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part of Chaucer’s Canterbury Tales (says the latter gentleman, p. 30), and his Legend of Good Women, are in the decasyllabick couplet; but in general Lidgate's, Occleve's, Rowley's, Spenser's, and a great part of Chaucer's poetry, is written in stanzas of seven, eight, or nine decasyllabick lines; to which Rowley generally adds a tenth, and closes with an Alexandrine. All these may be ranked under the title of Rithme Royal; of which Gascoigne, in his Instructions For English Verse, has given the following description: “Rithme Royal is a verse of ten syllables, and seven such verses make a stasse, whereof the sirst and third do answer acrosse in the terminations and rime; the second, fourth, and fifth, do likewise answer eche other in terminations; and the two last combine and shut up the sentence: this hath been called Rithme Royal, and surely it is a royal kind of verse, serving best for grave discourses.” I leave it to the reverend Antiquarian to reconcile the contradictory assertions with which the passage I have now quoted sets out; and shall only observe, that we have here a great parade of authority, but nothing like a proof of the existence of such a stanza as Chatterton has used, in the time of K. Edward IV.; and at last the Commentator is obliged to have recourse to this flimzy kind of reasoning: “The different number of lines contained in the stanza makes no material alteration in the structure of this verse, the stanza always concluding with a couplet: in that of six lines, the four first rime alternately; in that of nine, wherein
