My grandfather wasn’t sure that it could be done, but he liked the challenge and agreed to try. He plotted out the book at speed, selecting episodes for inclusion by asking himself simply which events of the past had touched most lives and were best remembered. He then set out to write a chapter a day. In the morning, he would read up on the day’s topic from what books were available in his parents’ house – including a big encyclopaedia. In the afternoon, he would go to the library to seek out, wherever possible, some texts belonging to the periods he was writing about, to give authenticity to his account. Evenings were for writing. The only exceptions were Sundays – but to explain about these, I must first introduce my grandmother.
Ilse Heller, as my grandmother was then called, had come to Vienna from Bohemia about five years earlier to pursue her piano studies. She was soon taken on as a pupil by Leonie Gombrich, after whom I am named. Leonie introduced Ilse to Ernst, and encouraged my grandfather to show her pupil some of the galleries and architectural splendours of Vienna. By 1935 their weekend outings together were well established – and in fact, they married the following year. And one Sunday, as my grandmother remembers it, they were walking in the Wienerwald and had stopped for a break – ‘Perhaps in a sunny clearing,’ she says, ‘sitting on the grass or on a fallen tree … ’ – when my grandfather pulled a sheaf of papers from inside his jacket and said, ‘Do you mind if I read you something?’
‘Well, it was better that he read it,’ says my grandmother now. ‘Even then, you know, Ernst’s handwriting was very difficult.’
That something, of course, was the Little History. Evidently she liked it, and the readings continued for the next six weeks until the book was done – for he delivered it to Neurath on time. If you read it aloud, you will find how beautifully those readings shaped the telling of it; the dedication gives an idea of how he appreciated them. The original illustrations were produced by a former riding instructor, and my grandfather liked to point out that the numerous horses he included in his pictures were more skilfully drawn than the people.
When the book came out in 1936, titled Eine kurze Welt-geschichte für junge Leser, it was very well received, reviewers assuming that my grandfather must be an experienced teacher. Within quite a short time, it had been translated into five other languages – but by then, my grandparents were already in England, where they were to remain. In the end, the Nazis stopped publication, not for racial reasons but because they considered the outlook ‘too pacifist’.
However, the seed had been planted and, despite his other concerns, my grandfather eventually responded to requests for a sequel, this time focusing on art history. This became The Story of Art – not for children because, my grandfather said, ‘The history of art is not a topic for children’, but for slightly older readers. It has remained in print since 1950 and continues to make new friends in more than thirty nations.
But the first edition of the Little History, which preceded its better-known cousin, lay in a drawer in North London. Some time after the war had ended, my grandfather managed to reclaim his copyright, but by then the world in which he had written the book seemed very far away. So nothing happened until, more than thirty years later, he received an enquiry from a German publisher who, on reading the book, was captivated by its energy and vivid language. A second German edition was published with a new final chapter – and once again, my grandfather was surprised and delighted by the book’s success and the many translations that have followed. He took a cheerful interest in tailoring editions for audiences of different nationalities, and was always ready to listen to the suggestions of the various translators. There was one caveat, though. Apart from the Little History, my grandfather wrote all his books in English: if there was ever to be an English edition, he was going to translate it himself.
Then, for ten years, and despite repeated approaches, he refused to do so. It wasn’t just that he was busy, although that was also true. English history, he said, was all about English kings and queens – would a European perspective mean anything to English-speaking children? It took the events of the 1990s, and Britain’s increasing involvement in the European Union – as well as my grandmother’s tactful encouragement – to convince him that they might.
And so, at the very end of his long and distinguished life, he embarked on producing a new, English version of the book with which he had started. ‘I’ve been looking at my Little History,’ he told me with modest surprise, shortly after he began, ‘and there’s actually a lot in it. You know, I really think it’s good!’
Of course, he made corrections. He added new information about prehistoric man. He asked his son – my father – who is an expert on Early Buddhism, to advise on changes to Chapter 10, while his assistant, Caroline Mustill, helped with the sections on Chinese history. It is our great good fortune that Caroline worked with him so closely, for he was still engaged in the task of translating and updating when he died, at the age of ninety-two. With his blessing, she has completed this difficult task meticulously and beautifully. Clifford Harper produced new illustrations, which I know my grandfather would have loved to see. But some changes, of course, could not be made without him: we know that he intended to add chapters about Shakespeare and about the Bill of Rights, and no doubt he would have expanded on, for example, his very brief treatment of the English Civil War and the birth of parliamentary democracy, which carried less weight for the Viennese graduate who wrote the book than for the British citizen he became. But how he would have explained these things we could not guess, and so the areas he did not revise himself have been left as his thousands of readers in other countries already appreciate them.
Revisions, in any case, are perhaps beside the point. What matters is his obvious sense that the pursuit of history – indeed, all learning – is an enquiry to be enjoyed.
‘I want to stress,’ he wrote, in his preface to the Turkish edition a few years ago, ‘that this book is not, and never was, intended to replace any textbooks of history that may serve a very different purpose at school. I would like my readers to relax, and to follow the story without having to take notes or to memorise names and dates. In fact, I promise that I shall not examine them on what they have read.’
Leonie Gombrich
April 2005
With Carl and Leonie, 1972.
The Estate of E. H. Gombrich would like to thank, for information and advice: Patrick Boyde, Henry French, Rhodri Hayward, the Oxford University Museum of Natural History, J. B. Trapp and, in particular, Adrian Lyttelton.
1
ONCE UPON A TIME
All stories begin with ‘Once upon a time’. And that’s just what this story is all about: what happened, once upon a time. Once you were so small that, even standing on tiptoes, you could barely reach your mother’s hand. Do you remember? Your own history might begin like this: ‘Once upon a time there was a small boy’ – or a small girl – ‘and that small boy was me.’ But before that you were a baby in a cradle. You won’t remember that, but you know it’s true. Your father and mother were also small once, and so was your grandfather, and your grandmother, a much longer time ago, but you know that too. After all, we say: ‘They are old.’ But they too had grandfathers and grandmothers, and they, too, could say: ‘Once upon a time’. And so it goes on, further and further back. Behind every ‘Once upon a time’ there is always another. Have you ever tried standing between two mirrors? You should. You will see a great long line of shiny mirrors, each one smaller than the one before, stretching away into the distance, getting fainter and fainter, so that you never see the last. But even when you can’t see them any more, the mirrors still go on. They are there, and you know it.
And that’s how it is with ‘Once upon a time’. We can’t see where it ends. Grandfather’s grandfather’s grandfather’s grandfather … it makes your head spin. But say it again, slowly, and in the end you’ll be able to imagine it. Then add one more. That gets us quickly back into the past, and from there into
the distant past. But you will never reach the beginning, because behind every beginning there’s always another ‘Once upon a time’.
It’s like a bottomless well. Does all this looking down make you dizzy? It does me. So let’s light a scrap of paper, and drop it down into that well. It will fall slowly, deeper and deeper. And as it burns it will light up the sides of the well. Can you see it? It’s going down and down. Now it’s so far down it’s like a tiny star in the dark depths. It’s getting smaller and smaller … and now it’s gone.
Our memory is like that burning scrap of paper. We use it to light up the past. First of all our own, and then we ask old people to tell us what they remember. After that we look for letters written by people who are already dead. And in this way we light our way back. There are buildings that are just for storing old scraps of paper that people once wrote on – they are called archives. In them you can find letters written hundreds of years ago. In an archive, I once found a letter which just said: ‘Dear Mummy, Yesterday we ate some lovely truffles, love from William.’ William was a little Italian prince who lived four hundred years ago. Truffles are a special sort of mushroom.
But we only catch glimpses, because our light is now falling faster and faster: a thousand years … five thousand years … ten thousand years. Even in those days there were children who liked good things to eat. But they couldn’t yet write letters. Twenty thousand … fifty thousand … and even then people said, as we do, ‘Once upon a time’. Now our memory-light is getting very small … and now it’s gone. And yet we know that it goes on much further, to a time long, long ago, before there were any people and when our mountains didn’t look as they do today. Some of them were bigger, but as the rain poured down it slowly turned them into hills. Others weren’t there at all. They grew up gradually, out of the sea, over millions and millions of years.
But even before the mountains there were animals, quite different from those of today. They were huge and looked rather like dragons. And how do we know that? We sometimes find their bones, deep in the ground. When I was a schoolboy in Vienna I used to visit the Natural History Museum, where I loved to gaze at the great skeleton of a creature called a Diplodocus. An odd name, Diplodocus. But an even odder creature. It wouldn’t fit into a room at home – or even two, for that matter. It was as tall as a very tall tree, and its tail was half as long as a football pitch. What a tremendous noise it must have made, as it munched its way through the primeval forest!
But we still haven’t reached the beginning. It all goes back much further – thousands of millions of years. That’s easy enough to say, but stop and think for a moment. Do you know how long one second is? It’s as long as counting: one, two, three. And how about a thousand million seconds? That’s thirty-two years! Now, try to imagine a thousand million years! At that time there were no large animals, just creatures like snails and worms. And before then there weren’t even any plants. The whole earth was a ‘formless void’. There was nothing. Not a tree, not a bush, not a blade of grass, not a flower, nothing green. Just barren desert rocks and the sea. An empty sea: no fish, no seashells, not even any seaweed. But if you listen to the waves, what do they say? ‘Once upon a time … ’ Once the earth was perhaps no more than a swirling cloud of gas and dust, like those other, far bigger ones we can see today through our telescopes. For billions and trillions of years, without rocks, without water and without life, that swirling cloud of gas and dust made rings around the sun. And before that? Before that, not even the sun, our good old sun, was there. Only weird and amazing giant stars and smaller heavenly bodies, whirling among the gas clouds in an infinite, infinite universe.
‘Once upon a time’ – but now all this peering down into the past is making me feel dizzy again. Quick! Let’s get back to the sun, to earth, to the beautiful sea, to plants and snails and dinosaurs, to our mountains, and, last of all, to human beings. It’s a bit like coming home, isn’t it? And just so that ‘Once upon a time’ doesn’t keep dragging us back down into that bottomless well, from now on we’ll always shout: ‘Stop! When did that happen?’
And if we also ask, ‘And how exactly did that happen?’ we will be asking about history. Not just a story, but our story, the story that we call the history of the world. Shall we begin?
2
THE GREATEST INVENTORS OF ALL TIME
Near Heidelberg, in Germany, somebody was once digging a pit when they came across a bone, deep down under the ground. It was a human bone. A jawbone. But no human beings today have jaws like this one. It was so massive and strong, and had such powerful teeth! Whoever owned it must have been able to bite really hard. And must have lived a long time ago for the bone to be buried so deep.
On another occasion, but still in Germany – in the Neander valley – a human skull was found. And this was also immensely interesting because nobody alive today has a skull like this one either. Instead of a forehead like ours it just had two thick ridges above the eyebrows. Now, if all our thinking goes on behind our foreheads and these people didn’t have any foreheads, then perhaps they didn’t think as much as we do. Or at any rate, thinking may have been harder for them. So the people who examined the skull concluded that once upon a time there were people who weren’t very good at thinking, but who were better at biting than we are today.
But now you’re going to say: ‘Stop! That’s not what we agreed. When did these people live, what were they like, and how did they live?’
Your questions make me blush, as I have to admit that we don’t know, precisely. But we will find out one day, and maybe you will want to help. We don’t know because these people didn’t yet know how to write things down, and memory only takes us a little way back. But we are making new discoveries all the time. Scientists have found that certain materials, such as wood and plants and volcanic rocks, change slowly but regularly over a very long period of time. This means that we can work out when they grew or were formed. And since the discoveries in Germany, people have carried on searching and digging, and have made some startling finds. In Asia and Africa, in particular, more bones have been found, some at least as old as the Heidelberg jaw. These were our ancestors who may have already been using stones as tools more than a hundred and fifty thousand years ago. They were different from the Neanderthal people who appeared about seventy thousand years earlier and inhabited the earth for about two hundred thousand years. And I owe the Neanderthal people an apology, for despite their low foreheads, their brains were no smaller than those of most people today.
‘But all these “about”s, with no names and no dates … this isn’t history!’ you say, and you are right. It comes before history. That is why we call it ‘prehistory’, because we only have a rough idea of when it all happened. But we still know something about the people whom we call prehistoric. At the time when real history begins – and we will come to that in the next chapter – people already had all the things we have today: clothes, houses and tools, ploughs to plough with, grains to make bread with, cows for milking, sheep for shearing, dogs for hunting and for company, bows and arrows for shooting and helmets and shields for protection. Yet with all of these things there must have been a first time. Someone must have made the discovery. Isn’t it an amazing thought that, one day, a prehistoric man – or a woman – must have realised that meat from wild animals was easier to chew if it was first held over a fire and roasted? And that one day someone discovered how to make fire? Do you realise what that actually means? Can you do it? Not with matches, because they didn’t exist. But by rubbing two sticks together until they become so hot that in the end they catch fire. Have a go and then you’ll see how hard it is!
Tools must have been invented by someone too. The earliest ones were probably just sticks and stones. But soon stones were being shaped and sharpened. We have found lots of these shaped stones in the ground. And because of these stone tools we call this time the Stone Age. But people didn’t yet know how to build houses. Not a pleasant thought, since at that time
it was often intensely cold – at certain periods far colder than today. Winters were longer and summers shorter. Snow lay deep throughout the year, not only on mountain tops, but down in the valleys as well, and glaciers, which were immense in those days, spread far out into the plains. This is why we say that the Stone Age began before the last Ice Age had ended. Prehistoric people must have suffered dreadfully from the cold, and if they came across a cave where they could shelter from the freezing winds, how happy they must have been! For this reason they are also known as ‘cavemen’, although they may not have actually lived in caves.
Do you know what else these cavemen invented? Can’t you guess? They invented talking. I mean having real conversations with each other, using words. Of course animals also make noises – they can cry out when they feel pain and make warning calls when danger threatens, but they don’t have names for things as human beings do. And prehistoric people were the first creatures to do so.
They invented something else that was wonderful too: pictures. Many of these can still be seen today, scratched and painted on the walls of caves. No painter alive now could do better. The animals they depict don’t exist any more, they were painted so long ago. Elephants with long, thick coats of hair and great, curving tusks – woolly mammoths – and other Ice Age animals. Why do you think these prehistoric people painted animals on the walls of caves? Just for decoration? That doesn’t seem likely, because the caves were so dark. Of course we can’t be sure, but we think they may have been trying to make magic, that they believed that painting pictures of animals on the walls would make those animals appear. Rather like when we say ‘Talk of the devil!’ when someone we’ve been talking about turns up unexpectedly. After all, these animals were their prey, and without them they would starve. So they may have been trying to invent a magic spell. It would be nice to think that such things worked. But they never have yet.
A Little History of the World Page 2