vpon the last sillable: but in words _monosillable_ which be for the more
part our naturall Saxon English, the accent is indifferent, and may be
vsed for sharp or flat and heauy at our pleasure. I say Saxon English, for
our Normane English alloweth vs very many _bissillables_, and also
_triffilables_ as, _reuerence, diligence, amorous, desirous_, and such
like.

_CHAP. VII._

_Of your Cadences by which your meeter is made Symphonicall
when they be sweetest and most solemne in a verse._

As the smoothenesse of your words and sillables running vpon feete of
sundrie qualities, make with the Greekes and Latines the body of their
verses numerous or Rithmicall, so in our vulgar Poesie, and of all other
nations at this day, your verses answering eche other by couples, or at
larger distances in good [_cadence_] is it that maketh your meeter
symphonicall. This cadence is the fal of a verse in euery last word with a
certaine tunable sound which being matched with another of like sound, do
make a [_concord_.] And the whole cadence is contained sometime in one
sillable, sometime in two, or in three at the most: for aboue the
_antepenultima_ there reacheth no accent (which is chiefe cause of the
cadence) vnlesse it be vsurpation in some English words, to which we giue
a sharpe accent vpon the fourth as, _Honorable, matrimonie, patrimonie,
miserable_, and such other as would neither make a sweete cadence, nor
easily find any word of like quantitie to match them. And the accented
sillable with all the rest vnder him make the cadence, and no sillable
aboue, as in these words, _Agillitie, facillitie, subiection, direction_,
and these bissilables, _Tender, slender, trustie, lustie, but alwayes the
cadence which falleth vpon the last sillable of a verse is sweetest and
most commendable: that vpon the _penultima_ more light, and not so
pleasant: but falling vpon the _antepenultima_ is most vnpleasant of all,
because they make your meeter too light and triuiall, and are fitter for
the Epigrammatist or Comicall Poet then for the Lyrick and Elegiack, which
are accompted the sweeter Musickes. But though we haue sayd that (to make
good concored) your seuerall verses should haue their cadences like, yet
must there be some difference in their orthographie, though not in their
sound, as if one cadence be [_constraine_] the next [_restraine_] or one
[_aspire_] another [_respire_] this maketh no good concord, because they
are all one, bu