All that the Latyn spelles, ffro Eneas till Cadwaladre; this Mayster Wace ther leves he. And ryght as Mayster Wace says, I telle myn Inglis the same ways.[113] Pers of Langtoft continues the history; & as he says, than say I,[114] writes the translator. Robert admires his predecessors, Dares, whose "Latyn is feyre to lere," Wace, who "rymed it in Frankis fyne," and Pers, of whose style he says, "feyrer language non ne redis"; but he is especially concerned with his own manner of expression. He does not aspire to an elaborate literary style; rather, he says, I made it not forto be praysed, Bot at the lewed men were aysed.[115] Consequently he eschews the difficult verse forms then coming into fashion, "ryme cowee," "straungere," or "enterlace." He does not write for the "disours," "seggers," and "harpours" of his own day, who tell the old stories badly. Non tham says as thai tham wrought, & in ther sayng it semes noght.[116] 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]