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University of Virginia Library

The Arte of English Poesie

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1.

THE FIRST BOOKE, Of Poets and Poesie.

1.1.

What poet and Poesie is, and who may be worthily sayd the most excellent Poet of our time.

1.2.

That there may be an Art of our English Poesie, as well as there is of the Latine and Greeke.

1.3.

How Poets were the first priests, the first prophets, the first Legislators and politicians in the world.

1.4.

How the Poets were the first Philosophers, the first Astronomers and Historiographers and Oratours and Musitiens of the world.

1.5.

How the wilde and sauage people used a naturall Poesie in versicle and rime as our vulgar is.

1.6.

How the riming Poesie came first to the Grecians and Latines, and had altered and almost spilt their maner of Poesie.

1.7.

How in the time of Charlemaine and many yeares after him the Latine Poetes wrote in ryme.

1.8.

In what reputation Poesie and Poets were in old time with Princes and otherwise generally, and how they be now become contemptible and for what causes.

1.9.

How Poesie should not be imployed upon vayne conceits or vicious or infamous.

1.10.

The subiect or matter of Poesie.

1.11.

Of poemes and their sundry formes and how thereby the auncient Poets receaued surnames.

1.12.

In what forme of Poesie the gods of the Gentiles were praysed and honored.

1.13.

In what forme of Poesie vice and the common abuses of mans life was reprehended.

1.14.

How vice was afterward reproued by two other maner of poems, better reformed then the Satyre, whereof the first was Comedy, the second Tragedie.

1.15.

In what forme of Poesie the euill and outragious bahauiours of Princes were reprehended.

1.16.

In what forme of Poesie the great Princes and dominators of the world were honored.

1.17.

Of the places where their enterludes or poemes drammaticke were represented to the people.

1.18.

Of the Shepheards or pastorall Poesie called Eglogue, and to what purpose it was first inuented and used.

1.19.

Of historicall Poesie, by which the famous acts of Princes and the vertuous and worthy liues of our forefathers were reported.

1.20.

In what forme of Poesie vertue in the inferiour sort was commended.

1.21.

the forme wherein honest and profitable Artes and sciences were treated.

1.22.

In what forme of Poesie the amorous affections and allurements were uttered.

1.23.

The forme of Poeticall reioysings.

1.24.

The forme of Poeticall lamentations.

1.25.

Of the solemne reioysings at the natiuitie of Princes children.

1.26.

The maner of reioysings at mariages and weddings.

1.27.

The manner of Poesie by which they uttered their bitter taunts, and priuy nips, or witty scoffes and other merry conceits.

1.28.

Of the poeme called Epitaph used for memoriall of the dead.

1.29.

A certain auncient forme of poesie by which men did use to reproch their enemies.

1.30.

Of short Epigrames called Posies.

1.31.

Who in any age haue bene the most commended writers in our English Poesie, and the Authors censure giuen upon them.

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2.

THE SECOND BOOKE, OF PROPORTION POETICAL.

2.1.

Of Proportion Poeticall.

2.2.

Of proportion in Staffe.

2.3.

Of proportion in measure.

2.4.

How many sorts of measures we use in our vulgar.

2.5.

How the good maker will not wrench his word to helpe his rime, either by falsifying his accent, or by untrue orthographie.

2.6.

Of concorde in long and short measures, and by neare or farre distaunces, and which of them is most commendable.

2.7.

Of proportion by situation.

2.8.

Of Proportion in figure.

2.9.

How if all maner of sodaine innouations were not very scandalous, specially in the lawes of any langage or arte, the use of the Greeke and Latine feete might be brought into our vulgar Poesie, and with good grace inough.

2.10.

A more particular declaration of the metricall feete of the auncient Poets Greeke and Latine and chiefly of the feete of two times.

2.11.

Of your feet of three times, and first of the Dactil.

2.12.

Of all your other feete of three times and how well they would fashion a meetre in our vulgar.

2.13.

Of your verses perfect and defectiue, and that which the Graecians called the halfe-foote.

2.14.

Of the breaking your bisillables and polysillables and when it is to be used.

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3.

THE THIRD BOOKE, OF ORNAMENT.

3.1.

Of Ornament Poeticall.

3.2.

How our writing and speaches publike ought to be figuratiue, and if they be not doe greatly disgrace the cause and purpose of the speaker and writer.

3.3.

How ornament Poeticall is of two sortes according to the double vertue and efficacie of figures.

3.4.

3.5.

3.6.

Of the high, low, and meane subiect.

3.7.

Of Figures and figuratiue speaches.

3.8.

Sixe points set downe by our learned forefathers for a generall regiment of all good utterance be it by mouth or by writing.

3.9.

How the Greeks first, and afterward the Latines, inuented new names for euery figure, which this Author is also enforced to doo in his vulgar.

3.10.

A diuision of figures, and how they serue in exornation of language.

3.11.

Of auricular figures apperteining to single wordes and working by their diuers soundes and audible tunes alteration to the eare onely and not the mynde.

3.12.

Of Auricular figures pertaining to clauses of speech and by them working no little alteration to the eare.

3.13.

Of your figures Auricular working by disorder.

3.14.

Of your figures Auricular that worke by Surplusage.

3.15.

Of auricular figures working by exchange.

3.16.

Of some other figures which because they serue chiefly to make the meeters turnable and melodious, and affect not the minde but very little, be placed among the auricular.

3.17.

Of the figures which we call Sensable, because they alter and affect the minde by alteration of sence, and first in single wordes.

3.18.

Of sensable figures altering and affecting the mynde by alteration of sence or intendements in whole clauses or speaches.

3.19.

Of Figures sententious, otherwise called Rhetoricall.

3.20.

The last and principall figure of our poeticall Ornament.

3.21.

Of the vices or deformities in speach and writing principally noted by auncient Poets.

3.22.

Some vices in speaches and writing are alwayes intollerable, some others now and then borne withall by licence of approued authors and custome.

3.23.

What it is that generally makes our speach well pleasing & commendable, and of that which the Latines call Decorum.

3.24.

Of decencie in behauiour which also belongs to the consideration of the Poet or maker.

3.25.

That the good Poet or maker ought to dissemble his arte, and in what cases the artificiall is more commended then the naturall, and contrariwise.

3.26.

The Conclusion.

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1.17. Of the places where their enterludes or poemes drammaticke were represented to the people.

As it hath bene declared, the Satyres were first vttered in their hallowed places within the woods where they honoured their

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gods vnder the open heauen, because they had no other housing fit for great assemblies. The old comedies were plaid in the broad streets vpon wagons or carts vncouered, which carts were floored with bords & made for remouable stages to passe from one streete of their townes to another, where all the people might stand at their ease to gaze vpon the sights. Their new comedies or ciuill enterludes were played in open pauilions or tents of linnen cloth or lether, halfe displayed that the people might see. Afterward when Tragidies came vp they deuised to present them vpon scaffoldes or stages of timber, shadowed with linen or lether as the other, and these stages were made in the forme of a Semicircle, wherof the bow serued for the beholders to sit in, and the string or forepart was appointed for the floore or place where the players vttered, & had in it sundry little diuisions by curteins as trauerses to serue for seueral roomes where they might repaire vnto & change their garments & come in againe, as their speaches & parts were to be renewed. Also there was place appointed for the musiciens to sing or play vpon their instrumentes at the end of euery scene, to the intent the people might be refreshed, and kept occupied. This maner of stage in halfe circle, the Greekes called theatrium, as much to say as a beholding place, which was also in such sort contriued by benches and greeces to stand or sit vpon, as no man should empeach anothers sight. But as ciuilitie and withall wealth encreased, so did the minde of man growe dayly more haultie and superfluous in all his deuises, so as for their theaters in halfe circle, they came to be by the great magnificence of the Romain princes and people somptuously built with marble & square stone in forme all round, & were called Amphitheaters, wherof as yet appears one among the ancient ruines of Rome, built by Pompeius Magnus, for capasitie able to receiue at ease fourscore thousand persons as it is left written, & so curiously contriued as euery man might depart at his pleasure, without any annoyance to other. It is also to be knowne that in those great Amphitheaters, were exhibited all maner of other shewes & disports for the people, as their sence playes, or digladiations of naked men, their wrastlings, runnings, leapings and other practises or actiuitie and strength, also their baitings of wild beasts, as Elephants, Rhinocerons, Tiger, Leopards

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and others, which sights much delighted the common people, and therefore the places required to be large and of great content.