Instructions for history with a character of the most considerable historians, ancient and modern / out of the French, by J. Davies of Kidwelly.

V.

Of the Simplicity of Writing.

THere is also a further Obligation incum∣bent upon an Historian, to observe a Simplicity of Elocution, to avoid the Air that is pompous and affected, both which are con∣trary to the grand Character which History is to look after; in regard that whatever is great ceases to be so, as soon as it is devested of that Simplicity which it ought to have; and what is joyntly simple and great doubles the Grandeur of it, and becomes sublime. Nor is there any thing that instructs better,* 1.1 or more cajoles the publick Belief, than that Simplicity of Style, which was so much culti∣vated by the Ancients, and is so little known to the Moderns: whatever exaggerates has a counterfeit Air; and Nature, which ought to be imitated in all things, expresses her self with as much simplicity as may be. But to make a full discovery of that Simplicity, which is so necessary to, and consistent with, a Grandeur of Style, it is to be observed that there are three sorts of it, to wit, a Sim∣plicity

in the words, such as that of Caesar; a Simplicity in the Sentiments, such as that of Salust; and a Simplicity in the Design, and in the Distribution of the Design, such as that of Thucydides,* 1.2 so much celebrated by Dionysius Halicarnassaeus. Those Authors of the Moderns, who have come nearest that Character, are amongst the French, Philip de Comines; Guicciardine amongst the Italians, Buchanan amongst the Scots, and Mariana amongst the Spaniards: most of the others endeavour not to keep themselves up by the Purity, Politeness, and the other Ornaments of Discourse, but onely when their Abilities will not reach to the observance of that Sim∣plicity; and they paraphrase the truth, when they have not the strength to deliver it na∣ked. Happy is that man who can arrive thereto when he is concerned to write; ig∣norant persons may understand him, while the intelligent are charm'd with him. But there is not any thing of greater difficulty to attain, than that even and natural Air, which contributes so much to the Simplicity of Style. There is an extraordinary Genius requisite in him who would speak things sim∣ply, without falling into the mean and fri∣gid Style. For when he studies Simplicity, there is not any thing he ought more to fear than Meanness of Expression. But wherein

does this admirable Simplicity consist, which is the sovereign Perfection of a great Work, and what is meant by writing simply? In this, that a man should make use of the most proper and most ordinary words, but yet such as are full of great sence, as that Prince does,* 1.3 on whom Homer bestows a concise, pleasant, and significant Eloquence, without any superfluity. It is for a man to think and speak pertinently what he has to think and say, without giving too great a Vivacity to his Expression, as Strada does; and without giving too much Lustre to his Conceptions, as Grotius does. It consists in a mans having ordinary and natural Sentiments, without ma∣king so many Ratioecinations and Reflections, as Davila does, in his History of the Troubles of France, for when a man is so much taken up with Ratiocination, it is not Nature, but Art and Study that speak; and those so much studied Discourses smell of the School and the Declamation.* 1.4 It consists in not intermixing more Ornament in the Discourse than the Modesty of Truth can well bear withal. It con∣sists in expressing that natural and simple Air

of Xenophon's, which all imaginable Affectation cannot come near. It consists, in fine, in be∣ing Master of that miraculous gift of Re∣trenching what is superfluous out of the Dis∣course; which Phocion was so excellently possess'd withall, and of whom Demosthenes, as great a Student as he was of that Simplici∣ty, was wont to say, when he saw him ascending the Theatre to refute him,* 1.5 See the Iron Instrument which is to cut off all the super∣fluity of my words. The better to establish this Character, which besides a great stock of Wisdom and sound Sence, require•• great Exercise and much Meditation, a man ought to avoid being conversant with those Au∣thors, whose Imaginations are over fertile, and so to shun that profusion of frivolous Con∣ceptions and forc'd Expressions, and that Fu∣stian way of writing into which men are apt to fall, when they are not exact Pursuers of sound Sence, and have not their Minds well poised. For Models in this way of writing a man is to propose to himself onely the Anci∣ents, and amongst them he is to make choice onely of the most Eminent for the Simplicity of their Style.* 1.6 Hermogenes proposes Theo∣critus and Anacreon for great Models of that simplicity, of which their Writings are a sufficient Testimony. Herodotus seems to Longinus to be over-daring. Dionysius Ha∣licarnassaeus

charges Thucydides, as simply as he writes, with inserting too many matters of fact in some of his Narrations. Xenophon and Polybius are too full of Moralizations, and many times break off the Thread of the History by their Reflections. Diodorus Sicu∣lus intermixes too much Learning in his Di∣scourse. Plutarch may pass for a great Ori∣ginal of that simplicity which we look after, for he has observ'd it in all he has written. Titus Livius does not appear to me more admirable upon the score of all his other great Qualities, than he does upon this. The current of his History is like the course of a great River, which glides away majestically; whereas the History of Tacitus may be com∣pared to a rich and plentiful River, but sub∣ject to Inundations: he is not sufficiently well poiz'd in what he thinks, and he is many times forc'd and harsh in what he says, mere∣ly because he is not simple. Mariana is one of the most accomplish'd amongst the modern Historians, because he is the most studious to express himself simply. For there is not any thing of this simplicity of Style to be found in great Subjects, but what is always at∣tended with Grandeur and Excellency. Those are the Qualities from which proceeds that primitive Ground••work of Perfection which History requires, and which may be call'd

(as I may so say) the first Elements of that Beauty which it ought to have, and which ought also to be more predominant in the Fancy, and in the whole Character of the Historian, than in his Style and Discourse. Take now the other Lines which are to be added thereto for the completing of it, and which I briefly hint at, observing no other order than that wherein they present them∣selves to my mind. I begin with the matter and form, that is to say, with what is most essential to History.

Notes

• * 1.1

  Si oratio perderet gratiam simplicis & inaffe∣ctati colo∣ris, perderet & fidem. Fab. l. 9. c. 4.
• * 1.2

  In judicio de Thucyd.
• * 1.3

  Homerus brevem quidem, cum animi jucunditate propriam, carentem superfluis, eloquenti∣am Mene∣lao dedit, quae sunt virtutes generis primi. Fab. l. 12. c. 10.
• * 1.4

  Exponere simpliciter & sine ulla exorn••atio∣ne. Cic. de Invent. l. 2 Nor. dice∣re ornatiùs quàm simplex ratio veritatis ferat. Cic. de Orat. l. 1.

  Xenophon••is illam jucunditatem inaffectatam, quam nullae affectat•••• consequi possit, ut ipsae sermonem Gratia finicissè videantur. Fa••. l. 10. c. 1.
• * 1.5

  Plutarch.
• * 1.6

  Herm. de Idaeis l. 2.