Naturally the critic, in treating of the means, must often appeal to military history, as experience is of more value in the Art of War than all philosophical truth. But this exemplification from history is subject to certain conditions, of which we shall treat in a special chapter and unfortunately these conditions are so seldom regarded that reference to history generally only serves to increase the confusion of ideas.
We have still a most important subject to consider, which is, How far criticism in passing judgments on particular events is permitted, or in duty bound, to make use of its wider view of things, and therefore also of that which is shown by results; or when and where it should leave out of sight these things in order to place itself, as far as possible, in the exact position of the chief actor?
If criticism dispenses praise or censure, it should seek to place itself as nearly as possible at the same point of view as the person acting, that is to say, to collect all he knew and all the motives on which he acted, and, on the other hand, to leave out of the consideration all that the person acting could not or did not know, and above all, the result. But this is only an object to aim at, which can never be reached because the state of circumstances from which an event proceeded can never be placed before the eye of the critic exactly as it lay before the eye of the person acting. A number of inferior circumstances, which must have influenced the result, are completely lost to sight, and many a subjective motive has never come to light.