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George Puttenham - The Arte of English Poesie

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




[Illustration: 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 passe 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.

[Illustration: diagram of four lines with line one connected to line two
and line three connected to line four.]

Second distance is, when ye passe 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

[Illustration: 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.

[Illustration: 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.

[Illustration: 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

[Illustration: 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 passionate 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,

[Illustration: 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.
--------------- )
( --------------- )
( --------------- )
( --------------- )
( --------------- )
( ---------------

Besides all this there is in _Situation_ of the concords two other
points, one that it go by plaine and cleere compasse not intangled:
another by enterweauing one with another by knots, or as it were
by band, which is more or lesse busie and curious, all as the maker
will double or redouble his rime or concords, and set his distances
farre or nigh, of all which I will giue you ocular examples, as thus.

[Illustration: two diagrams: Concord in Plaine compasse, has four lines
with 1 and 4 connected and 2 and 3 connected;
Concord in Entertangle, has alternating lines connected - 1 and 3, 2 and
4, 3 and 5, etc.]

And first in a _Quadreine_ there are but two proportions, for foure verses
in this last sort coupled, are but two _Disticks_, and not a staffe
_quadreine_ or of foure.

[Illustration: three diagrams of four lines each:
first, with lines 1 and 4 connected and lines 2 and 3 connected;
second, with lines 1 and 3 connected and lines 2 and 4 connected;
third, with lines 1 and 2 connected and lines 3 and 4 connected.]

The staffe of fiue hath seuen proportions, whereof some of them be harsher
and vnpleasaunter to the eare then other some be.

[Illustration: seven diagrams of five lines each:
first, connecting these pairs of lines - 1 with 3, 2 with 4, 3 with 5;
second, connecting these pairs of lines - 1 with 4, 2 with 5, 3 with 4;
third, connecting these pairs of lines - 1 with 2, 2 with 5, 3 with 4;
fourth, connecting these pairs of lines - 1 with 4, 2 with 3, 4 with 5;
fifth, connecting these pairs of lines - 1 with 5, 2 with 3, 3 with 4;
sixth, connecting these pairs of lines - 1 with 3, 2 with 4, 4 with 5;
seventh, connecting these pairs of lines - 1 with 2, 2 with 4, 3 with 5.]

The _Sixaine_ or staffe of sixe hath ten proportions, whereof some be
vsuall, some not vsuall, and not so sweet one as another.

[Illustration: ten diagrams of six lines each:
first, connecting these lines - 1 with 6, 2 with 5, 3 with 4;
second, connecting these lines - 1 with 3, 2 with 4, 5 with 6;
third, connecting these lines - 1 with 3, 2 with 6, 3 with 4 and 5;
fourth, connecting these lines - 1 with 4, 2 with 5, 3 with 6;
fifth, connecting these lines - 1 with 6, 2 with 4, 3 with 5;
sixth, connecting these lines - 1 with 6, 2 with 3, 4 with 5;
seventh, connecting these lines - 1 with 5, 2 with 6, 3 with 4;
eighth, connecting these lines - 1 with 2, 5 and 6, 3 with 4;
ninth, connecting these lines - 1 with 3, 2 with 5, 4 with 6;
tenth, connecting these lines - 1 with 2 and 4, 3 with 5 and 6.]

The staffe of seuen verses hath seuen proportions, whereof one onley is
the vsuall of our vulgar, and kept by our old Poets _Chaucer_ and other in
their historicall reports and other ditties: as in the last part of them
that follow next.

[Illustration: eight diagrams of seven lines each:
first, connecting these lines - 1 with 3, 2 with 4, 4 with 6, 5 with 7;
second, connecting these lines - 1 with 3, 2 with 4, 3 with 5, 6 with 7;
third, connecting these lines - 1 with 4, 2 with 3, 4 with 7, 5 with 6;
fourth, connecting these lines - 1 with 2, 6 and 7, 3 with 4 and 5;
fifth, connecting these lines - 1 with 7, 2 with 6, 3 with 4 and 5;
sixth, connecting these lines - 1 with 2, 5 and 6, 3 with 4 and 7;
seventh, connecting these lines - 1 with 4 and 7, 2 with 3, 5 and 6;
eighth, connecting these lines - 1 with 2, 3 with 4 and 5, 6 with 7.]

The _huitain_ or staffe of eight verses, hath eight proportions such as
the former staffe, and is because he is longer, he hath one more then the
_sestaine_.

The staffe of nine verses hath yet moe then the eight, and the staffe of
ten more then the ninth and the twelfth, if such were allowable in
ditties, more then any of them all, by reason of his largenesse receiuing
moe compasses and enterweauings, alwayes considered that the very large
distances be more artificiall, then popularly pleasant, and yet do giue
great grace and grauitie, and moue passion and affections more vehemently,
as it is well to be obserued by _Petrarcha_ his _Canzoni_.

Now ye may perceiue by these proportions before described, that there is a
band to be giuen euery verse in a staffe, so as none fall out alone or
vncoupled, and this band maketh that the staffe is sayd fast and not
loose: euen as ye see in buildings of stone or bricke the mason giueth a
band, that is a length to two breadths, & vpon necessitie diuers other
sorts of bands to hold in the worke fast and maintaine the
perpendicularitie of the wall: so in any staffe of seuen or eight or more
verses, the coupling of the moe meeters by rime or concord, is the faster
band: the fewer the looser band, and therefore in a _huiteine_ he that
putteth foure verses in one concord and foure in another concord, and in a
_dizaine_ fiue, sheweth him selfe more cunning, and also more copious in
his owne language. For he that can find two words of concord, can not find
foure or fiue or sixe, vnlesse he haue his owne language at will.
Sometimes also ye are driuen of neccesitie to close and make band more
then ye would, lest otherwise the staffe should fall asunder and seeme two
staues: and this is in a staffe of eight and ten verses: whereas without a
band in the middle, it would seeme two _quadriens_ or two _quintaines_,
which is an error that many makers slide away with. Yet _Chaucer_ and
others in the staffe of seuen and sixe do almost as much a misse, for they
shut vp the staffe with a _disticke_, concording with none other verse
that went before, and maketh but a loose rime, and yet bycause of the
double cadence in the last two verses serue the eare well inough. And as
there is in euery staffe, band, giuen to the verses by concord more or
lesse busie: so is there in some cases a band giuen to euery staffe, and
that is by one whole verse running alone throughout the ditty or ballade,
either in the middle or end of euery staffe. The Greekes called such
vncoupled verse _Epimonie_, the Latines _Versus intercallaris_. Now
touching the situation of measures, there are as manie or more proportions
of them which I referre to the makers phantasie and choise, contented with
two or three ocular examples and no moe.

------- ---------- ---------- ------
--------- ---------- ---------- --------------
------------- ---------- ---- ---------- --------------
------------- -------- ---- ---------- --------------
--------- ------ ---------- ---- ------
------- ------ ---------- ------ --------------
--------- -------- ---- ------ --------------
----------- ---------- ---- ------ --------------
------------- ---------- ---- ------

Which maner or proportion by situation of measures giueth more efficacie
to the matter oftentimes then the concords them selues, and both
proportions concurring together as they needes must, it is of much more
beautie and force to the hearers mind.

To finish the learning of this diuision, I will set you downe one example
of a dittie written extempore with this deuice, shewing not onley much
promptnesse of wit in the maker, but also great arte and a notable
memorie. Make me saith this writer to one of the comnpanie, so many
strokes or lines with your pen as ye would haue your song containe verses:
and let euery line bearue his seuerall length, euen as ye would haue your
verse of measure. Suppose of foure, fiue, sixe, or eight or more
sillables, and set a figure of euerie number at th'end of the line,
whereby ye may knowe his measure. Then where you will haue your rime or
concord to fall, marke it with a compast stroke or semicircle passing ouer
those lines, be they farre or neare in distance, as ye haue seene before
described. And bycause ye shall not thinke the maker hath premeditated
beforehand any such fashioned ditty, do ye your selfe make one verse
whether it be of perfect or imperfect sense, and giue it him for a theame
to make all the rest upon: if ye shall perceiue the maker do keepe the
measures and rime as ye haue appointed him, and besides do make his dittie
sensible and ensuant to the first verse in good reason, then may ye say he
is his crafts maister. For if he were not of a plentiful discourse, he
could not vpon the sudden shape an entire dittie vpon your imperfect
theame or proposition in one verse. And if he were not copious in his
language, he could not haue such store of wordes at commaundement, as
should supply your concords. And if he were not of a maruelous good memory
he could not obserue the rime and measures after the distances of your
limitation, keeping with all grauitie and good sense in the whole dittie.




_CHAP. XI._

_Of Proportion in figure._


Your last proportion is that of figure, so called for that it yelds an
ocular representation, your meeters being by good symmetrie reduced into
certaine Geometricall figures, whereby the maker is restrained to keepe
him within his bounds, and sheweth not onley more art, but serueth also
much better for briefenesse and subtiltie of deuice. And for the same
respect are also fittest for the pretie amourets in Court to entertaine
their seruants and the time withall, their delicate wits requiring some
commendable exercise to keepe them from idlenesse. I find not of this
proportion, vsed by any of the Greeke or Latine Poets, or in any vulgar
writer, sauing of that one forme which they cal _Anacreens egge._ But
being in Italie conuersant with a certaine gentleman, who had long
trauailed the Orientall parts of the world, and seene the Courts of the
great Princes of China and Tartarie. I being very inquisitiue to know of
the subtillities of those countreyes, and especially in matter of learning
and of their vulgar Poesie, he told me that they are in all their
inuentions most wittie, and haue the vse of Poesie or riming, but do not
delight so much as we do in long tedious descriptions, and therefore when
they will vtter any pretie conceit, they reduce it into metricall feet,
and put it in forme of a _Lozange_ or square, or such other figure, and so
engrauen in gold, siluer, or iuorie, and sometimes with letters of
ametist, rubie, emeralde or topas curiousely cemented and peeced together,
they sende them in chaines, bracelets, collars and girdles to their
mistresses to weare for a remembrance. Some fewe measures composed in this
sort this gentleman gaue me, which I translated word for word and as neere
as I could followed both the phrase and the figure, which is somewhat hard
to performe, because of the restraint of the figure from which ye may not
digresse. At the beginning they wil seeme nothing pleasant to an English
eare, but time and vsage will make them acceptable inough, as it doth in
all other new guises, be it for wearing of apparell or otherwise. The
formes of your Geometricall figures be hereunder represented.

[Illustration: labelled diagrams of lines of different lengths (forming
different shapes):
The Lozange, called Rombus (diamond)
The Fuzie or spindle, called Romboides (narrow diamond)
The Triangle or Tricquet (pyramid)
The Square or quadrangle (square)
The Pillaster or Cillinder (tall rectangle)
The Spire or taper, called piramis (tall pyramid)
The Rondel or Sphere (circle)
The egge or figure ouall (vertical egg)
The Tricquet reuerst (triangle)
The Tricquet displayed (hour-glass)
The Taper reuersed (narrow triangle)
The Rondel displayed (half circle upon the other half)
The Lozange reuersed (wide diamond <>) u
The Egge displayed (half oval upon the other half - n)
The Lozange rabbated (hexagon).]

_Of the Lozange._

The _Lozange_ is a most beautifull figure, & fit for this purpose, being
in his kind a quadrangle reuerst, with his point vpward like to a quarrell
of glasse the Greekes and Latines both call it _Rombus_ which may be the
cause as I suppose why they also gaue that name to the fish commonly
called the _Turbot_, who beareth iustly that figure, it ought not to
containe about thirteene or fifteene or one & twentie meetres, & the
longest furnisheth the middle angle, the rest passe vpward and downward,
still abating their lengthes by one or two sillables till they come to the
point: the Fuzie is of the same nature but that he is sharper and
slenderer. I will giue you an example of two of those which my Italian
friend bestowed vpon me, which as neare as I could I trnslated into the
same figure obseruing the phrase of the Orientall speach word for word.

A great Emperor in Tartary whom they cal _Can_, for his good fortune
in the wars & many notable conquests he had made, was surnamed
_Temir Cutzclewe_, this man loued the Lady _Kermesine_, who
presented him returning from the conquest of _Corasoon_ (a great kindgom
adioyning) with this _Lozange_ made in letters of rubies & diamants
entermingled thus:
Sound
O Harpe
Shril lie out
Temir the stout
Rider who with sharpe
Trenching slide of brite steele
Hath made his feircest foes so feele
All such as wrought him shame or harme
The strength of his braue right arme,
Cleauing hard downe vnto the eyes
The raw skulles of his enemies
Much honour hath he wonne
By doughtie deedes done
In Cora soon
And all the
Worlde
Round.

_To which_ Can Temir _answered in_ Fuzie, _with letters of Emeralds and
Ametists artificially cut and entermingled, thus

Five
Sore batailes
Manfully fought
In blouddy fielde
With bright blade in hand
Hath Temir won & forst to yeld
Many a Captaine strong and stoute
And many a king his Crowne to vayle,
Conquering large countreys and land,
Yet ne uer wanne I vic to rie
I speake it to my greate glorie
So deare and ioy full vn to me,
As when I did first con quere thee
O Kerme sine, of all myne foes
The most cruell, of all myne woes
The smartest , the sweetest
My proude con quest
My ri chest pray
O once a daye
Lend me thy sight
Whose only light
Keepes me
Alive.

_Of the Triange or Triquet._

The triangle is an halfe square, _Lozange_ or _Fuzie_ parted vpon the
crosse angles: and so his base being brode and his top narrow it receaueth
meetres of many sizes one shorter then another: and ye may vse this figure
standing or reuersed, as thus.

A certaine great Sultan of Persia called _Ribuska_, entertaynes in loue
the Lady _Selamour_, sent her this triquet reuest pitiously bemoaning his
estate, all set in merquetry with letters of blew Saphire and Topas
artificially cut and entermingled.

Selamour dearer then his owne life
To thy di stresssed wretch cap tive,
Ri buska whome late ly erst
Most cru el ly thou perst
With thy dead ly dart,
That paire of starres
Shi ning a farre
Turne from me, to me
That I may & may not see
The smile, the loure
That lead and driue
Me to die to liue
Twise yea thrise
In one
hourre.

To which _Selamour_ to make the match egall, and the figure entire,
answered in a standing Triquet richly engrauen with letters of like
stuffe.
Power
Of death
Nor of life
Hath Selamour,
With Gods it is rife
To giue and bereue breath
I may for pitie perchaunce
Thy lost libertie re - store,
Vpon thine othe with this penaunce,
That while thou liuest thou neuer loue no more.

This condition seeming to Sultan _Ribuska_ very hard to performe, and
cruell to be enjoyned him, doeth by another figure a Taper, signifying
hope, answere the Lady _Selamour_, which dittie for lack of time I
translated not.

_Of the Spire or Taper called Pyramis._

The Taper is the longest and sharpest triangle that is, & while
he mounts vpward he waxeth continually more slender, taking
both his figure and name of the fire, whole flame if ye marke it, is
alwaies pointed, and naturally by his forme couets to clymbe: the
Greekes call him Pyramis. The Latines in vse of Architecture
call him _Obeliscus_, it holdeth the altitude of six ordinary triangles,
and in metrifying his base can not well be larger then a
meetre of six, therefore in his altitude he will require diuers rabates
to hold so many sizes of meetres as shall serue for his composition,
for neare the toppe there wil be roome little inough for a meetre of
two sillables, and sometimes of one to finish the point. I haue set
you downe one or two examples to try how ye can disgest the
maner of the deuise.

_Her Maiestie, for many parts in her most noble and vertuous nature
to be found, resembled to the spire. Ye must begin beneath according
to the nature of the deuice_.

_Skie, 1
-----
A zurd 2
in the
assurde.
--------
And better, 3
And richer,
Much greter,
--------------
Crowne & empir
After an hier
For to aspire 4
Like flames of fire
In formes of spire
-------------------
To mount on hie,
Con ti nu al ly
With trauel & teen
Most gratious queen
Ye haue made a vow 5
Shewes vs plainly how
Not fained but true
To euery mans vue
Shining cleere in you
Of so bright an hewe
Euen thus vertwe
---------------------
Vanish out of our sight
Till his fine top be quite
To taper in the ayre 6
Endeavors soft and faire
By his kindly nature
Of tall comely stature
Like as this faire figure_

_From God the fountaine of all good, are deriued into the world
all good things: and vpon her maiestie all the good fortunes any
worldly creature can be furnisht with. Reade downward according
to the nature of the deuice.

1 God
On
Hie
Frome
2 A bove
Sends loue,
Wise dome,
Iu stice
Cou rage,
Boun tie,
3 And doth geue
All that liue
Life & breath
Harts ese helth
Children, welth
Beauty strength
Restfull age,
And at length
A mild death,
4 He doeth bestowe
All mens fortunes
Both high & low
And the best things
That earth can haue
Or mankind craue,
Good queens & kings
Fi nally is the same
Who gaue you (madam)
Seyson of this Crowne
With pouer soueraigne
5 Impug nable right,
Redoubt able might,
Most prosperous raigne
Eternall re nowne,
And that your chiefest is
Sure hope of heavens blis.

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