Style
The style of narration is rapid, reflecting the speed of the events. The rhythm of the narration leaves no space to slow down or digress. To write effectively in this style, Tacitus had to summarize much information from his sources. Sometimes he skips parts; more usually he divides the story into single scenes and, in this way, creates a dramatic narration. Tacitus is a master at describing a mass of people. He knows how to portray the mass when it is calm; he knows equally how to show the threat of insurrection and panic-stricken flight.
Tacitus writes from the point of view of an aristocrat. He shows fear, mixed with disdain, for the soldiers' tumult and for the rabble of the capital. He also holds in low esteem those members of the Senate, whose comportment he describes with malice, insisting upon the contrast between their public image and the unconfessable reality: adulation, conspiracy, and ambition. The Historiae is a grim work; it speaks throughout of violence, dishonesty, and injustice.
Tacitus skillfully shows the characters, alternating short and sharp notations with complete portraits. His technique is similar to that of Sallust: incongruency, parataxis, and loose stylistic structure combine to make the characters sharp. The influence of Sallust is clear in the rest of Tacitus's style as well. Tacitus improves on the method, stressing the tension between gravitas, which connects the narrative with the past, and pathos, which makes it dramatic. Tacitus loves ellipsis of verbs and conjunctions. He uses irregular constructs and frequent changes of subject to give variety and movement to the narration. It often happens that when a sentence seems finished, it is extended with a surprising tail that adds a comment, which is usually alluding or indirect.
Read more about this topic: Histories (Tacitus)
Famous quotes containing the word style:
“Everything ponderous, viscous, and solemnly clumsy, all long- winded and boring types of style are developed in profuse variety among Germans—forgive me the fact that even Goethe’s prose, in its mixture of stiffness and elegance, is no exception, being a reflection of the “good old time” to which it belongs, and a reflection of German taste at a time when there still was a “German taste”Ma rococo taste in moribus et artibus.”
—Friedrich Nietzsche (1844–1900)
“It is not in our drawing-rooms that we should look to judge of the intrinsic worth of any style of dress. The street-car is a truer crucible of its inherent value.”
—Elizabeth Stuart Phelps (1844–1911)
“As we approached the log house,... the projecting ends of the logs lapping over each other irregularly several feet at the corners gave it a very rich and picturesque look, far removed from the meanness of weather-boards. It was a very spacious, low building, about eighty feet long, with many large apartments ... a style of architecture not described by Vitruvius, I suspect, though possibly hinted at in the biography of Orpheus.”
—Henry David Thoreau (1817–1862)