I suspect that both words in the
title should really be in scare quote. Thus the title should be ‘historical’ ‘accuracy’,
or possibly ‘historical accuracy’. We shall see.
I have been fortunate in reading
June 2016’s issue of History Today magazine. It is very interesting, and hardly
a battle is mentioned in it. However, there is a fairly short article within it
about ‘Making History’ by Suzannah Lipscomb, and its subject is historical
fiction.
She starts by asserting, via a
quote from Hilary Mantel, that historical fiction should be accurate and
authentic. We will all nod sagely in agreement with that. We expect the bodices
to be laced up in the right way, the swords to be worn on the correct side, the
tea to be served with cucumber sandwiches with the crusts trimmed in the right
manner. If we, with our expectations of the authentic representation of the
period, accept that the author has done their homework, then we can relax with
the fiction as we do in a hot bath and revel in the authenticity.
Except that we cannot, not
really. A modern author always carries with them their contemporary baggage. It
is hard to find, Lipscombe remarks, a historical fiction set in the sixteenth
century that represents how important religion was in Europe at that time. This
is an importation from the modern world. Religion is no longer the way the
week, year or month are set. Even the religious believers among us do not have
their lives shot through with religious observance, and our lives are not
regulated by the Christian year. This was not the case in the sixteenth
century.
If historical fiction convinces
us that human nature does not change, it is doing a dangerous thing. The minds
of people in the sixteenth century were different from us. Lipscombe observes
that when Francis Dereham had sex with the teenage Katherine Howard without her
consent, no-one accused him of rape or child abuse. In the manner of some
recent judges, the woman was held responsible. This is not how the modern mind
works (and a good thing too).
Some aspects of human nature,
perhaps, do not change. We all need, throughout the centuries, to eat, sleep
and find shelter. The furniture of our minds, however, can be radically
different, even if the evolution of it is fairly slow. It is only, perhaps, by
comparing one century with another that this stands out in stark relief.
The second danger of historical
fiction is that in can convince us that we do understand the working of the
historical mind. An author of historical fiction can create the historical mind
of a character in their book (or film, or whatever). The danger is that if the
author has done a good job, we start believing that this is what the historical
original thought; this is what motivated their actions and so on. This historical fiction author, if they do
their job well, can sell us a convincing lie. However much we are convinced, it
is still a lie. We do not, cannot, know what the original person was thinking.
Lipscombe finishes up by
suggesting that historical novels should come with a sticker attached, reading:
‘This is not the past. It just looks like it’. She also suggests that this may
not apply simply to fiction. Perhaps history books should come with the same
attachment.
Historical wargaming is a form of
historical fiction, I would suggest. We strive for accuracy in formations, in
uniforms, weaponry, terrain. The rules we create for wargaming are judged on
their accuracy to this historical record. Weapons are categorised as to their effectiveness
and so on. Figures judged by their scaled down resemblance to historical
originals.
Even the imagi-nations are not
immune from this effect. We presume that human nature is the same, that the
furnishings of the mind of the fictional protagonists resemble, in some way our
own. The contemporary is imported into the fictional automatically, whether we
like it or not. We create wargames from the context of our own time, import our
own issues and ideas.
Of course, it is slightly worse
for a historical wargamer, as opposed to a imagi-nation-er. The historian has
to used flawed historical texts and artefacts to determine the nature of the
era they work with, the wargame they wish to create. The imagi-nation-er does
not. They can create the sort of world they wish, but are still constrained by
what we think human nature is. I am sure that all my generals, of whatever era,
are really nice, liberal, twenty-first century Westerners at heart. The fact that
the historical prototypes of some of them would cheerfully have crucified
thousands without trial is neither here nor there. We do not do that sort of
thing these days.
So, historical wargaming should
have the same label attached to it as historical fiction. After all, I think
most armies on campaign at the least lost that parade ground feel of most of
our wargame figures. When was the last time you saw a demonstration game of,
say, eighteenth century armies where the figures were in rags, their coats
washed out and their trousers were spattered in mud. Despite the existence of ‘campaign’
figures from some manufacturers, I have yet to see such a game.
And yet few of us, I suspect, can
avoid the hankering after some sort of historical grounding for our games.
Perhaps there is just something inherently fascinating about the past, and
about examining it again and again. History is always being made and remade, as
the present interrogates the past with its own, new, questions. The answers we
get, of course, reflect the interests of the contemporary age, not the
original. It is quite likely that the originals would not even understand the
questions.
So, is there such as thing as
historical wargaming, historical accuracy? Do the scare quotes need to be in
place? Of course they do, as they do for historical fiction and, in all
likelihood, for history text books as well. It is just that we are far too
polite to make a fuss about it.