Because we vse the word rime (though by maner of abusion) yet to helpe that fault againe we apply it in our vulgar Poesie another way very commendably & curiously. For wanting the currantnesse of the Greeke and Latine feete, in stead thereof we make in th"ends of our verses a certaine tunable sound: which anon after with another verse reasonably distant we accord together in the last fall or cadence: the eare taking pleasure to heare the like tune reported, and to feele hie returne. And for this purpose serue the _monosillables_ of our English Saxons excellently well, because they do naturally and indifferently receiue any accent, & in them if they finish the verse, resteth the shrill accent of necessitie, and so doth it not in the last of euery _bissillable_, nor of euery _polisillable_ word: but to the purpose, _ryme_ is a borrowed word from the Greeks by the Latines and French, from them by vs Saxon angles and by abusion as hath bene sayd, and therefore it shall not do amisse to tell what this _rithmos_ was with the Greekes, for what is it with vs hath bene already sayd. There is an accomptable number which we call _arithmeticall (arithmos)_ as one, two, three. There is also a musicall or audible number, fashioned by stirring of tunes & their sundry times in the vtterance of our wordes, as when the voice goeth high or low, or sharpe or flat, or swift or slow: & this is called _rithmos_ or numerositie, that is to say, a certaine flowing vtteraunce by slipper words and sillables, such as the toung easily vtters, and the eare with pleasure receiueth, and which flowing of wordes with much volubilitie smoothly proceeding from the mouth is in some sort _harmonicall_ and breedeth to th"eare a great compasiion. This point grew by the smooth and delicate running of their feete, which we haue not in our vulgare, though we use as much as may be the most flowing words & slippery sillables, that we can picke out: yet do not we call that by the name of ryme, as the Greekes did: but do give the name of ryme onely to our concordes, or tunable consentes in the latter end of our verses, and which concords the Greekes nor Latines neuer vsed in their Poesie till by the barbarous souldiers out of the campe, it was brought into the Court and thence to the schoole, as hath bene before remembred: and yet the Greekes and Latines both vsed a maner of speach, by clauses of like termination, which they called [Greek: illegible] and was the nearest that they approched to our ryme: but is not our right concord: so as we in abusing this terme (_ryme_) be neuertheless excusable applying it to another point in Poesie no lesse curious then their _rithme_ or numerositie which in deede pa.s.sed the whole verse throughout, whereas our concordes keepe but the latter end of euery verse, or perchaunce the middle and the end in metres that be long.
_CHAP. VI._
_Of accent, time and stir perceiued euidently in the distinction of mans voice, and which makes the flowing of a meeter._
Nowe because we haue spoken of accent, time and stirre or motion in wordes, we will set you downe more at large what they be. The auncient Greekes and Latines by reason their speech fell out originally to be fashioned with words of many syllables for the most part, it was of necessity that they could not vtter euery sillable with one like and egall sounde, nor in like s.p.a.ce of time, nor with like motion or agility: but that one must be more suddenly and quickely forsaken, or longer pawsed vpon then another: or sounded with a higher note & clearer voyce then another, and of necessitie this diuersitie of sound, must fall either vpon the last sillable, or vpon the last saue one, or vpon the third and could not reach higher to make any notable difference; it caused them to giue vunto three different sounds three seuerall names: to that which was highest lift vp and most eleuate or shrillest in the eare, they gaue the name of the sharpe accent, to the lowest and most base because it seemed to fall downe rather then to rise vp, they gaue the name of the heauy accent, and that other which seemed in part to lift vp and in part to fall downe, they called the circ.u.mflex, or compast accent: and if new termes were not odious, we might very properly call him the (windabout) for so is the Greek word. Then bycause euery thing that by nature fals down is said heauy, & whatsoever naturally mounts upward is said light, it gaue occasion to say that there were diuersities in the motion of the voice, as swift & slow, which motion also presupposes time, by cause time is _mensura motus_, by the Philosopher: so haue you the causes of their primitiue inuention and vse in our arte of Poesie, all this by good obseruation we may perceiue in our vulgar wordes if they be of mo sillables then one, but specially if they be _trissillables_, as for example in these wordes [_alt.i.tude_] and [_heauinesse_] the sharpe accent falles vpon [_al_] & [_he_] which be the _antepenultimaes:_ the other two fall away speedily as if they were sca.r.s.e founded in this _trissilable [forsaken]_ the sharp accent fals vpon [_sa_] which is the _penultima_, and in the other two is heauie and obscure. Againe in these _bisillables, endure, unsure, demure, aspire, desire, retire_, your sharpe accent falles vpon the last sillable: but in words _monosillable_ which be for the more part our naturall Saxon English, the accent is indifferent, and may be vsed for sharp or flat and heauy at our pleasure. I say Saxon English, for our Normane English alloweth vs very many _bissillables_, and also _triffilables_ as, _reuerence, diligence, amorous, desirous_, and such like.
_CHAP. VII._
_Of your Cadences by which your meeter is made Symphonicall when they be sweetest and most solemne in a verse._
As the smoothenesse of your words and sillables running vpon feete of sundrie qualities, make with the Greekes and Latines the body of their verses numerous or Rithmicall, so in our vulgar Poesie, and of all other nations at this day, your verses answering eche other by couples, or at larger distances in good [_cadence_] is it that maketh your meeter symphonicall. This cadence is the fal of a verse in euery last word with a certaine tunable sound which being matched with another of like sound, do make a [_concord_.] And the whole cadence is contained sometime in one sillable, sometime in two, or in three at the most: for aboue the _antepenultima_ there reacheth no accent (which is chiefe cause of the cadence) vnlesse it be vsurpation in some English words, to which we giue a sharpe accent vpon the fourth as, _Honorable, matrimonie, patrimonie, miserable_, and such other as would neither make a sweete cadence, nor easily find any word of like quant.i.tie to match them. And the accented sillable with all the rest vnder him make the cadence, and no sillable aboue, as in these words, _Agillitie, facillitie, subiection, direction_, and these bissilables, _Tender, slender, trustie, l.u.s.tie, but alwayes the cadence which falleth vpon the last sillable of a verse is sweetest and most commendable: that vpon the _penultima_ more light, and not so pleasant: but falling vpon the _antepenultima_ is most vnpleasant of all, because they make your meeter too light and triuiall, and are fitter for the Epigrammatist or Comicall Poet then for the Lyrick and Elegiack, which are accompted the sweeter Musickes. But though we haue sayd that (to make good concored) your seuerall verses should haue their cadences like, yet must there be some difference in their orthographie, though not in their sound, as if one cadence be [_constraine_] the next [_restraine_] or one [_aspire_] another [_respire_] this maketh no good concord, because they are all one, but if ye will exchange both these consonants of the accented sillable, or voyde but one of them away, then will your cadences be good and your concord to, as to say, _restraine, refraine, remaine: aspire, desire, retire_: which rule neuerthelesse is not well obserued by many makers for lacke of good iudgement and a delicate eare. And this may suffise to shew the vse and nature of your cadences, which are in effect all the sweetnesse and cunning in our vulgar Poesie.
_CHAP. VIII_
_How the good maker will not wrench his word to helpe his rime, either by falsifying his accent, or by untrue orthographie._
Now there can not be in a maker a fowler fault then to falsifie his accent to serue his cadence, or by vntrue orthographie to wrench his words to helpe his rime, for it is a signe that such a maker is not copious in his owne language, or (as they are wont to say) not halfe his crafts maister: as for example, if one should rime to this word [_Restore_] he may not match him with [_Doore_] or [_Poore_] for neither of both are of like terminant, either by good orthography or in naturall sound, therfore such rime is strained, so is it to this word [_Ram_] to say [_came_] or to [_Beane [_Den_] for they sound not nor be written alike, & many other like cadences which were superfluous to recite, and are vsuall with rude rimers who obserue not precisely the rules of [_prosodie_] neuerthelesse in all such cases (if necessitie constrained) it is somewhat more tolerable to help the rime by false orthographie, than to leaue an unpleasant dissonance to the eare, by keeping trewe orthographie and loosing the rime, as for example it is better to rime [_Dore_] with [_Restore_] then in his truer orthographie, which is [_Doore_] and to this word [_Desire_]
to say [_Fier_] then fyre though it be otherwise better written _fire_.
For since the cheife grace of our vulgar Poesie consisteth in the Symphonie, as hath bene already sayd, our maker must not be too licentious in his concords, but see that they go euen, iust and melodious in the eare, and right so in the numerositie or currantnesse of the whole body of his verse, and in euery other of his proportions. For a licentious maker is in truth but a bungler and not a Poet. Such men were in effect the most part of all your old rimers and specially _Gower_, who to make vp his rime would for the most part write his terminant sillable with false orthographie, and many times not sticke to put in a plaine French word for an English, & so by your leaue do many of our common rimers at this day: as he that by all likelyhood, hauing no word at hand to rime to this word [_ioy_] he made his other verse ende in [_Roy_] saying very impudently thus, _O mightie Lord of loue, dame Venus onely ioy Who art the highest G.o.d of any heauenly Roy._ Which word was neuer yet receiued in our language for an English word.
Such extreme licentiousnesse is vtterly to be banished from our schoole, and better it might haue bene borne with in old riming writers, bycause they liued in a barbarous age, & were graue morall men but very homely Poets, such also as made most of their workes by translation out of the Latine and French toung, & few or none of their owne engine as may easely be knowen to them that list to looke vpon the Poemes of both languages.
Finally as ye may ryme with wordes of all sortes, be they of many sillables or few, so neuerthelesse is there a choise by which to make your cadence (before remembred) most commendable, for some wordes of exceeding great length, which haue bene fetched from the Latine inkhome or borrowed of strangers, the vse of them in ryme is nothing pleasant, sauing perchaunce to the common people, who reioyce much to be at playes and enterludes, and besides their naturall ignoraunce, haue at all such times their eares so attentiue to the matter, and their eyes vpon the shewes of the stage, that they take little heede to the cunning of the rime, and therefore be as well satisfied with that which is grosse, as with any other finer and more delicate.
_Chap. IX._
_Of Concorde in long and short measures, and by neare or farre distaunces, and which of them is most commendable_.
But this ye must obserue withall, that bycause your concords containe the chief part of Musicke in your meetre, their distaunces may not be too wide or farre asunder, lest th"eare should loose the tune, and be defrauded of his delight, and whensoeuer ye see any maker vse large and extraordinary distaunces, ye must thinke he doth intende to shew himselfe more artificiall then popular, and yet therein is not to be discommended, for respects that shalbe remembred in some other place of this booke.
Note also that rime or concorde is not commendably vsed both in the end and middle of a verse, vnlesse it be in toyes and trifling Poesies, for it sheweth a certaine lightnesse either of the matter or of the makers head, albeit these common rimers vse it much, for as I sayd before, like as the Symphonie in a versse of great length, is (as it were) lost by looking after him, and yet may the meetre be very graue and stately: so on the other side doth the ouer busie and too speedy returne of one maner of tune, too much annoy & as it were glut the eare, vnlesse it be in small & popular Musickes song by thesse _Cantabanqui_ vpon benches and barrels heads where they haue none other audience then boys or countrey fellowes that pa.s.sse by them in the streete, or else by blind harpers or such like tauerne minstrels that giue a fit of mirth for a groat, & their matters being for the most part stories of old time, as the tale of Sir _Topas_, the reportes of _Beuis_ of _Southampton, Guy_ of _Warwicke, Adam Bell_, and _Clymme of the Clough_ & such other old Romances or historicall rimes, made purposely for recreation of the common people at Christma.s.se diners & brideales, and in tauernes & alehouses and such other places of base resort, also they be vsed in Carols and rounds and such light or lasciuious Poemes, which are commonly more commodiously vttered by these buffons or vices in playes then by any other person. Such were the rimes of _Skelton_ (vsurping the name of a Poet Laureat) being in deede but a rude rayling rimer & all his doings ridiculous, he vsed both short distaunces and short measures pleasing onely the popular eare: in our courtly maker we banish them vtterly. Now also haue ye in euery song or ditty concorde by compa.s.se & concorde entertangled and a mixt of both, what that is and how they be vsed shalbe declared in the chapter of proportion by _scituation._
_CHAP. X_
_Of proportion by situation._
This proportion consisteth in placing of euery verse in a staffe or ditty by such reasonable distaunces, as may best serue the eare for delight, and also to shew the Poets art and variety of Musick, and the proportion is double. One by marshalling the meetres, and limiting their distaunces hauing regard to the rime or concorde how they go and returne: another by placing euery verse, hauing a regard to his measure and quant.i.tie onely, and not to his concorde as to set one short meetre to three long, or foure short and two long, or a short measure and a long, or of diuers lengthes with relation one to another, which maner of _Situation_, euen without respect of the rime, doth alter the nature of the Poesie, and make it either lighter or grauer, or more merry, or mournfull, and many wayes pa.s.sionate to the eare and hart of the hearer, seeming for this point that our maker by his measures and concordes of sundry proprotions doth counterfait the harmonicall tunes of the vocall and instrumentall Musickes. As the _Dorian_ because his falls, sallyes and compa.s.se be diuers from those of the _Phrigien_, the _Phrigien_ likewise from the _Lydien_, and all three from the _Eolien, Miolidien_, and _Ionien_, mounting and falling from note to note such as be to them peculiar, and with more or lesse leasure or precipitation. Euen so by diuersitie of placing and situation of your measures and concords, a short with a long, and by narrow or wide distances, or thicker or thinner bestowing of them your proportions differ, and breedeth a variable and strange harmonie not onely in the eare, but also in the conceit of them that heare it, whereof this may be an ocular example.
[Ill.u.s.tration: diagram of four lines with line one connected to line three and line two connected to line four.]
Scituation in Concord ---------- ---------- ) ---------- / ) ---------- /
Scituation in Measure ------ ------------ ------- --------- -------- ------------ --------- ------ --------- --------- -------- ------------ ------- ------ ------ ------------ ------------ ------ ------
Where ye see the concord or rime in the third distance, and the measure in the fourth, sixth or second distaunces, where of ye may deuise as many others as ye list, so the staffe be able to beare it. And I set you downe an occular example: because ye may the better conceiue it. Likewise it so falleth out most times your ocular proportion doeth declare the nature of the audible: for if it please the eare well, the fame represented by delineation to the view pleaseth the eye well and _e conuerso:_ and this is by a naturall _simpathie_, betweene the eare and the eye, and betweene tunes & colours euen as there is the like betweene the other sences and their obiects of which it apperteineth not here to speake. Now for the distances vsually obserued in our vulgar Poesie, they be in the first second third and fourth verse, or if the verse be very short in the fift and sixt and in some maner of Musickes farre aboue.
And the first distance for the most part goeth all by _distick_ or couples of verses agreeing in one cadence, and do pa.s.se so speedily away away and so often returne agayne, as their tunes are neuer lost, nor out of the eare, one couple supplying another so nye and so suddenly, and this is the most vulgar proportion of distance or situation, such as vsed _Chaucer_ in his Canterbury tales, and _Gower_ in all his workes.
[Ill.u.s.tration: diagram of four lines with line one connected to line two and line three connected to line four.]
Second distance is, when ye pa.s.se ouer one verse, and ioyne the first and the third, and so continue on till an other like distance fall in, and this is also usuall and common, as
[Ill.u.s.tration: diagram of four lines with line one connected to line three and line two connected to line four.]
Third distauce is, when your rime falleth vpon the first and fourth verse ouerleaping two; this manner is not so common but pleasant and allowable inough.
[Ill.u.s.tration: diagram of four lines with line one connected to line four and line two connected to line three.]
In which case the two verses ye leaue out are ready to receiue their concordes by the same distaunce or any other ye like better.
The fourth distaunce is by ouerskipping three verses and lighting vpon the fift, this manner is rare and more artificiall then popular, vnlesse it be in some special case, as when the meetres be so little and short as they make no shew of any great delay before they returne, ye shall haue example of both.
[Ill.u.s.tration: two diagrams: the first of five lines with line 1 connected to line 5 and lines 2, 3, and 4 connected; the second of ten lines with line 1 and 5 connected, lines 2 and 6 connected, lines 3 and 7 connected, lines 4 and 8 connected, lines 5 and 9 connected, and lines 8 and 10 connected.]
And these ten litle meeters make but one Decameter at length.
There be larger distances also, as when the first concord falleth upon the sixt verse & is very pleasant if they be ioyned with other distances not so large as
[Ill.u.s.tration: diagram of six lines with lines 1 and 6 connected, line 2 and 5 connected, and lines 3 and 4 connected.]
There be also, of the seuenth, eight, tenth, and twefth distance, but then they may not go thicke, but two or three such distances serue to proportion a whole song, and all betweene must be of other lesse distances, and these wide distaunces serue for coupling of slaues, or for to declare high and pa.s.sionate or graue matter, and also for art: _Petrarch_ hath giuen us examples hereof in his _Canzoni_, and we by lines of sundry lengths & and distances as followeth,
[Ill.u.s.tration: four diagrams: first of eight lines with lines 1 and 8 connected, 2 and 3 connected, 4 and 5 connected, and 6 and 7 connected; second of ten lines with lines 1 and 10 connected, 2 and 4 connected, 3 and 5 connected, 5 and 7 connected, 6 and 8 connected and 7 and 9 connected; third of twelve lines with lines 1 and 12 connected, 2 and 5 connected, 3 and 4 connected, and 6 and 9 connected, 7 and 8 connected, 9 and 12 connected, 10 and 11 connected; fourth of thirteen lines with 1 and 13 connected, 2 and 5 connected, 3 and 4 connected, 6 and 9 connected, 7 and 8 connected, 10 and 13 connected, and 11 and 12 connected.]
And all that can be obiected against this wide distance is to say that the eare by loosing his concord is not satisfied. So is in deede the rude and popular eare but not the learned, and therefore the Poet must know to whose eare he maketh his rime, and accommodate himselfe thereto, and not giue such musicke to the rude and barbarous, as he would to the learned and delicate eare.
There is another sort of proportion used by _Petrarche_ called the _Seizino_, not riming as other songs do, but by chusing sixe wordes out of which all the whole dittie is made, euery of those sixe commencing and ending his verse by course, which restraint to make the dittie sensible will try the makers cunning, as thus.