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Edward Bysshe and the Poet's Handbook

Published online by Cambridge University Press:  02 December 2020

A. Dwight Culler
A. Dwight Culler*
Affiliation:
Yale University
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Extract

Lucian, looking inside a gold and ivory statue by Phidias, was shocked ' to see “one tangle of bars, bolts, nails, planks, wedges, with pitch and mortar and everything that is unsightly; not to mention a possible colony of rats and mice.” And Lamb, on seeing the Cambridge manuscript of Milton's minor poems, swore never again to go into the workshop of a great artist. For behind the poem often lie the “unsightly” dictionary of rhymes, the thesaurus, the dictionary of synonyms—all the helps which collectively we call the poet's handbook. Perhaps because of its unsightliness it has never been studied, but it is obviously no less important for an understanding of the poet's craft than the planks and wedges are for the sculptor's.

Type
Research Article
Information
PMLA , Volume 63 , Issue 3 , September 1948 , pp. 858 - 885
Copyright
Copyright © Modern Language Association of America, 1948

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References

1 Poole was head of a private academy kept in the house of his father-in-law, Francis Atkinson, at Ludgrove, the parish of Hadley, Middlesex. His works include the English Accidence (1646), English Parnassus (1657, 2nd ed. 1677), and Practical Rhetorick (1663), the last two posthumously published. See Admissions to the College of St. John … Cambridge, ed. R. F. Scott and J. E. B. Mayor (Cambridge, 1882-1931), Pt. I, “Notes”, p. xvii; English Parnassus (1657), sig. a7v.

2 John Brinsley, Ludus Literarius; Or, the Grammar Schoole (1612), ed. E. T. Campagnac (Liverpool and London, 1917), p. 191.

3 Ibid., pp. 196–196.

4 Thomas Farnaby, Index Rhetoricus et Oratorius (London, 1704), p. 51. It had been published by 1633.

5 In his Progymnasma Scholasticum (1597). Cf. Brinsley, p. 197; Charles Hoole, A New Discovery of the Old Art of Teaching Schoole (1660), ed. E. T. Campagnac (Liverpool and London, 1913), iii, 160.

6 Brinsley, p. 192.

7 This portion of Poole's book is signed by the initials, “J. D.”, and has been attributed to Dryden. See James M. Osborn, John Dryden: Some Biographical Pacts and Problems (N. Y., 1940), pp. 231-232. The work, however, is too silly and jejune for Dryden, even at twenty-seven. It asserts, for example, that the principal body of English poetry consists, “for ought can be found”, of the work of the fifteenth century “alchemists”, such as George Ripley and Thomas Norton ! “J. D.” was evidently acquainted with Elias Ashmole (1617–92), the famous collector of the alchemical poets, and thus might be identified with his friend, Sir John Davis (1611–74). English Parnassus, sig. A3V; Ashmole, Diary and Will, ed. R. T. Gunther (Oxford, 1927), pp. 96,137n; Ashmolean MS. 423, fol. 81–82b.

8 For example, Ravisius Textor, “De Prosodia, Libri IIII”, Epitheta (Geneva, 1612); Jacobus Pontanus, “Reformata Poeseos Institutio”, in Joannes Buchler, Thesaurus Phrasium Poeticarum (Amsterdam, 1671); an abridgment of this, “De Poesi Breviculum”, Novus Synonymorum; Georgius Sabinus, “De Carminibus ad Veterum Imitationem Arti-ficiosè Componendis Praecepta Perutilia”, in Textor, Epithetorum Epitome (London, 1595); Georgius Fabricius, De Re Poetica Libri IIII [VII] (Antwerp, 1565 [1595]).

9 English Parnassus, sigs. a7v-8.

10 Ibid., sig. a.8r.

11 Ibid., sig. a2v p. 39.

12 N&Q, cxxviii (1913), 370; Bodleian Quarterly Record, iv (1923), 30, 79.

13 Thomas Hayward, The British Muse (London, 1738), I, xiii. His judgment was approved by the editor of Edward Phillips' Theatrum Poelarum Anglicanorum (London, 1800), p. lxv.

14 Biographia Literaria, ed. J. Shawcross (Oxford, 1907), i, 12–13.

15 Ibid., p. 5.

16 Sir Edward Bysshe, The Visitation of Sussex Anno Domini 1662, ed. A. W. Hughes Clarke (London, 1937), p. 20.

17 Ibid. p. 21; John Comber, Sussex Genealogies (Cambridge, 1931-32), ii, 68; P. B. Shelley, Prose Works, ed. H. Buxton Forman (London, 1880), i, xxxiv, xl; N&Q, LVI (1877), 441–442.

18 Sir Richard Bulstrode, Memoirs and Reflections upon the Reign and Government of King Charles the 1st. and K. Charles the Hd. (London, 1721), sigs. A2v-3. The Miscellaneous Essays (1715) is described on the title page as “Publish'd, with a preface, by his son Whit-locke Bulstrode, Esq.” Another work, A Trip to North-Wales: Being a Description of that Country and People (1701), which is signed “ . B.”, is described by its editor, H. W. Troyer, as not impossibly by Edward Bysshe. The discrepancy, however, between Bysshe's easy Augustan prose and the pregnant, pointed style of the Trip makes the attribution very unconvincing.

19 This is suggested by the use of the first person singular in a revision made in 1708—Edward Bysshe, The Art of English Poetry (London, 1708), “Rules”, p. 22. Hereafter, this work will be referred to as “Bysshe” and its three parts, which are paginated separately, as “Rules”, “Collection”, and “Rhymes.” References are to the edition of 1708 unless otherwise noted.

20 Op. cit., I, 93.

21 Ibid., i, 91–92.

22 Ibid., p. viii.

23 Ibid., p. 93; cf. p. 293.

24 Gildon, The Laws of Poetry (London, 1721), p. 72.

25 Eidyllia: Or, Miscellaneous Poems, pp. 16–17.

26 The Note-Book of William Blake, ed. Geoffrey Keynes (London, 1935,) pp. 55–56.

27 A Catalogue of the Valuable Library of Books, of the Late Learned Samuel Johnson (London, 1892), No. 130; James Prior, The Life of Oliver Goldsmith (London, 1837), ii, 583, Nos. 22 and 23.

28 A copy of the 1739 issue with the autograph inscription on the fly, “E Lib. Gulielmi Earle Lytton Bulwer. Trin. Coll. Cantab.” is listed by Dobell, Catalogue no. 115 (March, 1932), item no. 139.

29 Oldys' reference is in Hayward, British Muse, I, xiv; for the others, vide infra.

30 G. Gregory Smith, éd., Elizabethan Critical Essays (Oxford, 1904), i, 275. Gascoigne had made a similar suggestion in 1575 (ibid., p. 52).

31 A bibliography of English rhyming dictionaries is given in Peter Levins, Manipulus Vocabulorum, ed. Henry B. Wheatley (Camden Society, 1867), p. xii. The present study adds three to the eight listed there.

32 Dictionary of the English Language (London, 1775), p. xxiii.

33 The B.M. Catalogue lists: “[Another edition] [London, 1715?] 12°. Imperfect; containing only dictionary of rhymes' ” The copy of the edition of 1718 in the Boston Public Library lacks the rhyming dictionary; and copies of the edition of 1708 containing only the rhyming dictionary and the “Thoughts” are listed in N&Q, cxv (1907), 88,133, and Samuel Halkett and John Laing, Dictionary of Anonymous and Pseudonymous English Literature (London, 1926,) I, 374.

34 Now in the Harvard Library.

35 One of Rossetti's notebooks contains a list of rhyme words for use in “God's Graal” which are evidently copied from Walker. P. P. Baum, ed., Dante Gabriel Rossetti: An Analytical List of Manuscripts (Durham, N. C, 1931), pp. 78–79.

36 Tom Hood, The Rules of Rhyme (London [1869]), p. 21; Samuel W. Barnum, A Vocabulary of English Rhymes (N. Y., 1876), p. iii.

37 Bysshe, British Parnassus (London, 1718), i, sig. [ ]3.

38 Ibid., sig. [ ]2; Bysshe, sigs. ∗[3–3v].

39 The term “poetical commonplace book”, as used in this study, means a collection of verse quotations grouped under headings and the headings arranged in alphabetical order. It-does not include mere poetical miscellanies.

40 Monthly Review, xvi (1757), 581.

41 A Poetical Dictionary; Or, the Beauties of the English Poets (London, 1761), I, ix.

42 Bysshe, “Collection”, (1705), sig. F4V.

43 Samuel H. Monk, The Sublime: A Study of Critical Theories in XVIII-Century England (N. Y., 1935), pp. 21–22.

44 Samuel Richardson, Correspondence, ed. A. L. Barbauld (London, 1804), iv, 282. Considerable evidence of the popularity of the word is adduced in the appendix to the Oxford edition of Goldsmith's Poems.

45 Lines 13-16.

46 Waverley, chap. xliii.

47 That Richardson's quotations come from one of the various 18th century commonplace books was first noted by Alan D. McKillop in Samuel Richardson, Printer and Novelist (Chapel Hill, N. C, 1936), p. 141. A collation shows that the Art of English Poetry was the collection used. The discovery invalidates most of Eric Poetzsche's dissertation, Samuel Richardsons Belesenheit (Kiel, 1908), which assumes that Richardson had read all the works he quoted.

48 Book xrv, chap. i.

49 Bysshe, sig. ∗3.

50 Letters, ed. Mrs. Paget Toynbee (Oxford, 1904), ix, 149.

51 The Beauties of the English Stage (London, 1737), I, sig. A3.

52 The Beauties of the English Stage (London, 1756), i, ii.

53 G. Gregory Smith, ed. Elizabethan Critical Essays, i, 229: cf. also p. 302.

54 Essays, ed. W. P. Ker (Oxford, 1926), ii, 110. Four years later' (1697) Dryden said he had long had by him “the materials of an English Prosodia, containing all the mechanical rules of versification. …” (Ibid., p. 217.)

55 Bysshe defines accent, in the terms used by the grammars to describe the Greek tonal accent, as “an Elevation, or a Falling of the Voice, on a certain Syllable of a Word” (Bysshe, “Rules”, p. 3). The phrase or a Falling was first added in 1708. Cf. William Lily, A Short Introduction of Grammar (Oxford, 1673), p. 195: “Tonus est lex vel nota, quâ syllaba in dictione elevatur, vel deprimitur.”

56 Bysshe, “Rules”, p. 7.

57 Bysshe, “Rules”, p. 5. In the edition of 1708 (p. 7) he restricted its location in octosyllabic verse to the fourth and fifth syllables only, omitting that at the third.

58 John Walker, Elements of Elocution (London, 1806), p. 250, indicates that in reading verse a pause was actually made at the caesura, and Bysshe's definition of it as “a Rest or Stop that is made in pronouncing the Verse” suggests that the break was not merely ideal (“Rules”, p. 3).

59 The full list contains is after a vowel and after some consonants, e.g., she's, air's; are, will, would, have, and am after their personal pronouns; let's and can't. Campion says (1602) that let's, wee'l, tk'ar, and hee's “may be vsed at pleasure. …” (G. Gregory Smith, ii, 352.) Addison, on the other hand, complains that the can't-sh'n't family has “much untuned our Language …” (Spectator No. 135).

60 Dr. John Jones wrote in 1701: “Note that the Vowel before I, n, or r, in the middle of Words of three or more Syllables of a quick Run, is apt to be silent; as cavilling, devillish, traveling, &c. sounded cav'ling, dev'lish, trav'ling, &c. and in pardoning, every, sounded pard'ning, ev'ry, See. which are always allow'd in Poetry, to be mitten and sounded the short way.”—Practical Phonography, ed. Eilert Ekwall (Halle, 1907), p. 70. Elsewhere (p. 109) Jones gives some of these same examples but without restricting them to poetry. Addison cites the short forms of conspiracy and orator (Spectator No. 135), and Elphinston (1765) cites nat'ral, orae'lar, mirae'lous, and sim'lar, the third as “often” and the last as “scarce allowable.”—Jespersen, A Modern English Grammar (London, 1928-33), i, 9.333, 67.

Bus'ness is mentioned as dissyllabic in 1621 and 1787 and medicines is so spelled in Areo-pagilica and rhymed by Butler with dead since.—Ibid., 9.91; Bysshe, “Rules”,p. 20. Foil'wing which is apparently meant as a reduction of before the vowel to non-syllabic [w], is regular in both this and the fuller pronunciation.—Jespersen, Grammar, I, 9.89; Jones, Practical Phonography, pp. 31, 82. For other examples, cf. Jespersen, Grammar, i, 9.52, 53, 58, 76; Jones, Practical Phonography, sects. 513 ff.

61 Towards probably had two pronunciations then as now, depending on which syllable was stressed (Jespersen, Grammar, i, 5.41).

Nigher: in words of this type the glide vowel [a] is usually indicated in early phonetic spellings (ibid., 11.11).

Bow'r: Jones lists it as “of one Syllable” (Practical Phonography, p. 87), and Gascoigne condemns the longer form as a poetic license (G. Gregory Smith, i, 53–54; but cf. Jespersen, Grammar, I, 11.11; 3.49).

Heav'n: described by Jones as “of two Syllables” (Practical Phonography, pp. 41, 111), but by Gascoigne and Spenser as being “shorte as one sillable” (G. Gregory Smith, i, 53–54, 99).

62 Alexander Gill, Logonomia Anglica (1619), ed. Otto L. Jiriczek (Strassburg, 1903), p. 140, gives the apparently non-poetic examples, is't, do't, was't, for't. Jones, Practical Phono- graphy, p. 106: “it has; it is; it was; it were; it will; sounded Has, 'twas, 'twere, 'twill; and may be thus written, especially in Poetry.” Cf. also Jespersen, Grammar, I, 9.94.

63 Ta'en: “The shortened form … in the 16th and 17th c[enturies] … belonged to the ordinary spoken language” (Jespersen, Grammar, I, 2.32S; cf. Richard Jordan, Handbuch der Mittel-englischen Grammalik [Heidelberg, 1925], 178, Anm. 4). Yet Gascoigne lists “tane for taken” as a poetic license (G. Gregory Smith, I, 53–54).

Ne'er: These were “at first colloquial (thus still in Swift), and were then used as poetic colloquialisms; but in the 18th c[entury] they disappeared from polite conversation and were kept in poetry only as more or less solemn archaisms” (Jespersen, Grammar, I, 2.533; Jordan, Handbuch, 216.3; Gill, Logonomia Anglica, p. 140). Jones, Practical Phonography, p. 42, lists “ever, Leverpool, Portreve, sounded e're, Le'erpool, Portre.”

I'th: frequent in the sixteenth and seventeenth centuries, but thereafter only in poetry (Jespersen, Grammar, i, 2.424, 534).

64 In 1685 Robert Wolseley wrote of one of the Earl of Mulgrave's verses: “In the first place, What does that ed in undeserved do there? I know no businesse it has, unlesse it be to crutch a lame Verse and each out a scanty Sence, for the Word that is now us'd is un-deserv'd” (Critical Essays of the Seventeenth Century, ed. J. E. Spingarn [Oxford, 1908–09], iii, 26). The silent vowel is also mentioned by Campion in G. Gregory Smith, ii, 352; Gill, Logonomia Anglica, p. 140; John Dennis, Critical Works, ed. E. N. Hooker (Baltimore, 1939), I, 26; Jones, Practical Phonography, p. 143; Addison, Spectator No. 135. Wolseley then adds that “the eds went away with the forto's and the untils, in that general Rout that fell on the whole Body of the thereons, the thereins, and the therebys, when those useful Expletives, the althos and untos, and those most convenient Synalmphas, 'midst, 'mongst, 'gainst, and 'twixt, were every one cut off … ” (Spingarn, iii, 27; cf. Jordan, Handbuch, 144).

65 This was the view of Cowley and Addison (Spingarn, ii, 129; Spectator No. 135). Swift attributes the elisions to the masculine Teutonic fierceness of the English nature, and an unknown writer to “an honest Plainness and Simplicity of Manners, that loves not many Words …” (Swift, A Proposal for Correcting, Improving, and Ascertaining the English Tongue [London, 1712], p. 27; anon., The Many Advantages of a Good Language to any Nation [London, 1724], p. 54).

66 Bysshe follows Dryden in this famous error (Bysshe, “Rules”, p. 35; Dryden, The Rival Ladies [London, 1664], sig. A3v).

67 Bysshe, “Rules”, p. 24.

68 English Parnassus, sig. a4r; Bysshe, “Rules”, pp. 32–33, 24. Cowley is quoted in Dryden, tr. The Works of Virgil (London, 1697), sig. flv. E. P. Morton, “The Spenserian Stanza in the Eighteenth Century”, MP, x (1913), 365, found only five poets who had used the form in the seventeenth century; and among the critics Edward Phillips is almost alone in lamenting the rejection of it and the ottava rima (Theatrum Poetarum Anglicanorum [London, 1800], p. xxv).

69 Cowley is quoted 49 times in the “Rules”, Dryden 30, and Waller 28. The others cited, most of them only once or twice, are: Blackmore, Butler, Congreve, Davenant, Denham, Fairfax, Garth, Milton, Oldham, Rochester, Rowe, Spenser, and Stafford.

70 The page reference in Bysshe's “Rules” is given in parentheses after the corresponding reference in the source: English Parnassus, sig. a5v (5–6), a6v-7(ll), a5v-6(19), a6v (20–21); Sir William Davenant, Works (London, 1673), p. 3(33); Dryden. tr., The Works of Virgil (London, 1697), sig f 1(8), el-lv(17); Dryden, Annus Mirabilis (London, 1667), sig. A6(21); Dryden, The Rival Ladies (London, 1664), sig. A3V(35); Abraham Cowley, Works (London, 1700), sig. c4v(34); Thomas Sprat in Cowley's Works (London, 1684), p. xii(35).

71 “… so would this Author impose his shallow and indigested Notions (mostly bor-row'd from the Messrs. of the Port-Royal on the French Versification) for the true and whole Art of English Poetry” (Complete Art of Poetry, i, 93).

72 The page reference in Bysshe's “Rules” is given in parentheses after the corresponding reference in the Quatre Traitez: Latine, p. 42(26) Italienne, pp. 78(2), 79–80(3–5), 84(19), 84–85(28); Espagnole, pp. 95–96(12), 96–97(18–19), 96(20), 123(22), 123–124(36).

73 Lancelot, Quatre Traitez, p. 59; Bysshe, “Rules”, p. 11.

74 Bysshe, “Rules”, p. 1; Quatre Traitez, p. 51. Lancelot adds that Italian and Spanish verse, “like that of all other vernacular languages”, are syllabic (ibid., p. 93).

75 Cf. G. Gregory Smith, ed. Elizabethan Critical Essays, i, 49–50, 204, 213, 268; ii, 70; Spingarn, ii, 57, 167, 304; J[ohn] Wallis, Grammaiica Linguae Anglicanae (London, 1765; 1st ed. 1653), p. 191; Ker, ii, 105, 112.

76 A Complete Dictionary of the English Language (London 1790), i, lxxviii-lxxix.

77 The work appears in A Grammar of the English Tongue (1711), sometimes attributed to Steele and John Brightland; but cf. Hermann M. Flasdieck, “Zur Verfasserschaft der Grammatik von John Brightland (1711)”, AnglB, xxxix (1928), 324–327. I have used the third edition (1714).

78 A Grammar of the English Tongue, p. 135.

79 J. L. Máyne, A Compendious English Grammar (Birmingham, 1799), p. 107.

80 William Kenrick, A New Dictionary of the English Language (London, 1773), pp. 47–48. The confusion may also be seen in the fact that James Harris describes the heroic verse as consisting of “ten Semipeds, or Half-feet” and James Barclay as “a line of ten feet, each consisting of a short and a long syllable, alternately throughout …” (Harris, Three Treatises [London, 1744], p. 92n.; Barclay, A Complete and Universal English Dictionary [London 1799], p. xxxviii).

81 Especially his remarks on the hiatus and the caesura (A Supplement to the Works of Alexander Pope Esq. [London, 1757], pp. 20–21).

82 Cf. pp. 71–74 with Bysshe, “Rules”, pp. 1, 4, 21.

83 Dennis derives from Bysshe the general plan of his prosody and his conception of verse structure and especially of rhyme (ed. of 1729, pp. 283–288).

84 The section on versification, which remained substantially the same in all editions and revisions of this work, is simply a slight abridgment of the first two parts of Bysshe's “Rules.”

85 The section “Of Rhyme” (i, xxx–xxxiii) merely abridges Bysshe.

86 Cf. pp. 30-31 with Bysshe, “Rules”, p. 1.

87 Cf. ii, 417 ff. with Bysshe, “Rules”, pp. 3-5.

88 iv, 17–19; cf. Bysshe, “Rules”, pp. 1, 3. The misquotation in the British Magazine (p. 20) of a passage from Denham which is similarly misquoted in the seventh to ninth editions of Bysshe (“Rules” [1724], p. 25) shows that it was one of these editions that the author used. This essay was formerly attributed to Goldsmith and more recently to Smollett (Caroline Tupper, “Essays Erroneously Attributed to Goldsmith”, PMLA, xxxix [1924], 325–342). The latter attribution is based on the similarity between a passage of the essay and one in Smollet's review of John Armstrong's Sketches. The similarity is explained, however, by the fact that the essayist was replying to a passage in Bysshe and the reviewer to the passage in Armstrong which was imitated from Bysshe.

89 Adam Smith, Works (London, 1811), v, 321-322, 329; cf. Bysshe, “Rules”, pp. 1–2, 21, 6. For Le Tans'ur, vide supra.

90 Gregory repeats not only Bysshe's own phrases but his very examples from Butler and Cowley (ii, 94-97; cf. Bysshe, “Rules”, pp. 1–3, 7).

91 Hood reprinted all of Bysshe's “Rules” in the appendix of the 1877 edition of his Rules of Rhyme and discussed them in a chapter on “Guides and Handbooks”—Rules of Rhyme (London [1869]), 16-19. His own remarks are less closely dependent on Bysshe than are those of the Young Poet's Guide, an unidentified work partly reprinted by Hood. It adopts Bysshe's syllabic prosody, his treatment and often his very examples of the different meters, and his doctrine of the caesura (ibid., pp. 158, 161, 163-164, 167, 172; cf. Bysshe, “Rules”, pp. 7, 9).

92 The Art of Reading and Writing English, p. 71.

93 A Practical Grammar of English Pronunciation, p. 392.

94 Alexander Pope, Works, ed. Elwin and Courthope (London, 1871-86), vi, 57; Joseph Spence, Observations, Anecdotes, and Characters of Books and Men, ed. E. Malone (London, 1820), p. 72; James Greenwood, An Essay Towards a Practical English Grammar, p. 282; Henry Pemberton, Observations on Poetry, Especially the Epic (London, 1738), pp. 106–135; Goldsmith and Newbery, Art of Poetry on a New Plan, i, 8-9; Thomas Gray, “Observations on English metre”, Works, ed. E. Gosse (N. Y., 1885), i, 331.

96 Letter of June 5.

96 A Dictionary of the English Language (London, 1755), i, sig. c2v.

97 James Buchanan, The British Grammar (London, 1762), p. 69; Kames, Elements of Criticism, n, 382; Joseph Priestly, The Rudiments of English Grammar (London, 1769), pp. 43-44; James Elphinston, The Principles of the English Language (London, 1766), pp. 262 ff.; Kenrick, New Dictionary, p. 48; John Ash, The New and Complete Dictionary of the English Language (London, 1775), p. 25; Thomas Tyrwhitt, ed., The Canterbury Tales of Chaucer (London, 1775), iv, 88; Le Tans'ur, Beauties of Poetry, p. 3; Joshua Steele, Prosodia Rationalis (London, 1779), p. 12; Hugh Blair, Lectures on Rhetoric and Belles Lettres (Dublin, 1783), in, 119-120; A. Bicknell, The Grammatical Wreath (London, 1790), n, 117; Barclay, Complete and Universal Dictionary, p. xxxvi; Lindley Murray, English Grammar (Boston, 1800), p. 199; Richard Postlethwaite, The Grammatical Art Improved (London, 1795), p. 192; Mayne, Compendious English Grammar, p. 107.

98 ii, 94.

99 Tom Hood, Rules of Rhyme [1869], pp. 153, 159.

100 Lectures on the Art of Reading (London, 1781; 1st ed. 1775), p. 221.

101 Dictionary, I, lxxviii-lxxix. The italics are mine.

102 Poems, ed. E. H. Coleridge (Oxford, 1935), p. 215.

103 Edwin Guest, A History of English Rhythms, ed. W. W. Skeat (London, 1882), p. 536; cf. J. Schipper, Neuenglische Metrik (Bonn, 1888), n, 245; George Saintsbury, Historical Manual of English Prosody (London, 1910), p. 201; Harold D. Bateson, “The Rhythm of Coleridge's ‘Christabel’”, Manchester Quarterly, xiii (1894), 275–286.

104 Ada L. F. Snell, “The Meter of 'Christabel/ Fred Newton Scott Anniversary Papers (Chicago, 1929), p. 115.

106 lxxxii (1817), 22. Cf. Edinburgh Review, xxvii (1816), 64; Antijacobin Review, L (1816), 635.

106 An Essay on Grammar (Philadelphia, 1817), p. xlviii.

107 Watts, Art of Reading and Writing English, p. 76; Buchanan, British Grammar, p. 70. The thought is repeated in James Otis, A Dissertation on Letters, and the Principles of Harmony, in Poetic and Prosaic Compositions ([Boston], 1760), p. 54; James Buchanan, An Essay towards Establishing a Standard for an Elegant and Uniform Pronunciation of the English Language (London, 1766), pp. xxvi-xxvii; Le Tans'ur, Beauties of Poetry, p. 3; Walker, Elements of Elocution, p. 246, and his Rhetorical Grammar (Boston, 1822), pp. 160–162.

198 Pemberton, Observations on Poetry, Especially the Epic (London, 1738), pp. 130–131; John Mason, An Essay on the Power of Numbers (London, 1749), p. 43; Rambler No. 86; Adam Smith, Works, v, 327; Elphinston, Principles, pp. 262-263; Ash, New Dictionary, p. 26; Murray, English Grammar, p. 210; Postlethwaite, Grammatical Art Improved, p. 193.

109 This idea was first developed by Johnson in the Rambler No. 86 and then restated in the Dictionary (i, sig. dl), from which it was taken by Buchanan, Grammar, p. 69; Bicknell, Grammatical Wreath, ii, 118; and Priestley, Rudiments (1826), p. 40.

110 Poems on Several Occasions, p. 130.

111 Lectures on the Art of Reading, p. 221.

112 Elements of Orthoepy, p. 248.

113 Complete Art of Poetry, i, 302.

114 Tyrwhitt, ed., Canterbury Talcs, iv, 92n.; Murray, English Grammar, p. 210; Pos-Uethwaite, Grammdtical Art Improved, p. 201,