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 |
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ðat re𝑣j𝑣 |
Camp. |
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Trjumfs of prinſez, and |
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ſtern traᵹedjz; |
Camp. |
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And lërn hensfürth t'attend ðöz happi ſprjts
Wüz bounding fvri, heiħt, & waiħt |
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afekts. |
Camp. |
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Aſiſt ðeir läborz, and ſit klös tu ðem,
Ne𝑣er tu part awai til for dezart,
Ðeir brouz with grët Apolöz baiz |
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ar hid, |
C. |
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Whü firſt tauħt numerus akſents praiz'd bj art:
Hi'l turn hiz glörj from ðe ſunni kljmz,
Ðe |
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north-bred wits alön tu |
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patronjz. |
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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,