Eric Christiansen

As fewer people write by hand, some of us who do venture to squeak a thin call of alarm, like mice behind the frescoes during the last days of Pompeii. Philip Hensher (novelist and university teacher) voices dismay more manfully in this eloquent account of what has been and will be lost by the ending of this ancient habit, now that thoughts are transferred on to screens by squirming thumbs on dwarf keyboards. He has a ten-point plan for restoring pen and ink to daily life, and urges us all, literate or semi-literate, to try it out.

Why are scholars so prone to melancholy? According to the expert, Robert Burton of Christ Church, it is because ‘they live a sedentary, solitary life... Why are scholars so prone to melancholy? According to the expert, Robert Burton of Christ Church, it is because ‘they live a sedentary, solitary life... free from bodily exercise and those ordinary disports that other men use.’ Not this one. The most remarkable characteristic of the young and maturing Trevor-Roper was his frenzied pursuit of foxes and hares on horse and foot, and his capacity for long marches through Oxfordshire, Buckinghamshire and the Borders in search of spiritual refreshment or a rendez-vous with a horse. Riding to hounds several days a week, or once a week in wartime, occupied many daylight hours.

Dons don’t usually appear to much advantage in fiction. Dons don’t usually appear to much advantage in fiction. Sillery, Samgrass, Cottard, Lucky Jim’s professor, the History Man, all Snow’s Masters: these spring to mind at once. Why are they so disgusting? Perhaps some are false fathers to young people expecting more attention, like the pompous young Gibbon at Magdalen. Perhaps because they are obvious targets to would-be writers at a time of life when the urge to debag and deflate is strong: they seem self-satisfied in ways which cry louder for satire than the ways of more, or less insignificant subjects. The clever students don’t need dons. The dons don’t need the stupid ones. Theirs is a marriage of inconvenience, bound to end in tears. Not always.

This book is about the Cowley Road, which runs for about a mile and a half south east out of Oxford towards a place where they assemble motor cars. Most of it was built up between 1830 and 1940, in many varieties of cheap and sometimes cheerful brickwork for the housing and lodging of ungenteel and downright working-class newcomers needed by but not welcome inside the well-fenced seat of learning across the river Cherwell. The far end crossed a marsh and was colonised and re-routed by Morris car workers between the wars; the dividing line was marked by the grandiose Regal cinema, which dwindled into a bingo hall in the 1970s and is now a huge, padlocked nothing.

One of the best lectures I ever heard was given by Hugh Trevor-Roper nearly 50 years ago, and its merit was not in its delivery. He stood at a lectern in a ragged gown reading from a script with small gestures which hardly emphasised points but seemed necessary to keep the words coming, although they were already there in front of him. At times he paused and looked up, but not at us, as if something had occurred to him which he was trying to remember and use later, in less depressing circumstances. It ought to have been depressing for the audience, too; but it wasn’t. The words were so well chosen and artfully combined that they have not faded from memory yet.

The trouble with great historical narratives is the volume of detail they demand: tidal waves of personal and place names, of dates and sums of money, of CVs, menus, fashion notes, light brown hair and glacial moraines, which after 25 pages remind the untrained reader of the showing and telling of holiday snaps. Yet history without detail is worse than hot air, just a deflated party balloon caught on a hawthorn tree. Details have not merely to be included, but used as crampons up the rock-face of past time. Ways and means to ration and present them exist, and the most convenient is the footnote; it is a pity that Dr Barker’s publishers do not seem to have heard of it.

Welshmen will know what Le Goff’s name means. To mediaevalists it conveys not only Smith, but all that is gracious, gilt-edged, and grandfatherly among French historians. Or, as one of the blurbs puts it, rather unkindly, ‘He is among France’s “great” historians.’ That means great in the special sense of an institutionally sanctified professor doomed in old age to confer imprimaturs on the work of others, to employ a ‘team’ of research assistants for his own, and to compose ponderous pensées such as ‘Today comes from yesterday and tomorrow emerges out of the past.’ Don’t laugh.

It was one of his own poets who described Charlemagne as ‘father of Europe’, over 1,200 years ago. Pres- umably that is why the publishers call him father of a continent, although in this case the continent was more notional than geographical. About a third of the land-mass bowed down to the big man by the time he died in 814, but even after 46 years of generally successful self-assertion there were still four other European empires going strong (the Byzantine, Bulgar, Chazar and Cordovan), not to mention the kingdoms of the British Isles and Nordic world.

Christina became queen of Sweden because her heroic father Gustavus Adolphus had been killed in battle, winning glory in Germany but having sired no legitimate sons. She was not quite six at the time, and they were not sure whether to call her king or queen; an ambiguity of roles, not of sex, which lasted a long time. Her armies went on fighting all comers in Germany for another 16 years, until everyone else was sick of war, and unable to prevent the Swedes from pulling off one last gigantic heist: the removal of the great imperial collection of books, art and curiosities from Prague. It was the biggest art-theft in Europe before Napoleon, and Christina got most of it.

As you went into the tower door of the church at Marsh Baldon (Oxon), there used to be two wall-tablets. One was to the relations of Sir Christopher Willoughby, who died in 1808, and the other was To the Memory of Friends, listed as John Lane, Elizabeth Lane, Phanuel Bacon, Margaret Bacon and Ann Barton. About which, 30 years ago, there seemed to be little to note, except that it was ‘unusual’. But why? Given the high value we still set on friendship and the tendency of some Britons to advertise themselves through their connections, such mementoes ought to be quite usual; if not in churches, then in fields and gardens and town squares. But they aren’t.

Books as glossy as this are seldom as good as this. It is a sort of economic miracle in itself: fat, quarto-size, packed with illustrations, maps and plans, wide-margined, legibly typeset, efficiently proof-read, Hong Kong printed and priced under £25 hardback. It would almost be worth buying if it were a politician's memoirs or a cookery book. The difficulty is to explain that late mediaeval commercial history can be worth reading about at any price, even with the assurance that this is the distillation of a life's work by a much-admired master of the subject. Professor Spufford is the currency pundit.