Clarendon was a great historian. His profound social insight, tempered by acute penetration in analysing individual character; his lack of illusions, his scepticism, tempered by recognition of the fact of human progress even if he disliked the means which brought it about: all this fitted him to understand the conflicts of his age better than any contemporary, and most later, historians. But above all it is his style that we remember: that style which again reflects the idealised feudal society of his youth. It lacks the conversational urgency and directness, the utilitarian values, of the Parliamentarian pamphlets (especially the Levellers' and Diggers') whose forthright appeal to the man in the street prepared for the prose of Bunyan and Defoe. Clarendon's prose is thoroughly conservative – stately, leisured, opulent, hospitable, with a tang of allusive humour possible because the only readers he envisages are cultured gentlemen certain of their superiority to the common herd. Like the man himself, Clarendon's style is the old world, the world of Sir Thomas Browne and Hooker, looking back to the Middle Ages: the future, in prose as in politics, lay with the ex-Parliamentarian civil servants Samuel Pepys and Andrew Marvell, and with the ex-Cromwellian soldier John Bunyan.

What It Means

This is a placeholder explanation generated by the low-overhead model. It interprets "Clarendon was a great historian. His profound social insight, tempered by acute penetration in analysing individual character; his lack of illusions, his scepticism, tempered by recognition of the fact of human progress even if he disliked the means which brought it about: all this fitted him to understand the conflicts of his age better than any contemporary, and most later, historians. But above all it is his style that we remember: that style which again reflects the idealised feudal society of his youth. It lacks the conversational urgency and directness, the utilitarian values, of the Parliamentarian pamphlets (especially the Levellers' and Diggers') whose forthright appeal to the man in the street prepared for the prose of Bunyan and Defoe. Clarendon's prose is thoroughly conservative – stately, leisured, opulent, hospitable, with a tang of allusive humour possible because the only readers he envisages are cultured gentlemen certain of their superiority to the common herd. Like the man himself, Clarendon's style is the old world, the world of Sir Thomas Browne and Hooker, looking back to the Middle Ages: the future, in prose as in politics, lay with the ex-Parliamentarian civil servants Samuel Pepys and Andrew Marvell, and with the ex-Cromwellian soldier John Bunyan." in the context of "Christopher Hill, 'Lord Clarendon and the Puritan Revolution', Puritanism and Revolution: Studies in Interpretation of the English Revolution of the 17th Century (1958; 1968), p. 211" to mean that wisdom is timeless.