CHAPTER I.

OF HISTORICAL NARRATIONS.

We shall divide this chapter into five articles. In the first we shall speak of the General Qualities and style of historical narrations; in the second, of the Praxis of writing a historical narration; in the third, of History, its qualities, and criterions; in the fourth, of Biography; and in the fifth, of Journalism.

ARTICLE I.

OF THE GENERAL QUALITIES, AND STYLE OF HISTORICAL NARRATIONS.

1. A historical narration is "that which relates some true event, or fact."

2. When a narration comprises a series of past events, it is called History.

3. The object in historical narrations, is principally, to give correct information about a fact, when it regards one or more persons.

(1.) What is a historical narration?

(2.) What is History?

(3.) What is the object of historical narrations?

4. Hence the necessary qualities of historical narrations are two, perspicuity and probability.

5. Perspicuity of narration means, that a fact must be related in an orderly and lucid manner;

6.

Which is obtained, FIRST, by stating, in clear and proper language, by whom, when, where, and how the fact occurred, together with all the principal adjuncts that relate to it; or, in other words, by mentioning the person or persons who were the principal actors; the time, and the place where the thing occurred; and finally, the objects and incidents directly connected with the main subject.

SECOND. By avoiding an excessive minuteness, in relating circumstances that have little connection with the main subject of narration.

7. The necessity of perspicuity in a narration, is shown from the fact, that without it, the principal object, which is to rightly inform the hearer or reader, is entirely lost.

8. Probability of narration means, that its

(4.) What are the necessary qualities of historical narrations? (5.) What does perspicuity of narration mean?

(6.) How is it obtained?

(7.) What is the necessity of perspicuity in a narration?

(8.) What does probability of narration mean?

truthfulness must be apparent, or at least not very questionable.

9. Hence, it is necessary, first, that the narrator of a fact should enjoy the reputation of veracity; second, that the thing narrated be neither absurd in itself, nor made absurd by conflicting circumstances of time, place, persons, or other objects and incidents; third, that all art which is calculated to engender suspicion, be avoided in narrations.

10. The style properly belonging to historical narrations is the simple; though the middle, or adorned is not improper.

11. We shall produce three examples, one ancient, and two modern; which may serve as models of the vivid style, which may adorn historical narrations.

I. EXAMPLE OF A HISTORICAL NARRATION.

THE FIGHT OF THE HORATII WITH THE CURIATII.

(Livius, Book I, Roman History.)

"The sign is given; and the three youths, like a phalanx of soldiers, and with a courage equal to that

(9.) What is necessary for it?

(10.) What is the style of historical narrations?

Give an example of a historical narration from an ancient author.

of a great army, wielding their fatal weapons, rush out to meet their adversaries in a hand to hand combat. Neither party think of their own danger; but the political power, or the subjection of one race to the other, is present to their mind; and they reflect, that the future destiny of their country, will be such as they make it now. As soon as they met, and the clash of arms was heard, and the glittering swords were seen, an immense horror seized the spectators, and without indulging in hope, on either side, they remained in breathless suspense.

When the two parties had come to a hand to hand combat, and not only the movements of their bodies, and the brandishing of their weapons, but their wounds were seen, and blood began to flow; two of the Romans, after having wounded the three Albans, fell, expiring upon each other. Upon their fall, the Alban army raised a shout of joy; and the Roman legions lost at once all, except a glimmering ray of hope in the last survivor, upon whom already stood, with drawn swords, the three Curiatii. Fortunately, this last one was unscathed yet; and as he alone was unequal to the contest against all together, so he was a terrible adversary against each one separately. Therefore, in order to fight each single man separately, he undertook to flee; thinking that, in this manner, they would pursue him, but at such a distance as the wounded condition of each would allow. The Roman had already fled a short distance from the place where they had fought; when looking back, he saw them following, at great intervals apart. One was not far from

him. Upon him he turned back with great impetuosity; and while the Alban army shouts to the Curiatii, to bring assistance to their brother; the victorious Horatius, having already slaughtered the first adversary, undertook to fight the second. At this juncture, the Romans, with a loud shout of applause— as parties that favor one side generally do, on a sudden and unexpected turn of affairs-encouraged their soldier, who, therefore, hurried to finish the battle. Before the third soldier, who was not very far, could reach him, he slaughtered the second Curiatius.

Now, they were equal in numbers, and only two had remained, but neither in hope nor strength equal. The Romans had on the field, ready to fight the third battle, a soldier as yet unwounded, and made fierce by a double victory. The Albans opposed to a victorious enemy, a soldier exhausted by wounds, dragging his body, wearied by flight, and morally vanquished by the slaughter of his two brothers before him. That was not a fight. The Roman, exulting, exclaimed, Two brothers have I offered to the Manes; the third one, the cause of this battle, I will also sacrifice, that the Romans shall have command over the Albans.' Then he thrust his sword into the throat of his adversary, who could not hold his weapons, and stripped him, while lying prostrate, of his arms. The Romans received Horatius with ovations and congratulations ; being so much the more rejoiced, as their success had been nearly hopeless."