homoioteleuta, nihil à vulgatißimis cuiuſuis poetæ differre videbuntur.
Tel ðem, ðat piti or per𝑣erſli skorn
Pür Inglish poeſi, az ðe ſlä𝑣 tu rjm;
| Yü ar ðöz lofti numberz |
ðat re𝑣j𝑣 |
Camp. | |
| which adorn |
Rythm. | ||
| Trjumfs of prinſez, and |
ſtern traᵹedjz; |
Camp. | |
| ðeir happi tjm; |
Rythm. |
And lërn hensfürth t'attend ðöz happi ſprjts
| Wüz bounding fvri, heiħt, & waiħt |
afekts. |
Camp. | |
| deljts. |
Rythm. |
Aſiſt ðeir läborz, and ſit klös tu ðem,
Ne𝑣er tu part awai til for dezart,
| Ðeir brouz with grët Apolöz baiz |
ar hid, |
C. | |
| yi hem, |
R. |
Whü firſt tauħt numerus akſents praiz'd bj art:
Hi'l turn hiz glörj from ðe ſunni kljmz,
| Ðe |
north-bred wits alön tu |
patronjz. |
C. | ||
| Tu |
ſing in rjmz. |
R. |
Numeros eoſdem vides, eoſdem pedes. At odioſa ſunt (inquis) perpetua homoioteleuta: minuunt enim ſermonis maieſtatem, & in ſcená maxime, vni feuera tragœdia intumeſcit. Huic autem malo ſatis conſultum eſt à noſtris poetis, vbi manente numero neglectus eſt rythmus; niſi quod ad ſtilum tragicum molliendum, in fine longioris ſermonis ſonus ſimilis reperitur. Fateor, licenter nimium fabularum ſcriptores abuſos eſſe numeris, in comœdiá ſæpius neglexiſſe : quod quidem poetæmagis exiſitmo indecorum, quàm ſi actores in ſcenam ſine togâ, ſine pallio produceret. Et quia hic honos vbique eſt habitus poeſi noſtræ vt in ſimiles ſonos exeat : licebit poetæ eos non negligere quidem; ſed ita temperare, vt ſcriptoris induſtria laudem,
