty and self-awareness concerning our work as historians.”

“Give the historians something to write about.”

“The first qualification for a historian is to have no ability to invent.”

“Lucia Robson's facts can be trusted if, say, you're a teacher assigning her novels as supplemental reading in a history class. “Researching as meticulously as a historian is not an obligation but a necessity,” she tells me. “But I research differently from most historians. I'm looking for details of daily life of the period that might not be important to someone tightly focused on certain events and individuals. Novelists do take conscious liberties by depicting not only what people did but trying to explain why they did it.”She adds, “I depend on the academic research of others when gathering material for my books, but I don't think that my novels should be considered on par with the work of accredited historians. I wouldn't recommend that historians cite historical novels as sources.”And they sure don't. They wouldn't risk the scorn of their colleagues by citing novels. But, Lucia adds:“I think historical fiction and nonfiction work well together. … I'd bet that historical novels lead more readers to check out nonfiction on the subject rather than the other way around,” she says, and then notes:One of the wonderful ironies of writing about history is that making stuff up doesn't mean it's not true. And obversely, declaring something to be true doesn't guarantee that it is. In writing about events that happened a century or more ago, no one knows what historical ‘truth’ is, because no one living today was there.That's right. Weren't there. But will be, once a good historical novelist puts us there.”

“People who are not historians sometimes think of history as the facts about the past. Historians are supposed to know otherwise. The facts are there, to be sure, but they are infinite in number and speak, if at all, in conflicting, often unintelligible, voices. It is the task of the historian to reach back into this incoherent babel of facts, choose the ones that are important, and figure out what it is they say.”