The first Chapter , intreating of numbers in generall .

THere is no writing too breefe , that without obscuritie comprehends the intent of the writer . These my late obseruations in English Poesy I haue thus briefely gathered , that they might proue the lesse troublesome in perusing , and the more apt to be retayn'd in memorie . And I will first generally handle the nature of Numbers . Number is discreta quantitas , so that when we speake simply of number , we intend only the disseuer'd quantity ; But when we speake of a Poeme written in number , we consider not only the distinct number of the sillables , but also their value , which is contained in the length or shortnes of their sound . As in Musick we do not say a straine of so many notes , but so many sem'briefes ( though sometimes there are no more notes then sem'briefes ) so in a verse the numeration of the sillables is not so much to be obserued , as their waire , and due proportion . In ioyning of words to harmony there is nothing more offensiue to the eare then to place a long sillable with a short note , or a short sillable with a long note , though in the last the vowell often beares it out . The world is made by Simmetry and proportion , and is in that respect compared to Musick , and Musick to Poetry : for Terence saith speaking of Poets , artem qui tractant musicam , confounding musick and Poesy together . What musick can there be where there is no proportion obserued ? Learning first flourished in Greece , from thence it was deriued vnto the Romaines , both diligent obseruers of the number , and quantity of sillables , not in their verses only , but likewise in their prose . Learning after the declining of the Romaine 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 Latine toong againe to light , redeeming it with much labour out of the hands of the illiterate Monks and Friers : as a scoffing booke , entituled Epistolae obscurorum virorum , may sufficiently testi●ie . In those lack-learning times , and in barbarized ●taly , began that vulgar and easie kind of Poesie which is now in vse throughout most parts of Christendome , which we abusiuely call Rime , and Meeter , of Rithmus and Metrum , of which I will ●ow discourse .

The second Chapter , declaring the vnaptnesse of Rime in Poesie .

I Am not ignorant that whosoeuer shall by way of reprehension examine the imperfections of Rime , must encounter with many glorious enemies , and those very expert , and ready at their weapon , that can if neede be extempore ( as they ●●y ) rime a man to death . Besides there is growne kind of prescription in the vse of Rime , to foreall the right of true numbers , as also the consent ●f many nations , against all which it may seeme a ●●ing almost impossible , and vaine to contend . ●ll this and more can not yet deterre me from a ●wful defence of perfection , or make me any whit ●●e sooner adheare to that which is lame and vn●eseeming . For custome I alleage , that ill vses are to be abolisht , and that things naturally imperfec● can not be perfected by vse . Old customes , if they be better , why should they not be recald , as the yet florishing custome of numerous poesy vsed among the Romanes and Grecians : But the vnaptnes of our toongs , and the difficultie of imitation dishartens vs ; againe the facilitie & popularitie of Rime creates as many Poets , as a hot sommer flies . But let me now examine the nature of that which we call Rime . By Rime is vnderstoode that which ends in the like sound , so that verses in such mane● composed , yeeld but a continual repetition of tha● Rhetoricall figure which we tearme similiter desinentia , and that being but figura verbi , ought ( a Tully and all other Rhetoritians haue iudicially obseru'd ) sparingly to be vsd , least it should offen● 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 figuratiue repetition crept also into the Latine toong , as it is manifest in the booke of Ps cald praelia porcorum , and an other pamphlet all of Fs , which I haue seene imprinted ; but I will leaue these follies to their own● ruine , and returne to the matter intended . Th● eare is a rationall sence , and a chiefe iudge of proportion , but in our kind of riming what proportion is there kept , where there remaines such a confusd inequalitie of sillables ? Iambick and Trochaick feete which are opposd by nature , are by all Rimers confounded , nay oftentimes they place in stead of an Iambick the foote Pyrrychius , consisting of two short sillables , curtalling their verse , which they supply in reading with a ridiculous , and vnapt drawing of their speech . As for example : Was it my desteny , or dismall chaunce ? In this verse the two last sillables of the word , Desteny , being both short , and standing for a whole foote in the verse , cause the line to fall out shorter then it ought by nature . The like impure errors haue in time of rudenesse bene vsed in the Latine toong , as the Carmina prouerbialia can witnesse , and many other such reuerend bables . But the noble Grecians and Romaines whose skilfull monuments outliue barbarisme , tyed themselues to the strict obseruation of poeticall numbers , so abandoning the childish titillation of riming , that it was imputed a great error to Ouid for setting forth this one riming 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● Moore in his booke of Epigrams , where he make● two sundry Epitaphs vpon the death of a singin● man at Westminster , the one in learned number● and dislik't , the other in rude rime and highly extold : so that he concludes , tales lactucas talia labr● petunt , like lips , like lettuce . But there is yet another fault in Rime altogether intollerable , which is that it inforceth a man oftentimes to abiure hi● matter , and extend a short conceit beyond a● bounds of arte : for in Quatorzens me thinks th● Poet handles his subiect as tyrannically as Procru●stes the thiefe his prisoners , whom when he ha● taken , he vsed to cast vpon 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 selfe-lou'd Rimer , & le● me see if without blushing he be able to reade hi● lame halting rimes . Is there not a curse of Natur● laid vpon such rude Poesie , when the Writer i● himself asham'd of it , and the hearers in contemp● call it Riming and Ballating ? What Deuine in hi● Sermon , or graue Counseller in his Oration wil● alleage the testimonie of a rime ? But the deuinit● of the Romaines and Gretians was all written in verse : and Aristotle , Galene , and the bookes of all the excellent Philosophers are full of the testimonies of the old Poets . By them was laid the foundation of all humane wisedome , and from them the knowledge of all antiquitie is deriued . I will propound but one question , and so conclude this point . If the Italians , Frenchmen and Spanyards , that with commendation haue written in Rime , were demaunded whether they had rather the bookes they haue publisht ( if their toong would beare it ) should remaine as they are in Rime , or be translated into the auncient numbers of the Greekes and Romaines , would they not answere into numbers ? What honour were it then for our English language to be the first that after so many yeares of barbarisme could second the perfection of the industrious Greekes and Romaines ? which how it may be effected I will now proceede to demonstrate .

The third Chapter : of our English numbers in generall .

THere are but three feete , which generally distinguish the Greeke and Latine verses , the Dactil consisting of one long sillable and two short , as vīuĕrĕ the Trochy , of one long and one short , as vītă , and the Iambick 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 seruants to the first . Diuers other feete I know are by the Grammarians cited , but to little purpose . The Heroical verse that is distinguisht by the Dactile , hath bene oftentimes attempted in our English toong , but with passing pitifull successe : and no wonder , seeing it is an attempt altogether against the nature of our language . For both the concurse of our monasillables make our verses vnapt to slide , and also if we examine our polysillables , we shall finde few of them by reason of their heauinesse , willing to serue in place of a Dactile . Thence it is , that the writers of English heroicks do so often repeate Amyntas , Olympus , Auernus , Erinnis , and such like borrowed words , to supply the defect of our hardly intreated Dactile . I could in this place set downe many ridiculous kinds of Dactils which they vse , but that it is not my purpose here to incite men to laughter . If we therefore reiect the Dactil as vnfit for our vse ( which of necessity we are enforst to do , there remayne only the Iambick foote , of which the Iambick verse is fram'd , and the Trochee , from which the Trochaick numbers haue their originall . Let vs now then examine the property of these two feete , and try if they consent with the nature of our English sillables . And first for the Iambicks , they fall out so naturally in our toong , that if we examine our owne writers , we shall find they vnawares hit oftentimes vpon the true Iambick numbers , but alwayes ayme at them as far as their eare without the guidance of arte can attaine vnto , as it shall hereafter more euidently appeare . The Trochaick foote which is but an Iambick turn'd ouer and ouer , must offorce in like manner accord in proportion with our Brittish sillables , and so produce an English Trochaicall verse . Then hauing these two principall kinds of verses , we may easily out of them deriue other formes , as the Latines and Greekes before vs haue done , whereof I will make plaine demonstration , beginning at the Iambick verse .

The fourth Chapter , of the Iambick verse .

I Haue obserued , and so may any one that is either practis'd in singing , or hath a naturall eare able to time a song , that the Latine verses of sixe feete , as the Heroick and Iambick or of fiue feete , as the Trochaick are in nature all of the same length of sound with our English verses of fiue feete ; for either of them being tim'd with the hand quinque perficiunt tempora , they fill vp the quantity ( as it were ) of fiue sem'briefs , as for example , if any man will proue to time these verses with his hand .

A pure Iambick .

Suis & ipsa Roma viribus ruit .

A licentiate Iambick .

Ducunt volentes fata , nolentes trahunt .

An Heroick verse .

Tytere tu patulae recubans sub tegmine fagi.

A Trochaick verse .

Nox est perpetua vna dormienda .

English Iambicks pure .

The more secure , the more the more the stroke we feele Of vnpreuented harms ; so gloomy stormes Appeare the sterner if the day be cleere .

Th' English Iambick licentiate .

Harke how these winds do murmur at thy flight .

The English Trochee .

Still where Enuy leaues , remorse doth enter .

The cause why these verses differing in feete yeeld the same length of sound , is by reason of some rests which either the necessity of the numbers , or the heauines of the sillables do beget . For we find in musick , that oftentimes the straines of a song can not be reduct to true number without some rests prefixt in the beginning and middle , as also at the close if need requires . Besides , our English monasillables enforce many breathings which no doubt greatly lengthen a verse , so that it is no wonder if for these reasons our English verses of fiue feete hold pace with the Latines of sixe . The pure Iambick in English needes small demonstration , because it consists simply of Iambick feete , but our Iambick licentiate offers it selfe to a farther consideration ; for in the third and fift place we must of force hold the Iambick foote , in the first , second , and fourth place we may vse a Spondee or Iambick and sometime a Tribrack or Dactile , but rarely an Anapestick foote , and that in the second or fourth place . But why an Iambick in the third place ? I answere , that the forepart of the verse may the gentlier slide into his Dimeter , as for example sake deuide this verse : Harke how these winds do murmure at thy flight . Harke how these winds , there the voice naturally affects a rest , then murmur at thy flight , that is of it selfe a perfect number , as I will declare in the next Chapter , and therefore the other odde sillable betweene than ought to be short , least the verse should hang too much betweene the naturall pause of the verse , and the Dimeter following , the which Dimeter though it be naturally Trochaical , yet it seemes to haue his originall out of the Iambick verse . But the better to confirme and expresse these rules , I will set downe a short Poeme in Licentiate Iambicks , which may giue more light to them that shall hereafter imitate these numbers .

Goe numbers boldly passe , stay not for ayde Of shifting rime , that easie flatterer Whose witchcraft can the ruder eares beguile ; Let your smooth feete enur'd to purer arte True measures tread ; what if your pace be slow ? And hops not like the Grecian elegies ? It is yet gracefull , and well fits the state Of words ill-breathed , and not shap't to runne : Goe then , but slowly till your steps be firme , Tell them that pitty , or peruersely skorne Poore English Poesie as the slaue to rime , You are those loftie numbers that reuiue Triumphs of Princes , and sterne tragedies : And learne henceforth t' attend those happy sprights Whose bounding fury , height , and waight affects , Assist their labour , and sit close to them , Neuer to part away till for desert Their browes with great Apollos bayes are hid . He first taught number , and true harmonye , Nor is the lawrell his for rime bequeath'd , Call him with numerous accents paisd by arte He 'le turne his glory from the sunny clymes , The North-bred wits alone to patronise . Let France their Bartas , Italy Tasso prayse , Phaebus shuns none , but in their slight from him .

Though as I said before , the naturall breathing place of our English Iambick verse is in the last sillable of the second foote , as our Trochy after the manner of the Latine Heroick and Iambick rests naturally in the first of the third foote : yet no man is tyed altogether to obserue this rule , but he may alter it , after the iudgement of his eare , which Poets , Orators , and Musitions of all men ought to haue most excellent . Againe , though I said peremtorily before , that the third , and fift place of our licentiate Iambick must alwayes hold an Iambick foote , yet I will shew 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 Turky trade .

An other example . Men that do fall to misery , quickly fall . If you doubt whether the first of misery be naturally short or no , you may iudge it by the easie sliding of these two verses following :

The first . Whome misery can not alter , time deuours .

The second . What more vnhappy life , what misery more ? Example of the Tribrack in the fift place , as you may perceiue in the last foote of the fift verse . Some from the starry throne his fame deriues , Some from the mynes beneath , from trees , or herbs , Each hath his glory , each his sundry gift , Renown'd in eu'ry art there liues not any . To proceede farther , I see no reason why the English Iambick in his first place may not as well borrow a foote of the Trochy , as our Trochy or the Latine Hendicasillable may in the like case make bold with the Iambick : but it must be done euer with this caueat , which is , that a Sponde , Dactile or Tribrack do supply the next place : for an Iambick beginning with a single short sillable , and the other ending before with the like , would too much drinke vp the verse if they came immediatly together .

The example of the Sponde after the Trochy . As the faire sonne the light some heau'n adorns .

The example of the Dactil . Noble , ingenious , and discreetly wise .

The example of the Tribrack . Beawty to ielosie brings ioy , sorrow , seare . Though I haue set downe these second licenses as good and ayreable enough , yet for the most part my first rules are generall .

These are those numbers which Nature in our English destinates to the Tragick , and Heroik Poeme : for the subiect of them both being all one , I see no impediment why one verse may not serue for them both , as it appeares more plainely in the old comparison of the two Greeke writers , when they say , Homerus est Sophocles heroicus , and againe , Sophocles est Homerus tragicus , intimating that both Sophocles and Homer are the same in height and subiect , and differ onely in the kinde of their numbers .

The Iambick verse in like manner being yet made a little more licentiate , that it may thereby the neerer imitate our common talke , will excellently serue for Comedies , and then may we vse a Sponde in the fift place , and in the third place any foote except a Trochy , which neuer enters into our Iambick verse , but in the first place , and then with his caueat of the other feete which must of necessitie follow .

The fift Chapter , of the Iambick Dimeter , or English march .

THe Dimeter ( so called in the former Chapter ) I intend next of all to handle , because it seems to be a part of the Iambick which is our most naturall and auncient English verse . We may terme this our English march , because the verse answers our warlick forme 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 feete and one odde sillable . The first foote may be made either a Trochy , or a Spondee , or an Iambick 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 adde in the first place sometimes an Iambick foote . In the second place we must euer insert a Trochy or Tribrack , and so leaue the last sillable ( as in the end of a verse it is alwaies held ) common . Of this kinde I will subscribe three examples , the first being a peece of a Chorus in a Tragedy .

Rauing warre begot In the thirstye sands Of the Lybian Iles Wasts our emptye fields , What the greedye rage Of fell wintrye stormes , Could not turne to spoile , Fierce Bellona now Hath laid desolate , Voyd of fruit , or hope . Th'eger thriftye hinde Whose rude toyle reuiu'd Our skie-blasted earth Himselfe is but earth , Left a skorne to fate Through seditious armes : And that soile , aliue Which he duly nurst , Which him duly fed , Dead his body feeds : Yet not all the glebe His tuffe hands manur'd Now one turfe affords His poore funerall . Thus still needy liues , Thus still needy dyes Th' vnknowne multitude . An example Lyrical . Greatest in thy wars , Greater in thy peace Dread Elizabeth ; Our muse only Truth Figments can not vse Thy ritch name to deck That it selfe adornes : But should now this age Let all poesye fayne , Fayning poesy could Nothing faine at all Worthy halfe thy fame . An example Epigrammicall . Kind in euery kinde This deare Ned resolue , Neuer of thy prayse Be too prodigall ; He that prayseth all Can praise truly none .

The sixt Chapter , of the English Trochaick verse .

NExt in course to be intreated of is the English Trochaick , being a verse simple , and of it selfe ●epending . It consists , as the Latine Trochaick of ●●ue feete , the first where of may be a Trochy , a Spon●ee , or an Iambick , the other foure of necessity all ●rochyes , still holding this rule authenticall , that ●●e last sillable of a verse is alwayes common . The ●●irit of this verse most of all delights in Epigrams , ●ut it may be diuersly vsed , as shall hereafter be de●●ared . I haue written diuers light Poems in this ●●nde , which for the better satisfaction of the rea●er , I thought conuenient here in way of example 〈◊〉 publish . In which though sometimes vnder a knowne name I haue shadowed a fain'd conceit ▪ yet is it done without reference , or offence to any person , and only to make the stile appeare the more English .

The first Epigramme . Lockly spits apace , the rhewme he cals it , But no drop ( though often vrgd ) he straineth From his thirstie iawes , yet all the morning , And all day he spits , in eu'ry corner , At his meales he spits , at eu'ry meeting , At the barre he spits before the Fathers , In the Court he spits before the Graces , In the Church he spits , thus all prophaning With that rude disease , that empty spitting : Yet no cost he spares , he fees the Doctors , Keepes a strickt diet , precisely vseth Drinks and bathes drying , yet all preuailes not . 'T is not China ( Lockly ) Salsa Guacum , Nor dry Sassafras can helpe , or ease thee ; 'T is no humor hurts , it is thy humor . The second Epigramme . Cease fond wretch to loue so oft deluded , Still made ritch with hopes , still vnrelieued , Now fly her delaies ; she that debateth Feeles not true desire , he that deferred Others times attends , his owne betrayeth : Learne t' affect thy selfe , thy cheekes deformed With pale care reuiue by timely pleasure , Or with skarlet heate them , or by paintings Make thee louely , for such arte she vseth Whome in vayne so long thy folly loued . The third Epigramme . Kate can fancy only berdles husbands , That s the cause she shakes off eu'ry suter , That s the cause she liues so stale a virgin , For before her heart can heate her answer , Her smooth youths she finds all hugely berded . The fourth Epigramme . All in sattin Oteny will be suted , Beaten sattin ( as by chaunce he cals it ) Oteny sure will haue the bastinado . The fift Epigramme . Tosts as snakes or as the mortall Henbane Hunks detests when huffcap ale he tipples , Yet the bread he graunts the fumes abateth : Therefore apt in ale , true , and he graunts it , But it drinks vp ale , that Hunks detesteth . The sixt Epigramme . What though Harry braggs , let him be noble . Noble Harry hath not halfe a noble . The seauenth Epigramme . Phaebe all the rights Elisa claymeth , Mighty riuall , in this only diff'ring That shee s only true , thou only fayned . The eight Epigramme . Barnzy stiffly vowes that hee s no Cuckold , Yet the vulgar eu'ry where salutes him With strange signes of hornes , from eu'ry corner , Wheresoere he commes a sundry Cucco Still frequents his eares , yet hee s no Cuccold . But this Barnzy knowes that his Matilda Skorning him with Haruy playes the wanton ; Knowes it ? nay desires it , and by prayers Dayly begs of heau'n , that it for euer May stand firme for him , yet hee s no Cuccold : And t is true , for Haruy keeps Matilda , Fosters Barnzy , and relieues his houshold , Buyes the Cradle , and begets the children , Payes the Nurces eu'ry charge defraying , And thus truly playes Matildas husband : So that Barnzy now becoms a cypher , And himselfe th' adultrer of Matilda . Mock not him with hornes , the case is alterd , Haruy beares the wrong , he proues the Cuccold . The ninth Epigramme . Buffe loues fat vians , fat ale , fat all things , Keepes fat whores , fat offices , yet all men Him fat only wish to feast the gallous . The tenth Epigramme . Smith by sute diuorst , the knowne adultres Freshly weds againe ; what ayles the mad-cap By this fury ? euen so theeues by frailty Of their hempe reseru'd , againe the dismall Tree embrace , againe the fatall halter . The eleuenth Epigramme . His late losse the Wiuelesse Higs in order Eu'rywhere bewailes to friends , to strangers ; Tels them how by night a yongster armed Saught his Wife ( as hand in hand he held her ) With drawne sword to force , she cryed , he mainely Roring ran for ayde , but ( ah ) returning Fled was with the prize the beawty-forcer , Whome in vaine he seeks , he threats , he followes . Chang'd is Hellen , Hellen hugs the stranger Safe as Paris in the Greeke triumphing . Therewith his reports to teares he turneth , Peirst through with the louely Dames remembrance ; Straight he sighes , he raues , his haire he teareth , Forcing pitty still by fresh lamenting . Cease vnworthy , worthy of thy fortunes , Thou that couldst so faire a prize deliuer , For feare vnregarded , vndefended , Hadst no heart I thinke , I know no liuer . The twelfth Epigramme . Why droopst thou Trefeild ? will Hurst the Banker Make dice of thy bones ? by heau'n he can not ; Can not ? what s the reason ? i le declare it , Th' ar all growne so pockie , and so rotten .

The seauenth Chapter , of the English Elegeick verse .

THe Elegeick verses challenge the next place , as being of all compound verses the simplest . They are deriu'd out of our owne naturall numbers as neere the imitation of the Greekes and Latines , as our heauy sillables will permit . The first verse is a meere licentiate Iambick ; the second is fram'd of two vnited Dimeters . In the first Dimeter we are tyed to make the first foote either a Trochy or a Spondee , the second a Trochy , and the odde sillable of it alwaies long . The second Dimeter consists of two Trochyes ( because it requires more swiftnes then the first ) and an odde sillable , which being last , is euer common . I will giue you example both of Elegye and Epigramme , in this kinde .

An Elegye . Constant to none , but euer false to me , Traiter still to loue through thy faint desires , Not hope of pittie now nor vaine redresse Turns my griefs to steares , and renu'd laments Too well thy empty vowes , and hollow thoughts Witnes both thy wrongs , and remorseles hart . Rue not my sorrow , but blush at my name , Let thy bloudy cheeks guilty thoughts betray . My flames did truly burne , thine made a shew , As fires painted are which no heate retayne , Or as the glossy Pirop faines to blaze , But toucht cold appeares , and an earthy stone , True cullours deck thy cheeks , false foiles thy brest , Frailer then thy light beawty is thy minde . None canst thou long refuse , nor long affect , But turn'st feare with hopes , sorrow with delight , Delaying , and deluding eu'ry way Those whose eyes are once with thy beawty chain'd . Thrice happy man that entring first thy loue , Can so guide the straight raynes of his desires , That both he can regard thee , and refraine : If grac't , firme he stands , if not , easely falls . Example of Epigrams , in Elegeick verse . The first Epigramme . Arthure brooks only those that brooke not him , Those he most regards , and deuoutly serues : But them that grace him his great brau'ry skornes , Counting kindnesse all duty , not desert : Arthure wants forty pounds , tyres eu'ry friend , But finds none that holds twenty due for him . The second Epigramme . If fancy can not erre which vertue guides , In thee Laura then fancy can not erre . The third Epigramme . Drue feasts no Puritans , the churles he saith Thanke no men , but eate , praise God , and depart . The fourth Epigramme . A wiseman wary liues , yet most secure , Sorrowes moue not him greatly , nor delights . Fortune and death he skorning , only makes Th' earth his sober Inne , but still heau'n his home . The fift Epigramme . Thou telst me Barnzy Dawson hath a wife , Thine he hath I graunt , Dawson hath a wife . The English Sapphick . Faiths pure shield the Christian Diana Englands glory crownd with all deuinenesse , Liue long with triumphs to blesse thy people At thy sight triumphing . Loe they sound , the Knights in order armed Entring threat the list , adrest to combat For their courtly loues ; he , hee s the wonder Whome Eliza graceth . Their plum'd pomp the vulgar heaps detaineth , And rough steeds , let vs the still deuices Close obserue , the speeches and the musicks Peacefull arms adorning . But whence showres so fast this angry tempest , Clowding dimme the place ? behold Eliza This day shines not here , this heard , the launces And thick heads do vanish .

The second kinde consists of Dimeter , whose first foote may either be a Sponde or a Trochy : The two verses following are both of them Trochaical , and consist of foure feete , 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 expresse any amorous conceit .

The Example . Rose-cheekt Lawra come Sing thou smoothly with thy beawties Silent musick , either other Sweetely gracing . Louely formes do flowe From concent deuinely framed , Heau'n is musick , and thy beawties Birth is heauenly . These dullnotes we sing Discords neede for helps to grace them , Only beawty purely louing Knowes no discord : But still mooues delight Like cleare springs renu'd by flowing , Euer perfet , euer in themselues eternall .

The third kind begins as the second kind ended , with a verse consisting of two Trochy feete , and then as the second kind had in the middle two Trochaick verses offoure feete , 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 Iambick .

The Example . Iust beguiler , Kindest loue , yet only chastest , Royall in thy smooth denyals , 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 vertue , charme them With thy stormy browes . Heau'n so cheerefull Laughs not euer , hory winter Knowes his season , euen the freshest Sommer mornes from angry thunder Iet not still secure .

The ninth Chapter , of the Anacreontick verse .

IF any shall demaund the reason why this number being in it selfe simple , is plac't after so many compounded numbers , I answere , because I hold it a number too licentiate for a higher place , and in respect of the rest imperfect , yet is it passing gracefull in our English toong , and will excellently fit the subiect of a Madrigall , or any other lofty or tragicall matter . It consists of two feete , the first may be either a Sponde or Trochy , the other must euer represent the nature of a Trochy , as for example :

Follow , followe Though with mischiefe Arm'd , like whirlewind Now she flyes thee ; Time can conquer Loues vnkindnes ; Loue can alter Times disgraces ; Till death faint not Then but followe . Could I catch that Nimble trayter Skornefull Lawra , Swift foote Lawra , Soone then would I Seeke auengement ; What 's th' auengement ? Euen submissely Prostrate then to Beg for mercye .

Thus haue I briefely described eight seueral kinds of English numbers simple or compound . The first was our Iambick pure and licentiate . The second , that which I call our Dimeter , being deriued either from the end of our Iambick , or from the beginning of our Trochaick . The third which I deliuered was our English Trochaick verse . The fourth our English Elegeick . The fift , sixt , and seauenth , were our English Sapphick , and two other Lyricall 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 obseruation I haue found agreeable with the nature of our sillables , I haue set forth for the benefit of our language , which I presume the learned will not only imitate , but also polish and amplifie with their owne inuentions . Some eares accustomed altogether to the fatnes of rime , may perhaps except against the cadences of these numbers , but let any man iudicially examine them , and he shall finde they close of themselues so perfectly , that the help of rime were not only in them superfluous , but also absurd . Moreouer , that they agree with the nature of our English it is manifest , because they entertaine so willingly our owne British names , which the writers in English Heroicks could neuer aspire vnto , and euen our Rimers themselues haue rather delighted in borrowed names then in their owne , though much more apt and necessary . But it is now time that I proceede to the censure of our sillables , and that I set such lawes vpon them as by imitation , reason , or experience , I can confirme . Yet before I enter into that discourse , I will briefely recite , and dispose in order all such feete as are necessary for composition of the verses before described . They are sixe in number , three whereof consist of two sillables , and as many of three .

Feeteoftwosillables. Iambick : as rĕuēnge . Trochaick : Bēawtĭe . Sponde : cōnstānt .

Feeteofthreesillables. Tribrack : as mĭsĕrĭe . Anapestick : mĭsĕrīes . Dactile : Dēstĕnĭe .

The tenth Chapter , of the quantity of English sillables .

THe Greekes in the quantity of their sillables were farre more licentious then the Latines , as Martiall in his Epigramme of Earinon witnesseth , saying , Musas qui colimus seueriores . But the English may very well challenge much more licence then either of them , by reason it stands chiefely vpon monasillables , which in expressing with the voyce , are of a heauy cariage , and for that cause the Dactil , Trybrack , and Anapestick are not greatly mist in our verses . But aboue all the accent of our words is diligently to be obseru'd , for chiefely by the accent in any language the true value of the sillables is to be measured . Neither can I remember any impediment except position that can alter the accent of any sillable 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 euery composer . Wherefore the first rule that is to be obserued , is the nature of the accent , which we must euer follow .

The next rule is position , which makes euery sillable long , whether the position happens in one or in two words , according to the manner of the Latines , wherein is to be noted that h is no letter .

Position is when a vowell 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 setled loue : e before d in the last sillable of the first word , and l in the beginning of the second makes led in setled long by position .

A vowell before a vowell is alwaies short , as , flĭīng , dĭīng , gŏīng , vnlesse the accent alter it , as in dĕnīing .

The dipthong in the midst of a word is alwaies long , as plaīing , deceīuing .

The Synalaephas or Elisions in our toong are either necessary to auoid the hollownes and gaping in our verse as to , and the , t'inchaunt , th' inchaunter , or may be vsd at pleasure , as for let vs , to say let 's , for we will , wee 'l , for euery , eu'ry , for they are , th' ar , for he is , hee 's , for admired , admir'd , and such like .

Also , because our English Orthography ( as the French ) differs from our common pronunciation , we must esteeme our sillables as we speake , 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 follo , for perfect , perfet , for little , littel , for loue-sick , loue-sik , for honour , honor , for money , mony , for dangerous , dangerus , for raunsome , raunsum , for though , tho , and their like .

Deriuatiues hold the quantities of their primatiues , as dĕuōut , dĕuōutelĭe , prŏphāne , prŏphānelĭe , and so do the compositiues , as dēsēru'd ūndĕsēru'd .

In words of two sillables , if the last haue a full and rising accent that sticks long vpon the voyce , the first sillable is alwayes short , vnlesse position , or the dipthong doth make it long , as dĕsīre , prĕsērue , dĕfīne , prŏphāne , rĕgārd , mănūre , and such like .

If the like dissillables at the beginning haue double consonants of the same kind , we may vse the first sillable 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 meete together , as ădrēst , rĕdrēst , ŏprēst , rĕprēst , rĕtrīu'd , and such like .

Words of two sillables that in their last sillable mayntayne a flat or falling accent , ought to hold their first sillable long , as rīgŏr , glōrĭe , spīrĭt , fūrĭe , lāboŭr , and the like : ăny , măny , prĕty , hŏly , and their like , are excepted .

One obseruation which leades me to iudge of the difference of these dissillables whereof I last spake , I take from the originall monasillable , which if it be graue , as shāde , I hold that the first of shādĭe must be long , so trūe , trūlĭe , hāue , hāuĭng , tīre , tīrĭng .

Words of three sillables for the most part are deriued from words of two sillables , and from them take the quantity of their first sillable , 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 altred .

De , di , and pro , in trisillables ( the second being short ) are long , as dēsŏlāte , dīlĭgēnt , prōdĭgall .

Re is euer 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 , vărĭānt , vărĭous , and so may we esteeme of all that yeeld the like quicknes of sound .

In words of three sillables the quantity of the middle sillable is lightly taken from the last sillable of the originall dissillable , as the last of dĕuīne , ending in a graue or long accent , makes the second of dĕuīnīng also long , and so ēspīe , ēspīīng , dĕnīe , dĕnīīng : contrarywise it falles out if the last of the dissillable beares a flat or falling accent , as glōrĭe , glōrĭīng , enuĭe , ēnuĭīng , and so forth .

Words of more sillables are eyther borrowed and hold their owne nature , or are likewise deriu'd , and so follow the quantity of their primatiues , or are knowne by their proper accents , or may be easily censured by a iudiciall care .

All words of two or more sillables ending with a falling accent in y or ye , as faīrelie , dĕmurelĭe , beawtĭe , pīttĭe ; or in ue , as vērtuĕ , rēscuĕ , or in ow , as fōllŏw , hōllŏw , or in e , as parlĕ , Daphnĕ , or in a , as Mannă , are naturally short in their last sillables : neither let any man cauill at this licentiate abbreuiating of sillables , contrary to the custome of the Latines , which made all their last sillables that ended in u long , but let him consider that our verse of fiue feete , and for the most part but of ten sillables , must equall theirs of sixe feete and of many sillables , and therefore may with sufficient reason aduenture vpon this allowance . Besides , euery man may obserue what an infinite number of sillables both among the Greekes and Romaines are held as common . But words of two sillables ending with a rising accent in y or ye , as denye , de●erye , or in ue , as ensue , or in ee , as foresee , or in oe , ●s forgoe , are long in their last sillables , vnlesse a ●owell begins the next word .

All monasillables that end in a graue accent ●re euer long , as wrāth , hāth , thēse , thōse , toōth , ●ōth , thrōugh , dāy plāy , feāte , speēde , strīfe , flōw , ●ōw , shēw .

The like rule is to be obserued in the last of dissillables , bearing a graue rising sound , as deuine , delaie , retire , refuse , manure , or a graue falling sound , as fortune , pleasure , rampire .

All such as haue a double consonant lengthning them , as wārre , bārre , stārre , fūrre , mūrre , appeare 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 vowell are short , as doth , though , thou , now , they , two , too , flye , dye , true , due , see , are , far , you , thee , and the like .

These monasillables are alwayes short , as ă , thĕ , thĭ , shĕ , wĕ , bĕ , hĕ , nŏ , tŏ , gŏ , sŏ , dŏ , and the like .

But if i , or y , are ioyn'd at the beginning of a word with any vowell , it is not then held as a vowell , but as a consonant , as Ielosy , iewce , iade , ioy , Iudas , ye , yet , yel , youth , yoke . The like is to be obseru'd in w , as winde , wide , wood : and in all words that begin with va , ve , vi , vo , or vu , as vacant , vew , vine , voide , and vulture .

All Monasillables or Polysillables that end in single consonants , either written , or sounded with single consonants , hauing a sharp liuely accent , and standing without position of the word following , are short in their last sillable , 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 sillable of all words in the plurall number that haue two or more vowels before s , are long , as vertūes , dutīes , miserīes , fellowēs .

These rules concerning the quantity of our English sillables I haue disposed as they came next into my memory , others more methodicall , time and practise may produce . In the meane season , as the Grammarians leaue many sillables to the authority of Poets , so do I likewise leaue many to their iudgements ; and withall thus conclude , that there is no Art begun and perfected at one enterprise .