A confusion of pronouns makes it difficult to understand what he considers the fault of contemporary renderings. Possibly it is that affectation of an obsolete style to which Caxton refers in the preface to the Eneydos. In any case, he himself rejects "straunge Inglis" for "simple speche."
Unlike Robert of Brunne, Andrew of Wyntoun, writing at the beginning of the next century, delights in the ornamental style which has added a charm to ancient story.
Quharfore of sic antiquiteis
Thei that set haly thare delite
Gestis or storyis for to write,
Flurist fairly thare purpose
With quaynt and curiouse circumstance,
For to raise hertis in plesance,
And the heraris till excite
Be wit or will to do thare delite.[117]
The "antiquiteis" which he has in mind are obviously the tales of Troy. Guido delle Colonne, Homer, and Virgil, he continues, all
Fairly formyt there tretyss,
And curiously dytit there storyis.[118]
Some writers, however, did not adopt the elevated style which such subject matter deserves.
Sum usit bot in plane maner
Of air done dedis thar mater
To writ, as did Dares of Frigy,
That wrait of Troy all the story,
Bot in till plane and opin style,
But curiouse wordis or subtile.[119]
Andrew does not attempt to discuss the application of his theory to English style, but he has perhaps suggested the reason why the question of style counted for so much in connection with this pseudo-historical material. In the introduction to Barbour's Bruce, though the point at issue is not translation, there is a similar idea. According to Barbour, a true story has a special claim to an attractive rendering.
Storyss to rede ar delitabill,
Supposs that thai be nocht bot fabill;
Than suld storyss that suthfast wer,
And thai war said in gud maner,
Have doubill plesance in heryng.
The fyrst plesance is the carpyng,
And the tothir the suthfastness,
That schawys the thing rycht as it wes.[120]
Lydgate, Wyntoun's contemporary, apparently shared his views. In translating Boccaccio's Falls of Princes he dispenses with stylistic ornament.