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The Arte of English Poesie

  
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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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3.13. Of your figures Auricular working by disorder.

To all their speaches which wrought by disorder the Greekes gaue a general name [Hiperbaton] as much to say as the [trespasser] and because such disorder may be committed many wayes it receiueth sundry particulars vnder him, whereof some are onely proper to the Greekes and Latines and not to vs, other some ordinarie in our maner of speaches, but so foule and intollerable as I will not seeme to place them among the figures, but do raunge them as they deserue among the vicious or faultie speaches.

Your first figure of tollerable disorder is [Parenthesis] or by an English name the [Insertour] and is when ye will seeme for larger information or some other purpose, to peece or graffe in the middest of your tale an vnnecessary parcell of speach, which neuerthelesse

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may be thence without any detriment to the rest. The figure is so common that it needeth none example, neuerthelesse because we are to teache Ladies and Gentlewomen to know their school points and termes appertaining to the Art, we may not refuse to yeeld examples euen in the plainest cases, as that of maister Diars very aptly.

But now my Deere (for so my loue makes me to call you still)
That loue I say, that lucklesse loue, that works me all this ill.

Also in our Eglogue intituled Elpine, which we made being but eightene yeares old, to king Edward the sixt a Prince of great hope, we surmised that the Pilot of a ship answering the King, being inquisitiue and desirous to know all the parts of the ship and tackle, what they were, & to what vse they serued, vsing this insertion or Parenthesis.

Soueraigne Lord (for why a greater name
To one on earth no mortall tongue can frame
No statelie stile can giue the practisd penne:
To one on earth conuersant among men.)

And so proceedes to answere the kings question?

The shippe thou seest sayling in sea so large, &c.

This insertion is very long and vtterly impertinent to the principall matter, and makes a great gappe in the tale, neuerthelesse is no disgrace but rather a bewtie and to very good purpose, but you must not vse such insertions often nor to thick, nor those that bee very long as this of ours, for it will breede great confusion to haue the tale so much interrupted.

Ye haue another manner of disordered speach, when ye misplace your words or clauses and set that before which should be behind & è conuerso, we call it in English prouerbe, the cart before the horse, the Greeks call it Histeron proteron, we name it the Preposterous, and if it be not too much vsed is tollerable inough, and many times scarse perceiueable vnlesse the sence be thereby made very abused: as he that described his manner of departure from his mistresse, said thus not much to be misliked.

I kist her cherry lip and tooke my leaue:

For I tooke my leaue and kist her: And yet I cannot well say whether a man vse to kisse before hee take his leaue, or take his

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leaue before the kisse, or that it be all one busines. It seemes the taking leaue is by vsing some speach, intreating license of departure: the kisse a knitting vp of the farewell, and as it were a testimoniall of the license without which here in England one may not presume of courtesie to depart, let yong Courtiers decide this controuersie. Our describing his landing vpon a strange coast, sayd thus preposterously.

When we had claimde the clifs, and were a shore,

Whereas he should haue said by good order.

When we were come a shore and clymed had the cliffs

For one must be on land ere he can clime. And as another said:

My dame that bred me up and bare me in her wombe.

Whereas the hearing is before the bringing vp. All your other figures of disorder because they rather seeme deformities then bewties of language, for so many of them as be notoriously vndecent, and make no good harmony, I place them in the Chapter of vices hereafter following.

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