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George Puttenham - The Arte of English Poesie

G >> George Puttenham >> The Arte of English Poesie




Of your Cadences in which the meeter is made Symphonicall, &
when they be most sweet and solemne. 65

How the good maker will not wrench his word to helpe his rime,
either by falsifying his accent or his Ortographie. 67

Of concord in long and short measures, & by neare or farre
distances, and which of them is most commendable. 68

Of proportion by situation. 69

Of proportion in figure. 75

How if all manner of suddaine innouations were not very scandalous,
specially in the lawes of any language, the use of the Greeke
and Latine feet might be brought into our vulgar poesie &
with good grace inough. 85

A more particular declaration of the Metricall feete of the Greekes
and Latines, and of your feete of two times. 91

Of the feet of three times, and what vse we may haue of them
in our vulgar. 103

Of all the other of three times besides the Dactill. 106

Of your halfe foote in a verse & those verses which they called
perfect and defective. 107

Of the breaking of your wordes of many sillables, & when & how
it is to be vsed. 108



The Table of the third booke.


Of ornament poeticall and that it resteth in figures. 114

How our writing & speeches publique ought to be figuratiue,
and if they be not doo greatly disgrace the cause and
purpose of the speaker and writer. 115

How ornament poeticall is of two sortes according to the
double nature and efficacy of figures. 119

Of language and what speech our maker ought to vse. 119

Of stile, and that it is of three kindes, loftie, meane,
and low according to the nature of the subiect. 123

Of the loftie, meane, and low subiect. 127

Of figures and figuratiue speeches. 128

Sixe points set downe by our learned forefathers for a generall
rule or regiment of all good vtterance, be it by mouth or by
writing. 129

How the Greekes first and afterwardes the Latines inuented
new names for euery figure, which this Author is also enforced
to do in his vulgar arte. 130

A diuision of figures and how they serue in exornation of language. 131

Of Auricular figures apperteyning to single words and working by
their diuers sounds and audible tunes, alteration to the eare
onely and not to the minde. 134

Of Auricular figures perteyning to clawses of speech, and by
them working no little alteration to the eare. 135

Of Auricular figures working by disorder. 140

Of Auricular figures working by surplusage. 141

Of Auricular figures working by exchange. 142

Of Auricular figures that serue to make the meetre tuneable and
melodious, but not by defect nor surplusage, disorder nor exchange. 145



The names of your figures Auricular.

Eclipsis, _or the figure of default._ 136
Zeugma, _or the single supply._ 136
Prozeugma, _or the ringleader._ 137
Mezozeugma, _or the middlemarcher._ 137
Hypozeugma, _or the rerewarder._ 137
Sillepsis, _or the double supply._ 137
Hypozeuxis, _or the substitute._ 138
Aposiopesis, _or the figure of silence, otherwise
called the figure of interruption._ 139
Prolepsis, _or the propounder._ 139
Hiperbaton, _or the trespasser._ 140
Parenthesis, _or the insertour._ 140
Histeron proteron, _or the preposterous._ 141
Enallage, _or figure of exchange._ 142
Hipallage, _or the changeling._ 143
Omoioteleton, _or the figure of likeloose._ 144
Patimion, _or figure of like letter._ 145
Asindeton, _or figure of lose language._ 145
Polisindeton, _or the coople clause._ 146
Irmus, _or the long lose._ 146
Epitheton, _or the qualifier._ 147
Endiades, _or the figure of twinnes._ 147

_Of the figures which we call Sensable, because they alter and affect
the minde by alteration of sense and first in single words._ 148
Metaphora, _or the figure of transport._ 149
Catacresis, _or the figure of abuse._ 150
Metonymia, _or the misnamer._ 150
Antonomasia, _or the surnamer._ 151
Onomatopeia, _or the newnamer._ 151
Epitheton, _or figure of attribution, otherwise
called the qualifier._ 152
Metalepsis, _or the far-set._ 152
Liptote, _or the moderator._ 153
Paradiastole, _or the currifauel, otherwise
called the soother._ 154
Meiosis, _or the disabler._ 154
Tapinosis, _or the abbaser._ 154
Synecdoche, _or the figure of quick conceit._ 154
_Of sensable figures appertaining to whole speeches, and by them
affecting and altering the minde by force of sence and intendment._ 155
Allegoria, _or figure of faire semblance._ 155
Enigma, _or the riddle._ 157
Parimia, _or the prouerbe._ 157
Ironia, _or the drie mock._ 157
Sarcasmus, _or the bitter taunt._ 158
Asteismus, _the merry scoffe, or ciuill iest._ 158
Micterismus, _or the fleering frumpe._ 158
Antiphrasis, _or the broad floute._ 159
Charientismus, _or the priuie nippe._ 159
Hyperbole, _or the loud lier, otherwise
called the ouerreacher._ 159
Periphrasis, _or the figure of ambage._ 161
Synecdoche, _or the figure of quick conceit._ 162
_Of figures sententious, otherwise called rhetoricall._ 163
Anaphora, _or the figure of report._ 165
Antistrophe, _or the counterturne._ 165
Simploche, _or figure of reiteration._ 166
Anadiplosis, _or the redouble._ 167
Epanalepsis, _or the slow returne, otherwise
called the Eccho sound._ 167
Epizeuxis, _or the vnderlay, otherwise
called the Cuckow spell._ 167
Ploche, _or the doubler, otherwise
called the swift repeate._ 168
Paranomasia, _or the nicknamer._ 168
Traductio, _or the tranlater._ 170
Antipophora, _or the figure of responce._ 170
Sineciosis, _or the crossecoople._ 172
Atanaclasis, _or the rebound._ 173
Clymax, _or the marching figure._ 173
Antimetauole, _or the counterchainge._ 174
Insultatio, _or the disdainfull._ 175
Antitheton, _or the quareller, otherwise
called the ouerthwart or rencounter._ 175
Erotema, _or the questioner._ 176
Echphonisis, _or the outcrie._ 177
Brachiologia, _or the cutted comma._ 178
Parison, _or the figure of euen._ 178
Sinonimya, _or the figure of store._ 179
Metanoia, _or the penitent, otherwise
called the figure of repentance._ 179
Antenagoge, _or the recompencer._ 180
Epiphonema, _or the close._ 181
Auxesis, _or the auancer._ 182
Meiosis, _or the disabler._ 183
Dialisis, _or the dismembrer._ 185
Merismus, _or the distributor._ 185
Epimone, _or the loueburden._ 188
Paradoxon, _or the wonderer._ 189
Aporia, _or the doubtfull._ 189
Epitropi, _or the figure of reference, otherwise
called the figure of submission._ 189
Parrisia, _or the licentious._ 190
Anachmosis, _or the importuner._ 190
Paramologia, _or figure of admittance._ 190
Etiologia, _or the tell-cause, otherwise
called the reason rendrer._ 191
Dicheologia, _or the figure of excuse._ 192
Noema, _or the figure of close conceit._ 193
Orismus, _or the definer by difference._ 193
Procatalepsis, _or the presumptuous._ 194
Paralepsis, _or the passenger._ 194
Commoratio, _or figure of aboade._ 194
Metastasis, _or figure of remoue, otherwise
called the flitter._ 194
Parecuasis, _or the straggler, otherwise
called the figure of digression._ 195
Expeditio, _or the dispatcher._ 195
Diologismus, _or the right reasoner._ 196
Gnome, _or the director, otherwise
called the sagesayer._ 197
Sinathrismus, _or the heaping figure._ 197
Apostrophe, _or the turne tale._ 198
Hipotiposis, _or the counterfait, otherwise
called the figure of representation._ 199
Prosopographia, _or the counterfet countenance._ 199
Prosopopeia, _or the false impersonation._ 200
Chronographia, _or the counterfait of time._ 200
Topographia, _or counterteit of place._ 200
Pragmatographia, _or counterfait of action._ 203
Omoiosis, _or the figure of resemblance._ 203
Icon, _or resemblance by portrait, and ymagerie._ 204
Parabola, _or resemblance misticall._ 205
Paradigma, _or resemblance by example._ 205
Exargasia, _or the gorgious, otherwise
called the bewtifull._ 206
_Of the vices and deformitie in speech principally noted
by ancient Poets._ 208
_How some vices in speeches are alwaies intollerable, some others
now and then borne withal by licence of approued authors._ 209
Barbarismus, _or barbarous speech._ 209
Solecismus, _or false speech._ 210
Cacozelia, _or fonde affectation._ 210
Soraismus, _or the vice called the mingle-mangle._ 211
Cacosintheton, _or the misplacer._ 212
Cacemphaton, _or foule speech._ 212
Tautologia, _or selfe saying._ 213
Acyron, _or the vncouth._ 214
Pleonasmus, _or fault of full speech._ 215
Macrologia, _or long language._ 215
Periergia, _or ouerlabor, otherwise called the curious._ 216
Tapinosis, _or the abbaser._ 216
Bomphiologia, _or pompous speech._ 217
Amphibologia, _or the ambiguous._ 217
_What it is that generally makes our speech vertuous or vicious,
& of that which the Latines call decorum._ 218
_Of decencie in behauiour and action, which also belongs to the
consideration of a Poet or maker._ 231
_How the good poet or maker ought to dissemble his arte, and
in what cases the artificiall is more commended then the
naturall and contrariwise._ 250
_The conclusion._ 257

FINIS.

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