OBSERVATIONS in the Art of English Poesy. By Thomas Campion. Wherein it is demonstratively proved, and by example confirmed, that the English tongue will receive eight several kinds of numbers, proper to itself, which are all in this book set forth, and were never before this time by any man attempted. Printed at London by RICHARD FIELD for Andrew Wise. 1602. To the Right Noble and worthily honoured, the Lord Buckhurst, Lord high Treasurer of England. IN two things (right honourable) it is generally agreed that man excels all other creatures, in reason, and speech: and in them by how much one man surpasseth an other, by so much the nearer he aspires to a celestial essence. Poesy in all kind of speaking is the chief beginner, and maintainer of eloquence, not only helping the ear with the acquaintance of sweet numbers, but also raising the mind to a more high and lofty conceit. For this end have I studied to induce a true form of versefying into our language: for the vulgar and unarteficiall custom of rhyming hath I know deterred many excellent wits from the exercise of English Poesy. The observations which I have gathered for this purpose, I humbly present to your Lordship, as to the noblest judge of Poesy, and the most honourable protector of all industrious learning; which if your Honour shall vouchsafe to receive, who both in your public, and private Poems have so divinely crowned your fame, what man will dare to repine? or not strive to imitate them? Wherhfore with all humility I subject myself and them to your gracious favour, beseeching you in the nobleness of your mind to take in worth so simple a present, which by some work drawn from my more serious studies, I will hereafter endeavour to excuse. Your Lordships humbly devoted THOMAS CAMPION. The Writer to his Book. whether thus hasts my little book so fast? To Paul's Churchyard; what in those cells to stand, With one leaf like a rider's cloak put up To catch a termer? or lie musty there With rhymes a term set out, or two before? Some will redeem me; few; yes, read me too; Fewer; nay love me; now thou dotest I see; Will not our English Athens art defend? Perhaps; will lofty courtly wits not aim Still at perfection? If I grant? I sly; Whether? to Pawles; Alas poor book I rue Thy rash self-love, go spread thy pap'ry wings, Thy lightness can not help, or hurt my fame. Observations in the Art of English Poesy, by Thomas Campion. The first Chapter, entreating of numbers in general. THere is no writing too brief, that without obscurity comprehends the intent of the writer. These my late observations in English Poesy I have thus briefly gathered, that they might prove the less troublesome in perusing, and the more apt to be retained in memory. And I will first generally handle the nature of Numbers. Number is discreta quantitas, so that when we speak simply of number, we intent only the dissevered quantity; But when we speak of a Poem written in number, we consider not only the distinct number of the syllables, but also their value, which is contained in the length or shortness of their sound. As in Music we do not say a strain of so many notes, but so many sem'briefes (though sometimes there are no more notes than sem'briefes) so in a verse the numeration of the syllables is not so much to be observed, as their waire, and due proportion. In joining of words to harmony there is nothing more offensive to the ear then to place a long syllable with a short note, or a short syllable with a long note, though in the last the vowel often bears it out. The world is made by Symmetry and proportion, and is in that respect compared to Music, and Music to Poetry: for Terence saith speaking of Poets, artem qui tractant musicam, confounding music and Poesy together. What music can there be where there is no proportion observed? Learning first flourished in Greece, from thence it was derived unto the romans, both diligent observers of the number, and quantity of syllables, not in their verses only, but likewise in their prose. Learning after the declining of the Roman Empire, and the pollution of their language through the conquest of the Barbarians, lay most pitifully deformed, till the time of Erasmus, Rewcline, Sir Thomas More, and other learned men of that age, who brought the Latin tongue again to light, redeeming it with much labour out of the hands of the illiterate Monks and Friars: as a scoffing book, entitled Epistolae obscurorum virorum, may sufficiently testify. In those lack-learning times, and in barbarized ●taly, began that vulgar and easy kind of Poesy which is now in use throughout most parts of Christendom, which we abusively call Rhyme, and Meeter, of Rithmus and Metrum, of which I will ●ow discourse. The second Chapter, declaring the unaptness of Rhyme in Poesy. I Am not ignorant that whosoever shall by way of reprehension examine the imperfections of Rhyme, must encounter with many glorious enemies, and those very expert, and ready at their weapon, that can if need be extempore (as they ●●y) rhyme a man to death. Besides there is grown kind of prescription in the use of Rhyme, to foreall the right of true numbers, as also the consent ●f many nations, against all which it may seem a ●●ing almost impossible, and vain to contend. ●ll this and more can not yet deter me from a awful defence of perfection, or make me any whit ●●e sooner adhere to that which is lame and unbeseeming. For custom I allege, that ill uses are to be abolished, and that things naturally imperfect can not be perfected by use. Old customs, if they be better, why should they not be recalled, as the yet flourishing custom of numerous poesy used among the Romans and Grecians: But the unaptness of our tongues, and the difficulty of imitation dishartens us; again the facility & popularity of Rhyme creates as many Poets, as a hot summer flies. But let me now examine the nature of that which we call Rhyme. By Rhyme is understood that which ends in the like sound, so that verses in such mane● composed, yield but a continual repetition of tha● Rhetorical figure which we term similiter desinentia, and that being but figura verbi, ought (a Tully and all other rhetoricians have judicially observed) sparingly to be used, lest it should offend the care with tedions affectation. Such was tha● absurd following of the letter amongst our English so much of late affected, but now hist out of Paule● Churchyard: which foolish figurative repetition crept also into the Latin tongue, as it is manifest in the book of Ps called praelia porcorum, and an other pamphlet all of Fs, which I have seen imprinted; but I will leave these follies to their own● ruin, and return to the matter intended. Th● ear is a rational sense, and a chief judge of proportion, but in our kind of rhyming what proportion is there kept, where there remains such a confused inequality of syllables? iambic and Trochaick feet which are opposed by nature, are by all Rhymers confounded, nay oftentimes they place in stead of an iambic the foot Pyrrychius, consisting of two short syllables, curtaling their verse, which they supply in reading with a ridiculous, and unapt drawing of their speech. As for example: Was it my destiny, or dismal chance? In this verse the two last syllables of the word, Destiny, being both short, and standing for a whole foot in the verse, cause the line to fall out shorter than it ought by nature. The like impure errors have in time of rudeness been used in the Latin tongue, as the Carmina proverbialia can witness, and many other such reverend babbles. But the noble Grecians and romans whose skilful monuments outlive barbarism, tied themselves to the strict observation of poetical numbers, so abandoning the childish titillation of rhyming, that it was imputed a great error to Ovid for setting forth this one rhyming verse, Quot coelum stellas tot habet tua Roma puellas. For the establishing of this argument, what bette● confirmation can be had, then that of Sir Thoma● Moor in his book of Epigrams, where he make● two sundry Epitaphs upon the death of a singin● man at Westminster, the one in learned number● and disliked, the other in rude rhyme and highly extolled: so that he concludes, tales lactucas talia labr● petunt, like lips, like lettuce. But there is yet another fault in Rhyme altogether intolerable, which is that it enforceth a man oftentimes to abjure hi● matter, and extend a short conceit beyond a● bounds of art: for in Quatorzens me thinks th● Poet handles his subject as tyrannically as Procru●stes the thief his prisoners, whom when he ha● taken, he used to cast upon a bed, which if the● were too short to fill, he would stretch them longe● if too long, he would cut them shorter. Bring before me now any the most self-loved Rhymer, & le● me see if without blushing he be able to read hi● lame halting rhymes. Is there not a curse of Nature laid upon such rude Poesy, when the Writer i● himself ashamed of it, and the hearers in contempt call it Rhyming and Ballading? What Divine in hi● Sermon, or grave Counsellor in his Oration wil● allege the testimony of a rhyme? But the deuinit● of the romans and Grecians was all written in verse: and Aristotle, Galene, and the books of all the excellent Philosophers are full of the testimonies of the old Poets. By them was laid the foundation of all human wisdom, and from them the knowledge of all antiquity is derived. I will propound but one question, and so conclude this point. If the Italians, Frenchmen and Spaniards, that with commendation have written in Rhyme, were demanded whether they had rather the books they have published (if their tongue would bear it) should remain as they are in Rhyme, or be translated into the ancient numbers of the greeks and romans, would they not answer into numbers? What honour were it then for our English language to be the first that after so many years of barbarism could second the perfection of the industrious greeks and romans? which how it may be effected I will now proceed to demonstrate. The third Chapter: of our English numbers in general. THere are but three feet, which generally distinguish the Greek and Latin verses, the Dactil consisting of one long syllable and two short, as uīuĕrĕ the Trochy, of one long and one short, as uītă, and the iambic of one short and one long, as ămōr. The Spondee of two long, the Tribrach of three short, the Anapaestick of two short and a long, are but as servants to the first. divers other feet I know are by the Grammarians cited, but to little purpose. The Heroical verse that is distinguished by the Dactile, hath been oftentimes attempted in our English tongue, but with passing pitiful success: and no wonder, seeing it is an attempt altogether against the nature of our language. For both the concourse of our monasillables make our verses unapt to slide, and also if we examine our polysillables, we shall find few of them by reason of their heaviness, willing to serve in place of a Dactile. Thence it is, that the writers of English heroics do so often repeat Amyntas, Olympus, Avernus, Erinys, and such like borrowed words, to supply the defect of our hardly entreated Dactile. I could in this place set down many ridiculous kinds of Dactyls which they use, but that it is not my purpose here to incite men to laughter. If we therefore reject the Dactil as unfit for our use (which of necessity we are enforced to do, there remain only the iambic foot, of which the iambic verse is framed, and the Trochee, from which the Trochaick numbers have their original. Let us now then examine the property of these two feet, and try if they consent with the nature of our English syllables. And first for the iambics, they fall out so naturally in our tongue, that if we examine our own writers, we shall find they unawares hit oftentimes upon the true iambic numbers, but always aim at them as far as their ear without the guidance of art can attain unto, as it shall hereafter more evidently appear. The Trochaick foot which is but an iambic turned over and over, must offorce in like manner accord in proportion with our British syllables, and so produce an English trochaical verse. Then having these two principal kinds of verses, we may easily out of them derive other forms, as the Latins and greeks before us have done, whereof I will make plain demonstration, beginning at the iambic verse. The fourth Chapter, of the iambic verse. I Have observed, and so may any one that is either practised in singing, or hath a natural ear able to time a song, that the Latin verses of six feet, as the Heroic and iambic or of five feet, as the Trochaick are in nature all of the same length of sound with our English verses of five feet; for either of them being timed with the hand quinque perficiunt tempora, they fill up the quantity (as it were) of five sem'briefs, as for example, if any man will prove to time these verses with his hand. A pure iambic. Suis & ipsa Roma viribus ruit. A licentiate iambic. Ducunt volentes fata, nolentes trahunt. An Heroic verse. Tytere tu patulae recubans sub tegmine fagi. A Trochaick verse. Nox est perpetua una dormienda. English iambics pure. The more secure, the more the more the stroke we feel Of unprevented harms; so gloomy storms Appear the sterner if the day be clear. Th'English iambic licentiate. Hark how these winds do murmur at thy flight. The English Trochee. Still where Envy leaves, remorse doth enter. The cause why these verses differing in feet yield the same length of sound, is by reason of some rests which either the necessity of the numbers, or the heaviness of the syllables do beget. For we find in music, that oftentimes the strains of a song can not be reduct to true number without some rests prefixed in the beginning and middle, as also at the close if need requires. Besides, our English monasillables enforce many breathe which no doubt greatly lengthen a verse, so that it is no wonder if for these reasons our English verses of five feet hold pace with the Latins of six. The pure iambic in English needs small demonstration, because it consists simply of iambic feet, but our iambic licentiate offers itself to a farther consideration; for in the third and fifth place we must of force hold the iambic foot, in the first, second, and fourth place we may use a Spondee or iambic and sometime a Tribrack or Dactile, but rarely an Anapestick foot, and that in the second or fourth place. But why an iambic in the third place? I answer, that the forepart of the verse may the gentlier slide into his Dimeter, as for example sake divide this verse: Hark how these winds do murmur at thy flight. Hark how these winds, there the voice naturally affects a rest, then murmur at thy flight, that is of itself a perfect number, as I will declare in the next Chapter, and therefore the other odd syllable between than ought to be short, lest the verse should hang too much between the natural pause of the verse, and the Dimeter following, the which Dimeter though it be naturally Trochaical, yet it seems to have his original out of the iambic verse. But the better to confirm and express these rules, I will set down a short Poem in Licentiate iambics, which may give more light to them that shall hereafter imitate these numbers. Go numbers boldly pass, stay not for aid Of shifting rhyme, that easy flatterer Whose witchcraft can the ruder ears beguile; Let your smooth feet enured to purer art True measures tread; what if your pace be slow? And hops not like the Grecian elegies? It is yet graceful, and well fits the state Of words ill-breathed, and not shaped to run: Go then, but slowly till your steps be firm, Tell them that pity, or perversely scorn Poor English Poesy as the slave to rhyme, You are those lofty numbers that revive Triumphs of Princes, and stern tragedies: And learn henceforth t'attend those happy sprights Whose bounding fury, height, and weight affects, Assist their labour, and sit close to them, Never to part away till for desert Their brows with great Apollo's bays are hid. He first taught number, and true harmony, Nor is the laurel his for rhyme bequeathed, Call him with numerous accents paisd by art He'll turn his glory from the sunny climes, The North-bred wits alone to patronize. Let France their Bartas, Italy Tasso praise, Phoebus shuns none, but in their slight from him. Though as I said before, the natural breathing place of our English iambic verse is in the last syllable of the second foot, as our Trochy after the manner of the Latin Heroick and iambic rests naturally in the first of the third foot: yet no man is tied altogether to observe this rule, but he may alter it, after the judgement of his ear, which Poets, Orators, and Musicians of all men ought to have most excellent. Again, though I said peremptorily before, that the third, and fifth place of our licentiate iambic must always hold an iambic foot, yet I will show you example in both places Where a Tribrack may be very formally taken, and first in the third place, Some trade in Barbary, some in Turkey trade. another example. Men that do fall to misery, quickly fall. If you doubt whether the first of misery be naturally short or no, you may judge it by the easy sliding of these two verses following: The first. Whom misery can not alter, time devours. The second. What more unhappy life, what misery more? Example of the Tribrack in the fifth place, as you may perceive in the last foot of the fifth verse. Some from the starry throne his fame derives, Some from the mines beneath, from trees, or herbs, Each hath his glory, each his sundry gift, Renowned in every art there lives not any. To proceed farther, I see no reason why the English iambic in his first place may not as well borrow a foot of the Trochy, as our Trochy or the Latin Hendecasyllable may in the like case make bold with the iambic: but it must be done ever with this caveat, which is, that a Sponde, Dactile or Tribrack do supply the next place: for an iambic beginning with a single short syllable, and the other ending before with the like, would too much drink up the verse if they came immediately together. The example of the Sponde after the Trochy. As the fair son the light some heaven adorns. The example of the Dactil. Noble, ingenious, and discreetly wise. The example of the Tribrack. Beauty to jealousy brings joy, sorrow, sear. Though I have set down these second licenses as good and ayreable enough, yet for the most part my first rules are general. These are those numbers which Nature in our English destinates to the Tragic, and Heroik Poem: for the subject of them both being all one, I see no impediment why one verse may not serve for them both, as it appears more plainly in the old comparison of the two Greek writers, when they say, Homerus est Sophocles heroicus, and again, Sophocles est Homerus tragicus, intimating that both Sophocles and Homer are the same in height and subject, and differ only in the kind of their numbers. The iambic verse in like manner being yet made a little more licentiate, that it may thereby the nearer imitate our common talk, will excellently serve for Comedies, and then may we use a Sponde in the fifth place, and in the third place any foot except a Trochy, which never enters into our iambic verse, but in the first place, and then with his caveat of the other feet which must of necessity follow. The fifth Chapter, of the iambic Dimeter, or English march. THe Dimeter (so called in the former Chapter) I intent next of all to handle, because it seems to be a part of the iambic which is our most natural and ancient English verse. We may term this our English march, because the verse answers our warlike form of march in similitude of number. But call it what you please, for I will not wrangle about names, only intending to set down the nature of it and true structure. It consists of two feet and one odd syllable. The first foot may be made either a Trochy, or a Spondee, or an iambic at the pleasure of the composer, though most naturally that place affects a Trochy or Spondee; yet by the example of Catullus in his Hendicasillables, I add in the first place sometimes an iambic foot. In the second place we must ever insert a Trochy or Tribrack, and so leave the last syllable (as in the end of a verse it is always held) common. Of this kind I will subscribe three examples, the first being a piece of a Chorus in a Tragedy. Raving war begot In the thirsty sands Of the Lybian Isles Wastes our empty fields, What the greedy rage Of fell wintrye storms, Could not turn to spoil, Fierce Bellona now Hath laid desolate, Void of fruit, or hope. Th'eger thrifty hind Whose rude toil reviv'd Our skie-blasted earth Himself is but earth, Left a scorn to fate Through seditious arms: And that soil, alive Which he duly nursed, Which him duly fed, Dead his body feeds: Yet not all the glebe His tough hands manured Now one turf affords His poor funeral. Thus still needy lives, Thus still needy dies Th'unknown multitude. An example Lyrical. Greatest in thy wars, Greater in thy peace Dread Elizabeth; Our muse only Truth Figments can not use Thy rich name to deck That itself adorns: But should now this age Let all poesy feign, Feigning poesy could Nothing feign at all Worthy half thy fame. An example epigrammical. Kind in every kind This dear Ned resolve, Never of thy praise Be too prodigal; He that praiseth all Can praise truly none. The sixth Chapter, of the English Trochaick verse. NExt in course to be entreated of is the English Trochaick, being a verse simple, and of itself depending. It consists, as the Latin Trochaick of ●●ue feet, the first where of may be a Trochy, a Spondee, or an iambic, the other four of necessity all ●rochyes, still holding this rule authentical, that ●●e last syllable of a verse is always common. The spirit of this verse most of all delights in Epigrams, ●ut it may be diversly used, as shall hereafter be declared. I have written divers light Poems in this ●●nde, which for the better satisfaction of the rea●er, I thought convenient here in way of example 〈◊〉 publish. In which though sometimes under a known name I have shadowed a feigned conceit▪ yet is it done without reference, or offence to any person, and only to make the stile appear the more English. The first Epigram. Lockly spits apace, the rheum he calls it, But no drop (though often urged) he straineth From his thirsty jaws, yet all the morning, And all day he spits, in every corner, At his meals he spits, at every meeting, At the bar he spits before the Fathers, In the Court he spits before the Graces, In the Church he spits, thus all profaning With that rude disease, that empty spitting: Yet no cost he spares, he fees the Doctors, Keeps a strict diet, precisely useth Drinks and baths drying, yet all prevails not. 'Tis not China (Lockly) Salsa Guacum, Nor dry Sassafras can help, or ease thee; 'Tis no humour hurts, it is thy humour. The second Epigram. Cease fond wretch to love so oft deluded, Still made rich with hopes, still unrelieved, Now fly her delays; she that debateth Feels not true desire, he that deferred Others times attends, his own betrayeth: Learn t'affect thyself, thy cheeks deformed With pale care revive by timely pleasure, Or with scarlet heat them, or by paintings Make thee lovely, for such art she useth Whom in vain so long thy folly loved. The third Epigram. Kate can fancy only berdles husbands, That's the cause she shakes off every suitor, That's the cause she lives so stale a virgin, For before her heart can heat her answer, Her smooth youths she finds all hugely berded. The fourth Epigram. All in satin Oteny will be suited, Beaten satin (as by chance he calls it) Oteny sure will have the bastinado. The fifth Epigram. Toasts as snakes or as the mortal Henbane Hunks detests when huffcap ale he tipples, Yet the bread he grants the fumes abateth: Therefore apt in ale, true, and he grants it, But it drinks up ale, that Hunks detesteth. The sixth Epigram. What though Harry brags, let him be noble. Noble Harry hath not half a noble. The seventh Epigram. Phoebe all the rights Elisa claimeth, Mighty rival, in this only differing That she's only true, thou only feigned. The eight Epigram. Barnzy stiffly vows that he's no Cuckold, Yet the vulgar every where salutes him With strange signs of horns, from every corner, wheresoe'er he comes a sundry Cucco Still frequents his ears, yet he's no Cuccold. But this Barnzy knows that his Matilda Scorning him with Haruy plays the wanton; Knows it? nay desires it, and by prayers Daily begs of heaven, that it for ever May stand firm for him, yet he's no Cuccold: And 'tis true, for Haruy keeps Matilda, Foster's Barnzy, and relieves his household, Buys the Cradle, and begets the children, Pays the Nurses every charge defraying, And thus truly plays Matilda's husband: So that Barnzy now becomes a cipher, And himself th'adulterer of Matilda. Mock not him with horns, the case is altered, Haruy bears the wrong, he proves the Cuccold. The ninth Epigram. buff loves fat vians, fat ale, fat all things, Keeps fat whores, fat offices, yet all men Him fat only wish to feast the gallows. The tenth Epigram. Smith by suit divorced, the known adultres Freshly weds again; what ails the madcap By this fury? even so thieves by frailty Of their hemp reserved, again the dismal Tree embrace, again the fatal halter. The eleventh Epigram. His late loss the Wivelesse Higs in order Eu'rywhere bewails to friends, to strangers; Tells them how by night a youngster armed sought his Wife (as hand in hand he held her) With drawn sword to force, she cried, he mainly Roaring ran for aid, but (ah) returning Fled was with the prize the beawty-forcer, Whom in vain he seeks, he threats, he follows. Changed is Helen, Helen hugs the stranger Safe as Paris in the Greek triumphing. Therewith his reports to tears he turneth, Pierced through with the lovely Dames remembrance; Strait he sighs, he raves, his hair he teareth, Forcing pity still by fresh lamenting. Cease unworthy, worthy of thy fortunes, Thou that couldst so fair a prize deliver, For fear unregarded, undefended, Hadst no heart I think, I know no liver. The twelfth Epigram. Why droopst thou Trefeild? will Hurst the Banker Make dice of thy bones? by heaven he can not; Can not? what's the reason? i'll declare it, they're all grown so pocky, and so rotten. The seventh Chapter, of the English Elegeick verse. THe Elegeick verses challenge the next place, as being of all compound verses the simplest. They are derived out of our own natural numbers as near the imitation of the greeks and Latins, as our heavy syllables will permit. The first verse is a mere licentiate iambic; the second is framed of two united Dimeters. In the first Dimeter we are tied to make the first foot either a Trochy or a Spondee, the second a Trochy, and the odd syllable of it always long. The second Dimeter consists of two Trochyes (because it requires more swiftness than the first) and an odd syllable, which being last, is ever common. I will give you example both of Elegy and Epigram, in this kind. An Elegy. Constant to none, but ever false to me, Traiter still to love through thy faint desires, Not hope of pity now nor vain redress Turns my griefs to steers, and renewed laments Too well thy empty vows, and hollow thoughts Witness both thy wrongs, and remorseless heart. Rue not my sorrow, but blush at my name, Let thy bloody cheeks guilty thoughts betray. My flames did truly burn, thine made a show, As fires painted are which no heat retain, Or as the glossy Pirop feigns to blaze, But touched cold appears, and an earthy stone, True colours deck thy cheeks, false foils thy breast, Frailer than thy light beauty is thy mind. None canst thou long refuse, nor long affect, But turn'st fear with hopes, sorrow with delight, Delaying, and deluding every way Those whose eyes are once with thy beauty chained. Thrice happy man that entering first thy love, Can so guide the strait rains of his desires, That both he can regard thee, and refrain: If graced, firm he stands, if not, easily falls. Example of Epigrams, in Elegeick verse. The first Epigram. Arthure brooks only those that brook not him, Those he most regards, and devoutly serves: But them that grace him his great brau'ry scorns, Counting kindness all duty, not desert: Arthure wants forty pounds, tires every friend, But finds none that holds twenty due for him. The second Epigram. If fancy can not err which virtue guides, In thee Laura then fancy can not err. The third Epigram. Drue feasts no Puritan, the churls he saith Thank no men, but eat, praise God, and depart. The fourth Epigram. A wiseman wary lives, yet most secure, Sorrows move not him greatly, nor delights. Fortune and death he scorning, only makes Th'earth his sober Inn, but still heaven his home. The fifth Epigram. Thou tellest me Barnzy Dawson hath a wife, Thine he hath I grant, Dawson hath a wife. The English Sapphick. Faith's pure shield the Christian Diana England's glory crowned with all devinenesse, Live long with triumphs to bless thy people At thy sight triumphing. Lo they sound, the Knights in order armed Entering threat the list, addressed to combat For their courtly loves; he, he's the wonder Whom Eliza graceth. Their plumed pomp the vulgar heaps detaineth, And rough steeds, let us the still devices Close observe, the speeches and the musics Peaceful arms adorning. But whence showers so fast this angry tempest, Clouding dim the place? behold Eliza This day shines not here, this heard, the lances And thick heads do vanish. The second kind consists of Dimeter, whose first foot may either be a Sponde or a Trochy: The two verses following are both of them Trochaical, and consist of four feet, the first of either of them being a Spondee or Trochy, the other three only Trochyes. The fourth and last verse is made of two Trochyes. The number is voluble and fit to express any amorous conceit. The Example. Rose-cheeked Lawra come Sing thou smoothly with thy beauties Silent music, either other Sweetly gracing. Lovely forms do flow From consent divinely framed, Heaven is music, and thy beauties Birth is heavenly. These dullnotes we sing Discords need for helps to grace them, Only beauty purely loving Knows no discord: But still moves delight Like clear springs renewed by flowing, Ever perfect, ever in themselves eternal. The third kind begins as the second kind ended, with a verse consisting of two Trochy feet, and then as the second kind had in the middle two Trochaick verses offoure feet, so this hath three of the same nature, and ends in a Dimeter as the second began. The Dimeter may allow in the first place a Trochy or a Spondee, but no iambic. The Example. Just beguiler, Kindest love, yet only chastest, Royal in thy smooth denials, Frowning or demurely smiling Still my pure delight. Let me view thee With thoughts and with eyes affected, And if then the flames do murmur, Quench them with thy virtue, charm them With thy stormy brows. Heaven so cheerful Laughs not ever, hoary winter Knows his season, even the freshest Summer morns from angry thunder jet not still secure. The ninth Chapter, of the Anacreontick verse. IF any shall demand the reason why this number being in itself simple, is placed after so many compounded numbers, I answer, because I hold it a number too licentiate for a higher place, and in respect of the rest imperfect, yet is it passing graceful in our English tongue, and will excellently fit the subject of a Madrigal, or any other lofty or tragical matter. It consists of two feet, the first may be either a Sponde or Trochy, the other must ever represent the nature of a Trochy, as for example: Follow, follow Though with mischief Armed, like whirlwind Now she flies thee; Time can conquer loves unkindness; Love can alter Times disgraces; Till death faint not Then but follow. Could I catch that Nimble traitor scornful Lawra, Swift foot Lawra, Soon then would I Seek avengement; What's th'avengement? Even submissly Prostrate then to Beg for mercy. Thus have I briefly described eight several kinds of English numbers simple or compound. The first was our iambic pure and licentiate. The second, that which I call our Dimeter, being derived either from the end of our iambic, or from the beginning of our Trochaick. The third which I delivered was our English Trochaick verse. The fourth our English Elegeick. The fifth, sixth, and seventh, were our English Sapphick, and two other Lyrical numbers, the one beginning with that verse which I call our Dimeter, the other ending with the same. The eight and last was a kind of Anacreontick verse, handled in this Chapter. These numbers which by my long observation I have found agreeable with the nature of our syllables, I have set forth for the benefit of our language, which I presume the learned will not only imitate, but also polish and amplify with their own inventions. Some ears accustomed altogether to the fatness of rhyme, may perhaps except against the cadences of these numbers, but let any man judicially examine them, and he shall find they close of themselves so perfectly, that the help of rhyme were not only in them superfluous, but also absurd. Moreover, that they agree with the nature of our English it is manifest, because they entertain so willingly our own British names, which the writers in English Heroics could never aspire unto, and even our Rhymers themselves have rather delighted in borrowed names then in their own, though much more apt and necessary. But it is now time that I proceed to the censure of our syllables, and that I set such laws upon them as by imitation, reason, or experience, I can confirm. Yet before I enter into that discourse, I will briefly recite, and dispose in order all such feet as are necessary for composition of the verses before described. They are six in number, three whereof consist of two syllables, and as many of three. Feet of two syllables. iambic: as rĕuēnge. Trochaick: Bēawtĭe. Sponde: cōnstamnt. Feet of three syllables. Tribrack: as mĭsĕrĭe. Anapestick: mĭsĕrīes. Dactile: Dēstĕnĭe. The tenth Chapter, of the quantity of English syllables. THe greeks in the quantity of their syllables were far more licentious than the Latins, as Martial in his Epigram of Earinon witnesseth, saying, Musas qui colimus severiores. But the English may very well challenge much more licence then either of them, by reason it stands chiefly upon monasillables, which in expressing with the voice, are of a heavy carriage, and for that cause the Dactil, Trybrack, and Anapestick are not greatly missed in our verses. But above all the accent of our words is diligently to be observed, for chiefly by the accent in any language the true value of the syllables is to be measured. Neither can I remember any impediment except position that can alter the accent of any syllable in our English verse. For though we accent the second of Trumpington short, yet is it naturally long, and so of necessity must be held of every composer. Wherefore the first rule that is to be observed, is the nature of the accent, which we must ever follow. The next rule is position, which makes every syllable long, whether the position happens in one or in two words, according to the manner of the Latins, wherein is to be noted that h is no letter. Position is when a vowel comes before two consonants, either in one or two words. In one, as in best, e before st, makes the word best long by position. In two words, as in settled love: e before d in the last syllable of the first word, and l in the beginning of the second makes led in settled long by position. A vowel before a vowel is always short, as, flĭīng, dĭīng, gŏīng, unless the accent alter it, as in dĕnīing. The diphthong in the midst of a word is always long, as plaīing, deceīuing. The Synalaephas or Elisions in our tongue are either necessary to avoid the hollowness and gaping in our verse as to, and the, t'inchaunt, th'enchanter, or may be used at pleasure, as for let us, to say let's, for we will, we'll, for every, every, for they are, they're, for he is, he's, for admired, admired, and such like. Also, because our English Orthography (as the French) differs from our common pronunciation, we must esteem our syllables as we speak, not as we write, for the sound of them in a verse is to be valued, and not their letters, as for follow, we pronounce folo, for perfect, perfect, for little, little, for lovesick, love-sik, for honour, honour, for money, money, for dangerous, dangerous, for ransom, raunsum, for though, though, and their like. Derivatives hold the quantities of their primatives, as dĕuōut, dĕuōutelĭe, prŏphāne, prŏphānelĭe, and so do the compositives, as dēsērued ūndĕsērued. In words of two syllables, if the last have a full and rising accent that sticks long upon the voice, the first syllable is always short, unless position, or the diphthong doth make it long, as dĕsīre, prĕsērue, dĕfīne, prŏphāne, rĕgārd, mănūre, and such like. If the like dissillables at the beginning have double consonants of the same kind, we may use the first syllable as common, but more naturally short, because in their pronunciation we touch but one of those double letters, as ătēnd, ăpēare, ŏpōse. The like we may say when silent and melting consonants meet together, as ădrēst, rĕdrēst, ŏprēst, rĕprēst, rĕtrīued, and such like. Words of two syllables that in their last syllable maintain a flat or falling accent, aught to hold their first syllable long, as rīgŏr, glōrĭe, spīrĭt, fūrĭe, lāboŭr, and the like: ăny, măny, prĕty, hŏly, and their like, are excepted. One observation which leads me to judge of the difference of these dissillables whereof I last spoke, I take from the original monasillable, which if it be grave, as shāde, I hold that the first of shādĭe must be long, so trūe, trūlĭe, hāue, hāuĭng, tīre, tīrĭng. Words of three syllables for the most part are derived from words of two syllables, and from them take the quantity of their first syllable, as flōrĭsh, flōrĭshīng long, hŏlĭe hŏlĭnes short, but mi, in mīser being long, hinders not the first of mĭsery to be short, because the sound of the i is a little altered. De, di, and pro, in trisillables (the second being short) are long, as dēsŏlāte, dīlĭgēnt, prōdĭgall. Re is ever short, as rĕmĕdĭe, rĕfĕrēnce, rĕdŏlēnt, rĕuĕrēnd. Likewise the first of these trisillables is short, as the first of bĕnĕfit, gĕnĕrall, hĭdĕous, mĕmŏrĭe, nŭmĕrous, pĕnĕtrāte, sĕpĕrat, tĭmĕrous, uărĭānt, uărĭous, and so may we esteem of all that yield the like quickness of sound. In words of three syllables the quantity of the middle syllable is lightly taken from the last syllable of the original dissillable, as the last of dĕuīne, ending in a grave or long accent, makes the second of dĕuīnīng also long, and so ēspīe, ēspīīng, dĕnīe, dĕnīīng: contrariwise it falls out if the last of the dissillable bears a flat or falling accent, as glōrĭe, glōrĭīng, enuĭe, ēnuĭīng, and so forth. Words of more syllables are either borrowed and hold their own nature, or are likewise derived, and so follow the quantity of their primatives, or are known by their proper accents, or may be easily censured by a judicial care. All words of two or more syllables ending with a falling accent in y or ye, as faīrelie, dĕmurelĭe, beawtĭe, pīttĭe; or in we, as uērtuĕ, rēscuĕ, or in owe, as fōllŏw, hōllŏw, or in e, as parlĕ, Daphnĕ, or in a, as Mannă, are naturally short in their last syllables: neither let any man cavil at this licentiate abbreviating of syllables, contrary to the custom of the Latins, which made all their last syllables that ended in u long, but let him consider that our verse of five feet, and for the most part but of ten syllables, must equal theirs of six feet and of many syllables, and therefore may with sufficient reason adventure upon this allowance. Besides, every man may observe what an infinite number of syllables both among the greeks and romans are held as common. But words of two syllables ending with a rising accent in y or ye, as deny, de●erye, or in we, as ensue, or in ee, as foresee, or in oe, ●s forego, are long in their last syllables, unless a ●owell begins the next word. All monasillables that end in a grave accent ●re ever long, as wrāth, hāth, thēse, thōse, toōth, ●ōth, thrōugh, dāy plāy, feāte, speēde, strīfe, flōw, ●ōw, shēw. The like rule is to be observed in the last of dissillables, bearing a grave rising sound, as divine, delay, retire, refuse, manure, or a grave falling sound, as fortune, pleasure, rampire. All such as have a double consonant lengthening them, as wārre, bārre, stārre, fūrre, mūrre, appear to me rather long then any way short. There are of these kinds other, but of a lighter sound, that if the word following do begin with a vowel are short, as doth, though, thou, now, they, two, too, fly, die, true, due, see, are, far, you, thee, and the like. These monasillables are always short, as ă, thĕ, thĭ, shĕ, wĕ, bĕ, hĕ, nŏ, tŏ, gŏ, sŏ, dŏ, and the like. But if i, or y, are joined at the beginning of a word with any vowel, it is not then held as a vowel, but as a consonant, as jealousy, juice, jade, joy, judas, ye, yet, yell, youth, yoke. The like is to be observed in w, as wind, wide, wood: and in all words that begin with va, ve, vi, vo, or vu, as vacant, view, vine, void, and vulture. All Monasillables or Polysillables that end in single consonants, either written, or sounded with single consonants, having a sharp lively accent, and standing without position of the word following, are short in their last syllable, as scăb, flĕd, pārtĕd, Gŏd, ŏf, ĭf, bāndŏg, ānguĭsh, sĭck, quĭck, rīuăl, wĭll, pēoplĕ, sīmplĕ, comĕ, sŏme, hĭm, thĕm, frŏm, sūmmŏn, thĕn, prŏp, prōspĕr, hōnŭr, lāboŭr, thĭs, hĭs, spēchĕs, gōddĕsse, pērfĕct, bŭt, whăt, thăt, and their like. The last syllable of all words in the plural number that have two or more vowels before s, are long, as vertūes, dutīes, miserīes, fellowēs'. These rules concerning the quantity of our English syllables I have disposed as they came next into my memory, others more methodical, time and practice may produce. In the mean season, as the Grammarians leave many syllables to the authority of Poets, so do I likewise leave many to their judgements; and withal thus conclude, that there is no Art begun and perfected at one enterprise. FINIS.