[Footnote 1: The situation in the case of outworn social institutions is paralleled in the case of the human appendix, once possessing a function in the digestive system of primitive man, but now useless and likely on occasion to become a positive disutility.]
But a man who impartially examines the past will usually exhibit also an appreciation of its attainments and a sense of the present good to which it has been instrumental. He will not glibly dismiss institutions, habits, methods of life that are the slow accumulations of centuries. He will have a sense of the continuous efforts and energies that have gone into the making of contemporary civilization. He will have, in suggesting ruthless innovations, a sobering sense of the gradual evolution that has made present institutions, habits, ideas, what they are.
The student of the past knows, moreover, that the present without its background of history is literally meaningless. In the words of a well-known student of the development of human culture:
Progress, degradation, survival, modification, are all modes of the connection that binds together the complex network of civilization. It needs but a glance into the trivial details of our own daily life to set us thinking how far we are really its originators, and how far but the transmitters and modifiers of the results of long past ages. Looking round the rooms we live in, we may try here how far he who knows only his own time can be capable of rightly comprehending even that. Here is the honeysuckle of Assyria, there the fleur-de-lis of Anjou, a cornice with a Greek border runs round the ceiling, the style of Louis XIV and its parent the Renaissance share the looking glass between them. Transformed, shifted or mutilated, such elements of art still carry their history plainly stamped upon them.... It is thus even with the fashion of the clothes men wear. The ridiculous little tails of the German postilion's coat show of themselves how they came to dwindle to such absurd rudiments; but the English clergyman's bands no longer so convey their history to the eye, and look unaccountable enough till one has seen the intermediate stages through which they came down from the more serviceable wide collars, such as Milton wears in his portrait, and which gave their name to the "band-box" they used to be kept in. In fact, the books of costume showing how one garment grew or shrank by gradual stages and passed into another, illustrate with much force and clearness the nature of the change and growth, revival and decay, which go on from year to year in more important matters of life. In books, again, we see each writer not for and by himself, but occupying his proper place in history; we look through each philosopher, mathematician, chemist, poet, into the background of his education--through Leibnitz into Descartes, through Dalton into Priestly, through Milton into Homer.[1]