RƲLES of Spelling.

• I. EVery Syllable must have a Vowel (a, e, i, o, u, y,) for without one of these there can be no sound.
• II. The Consonant must be taken to the following Syllable, as A-dam, a-men, not Ad-am, am-en.
• III. If there be two Consonants together, the one goes to the for­mer Syllable, the other to the latter, as, mel-lis, fol-lie, for-mer, ab-sent.
• IV. Two Consonants in the middle of a word may not be parted, if in that language they may begin a word, as, a-stray, e-spy, can-cri, a-tlas.
• V. Compound words are commonly resolved into their parts, as, trans-co, per-ago, sus-tuli, up-on, ad-ore

RƲLES of Orthographie.

• 1. Accustom your selves to pronounce the words as you read them, very distinctly, or by Syllables, for as you use to pro­nounce them so will they settle in your memories.
• 2. Observe the Radix of words, and the Supines of Verbs, and they will direct to write right, thus you may know that Man­sion is written with (s) station with (t) Schism with (sch) because they come from Mansum, Statum, [...].
• 3. (s) must not be written after (x) as, excribo, not exscribo, exul, not exsul, yet in compound words sometimes, Autl ours use it.
• 4. The first letter in a Sentence, all Proper Names, remark­able Appellatives, and (I) per se, must be written with great letters, as, Thomas, London, Colonel, Parlament, President.
• 5. These terminations are Latine, not English, us, ans, ens, ons, am, n, u, i.
• [Page 2]6. These terminations of the same sound as English not Latine, ous, ance, ence once, ome, ay, ve, or ew, y, or ie.
• 7. Some English words are not pronounced as they are writ, or have redundant Letters, as, people, reign, raz'd, tongue, debt, rogue, beauty, publique, goal, isle.
• 8. Some words are pronounced alike, but writ diversly, as, hair, hare; bear, beer, bier: rain, reign: their, there.
• 9. When a word is pronounced flatly or long, it must have an (e) at the end, but when sharply, or short, it must have none, as, non, none, quite, quit, stat, state, us, use, writ, write.
• 10. Write not (e) after (g) in the end of a word, unless when (g) hath the sound of (j) Consonant, as, strante, change.

RULES for Pointing.

• 1. A Comma (,) used at the end of every sentence, and in verse, when words are displaced.
• 2. A Colon (:) used in the middle of a period consisting of two equal parts.
• 3. A Period (.) used at the end of perfect sentence, viz. when the sence is finished.
• 4. A Parenthesis ( ) used when a sentence is put within another, which yet may be left out, and the Sence not destroyed, as, Parve (nec invideo) sine me liber ibis in urbem.
• 5. A note of Interrogation (?) used when a question is asked, as, Cujum pecus, and Melibai?
• 6. A note of Exclamation (!) used when we express any thing with wonder, as, heu pietas!
• 7. A Subunio (-) used 1. when two whole words are united, as, pale-faced. 2. when one part of the word is writ at the end of the line, and the other at the beginning of the next.
• 8. A Dialysis (¨) used when a diphthong is parted into two Syllables, as. pictäi, aquäi, poëma.
• 9. An Induction (⁁) used to bring in a word interlined.
• 10. An Apostrophus (’) used when a letter is cast out, as, dix’ tin’ for dixistine.
• 11. A note of Quotation (”) used in the Margin, when we quote a Sentence out of an Authour.
• [Page 3]12. An Acute tone (´) used to distinguish doubtfull quan­titys, as, cécidit, cecídit.
• 13. A Grave tone (`) used to distinguish adverbs from other words, as, stultè, unà, seriò, palàm.
• 14. A Circumflex tone, (^) used 1. over Ablative cases of the first, 2. Genitive cases of the fourth Declension, 3. Words Syncopated and contracted, as, musâ, manûs, amâsti, tibîcen.

RƲLES for construing Grammatically.

• 1. Read over the Sentence of a period, observing the general scope of the matter.
• 2. Find the principal Verb, viz. the first which is not the Infinitive Mood, nor hath a Relative or Conjunction before it.
• 3. By asking the question who, or what? find out the Nominative case. This done;

• 1. Take the Vocative case, or what supplies the place thereof, as, Adverb, Conjunct. Interject.
• 2. Take the Nominative case, and what depends thereon, as, Ad­jective, Genitive case, Gerund.
• 3. Take the Verb with what depends thereon, as, Adverb, Infi­nitive mood, Participle, Supine.
• 4. Take casuall words in this order, 1. Thing, 2. Person, 3. The rest in order of cases, as, ¹ dedit ³ mihi ² vestem ⁴ pignori ⁶ te-praesente ⁵ propriâ-manu. ² Jupiter ¹ O ⁵ mibi ¹ si ⁴ ju­veniles ³ redderet ⁴ annos.
• 5. When any casual word hath much depending on it cast it back to the last place, as, ³ vitam-tuam-suppliciis-justis-debitis (que)-ere-ptam ² fugae ¹ mandato.
• 6. Relatives and Interrogatives cross this order, being taken be­fore the Verb which they should follow, as, ¹ Quantum ¹ quis (que) ⁴ suâ ¹ nummorum ³ servat ⁴ in-arcâ, &c.
• 7. A Parenthesis, or Subjunctive sentence must be construed alone, and taken where the sence gives best room, sometimes in the be­ginning, but most usually after the Nominative case.
• 8. Be sure in construing ever to avoid non-sence, and breach of Grammar rule.

RƲLes for construing Rhetorically.

• 1. Give every Phrase or Proverb a suitable English one, and con­strue the whole Phrase or Proverb together, as, Sator hominum at (que) deorum, Jupiter. Ad graecas calendas, at latter Lammas.
• 2. When a word hath various significations, chuse that which may best express the sence, as, colere Deum, to worship God: colere parentes, to honour ones parents: colere sylvas, to haunt the woods: colere agros, to till the fields, &c.
• 3. Be carefull to express terms of Art by proper English terms, as, —viscera nudant, they panch, vela dabant ventis, they hoised up sails.
• 4. Resolve Infinitive moods, and words put absolute, as, te ve­nisse, that thon art come: Me duce, when I am Caplain: in­terjecto tempore, after a certain time: Saturno rege, while Saturn ruled.
• 5. Express Impersonals, and Passives with their casual words Personally and Actively, as, tibi licet, thou mayest: vivitur ex rapto, men live by plunder.
• 6. Always endeavour to carry on a proper English style, chusing such expressions as may best fit the matter in hand.

RƲLES for parsing.

• 1. Read over the sentence distinctly, find the Verb, and so the Nominative case.
• 2. Enquire by your Rules what Declension, Number, Gender, Per­son, Species, Figure your Nominat. is of.
• 3. Enquire of what Conjugation the Verb is, what it maketh in the Perfect tense, what in the Supine, what Mood, Tense, Number, Person, as also what kind, Species, and Figure.
• 4. Take next the casual word of the thing, govern it on the next word before which cannot be lest out, but destroy the sence.
• 5. Do the like in order with the other casual words according to their nature, and rule.
• 6. When you have a Relative, put ille in the same case and you may see its Government by construing the Sentence, as, cui similem non vidi, non vidi similem illi.
• 7. When you have an Adjective, search what Declensions it is [Page 5]of, what Species, what Degree of Comparison, and what is its Substantive, unless it be put absolute in the neuter Gender, for then it hath none.
• 8. In Parsing all words be sure to enquire for the Radix, whether it be Latine or Greek.

RƲLES for making Latine Grammatically.

• 1. Learn to know of what parts any Sentence propounded doth consist, viz. the Nominat. Verb, and casual words, with what depends on them.
• 2. Learn to know and distinguish by the sence and signs all sort of casual words, viz. of the thing, person, place, time, cause, crime, space, instrument, price, &c. and what case they are used in, with the Exceptions.

• 1. Read over the Sentence, and if there be a Vocative case, or any thing in stead thereof, make that first.
• 2. Find out the Nominative, see what number it is of, put it in that number, and write it down.
• 3. If any thing depend on the Nominat. as Gen. case, Adjective, Gerund, or Subjunctive sentence, make that first. Then,
• 4. Come to the Verb, finde what mood and tense it is, from it in that mood and tense according to its Conjugation, and put it in the same Number and person the Nominative case is.
• 5. Make next the Infinitive mood, Gerund, Supine, Adverb or what else doth depend on the Verb.
• 6. Put the casual word of the thing in the Accusat. case, the person in the Dat. the rest according to your Rules.
• 7. If you have a Verb, or Adjective which will properly Go­vern a case, such as, satago, memini, opus, utor, natus, &c. be carefull to put the right case after it.
• 8. When you doubt what case any Noune or Verb will go­vern, if Grammar will not determine, consult with some Author, or the Dictionary, Cowper, Thomas, &c.
• 9. When you have a relative, ask the question who, or what? and thereby find the antecedent, and therewith make it agree in Gender, and Number; and if it be not the Nominat. to the [Page 6]Verb, make it such case as the Verb, or other word whereof it doth depend, will govern.

RƲLES for making Latine Rhetorically.

• 1. In reading Authors, mark out and remember all Latine Phra­ses, that so when you meet with any English Phrase, you may render it in proper Latine.
• 2. When you have an English Phrase, and know not a Latine one for it, turn your phrase into Latine according to the sence, not the words; as, I will not deal doubly, say, Non utar fraude malâ, not, non agam dupliciter.
• 3. Care not to render a sentence word by word, but change it so as the Latine may be handsomest, and most agreeable to a Latine style, as, he must needs grieve that's wrong'd, non potest non do­lere qui laesus est, or fieri non potest quin doleat cui fit injuria.
• 4. The Latine tongue loves Verbals, Participials, Gerundives, and Participles of the future in rus.

• 5. When the English sets the Preposition at the end of the sen­tence, or after the Verb, in Latine set it in composition before the Verb, as, pull me out, Eripe me: get thee away, Eripe re [...] cast thy eye back, retorque oculum.
• 6. Remember to cast away quòd or ut, turning the Verb into the Infinitive mood: to make Ablative cases absolute by casting away Dum, cùm, quando, si, postquam, quanquam: to express Actives sometimes by Passives, and Personals by Impersonals: to make have by est or suppetit: and to observe such other Grammar rules as have most Elegancy, as,

RULES for placing Latine.

• 1. Read the best Authors by periods, vivâ voce, thereby their stile will be secretly instilled into your minds.
• 2. Avoid the craggy concourse of many Consonants, and the ga­ping of many Vowels, temper one with the other, so as a Vowel ending, the next word may begin with a Consonant, & vice versâ, as, Quous (que) tandem abutere patientiâ nostrâ Catilina?
• 3. Place the word last wherein the Emphasis of the sentence doth lie, as, ‘— Caesare fortiorem legimus neminem.’ So in the Example next above. — Where these Rules permit,
• 4. Place the casual word first, the Nominat. in the middle, and the verb last: as, Galliam Caesar occupavit, Religionem pauci colunt.
• 5. Between the Adjective and his Substantive, likewise between the Praeposition and his case put a Genitive case or other Par­ticle, as, Innumeras hostium copias Caesar fudit: omnis enim perturbatio, &c.
• 6. Comparatives, Superlatives, and Nounes of multitude must be set after their Substantives, as, sceleratos omnes Catilina unus superavit.
• 7. Polysyllable Ajectives elegantly begin and end sentences, as, Miserrimi sunt omnes inglorii.

RƲLES of Variation.

• 1. Express your sentence in proper, choice, and purely Latine words, without barbarism or Solaecism, as, fecit mihi potestatem abeundi, not dedit mihi licentiam.
• 2. By Synonyma's or words signifying the same thing, as, Literae tuae magnopere me delectârunt: Epistola tua fuit mihi oblecta­mento: fuit mihi voluptati.
• 3. By tropes or figures, viz. 1. Periphrasis, as, homo sapientiae studiosus, pro Philosopho: cubito se emungit, pro salsumentario: ars bene dicendi, pro rhetorica. 2. Metaphora, as, fluit oratio: buccinare laudes: 3. Allegoria, as, flamma fumo proxima. 4. Mi­tonymia, as, Bacchus, provino; Ʋcalegon pro Domo: ferrum pro gladio. 5. Synecdoche, as, capus, pro homine: Hanibal: Adria.
• 4. Express the Active by the Pastive, Or Personal by Impersonal: [Page 8] & contura, as, Virgilius legitur à me: ego lego, &c. Starur ab illis: illi stant.
• 5. Change the Verbs into Verbals or Participles, as quae nocent, docent; nocumenta, documenta: ut emerem libros: empturus libros:
• 6. Express the sentence by the contrary or negative, as, semper, dum vivam, tui meminero: nunquam dum vivam tui non me­minero.
• 7. Express the sentence by Interrogation, Admiration, or Aporia, or Ironia, as, Num tui me unquam qucat capere oblivio?
• 8. Vary the sentence by the rules in Grammar, viz. Est pro habeo: The English of the Infinitive mood: Gerunds turned into adjectives, &c. as, habeo pecuniam est mihi pecunia; suppetit mihi pecunia. Huc veni ad emendum: emptum: empturus; ut emerem: causâ emendi: ad emendos libros.

RƲLES of Amplification.

• 1. A sentence is amplyfied by reckoning up all the parts inclu­ded within the General heads of the Theam. ex. gr. love con­quers all men: here amplifie men, by reckoning up all there un­der included, as, poor, rich: wise, foolish: young, old: Prince, peasant, &c.
• 2. By handling the Antecedents, concomitants, and consequents of things ex. gr. theft, the Anteced. crafty looks and gestures. Concom. fear. Conseq. shame, fear, &c.
• 3. By shewing the causes, grounds, or occasions of the matter in hand.
• 4. By Diatypósis or a perticuler discription of each circumstance ex. gr. if we describe the ransacking of a City, we shall men­tion, houses burned, virgins ravished, temples ruined, young men murthered, &c.
• 5. By digressions, or stepping aside to other matters, which not­witstanding bring light to the subject in hand, especially from the Hypothesis to the Thesis.
• 6. By Comparisons or Simile's illustrating the argument; taken from things artificial or natural, from things in heaven, carth, or sea.
• 7. By Congeries, or heaping up many sentence signifying all the [Page 9]same thing in substance: ex. gr. we must all die, Calcanda lethi semel via: nullum saeva caput Proserpina fugit: Seriùs aut citiùs sedem properamus ad unam.
• 8. By Definitions or Descriptions various in words but one in Sub­stance, as, mare est fons imbrium, hospitium fluviorum, Inventio commeatuum, it incrum compendium, &c.
• 9. By Rhetoricall figures, as, Prosopopeia, Apostrophe, periphrasis, correctio, Aporia, &c.
• 10. By shewing the good or evill of the contrary. ex. gr. if we treat of Sobriety, shew the evill effects of drunkenness, it wasts the estate, consumes the body, &c.
• 11. By producing examples, Apothegmes and Testimonies out of Authors, viz. Poets or Historians.

RULES of Allusion.

• 1. It is hand some to allude to the various significations, or near­ness in sound of Hebrew, Greek, Italian, Saxon words, or of any other Language, as what we call a Grave the Welch call a bed, so near a kin are death and sleep.
• 2. We may allude to Sentences of Authors, applying them to another matter. ex. gr. de amore dicere possumus, quod olim Se­neca de ira, furor brevis est. We may say of drunkenness as the Poët did of love, raptam tollit de cardine mentem.
• 3. We may allude to persons, as, alter Hercules, alia Minerva: a second Alexander: Ʋs (que) adeo Demeae: Si fueris Thraso nus­quam decrit tibi Gnatho. Thus persons notable for any vertues or vices may be used as Appellatives.
• 4. We may allude to memorable actions, ex. gr. he consumes his estate. In exstruendo mari, & montibus coaequandis. Alluding to Xerxes.
• 5. We may allude to the manners or customs of Nations, ex. gr. The Baeotians used to burn the Axle-tree of the Coach that brought home a Bride: intimating that she being once married, might never return from her husband: We worship the ri­sing Sun.
• 6. We allude to places, as, Qui sub zonâ torridâ persecution [...] de­gunt: quasi in insulis Fortunatis natus. Thus, Psittacorum regio, Terra del fogo, Mare Pacificum, and the like may be alluded to.
• [Page 10]7. We may allude to occasions of Proverbs, as, His plots are as undiscoverable, as if he had Gyges ring.
• 8. We may allude to any observable thing in nature or Art, Viz. Stars, Meteors, Birds, Beasts, Fishes, Plants, Stones, &c. He is the rising Sun. Thus, Stella cadens, ignis fatuus, the Stork, the Panther, the Remora, the Turn-sol, the Magnet, and a thousand such may be alluded to.

RƲLES of Imitation.

• 1. Observe the parts of such Sentences as you would imitate.
• 2. Take another subject and make your sentences of the same parts, putting Noune for Noune, Verb for Verb, Adverb for Adverb, &c. as, The love of money is the root of evil: The fear of God is the spring of Wisdom.
• 3. When you would imitate a whole speech, strive to make like style, phrase, and length of Periods.
• 4. Where the Author useth any interrogations, Admirations, Epiphonema's, Simile's, Examples, Allusions, digressions, do you the like.
• 5. Observe from what heads your Author fetcheth his Argu­ments, as, cause, effect, subject, Adjunct, à pari, à minore, à ma­jore, à simili, à contrario, &c. and fetch yours thence also, if the matter will permit.

See Examples hereof in Hornes Manuduct. pag. 88. The fountains of Eloquence whence Scholars must draw forth, and lay up matter for Exercises.

• 1. Histories, remarkable and applicable, See Plutarch, Florus, Justin, Pliny, Livy, Tacitus, Salust, &c.
• 2. Fables choice and witty. See Ovids Metam. Aesop. 1. Natal. Comes, Rosse's. Mystag. Poeticus.
• 3. Proverbs witty and best known. See Erasmus Chil. Clarks Pro­verbs.
• 4. Hierogliyphicks, most significant and apposite. See Nich. Cau­sinas, Pierius. Clem. Alexandrinus.
• 5. Emblems, Symhols, Impresses, upon the Coyns or Arms of Em­perors or other great Person, Pictures of the Heathens Gods, Geaces, Furys, Fates, Vertues, &c. See Rousner, Quarles, Al­ciat, Cambden.
• [Page 11]6. Laws and Customs of the Jews, Greeks, Romans, Egyptians, Saxons, &c. See Godwins Antiq. Leo Modena, Plutarch, Ver­stegan, Olaus Magnus.
• 7. Neat and Significant Sentences, and Apothegms, out of Tacitus, Salust, Livy, Tully, Licosthones, and the Poets.
• 8. Rhetoricall sigures especially such as adorn an Oration, or move the Passions. See Vessius, Faruaby, Vicars, Butler.
• 9. Topicks of Logick, or heads from whence arguments are drawn, viz. Causes, Effects, Subjects, Adjuncts, Contraries.
• 10. The whole Series of Naturall and Artificiall things, especially Pyramids, Labyrinths, Temples, Palaces, Shops of Artists, Meats, Merchandise, Stones, Plants, Fish, Fowls, Stars, &c.

Collections out of choice Authors under these heads, will serve in all manner of Exercise, for Exordiums, Simile's, Testi­monies, Allusions, and other Ornaments.

RƲLES of Observation.

In reading Authors (besides the above recited perticulers) Scholars must diligently observe, and treasure up in memory.

• 1. All choice single words, especially, such as agree in sound with the thing signified, as, Boatus, mugitus, ululatus, lugubris, vortex, tinnio, clangor, stridor, fragor, &c. 2. Such as both by use and Etymology appositely express the thing signified, as, philomela, sacro-sanctus, sartus-tectus, praeter-propter. 3. Such whose signification is very large, or hardly to be expressed in other words, as, colo, s [...]ringo, mereor, tenor, Idea, tinctura.
• 2. All choice Phrases or Idiotisms of the tongue whether Poeticall, Historicall, or Oratoricall; together with Congruous and Signi­ficant Epithets, Neat Periphrases, and Descriptions.
• 3. All choice strains of Eloquence fit to be imitated, such be, Non feram, non patiar, non sinam: pleni sunt omnes librí, plenae sapientium voces, plena exemplorum vetustas: nullo possessio firmior constantior nulla: ‘Obsequium amicos, veritac odium parit.’
• 4. The Rhetoricall Analysis, viz. the parts of which any Oration doth consift, the heads from whence the Arguments are drawn, [Page 12]as also, what passions are moved and from what heads.
• 5. [...], or the heights of Eloquence, viz. when an Author doth express a passion, [...], or other Action to the life, so that nothing can be said further. Such be, Seneca.

Infesta memet perime. Med. misereri jubes.

RƲLES for moving the Passions.

• 1. Fear is moved, 1. By setting forth the greatness of the ap­proaching evill. 2. By shewing that it is near at hand. 3. By producing examples in like cases, or prodigies.
• 2. Confidence and hope are moved, 1. By shewing that the Dan­gers or evils may be or have been escaped by us or others. 2. By reckoning up the convenient means, or helps, which we have and others want. 3. By perswasion of Divine favour from prodigys, prophesies, or common voice of the people.
• 3. Shame is moved, 1. By setting forth the baseness of the fact, 2 Or the signs of baseness in the parties or their relations.
• 4. Joy is moved, 1. By recounting our former miseries, 2. By exaggerating our present happiness.
• 5. Anger is moved, 1. By shewing the hainousness and indigni­ty of the fact, 2. The Innocency, vertue, dignity of the person injured, 3. The vices and contemptible condition of the person injuring, 4. That the injury extends not onely to the present, but to posterity.
• 6. Lenity is moved, 1. By shewing that the offence was not com­mitted through wilfulness or disrespect, but through passion, rashness, &c. 2. That the former good deeds exceeded this of­fence, 3. By testifying our unfeigned sorrow, 4. By setting forth the glory and benefits of lenity.
• 7. Love is moved, by expressing our willingness to do good to others or their relations especially under the notion of good men, without respect to our own advantage.
• 8. Hatred is moved by relating and exaggerating the offences [Page 13]enviously committed against what is dealt to us.
• 9. Indignation is moved, by comparing the former baseness of a person with his present undeserved honour, or plenty.
• 10. Envy is moved, 1. By shewing that the honour, or riches gotten, were not obtained by vertue, but basely, 2. By exag­gerating the persons insolency. shewint that it exceeds his merits.
• 11. Pitty is moved, by exaggerating the misery, from the ad­juncts of time, place, person, end, manner, 2. By comparing our former felicity with our present misery.

[...].

OR,

Short and plain directions for the making of all manner of School-Exercises in Prose, or Verse.

A Colloquie.

A Colloquie is a feigned discourse betwixt two or more Persons.

• 1. Imagine some discourse betwixt two or more persons, concern­ing some matter daily hapning among people, as about the School, House, Church, Market, Fields, Woods, or something done therein: or about News, Travels, Games, Imployments, Trades, &c.
• 2. Express your thoughts in choice and good phrase, such as you have collected out of approved Authors.
• 3. Let not one word or phrase be said oft over, but if you must use the same Sence, vary the Phrase.
• 4. Indeavour to make your Colloquy pleasant, with witty jerks, quibbles and fancies (such as you shall often find in Erasmus) joking upon a name, action, proverb or the like.
• 5. In larger Colloquies upon any perticular Subject, as, Foot-ball, Hand-ball, Hunting, Hawking, Fishing, Swiming, Shuting, Musick, Dancing, Feasts, Souldiery, Law, Heraldry, &c. Indea­vour to apply as many of the terms belonging to that exercise as may be.

An Essay.

An Essay is a short discourse about any vertue, vice, or other common-place. Such be Learning, Ignorance, Justice, Temper­ance, Fortitude, Prudence, Drunkenness, Usury, Love, Joy, Fear, [Page 14]Hope, Sorrow, Anger, Covetousness, Contentation, Labour, Idleness, Riches, Poverty, Pride, Humility, Virginity, &c.

• 1. Having chosen a Subject, express the nature of it in two or three short Definitions, or Descriptions.
• 2. Shew the severall sorts or kinds of it, with their distinctions.
• 3. Shew the several causes, adjuncts, and effects of each sort or kinde.
• 4. Be carefull to do this briefly, without tautology or superfluous words, in good and choice language.
• 5. Metaphors, Allegories, Antithetons, and Paranomasia's do greatly adorn this kind of exercise.
• 6. In larger and compleat Essays (such as Bacon's, Feltham's, &c.) we must labour compendiously to express the whole nature of, with all observables about our subject.

A Fable.

A Fable is a facetious discourse false in it self yet secretly inti­mating a truth.

• 1. Chuse some Subject which you intend for your morall, as, Learning, Arts, Cowardise, Courage, Fraud, Patience, Envy, In­gratitude, &c.
• 2. Pitch upon some living creatures for your speakers, which may fitly resemble the vertue or vice chosen, as the Hieroglyphick thereof, as for Corwardise the Hare, or Dere: for subtilty, the Fox: for courage, the Lion: for dulness, the Ass: for Hypo­crisie, the Crocodile: for Chastity, the Turtle: for naturall af­fection, the Stork: for cruelty the Tyger.
• 3. Let the Stile of your Fable be very short, and quick, the matter witty and facetious, the phrase choice and good.
• 4. If the conclusion of the Fable fall in with something remark­able in nature, it adds a singuler grace to the Fable, such be these of Daphne, the Bar, Battus, &c.
• 4. For inlarging a Fable, (according to the Rules of amplification) express the perticulers contained in the generals, and seign speeches to the persons in the Fable.

A Prosopopaeia.

A Prosopopaeia is a discourse, pathetically, and livelily setting forth what we conceive a person might say in such or such a case.

• 1. Consider the case and condition of the person you represent, and imagine your self in such a place, so qualified.
• 2. Observe what passions the person is most affected with, as, love, joy, sorrow, fear, hatred, anger, despair; also what vertues or vices he is inclined to, and by the Rules of moving passions, make use of those sigures and arguments which best suit the purpose.
• 3. Consider the time, place, condition, age, sex, religion, and for­mer estate of the person, that all things may be done ad deco­rum, not unsutably in any circumstance.
• 4. Consider the endowments, and office of the person, let an old Patriot speak gravely, a King majestically, a Souldier resolutely, a young novice headily, all men altogether [...].

A Character.

A Character is a witty and facetious description of the nature and qualities of some person, or sort of people.

• 1. Chuse a Subject, viz. such a sort of men as will admit of va­riety of observation, such be, drunkards, usurers, lyars, taylors, excise-men, travellers, pedlars, merchants, tapsters, lawyers, an upstart gentleman, a young Justice, a Constable, an Alderman, and the like.
• 2. Express their natures, qualities, conditions, practices, tools, desires, aims, or ends, by witty Allegories, or Allusions, to things or terms in nature, or art, of like nature and resemblance, still striving for wit and pleasantness, together with tart nipping jerks about their vices or miscarriages.
• 3. Conclude with some witty and near passage, leavig them to the effect of their follies or studies.

A Theme.

A Theme is a discourse amplifying a subject, by shewing the meaning and proving the truth thereof.

• 1. Exordium, wherein we praise the Author of the Theme, by set­ting forth his wit, learning, eloquence, or other excellency above others.
• 2. Narratio, wherein we shew the meaning of the Theme, by Periphrasing and opening the same.
• 3. Causa, wherein we shew the cause or reason of the Theme, how it comes to be so true.
• 4. Coutrarium, wherein we treat of the contrary to our Theme, shewing how ill, if a vice, how good, if a vertue.
• 5. Simile, wherein we bring in something in nature or art like to what is said in our Theme, for illustrating the truth thereof.
• 6. Exemplum, wherein we bring one or more examples out of history, of persons that have done or suffered as our Theme says.
• 7. Testimonium, wherein we bring sentences out of Authors, pro­ving the truth of the Theme.
• 8. Epilogus, wherein we briefly conclude with the praise of the Author.

• 1. When you are to make a Theme, run thorow these eight parts in your mind, and observe what variety of matter you can, out of which gather the choicest and best.
• 2. Strive to adorn your Theme with flowers of Rherorick, Gnome's, Proverbs, Allusions, Epiphonema's, and the like.
• 3. For bringing in any part neatly, at first make use of Clarks For­mulae: for Simile's, Examples and Testimonies, See Licosthenes, Reusner, and the Poets.

An Epistle.

An Epistle is a Discourse wherein we talk with an absent friend, as if we were with him.

• 1. All Epistles. have these four Accidents, or parts, 1. A Super­scription, 2. A compellation, 3. A Subscription, and 4. A Date.
• 2. All Epistles must be written in a low, short, and pithy style, without affection, periphrase or garrulity.
• 3. In all Epistles shun Tauntologies, by varying the phrase, when the same sence is repeated.

Epistles are either of the Demonstrative, Deliberative, or Ju­diciall kinde.

• 1. Narrative, wherein 1. We declare some matter to our friend, setting it forth as livelily as we can, 2. We desire out friends ad­vice, or assistance.
• 2. Lamentatory, wherein 1. We bemoan our own or friends cala­mity, 2. We propound our resolution, 3. We give, or ask advice.
• 3. Eucharistical. wherein, we praise the courtesie receive 1. because done voluntarily, ur expectedly, undeservedly, opportunely, 2. We promise requitall in deeds or thankfulness.
• 4. Gratulatorie, wherein 1. We express our joy for the good be­faln our friend, 2. We extoll the benefit our friend hath gotten, 3. We pray that it may have good effect, and be a favour indeed.
• 5. Officious, wherein 1. We offer our service to our friend in any business unrequested, 2. We desire him to take our service in good part.
• 6. Disputatorie, wherein we propound, 1. The Occasion, 2. The Question, 3. The opinion of others, 4. Our own opinion, 5. We ask our friends judgement.
• 7. Laudatory, wherein we praise a person, action, or thing. See Orations of the Demonstrative kinde.
• 8. Deprecatorie, wherein 1. We confess our fault, 2. We exte­nuate it from our age, heedlesness, or the kind of the offence, 3. We express our sorrow for the miscarriage, 4. We praise our friends clemency. 5. We testifie our better resolution for the future.

• 1. Suasorie, wherein we perswade our friend to any thing in a case doubtfull, 1. Shewing him that it will be honest, profitable, ne­cessary, pleasant, easie, 2. We amplifie the reasons ab exemple, à majori, à minori, à simili, à contrario. In disswasory, we use contrary arguments.
• 2. Hortatorie, wherein we exhort our friend, and four him up to a known duty, 1. From the hope of reward, 2. From the fear of disprofit, 3. From the hatted, emulation, expectation, of our adversaries, 4. From the love, commiseration, and expectation of our friends, 5. From Examples.

• 3. Petitorie, wherein 1. We insinuate into our friends favour, 2. We tell our request, 3. We shew it to be godly, just, honest, necessary, facile, honourable, 4. We promise requitall.
• 4. Commendatitious, wherein we recommend our Friend to ano­ther, 1. Shewing him to be our dear friend, 2. Worthy our commendations, 3. That he hath done like courtesies for others, 4. We tell our request, and shew it to be just and facile, 5 We promise our thankfulness.
• 5. Consolatorie, wherein we shew, 1. That our friend in that case ought not to mourn at all, or however not so much, 2. We lessen the evill, 3. We bring examples of brave men that have not sor­rowed in that case, 4. We acknowledge Gods providence in or­dering all things, 5. We proffer our assistance or help.
• 6. Responsatorie to Consolatorie Epistles, wherein 1. We give thanks for the good advice, 2. We mention the comfort we [...]eaped there­from, 3. We mention other Arguments: whereby we comfort our selves.
• 7. Monitorie, wherein 1. We advise our friend what to do, 2. What to shun, 3. We shew the Authority we have to do thus, from our age, relation, experience, former intimacy, or the like.
• 8. Convitiatorie, wherein 1. We express our own, and others sor­row for the offence committed, 2. We reprehend the fact, 3. We admonish our friend to take better courses.
• 9. Conciliatorie, wherein we desire acquaintance with one, 1. Ex­pressing his vertues and indowments which make us love him, 2. We modestly desire to be reckoned as a friend, 3. If there be any thing which may make him love us, we modestly mention it, however we promise faithfulness and integrity.

• 1. Criminatorie, wherein we accuse a Person, 1. By shewing our sorrow for the offence, 2. By setting forth the hainousness of the crime, 3. By reckoning up the evill effects thereof.
• 2. Difensorie. wherein we defend our selves from a crime imputed, 1. Either by plainly denying it, 2. Or by shewing that it was done otherwise then was objected.
• 3. Expostulaterie, wherein 1. We express our complaint, 2. We [Page 19]mitigate the crime with fair interpretation, of the Action, 3. We admonish our freind to walk more cautiously hereafter.
• 4. Exprobratorie, where we upbraid the ingratitude of a friend by shewing that we deserved better things at his hands.
• 5. Purgatorie, wherein we shew, 1. That we are not offended but delighted with the reproof of a friend, 2. We remove the suspit­tion objected against us, 3. We prove our own innocency.

ORATIONS.

AN Oration is a Discourse wherein we praise, or dispraise; perswade, or diswade; prove, or disprove.

there be three sorts of Orations.

Demonstrative, Deliberative, Judiciall.

• A Panagyrick ancient, used at generall assemblies, to see pub­lick games, wherein they used, 1. To praise the God or man that instituted the games, 2. The Nation or City where they were used, 3. The games themselves, 4. The prize played for. 5. The master of the play, 6. They exhorted the gamesters to behave themselves bravely, and leave an example of vertue to be imitated.
• 2. A Panegyrick modern, used at any publick assembly, as the In­auguration, or Coronation of a Prince, or the yearly Solemnity thereof, or at the well-come of some Commander to his Office, or Trust; wherein 1. We shew the difficulty of the task, or other cause which makes us undertake it, 2. We praise the Prince from his Countrey, Kindred, Nature, Education, Studies, At­cheivements in Peace or War, vertues, Fortune, Children, Citi­zens-love; and lastly by comparing him with some other, 3. We set forth the happiness of the times having such a Prince, affirm­ing that nothing is so much to be prayed for as his long Life, and his Children and Grand-children to Rule after him, 4. We con­clude with an exhortation to obedience and concord.
• 3. Nuptiall, used at Marriages; wherein 1. We treat of the first [Page 20]institution of Marriage, and of natures Prolifick force in all crea­tures, 2. We shew the preheminence of humane propagation above other creatures, 3. We shew the profits of Marriage, as credit or good name, procreation of children, honour, mutuall comfort in prosperity, and help in adversity, increase of society and civility, affinity with forreigners, 4. We pray for the feli­city of the Bridegroom and Bride, 5. By Hypotypôsis we feign their children before them playing, pratling, singing, waxing, &c. 6. We may bring examples of what Children have done for their Parents, 7. We praise the Bridegroom and Bride from the likeness or distlikeness of their countrey, nation, age, faculties, &c.
• 4. Epithalamium, used at the marriage bed, wherein we treat of 1. The necessity of Marriage, 2. The praise of the Married eouple, 3. We exhort to mutuall concord, shewing what joy this will be to their friends, what sorrow to their enemies, 4. We wish they may soon see their Children.
• 5. Natalitiall, at or in honour of ones birth-day; wherein, 1. We creat of the time of the Nacivity, year, moneth, day, hour if any of them afford observation, 2. The place, nation, or City, 3. The vertue of the Parents, and Predecessors, 4. The hope we conceive of the Childe from his Kindred, Face, future Education, 5. We pray for long life and prosperity to the Childe.
• 6. Funerall, used at Burials, wherein 1. We express our present sorrow, and the sad cause of our meeting, 2. We set forth the worth and vertue of the deceased, 3. The hope we had of him whereof now berest, 4. An exhortation to imitate his vertues.
• 7. Eucharisticall, when we give thanks for a courtesie received, wherein 1. We express our joy for the benefit received, 2. We exaggerate the courtesie, from its greatness, opportuneness, &c. 3. We promise thankfulness in heart, word, or deed, 4. We pray sometimes that God may requite, where we cannot.
• 8. Gratulatorie, used when we rejoyce with our friends in some good event; wherein 1. We signifie how joyfull we were to hear of the good success, 2. We augment the benefit acquired by shewing its excellency, and use, 3. We pray that like success may be perpetuall.
• 9. Lawtutatorie, wherein 1. We shew into what evill we are fal­ling, aggtavating it, 2. We exclaim against the Authors, 3. We [Page 21]tell others that it may be their case, and move pity.
• 10 Valedictorie, used when we leave a town or Countrey; wherein, 1. We express our sorrow to leave our Friends and Country, 2. We praise the peoples fidelity, clemency, piety, &c. The City or Countreys situation and excellencys, 3. We promise our mind­sulness of the courtesies received, and our study to express our thankfulness.
• 11. Propempticall, used when we take our leave of a departing Friend; wherein 1. We complain of fortune, or other cause of this seperation, 2. We mention our former familiarity, mutuall studies, recreations, &c. 3. We express the want and loss of our friend, 4. We set forth his praise, 5. We pray him to be mind­full of us while absent, 6. We pray for a good journey.

• 1. Monitorie, when we reprove persons, yet so as not to offend; wherein, 1. we set forth the parts and good qualities of them we admonish, and our love to them, 2. we shew that nothing is so perfect but hath some stain or vice, 3. we mention the fault, or offence, withall telling them that true love causeth us to mention it, and grant the like liberty to them of reproving us when we of­fend, 4. Sometimes we lay the blame upon age, nation, so cie­ty, &c. 5. we perswade to amendment, ab honesto, utili, glo­rioso, &c.
• 2. Conciliatorie, used when we desire friendship, favour or ac­quaintance, wherein 1. we tell the causes of our request, speak­ing well of the person according to nis place, 2. we modestly shew that we are not altogether unworthy of friendship, or league, but may be serviceable to him.
• 3. Hortatorie, wherein we inflame the minde in [...] known duty, by moving the passions.
• 4. Swasorie, wherein we perswade by argument in a case doubt­full.

In both which

• 1. we commend the former vertues of the persons we exhort,
• 2. we bring in arguments à jucundo, honesto, utili, sacili, 3 we excite love of the thing we perswade to, and love or pitty of the person for whom we move, with hatred to his enemies, 4. we [Page 22]stir up emulation, by the good examples of others, 5. we shew the hope of good if done, the fear of evill if neglected.
• 5. Dehortatorie, wherein 1. we shew the matter to be ill, vile, laborious, impossible, uncertain, not worth the pains, 2. we jeer it as a babble, 3. we blame the auditors as over-credulous, 4. we shew the great dangers likely to accompany or ensue the undertaking.
• 6. Consolatorie, used when we comfort mourners; wherein 1. we shew the causes of our undertaking, as kindred, friendship, pitty, &c. 2. we confess a true cause of mourning, and that we Sym­pathize, but that nothing should make men so exceed, 3. we shew that misfortunes are common to all, 4. That effeminate mourning becomes not a man, 5. That what we have is but lent, 6. That we must shew good examples to others, of pati­ence, courage, &c.
• 7. Petitorie, when we beg any thing; wherein, 1. when occasion serves we use insinuation, 2. we shew our business to be in the power of the Auditors, 3. That our request is just, honest, and facile, 4. we declare the manner how to perform it, 5. we promise requitall.

• 1. Invective, used against an enemy, wherein 1. Either we be­gin at his birth and exaggerate his vices to that time, 2. Or we insist on the severall heads of vices whereto he is inclined, 3. The possions we excite are shame, fear, and sometimes anger, hatred, envy.
• 2. Objurgatorie, wherein we chide inferiours, in which 1. we lay the crime before their eyes, 2. we exnggerate it from the circumstances of time, place, person, manner, or by comparison with others, 3. we expostulate and threaten more or less, ac­cording to the ingenuity or stubbornness of the offen­der, 4. Sometimes we bemoan their miscarriage, and give cantions.
• 3. Expostulatorie, when we complain of an injury from others; wherein, 1. Relating the injury we exaggerate it, yet intimating that we have suffered more than we speak of, 2. That we con­cealed [Page 23]as long as we could, now necessity makes us speak, we searing worse things, 3. If the injury be of small moment, we onely jeast it out, excusing their will, and laying the blame some­where else, 4. we admonish future heed and diligence.
• 4. Exprobratorie, when we upbraid unthankfulness in others, wherein 1. we relate and exaggerate our former favours, yet with excuse as done unwillingly, as forced thereto by them, 2. we declare and amplyfie the others injurys, 3. we may run out into the common place of Ingratitude.
• 5. Deprecatorie, when we plead for others about to be punished; wherein, 1. we shew that the fault was not committed of malice, but if it were, we ingenously confess it, 2. we treat of the excel­lency of clemency, 3. If the cause permit we fetch arguments of pardon, from the offenders: Nobility, Learning, former In­nocency, well-deserving of the Common-wealth; or least this Sentence though just, prove a bad precedent, 4. we shew that his pardon will be no damage, 5. we add an Aporia what shall he or his do.

DECLAMATIONS.

A Declamation is a kinde of exercise wherein we plead for, or against, or moderate in a cause propounded.

There be four sorts of Declamations (according to the four States, 1. Conjecturall, 2. Finitive, 3. Qualitative, 4. Quantitative.

• 1. In Declamations (as in Orations) the Exordium may be taken, 1. Ex visceribus materia, 2. à personâ Oratoris, audi­torum, Judicis, adversarii, vel rei, 3. à generali pronunciato, fabulâ, proverbio, simili, Historiâ, vel Lege.
• [Page 24]2. Not onely in the Exordium, but elswhere in the Declamation, we must labour for attention, and good will of the Auditors, by plausible compellations, fair intreaties, and promises of our can­dor and faithfulness.
• 3. Sometimes we must use insiouation, plausibly yet subtilly steal­ing into our cause and the Auditors affection, viz. in re turpi, ancipiti, vel paradoxâ.
• 4. If our adversaries cause be bad we insult over him, jeer his ab­surdities, and the weakness of his arguments with Ironia's, Sarcasmus, Epitropt's, Exclamatio's, &c. Especially near the conclusion.
• 5. It is frequent and laudable in Declamations, by Prosopopaeia to seign speeches to the persons most concerned, and therein live­lily to move the passions of sorrow, love, envy, pitty, &c. as our cause requires.
• 6. We must place strong Arguments in the beginning, weaker in the middle, and the strongest of all last.
• 7. In the conclusion we briefly repeat our strongest Arguments, and strongly moving the passions requisite, we triumph over our adversary.
• 8. In Academicall Declamations where the question is propound­ed in a short history, either party after the Exoraium, briefly runs thorow the parts of the story, hinting what observations make for him, or against his adversary, and aster insists largly upon the weightiest Arguments.
• 9. In this kinde of exercise there be three parties, Actor, Reus, Judex: Plaintiff, Defendant, Moderator, who weighs the Argu­ments and decides.

POETICAL EXERCISES.

• 1. When you can perfectly scan and proove a Verse, learn to put in meeter any Verse displaced, the same words being retained.
• 2. Upon any common place, as Vertue, Learning, Love, War, &c. bethink a Sentence consisting of three or four words, for each word write down what Synonyma's you know, out of which cull out a Verse; Or seeking the principall words in Thesaurus Poeticus, from thence piece up a Verse.
• 3. If a word at any time be awanting to make up the measure, chuse out of Textors Epithets a proper and sutable Adjective.
• 4. Be carefull to express your sentence in a Poetical manner, using much the Tropes, especially Metonymia, Metaphora, and Peri­phrasis.

• 1. The greatest excellency of a Verse is, when the sound of the words or letters doth resemble the thing signifyed, as vordt aequore vertex.
  Multum ille & terris jactatus & alto.

  Ʋna Eurus (que) Notus (que) ruunt creber (que) procellis, &c.

  Insequitur clamor (que) virum stridor (que) rudentum.
• 2. Gravity, Majesty, Slowness, require Spondees, Lightness and Swiftness are expressed by Dactyls, otherwise let the feet be mixed, as, [Page 30]
  Olli subridens respendit ore Latinus.

  — Ea lapsa repente ruinam

  Cum soritu trahit & Danaum super agnima, &c.
• 3. Use a Sponde in the first place seldom, and a Monosyllable in the last place never, unless to express Gravity, Majesty, or Wonder, as,
  — Magnum Jovis Incrementum.

  Parturiunt Montes, nascetur ridiculus mus.
• 4. Verses run most pleasantly when no seet end a word, as, ‘Infandum regina jubes renovare dolorem.’
• 5. Let no verse end in a Fentasyllable, nor three Dissyllables, such as,
  Ambubaiarum collegia Pharmacopolae.

  Semper ut inducar, blandos offers mibi vultus.
• 6. Shun too many Collisions or Elisions, such as,
  Belli ferratos postes, portas (que) refregit.

  Monstrum horrendum informe ingens cui lumen ademptum.
• 7. Versus leonimi, viz. such as Rhime one part to another are absurd, as, O fortunatam natam me consule Romam. ‘E re terrenâ premanant mille venena.’
• 8. In a Pentameter never suffer an Elision betwixt the Penthimi­mers: Nor end otherwise then in a Monosyllable. And let the former Penthimimer end a word. For these are absurd.
  Non desistere am are omnia si facias.

  Deliciae populi qui fuerint Domini.

  Hac quo (que) nostra sententia mentis erat.

1. TRANSLATION.

Translation is when we turn Latine Verse into English or Greek, & contra: one sort of Verse into another: or Prose into Verse.

• 1. In all sorts of Translation be carefull to express the Sence clear­ly and intelligibly.
• 2. Ty not your self to the words, but take liberty to vary the ex­pression so, as may best accord with the Phrase and terms of the Language into which you translate.
• [Page 31]3. Where the Poet is obscure, you may enlarge, where he is prolix, you may contract, so will your Translation be concise and easily understood.
• 4. Endeavour as much as may be, to apply the proper terms of Art belonging to any Subject you Translate.

2. VARIATION.

Variation is when we express the same thing divers ways, either in the same or divers kinds of Verse. See above Rules of Variation.

3. IMITATION.

Imitation is when we take some choice passage of a Poet, and endeavour to imitate it in all the Excellencies of matter, arguments, order, parts, phrase, style, flowers, &c. See the Rules of Imitation. See also Hornes Manuduct. pag. 105.

4. CARMEN.

Carmen is a Paper of Verses made upon some common place, and hath like parts with a Theme, ut supra, onely you must be carefull to express the matter in a Poeticall manner and dress: using much the Tropes and Figures, especially Perl­phrasis, Metonymia, Metaphora, Exclamatio, &c.

5. EPIGRAM.

An Epigram is a short but witty Poëm, facetiously expressing the nature or quality of an action, thing or person.

• 1. An Epigram must be short, comprized within a Distich or two, or three at most.
• 2. Every Epigram must have a fancy, which is as it were its soul, the deeper or richer this fancy is, the worthier is the Epigram.

6. DIALOUE.

A Dialogue is a short, pithy, and witty Discourse betwixt two or more persons.

• 1. In all Dialogues we must especially observe the [...] or deco­rum of the speakers, viz. When, what, how much; How or af­ter what manner they ought to speak.
• 2. The choicest Dialogues are those which are framed upon the Pictures or Statues of the Gods, Goddesses, vertues, vices, as oc­casion, repentance, justice, fortune, the fates, the furies, the gra­ces, &c. Briefly demanding, and wittily rendring the reason of what Poets or Paintets have fansied concerning them, as,

Cum aquilâ portante Jovem Dialogismus.

Dialogus in Justitiam.

7. ECHO.

An Echo is a facetious kind of Poëm imitating the resounding Rocks, wherein the last Syllables of a Sentence repeated, give answer to a question in the same, or a divers, and sometime a contrary Sence.

• 1. The answer or repetition must be made at the end of every sen­tence, whether it be at the end or in the middle of the verse.
• 2. The answer sometimes onely affirms the same thing with the question, sometimes it doth contain something divers, contra­ry, like, greater, or lesser than the question, and the more un­expected the better.
• 3. The Persons speaking are sometimes onely the querent and Echo, sometimes the Poet historically relates the passage.
• [Page 36]4. The same letters are not necessary in Echo, so the sound be the same, or near it: the first Consonant may be changed, aspiration added, or taken away.
• 5. The repetition is most elegant in Dissyllables, as nearest a natu­rall Echo, yet Trissyllables or Monosyllables may be used. Example.
  Dic mihi quae gelidis habitas convallibus Echo

  Cur populus pacem sic modo clamat? amat.

  Ad divam pacem precibus concurpitur? itur.

  Ʋt damnum fugiat triste colonus? onus.

  Rusticus ergo iterum campos reparabit? arabit.

  Et tuto curret remige navita? ita:

  Omnia (que) evenient in mundo prospera? spera.

  Largaq, nec rerum copia deerit? erit.

  Si retulisti Echo mihi vera relata, voleto.

  Donec nostra iterum verba novabis, abis.

8. EPITAPH.

An Epitaph is a Poém writ upon the Herse, or Tombe of a decea­sed person, expressing the name, age, merits, state, dignity, praises, studies, kind of death or the like, in way of commise­ration or sorrow.

9. HYMNE.

An Hymne is a divine Poëm made in honour of the Gods.

• 1. In an Hymne to the true God; we recount his glorious attri­butes, and wondrous works done for his Church.
• 2. In Hymnes to the heathen Gods, the Poets used to set forth their Pedigree, Inventions, and Memorable Actions.
• 3. In Hymnes to Saints or Martyrs, Poets use to set forth their vertues and graces, with what is memorable in their lives, or deaths.

Hymnus ad Deum.

Hymnus Eulaliae Virgini.

10. ANAGRAM.

An Anagram is, when the letters of a proper Name, or other Title are made into a Sentence, which expresses the quality of the Person.

• 1. Write the Letters of the Name in dinstinct squares of Paper, which joyn severall ways till you light upon a fit Sentence.
• 2. When you have found an Anagram, make it up into a Distich, explaining the Sence thereof.
• 3. In Anagrams some liberty of taking in or leaving out a letter is indulged, so it be not Essentiall to the Name.

Galenus, Angelus. Anag.

Terra — Anagr. errat, terar.

11. ACROSTICH.

An Acrostich is a Poëm wherein the Initiall Letters of the Lines, make up ths Name or Title of a Person, or some other plea­sant Device.

Sometimes the Name, Motto, or Devise goeth crossways from Angle to Angle, writ in a larger Character.

An Alphabetical Acrostich on D^r Ailmer.

12. CHRONOSTICH.

A Chronostich is a Verse, or other Sentence whose Numerall Let­ters contain the time of some Memorable Action.

• 13. Epithalamium, or Verses upon a Marriage.
• 14. Genethliacum, upon ones Nativity.
• 15. Panegyricum, used at solemne assemblies.
• 16. Encharisticon, wherein wee give thanks.
• 17. Encomiasticon, wherein wee praise.
• 18. Apobaterion, when wee depart from any place.
• 19. Proseucticon, when wee beg any thing.
• 20. Dirae, when wee curse an enemy.
• 21. Palinodia, when wee recant an error, &c.

All these are made according to the Rules of Orations or Epi­pistles of the same kinde; onely in a phrase, slyle and dresse poëticall.

An Ode, Satry, Bucolick, Elegie, Emblem, Comedie, Trage­die, are above the reach of the Grammer School; onely Schollers may observe that the chief grace of an Ode is Ele­gantea: of a Satyr. Acrimonia: of a Bucolick, Simplici­tas: of an Elegy, Mollities: of an Emblem, witty device: of a Comedie, joci & lepôres: of a Tragedy, [...], & [...].