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The Arte of English Poesie

  
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collapse section1. 
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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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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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. 
Of Language.
 3.5. 
Of Stile.
 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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2.4. How many sorts of measures we use in our vulgar.

To returne from time to our measure againe, it hath bene sayd that according to the number of the sillables contained in euery verse, the same is sayd a long or short meeter, and his shortest proportion is of foure sillables, and his longest of twelue, they that vse it aboue, passe the bounds of good proportion. And euery meeter may be aswel in the odde as in the euen sillable, but better in the euen, and one verse may begin in the euen, & another follow in the odde, and so keepe a commendable proportion. The verse that containeth but two silables, which may be in one word, is not vsuall: therefore many do deny him to be a verse, saying that it is but a foot, and that a meeter can haue no lesse then two feete at the least, but I find it otherwise aswell among the best Italian Poets, as also with our vulgar makers, and that two sillables serue wel for a short measure in the first place, and midle, and end of a staffe: and also in diuerse scituations and by sundry distances, and is very passionate and of good grace, as shalbe declared more at large in the Chapter of proportion by scituation.

The next measure is of two feete or of foure sillables, and ten one word tetrasillable diuided in the middest makes vp the whole meeter, as thus

Reue rentlie

Or a trisillable and one monosillable thus. Soueraine God, or two bisillables and that is plesant thus, Restore againe, or with foure monosillables, and that is best of all thus, When I doe think, I finde no fauour in a meetre of three sillables nor in effect in any odde, but they may be vsed for varietie sake, and specially being enterlaced with others: the meetre of six sillables is very sweete and dilicate as thus.

O God when I behold
This bright heauen so hye
By thine owne hands of old
Contriud so cunningly.

The meter of seuen sillables is not vsual, no more is that of nine and eleuen, yet if they be well composed, that is, their Censure well-appointed, and their last accent which makes the concord, they

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