P R 3085 B7 1886 MAIN NOTES ON SHAKSPERE'S VERSIFICATION WITH APPENDIX ON THE VERSE TESTS, AND A SHORT DESCRIPTIV BIBLIOGRAFY. BY GEORGE H. BROWNE, A.M. SECOND EDITION. BOSTON: GINN AND COMPANY. 1886. NOTES ON IHAKSPERE'S VERSIFICATION. WITH APPENDIX ON THE VERSE TESTS, AND A SHORT DESCRIPTIV BIBLIOGRAFY. BY GEORGE H. BROWNE, A.M. , EPITTON, BOSTON: GINN AND COMPANY. 1886. Copyright, 1884, BY GINN, HEATH, AND Co. JOHN WILSON AND SON, CAMBRIDGE. B7 NOTE. THE following notes were hastily put together, just before an examination, for the purpose of supplying my own pupils with a concise orderly summary of the main features of Shakspere's Versification, and were preservd with the hope that in future classes I might be relievd of unnecessary expenditure of time upon what is a secondary, but by no means unimportant, subject in teaching Shakspere.* A few extra copies were printed from a desire to share the possibilities of this relief with other teachers, who, deploring the unscien- tific statement and chaotic ' arrangement ' of existing works on the subject, may likewise hav been forct unwillingly to omit the subject altogether. Of course, whatever value an outline like this may hav will depend mainly upon the accuracy and efiectivness of the illustrations. The most useful portion of the little pamphlet, therefore, will prove to be the blank pages, which hav been inserted for the reader to record his own examples on and to correct any misquotations which may hav escapd the very careful revision at the University Press. G. H. B. CAMBRIDGE, February, 1884. * It is needless to say that I hav drawn freely from ABBOTT'S Shakespearean Grammar and ELLIS'S Early English Pronunciation. Further illustrativ matter may be found in those works ; also in W. SIDNEY WALKER'S Versification of Shakespeare (London 1854) ; and in his Critical Examination of the Text of Shakespeare, 3 vols. (London, I860). 0. BA- THURST'S Changes in Shake spear e^s Versification (1857) is now out of print. The student of phonetics needs not to be reminded of the immense advantage familiarity with the "phonetic point of view" gives a student of prosody; nor the teacher of language phonetically, of the impossibility of efiectivly substituting arbitrary symbols for oral instruction. Some gain, however, may perhaps be made by following up, in the books quoted in the notes, the hints there thrown out. The best general work is SIEVERS' Grundzttge der Phonetik (Leipzig, 1881). The first chapter of STORM'S Englisclie Philologie (Heilbronn, 1881) contains excellent state- ments and criticisms of the best works on general phonetics from Merkel and Briicke to Henry Sweet. SWEET'S Handbook of Phonetics (London, 1877) is the most available book in Eng- lish. (MELVILLE BELL is already antiquated. ) The latest and best summary of the main fea- tures of this youngest of the modern sciences is in an article by MORITZ TRAUTMANN, Anglia, T. 688-598. More especially applicable to the points brought up in these notes is an excellent article by the same on the r sounds in English, in Anglia, III. 209. Those who still look with suspicion upon the intrusion of "phonetics," and shrink from " phonetic spellings" (even in ''ustrations) because they lack dictionary authority, are most respectfully referrd to the New 'iglish Dictionary, the first part of which has recently been publisiit. 224614 SHAKSPERE'S YEKSIFICATION. " The English heroic verse is usually stated to consist of ten syllables : it is better divided into five groups, each of which theoretically consists of two syllables, of which the second only is accented. . . . Practically, many of the groups are allowed to consist of three syllables, two of them being unaccented.* . . . The number of syllables may therefore be greater than ten,t while the accents may be, and most generally are, less than five.J If there be an accent at the end of the third and fifth group, or at the end of the second and fourth, other accents may be distributed almost at pleasure. The last group may also have one or two unaccented syllables after its last accent." ELLIS, Essentials of Phonetics, p. 77 (1847). || Now Shakspere's Sonnets are remarkably melodious, and conform to the strictest rules of rhythm and metre. The dramatic poetry, on the other hand, * " The limit of trisyllabic substitution is three feet out of five." J. B. MAYOR, Phil. Soc. Trans., 1875-76, p. 412. t " A verse may often have more than ten syllables, and more or less than five accents, but it must carry so much sound as shall be a satisfactory equivalent for ten syllables, and must have its accents arranged so as to content an ear prepared for five." J. A. SYMONDS, Fort- nightly Review, Dec., 1874. $ Abbott (453 a) states that about one line in three has the full number of emphatic ac- cents ; about two in four have four, and one out of fifteen, three. It is of more importance to remember, (1.) that the first foot almost always has an emphatic accent ; (2.) that two unem- phatic accents rarely, if ever, come together ; and (3.) that there is generally an emphatic accent on the third or fourth foot. " The true rule, I- suspect, is that you may invert the place of the accent (substitute for ) in any group except the last, provided you don't do it in two together." F. J. FDRNIVALL, N. Sh. Soc. Trans., 1874, 1. 27. || Cf. E. Eng. Pron., p. 333 (1869): " In the modern verse of five measures, there must be a principal stress on the last syllable of the second and fourth measures, or of the first and fourth, or of the third and some other measure. There is also a stress upon the last syllable of the fifth measure, but if any one of the three conditions above stated are satisfied, the verse is complete." " Is it not better to allow that three out of the five feet may be >-, without laying down the law as to the order in which they may come ? If I were disposed to make any more definite rule, I should prefer to say that in general it would be found that the fifth, and either the sec- ond or third foot, had the final accent." J. B. MAYOR, Phil. Soc. Trans., 1876, p. 452. " The chief defect in the rules is in regard to the fifth measure. The general condition is that the last syllable should not be weaker than the preceding syllable or syllables, and that, when it is actually weaker, it should be at least longer or heavier." ELLIS, ib. p. 464. is naiur&Uy mo^e irr?gv-l^r and cjivernfied ; for here the monotonous recur- rence of a uniform' ten-syllaDle line' with five regular accents would be par- ticularly inexpressive and offensive. The masterly art and delicate ry thmical feeling with which Shakspere avoided this monotony make him the most musical of all writers of blank verse. Of course, the most truly characteristic features of his inimitable rythm defy analysis ; but for the very reason that Shakspere was so sure a master, he did not, in his self-sufficient independence of metrical restraint, arbitrarily ignore all metrical laws. " Shakspere never mangles the type of his blank verse, consequently in every line five rythmic accents are always present or accounted-for : and it is in his method of ' accounting-for * them that Shakspere's mastery is so apparent, for it is the method of common speech, and his verse forever crowds the firm fabric of the type, as a canvas, with all the rythmical figures of every-day utterance." (SIDNEY LANIER, Science of English Verse, p. 215.) But the every-day utter- ance of Shakspere's time was in many particulars very different from our common speech. It is necessary, therefore, to realize something of the changd conditions of accent, pronunciation, etc., of Elizabethan English be- fore we can approach the subject of rythmic versification intelligently. Of these diversified conditions, the following may be mentiond as contributing most to the variety and beauty of Shakspere's dramatic verse : 1. The csesural pause. 2. The place of the accent. 3. Many syllables are con- tracted, now uncontracted. 4. Many syllables are expanded, not now allow- able. I. CAESURA. 1. The accent after a pause is frequently on the first syllable. Feed and regard him not. A're you a man ? Mcb. iii. 4. 58, et seep. Particularly at the beginning of the line. Rumble thy be*lly full ! Spit fire ! Spout rain ! K. L. iii. 2. 14. 2. An extra syllable is frequently added before a pause, especially at the end of a line.* 'T is not alone my inky cloak, good moth-er. H. i. 2. 77. We '11 have a swashing and a martial outside. A. Y. i. 3. 122. For mine own safeties ; you may be rightly just. Mcb. iv. 3. 30. For goodness dares not che'ck thee ; wear thoii thy wrongs, fb. iv. 3. 33. With all the honors on my brother : whereon. T. i. 2. 127. The extra syllable, however, is rarely a monosyllable : * Strictly speaking, there is no such thing in rythm as a really " extra" syllable ; what- ever time value there is in the bar is distributed among all the sounds in that bar, whether they be one, three, or none, that is, rests. For the identity of this variation with Chaucer a verse, see page 33, Ex. (4) ; and cf. p. 31, note. Cromwell, I charge thce, fling away ambf tion : By that sin fell the angels; how can man, then, The image of his maker, hope to win by 't? H 8 iii. 2. 441.* 3. Two extra syllables are sometimes allowd, if unemphatic, before a pause, especially at the end of the line. (These, however, are usually con- tracted (cf. III. 5, 6, 7, etc., below) ; there are of course but five accents. Vid. 2, note, and cf. V., below.) Look where he comes ! not poppy nor mandragora. O. iii. 3. 330. Is not so Estimable, profitable neither. M. V. i. 3. 167. Peruse the letter. Nothing almost sees miracles But misery. K. L. ii. 2. 172 ; Ib. i. 1. 225. I dare avouch it, sir; what, fffty followers ? Ib. ii. 4. 240. As you are old and reverend, you should be wise. Ib. i. 4. 261. Age is unnecessary ; on my knees I beg. Ib. ii. 4. 157. So, manacZes, Cor. i. 9. 57; ve"r%, Ib. v. 2. 18; jfalousy, H5 v. 2. 491; re'com- pense, T. C. iii. 3. 8 ; follow her, A. Y. iii. 5. 49; dieted, Cor. i. 9. 52; unmanwerfy, K. L. i. 1. 147. II. ACCENT.f 1. Some words, mostly dissyllabic, especially verbs, have the accent farther back than at present. ABBOTT, Gr., 492 ; ELLIS, E. Eng. Pron., 930, 931. The gentle archbishop of York is up With well-appointed powers. 2 H* i. 1. 119. I talk not of your soul : our compelled sins Stand more for number than account. M. M. ii. 4. 57. My conceal'd lady to her cancell'd love. R. J. iii. 3. 98. Good even to my ghostly confessor. R. J. ii. 6. 21. Let it work; For 't is the sport to have the e"nginer Hoist with his own petar. H. iii. 4, 203. So, ploner, Ib. i. 5. 162; mutiners, Cor. i. 1. 255. Labienus hath with his Parthian force Extended Asia from Euphrates. A. C. i. 2. 106. * Not Shatcspere's. The enumeration of these redundant syllables in H8 enabled Mr. Spedding, as early as 1850, to separate Fletcher's work from Shakspere's. Vid. N. Sh. Soc. Trans., I., Appendix, p. 14. t While it may not be necessary, evn for critical students, to read a permanent classic like Shakspere with his own pronunciation (which is now fairly well made out, cf. Ellis, E. Eng. Pron., Cap. VIII. 8), it is important for all to read him metrically ; and when we do aright, we find, not that Shakspere himself changd the accent " for the sake of the metre," but that since his time the regular accent of many words Ms changd. So with the resolutions, so calld ; it is we moderns who hav done the changing, by reading as one syllable what in Shakspere's time was two. And no observing student can fail to notice in the spokn lan- gnage of modern poetry many slurrd contractions and other apparent irregularities of Shak- spere's verse. It is when we try to print them that they seem " forced and unnatural " 8 So your sweet hue, which methinks still doth stand, Hath motion. Son. 114. (Walker, LVII.) Than twentj' silly-ducking observants. K. L. ii. 2. 109. Ay, do, perseVer, counterfeit sad looks. M. N. D. iii. 2. 237. So, H. i. 5. 162; perseverance, Mcb. iv. 3. 93. At Pentapolis the fair Thaisa. P. v. 3. 4. Cf. delectable, R2 ii. 3. 7; detestable, K. J. iii. 4. 29; horizon, 3 H<5 iv. 7.81; implorators, H. i. 3. 129; maintain, 1 H6 i. 1. 71; mature, K. L. iv. 6. 228; plebeians, Cor. v. 4. 39; A. C. iv. 12. 34; mankind, T. of A. iv. 1. 40; perspective, A. W. v. 3. 48; pursuit, Son. 143; purveyor, Mcb. i. 6. 22; receptacle, R. J. iv. 3. 39; relapse, H5 iv. 3. 107; successors, H 8 i. 1. 60. 2. Some words have the accent nearer the end than with us now. (" Latin [French] dissyllabic derivatives are oxytone." BEN JONSON.) ABBOTT, 490; ELLIS, 930, 931. I say without characters fame lives long. R 3 iii. 1. 81; H. i. 3. 59. Mark our contract; mark your divorce, young sir. W. T. iv. 4. 428 ; T. ii. 1. 151. Our wills and fates do so contrary run. H. iii. 2. 221. And world's exile is death: then banished. R. J. iii. 3, 20. That no revenue hath but thy good spirits. H. iii. 2. 63. Banisht this frail sepulchre of our flesh. R2 i. 3. 194. Cf. K. L. ii. 4, 134. By heaven, she 's a dainty one, sweetheart. H 8 i. 4. 94. As 't were triumphing at mine enemies. R 3 iii. 4. 91. Cf. abjdct, R 3 i. 1. 106; aspect, A. C. i. 5. 33; R 3 i. 1. 155; commerce, T. C. i. 3. 105; compact, J. C. iii. 1. 215; corner, 3 H6 iv. 5. 6; edict, 2 HS iii. 2. 258; exploits, HS i. 2. 121; instinct, Cor. v. 3. 35; obdurate, M. V. iv. 1. 8; opportune, T. iv. 1. 26; portents, O. i. 2. 45; J. C. ii. 2. 50; prescience, J. C. i. 3. 199; sinister, H 5 ii. 4. 85; triumph, 1 H 4 v. 4. 14; welcome, R 2 ii. 3. 170. 3. A word repeated in the same verse often has two accents the firs* time, and one the second ; or occupies a whole bar the first time, and onl> part of a bar the second ; and vice versa, according to emphasis. These violent desires have \i-olent ends. R. J. ii. 6. 9. Sti-ll so cruel ? Still so constant, lord. T. N. v. 1. 113. Cf. IV. 1. b. Of greatest justice. Wri-yte, write, Rinaldo. A. W. iii. 4. 29. Cf. IV. 2. a. Yield, Marcius, yi-eld. He-ar me one word. Cor. iii. 1. 215. Cf. IV. 1. a. 2. Give me that : patience, pa,-ti-ence I need. K. L. ii. 4. 274. Therefore and wherefdre sometimes have two accents ; never wherefore. How cam'st thou hither, tell me and wherefore. R. J. ii. 2. 62; K. L. ii. 4. 106. Make haste, therefore, sweet love, whilst it is prime. Son. 70. 4. Some words have a double accent. Try what repentance can ; what can it not ? Yet what can it, when one cannot repent? H. iii. 3. 65. Toward the end of Shakspere's career the modern pronunciation became prevalent, as shown in Your eld'st acquaintance cannot be three hours. T. v. 1. 185. Cf. I, myself, fight not once in forty year (?). 1 H 6 i. 3. 91. And banding thdmselves in contrary parts. 1 H 6 iii. 1. 81. But the modern pronunciation is more common. SCHMIDT (Lex. p. 1413) states the general rule that dissyllabic adjectives and participles throw the accent back before nouns accented on the first syllable, when that is in the arsis. E. g. the form cdmplete always precedes a noun accented on the first syllable ; complete is always in the predicate. Compare He is complete in feature and in mind. T. G. ii. 4. 73 ; and A maid of grace and complete majesty. L. L. L. i. 1. 137. That thou dread corpse again in complete steel. H. i. 5. 61. Also, And whom she finds forlorn, she doth lament. Lucr. 1500; and And from the forlorn world his visage hide. Sou. 33. Cf . Adverse, pernicious enemy. R 2 i. 3. 82 ; and Thy adverse party. Son. 35. Verse to constancy confined. Son. 105; and Forfeit to a confined doom. Son. 107. Of our despised nobility. H iii. 2. 291 ; and The pangs of despised love. H. iii. 1. 72. Romeo is Exiled. R. J. iii. 2. 133; and Calling home our Exiled friends. Mcb. v. 8. 66. Obscure and lowly swain. 2 H 6 iv. 1. 50; and His obscure funeral. H. iv. 5. 213. Profound simplicity. L. L. L. v. 2. 52; and These profound heaves. H. iv. 1. 1. Secure foolhardy king. R 2 . v. 3. 43 ; and Upon my secure hour thy uncle stole. H. i. 5, 61. Supposed sincere unholy in his thoughts. 2 H 4 i. 1. 202. Sir, in good sooth, in sincere verity. K. L. ii. 2. 111. So, contrived, corrupt, dispersed, distinct, distract, exact, exhaled, ex- pired, express, extreme, humane, profane, remiss, severe, supreme. Espe- cially adjectives and participles with the prefix un-. How shall your houseless heads and unfed sides. K. L. iii. 4. 30. ( Vid. Sch. 1. c. ff.) 5. Words in -ized and -ised throw the accent back (pron. ised). As I by friends am well advertised. R 3 iv. 4. 501. Why thy canonized bones hearsed in death. H. i. 4. 47. And when this arm of mine hath chastised, R 3 iv. 4. 331. Authoriz'd by her grandam shame itself. Mcb. iii. 4. 66. Of Jacques Falconbridge solemnized. L. L. L. ii. 1. 42. 10 6. French accent sometimes retaind. Young, valiant, wise, and, no doubt, right royal. R 3 i. 2. 245. So, reason, merchant, fortune, pardon, merc^. This Romance accent in blank verse, however, is commoner just before Shakspere (vid. SCHROEER, Die An- fange des Blankverses in England, Anglia IV. 15 if.) : palace, mountain, manure, envy, poison, season, honour, picture (SURREY); mischfef, entrailes (SACKVILLE); marriage, experience (GASCOIGNE); lions, christall, etc. (SPENSER, Visions of Belay)] hone'st, argue (LYLY). 7. Our spondee frequently trochaic in Shakspere. Hark, hark, the lark at heaven's gate sings. Cy. ii. 3. 21. I pray thee Launce, an if thou seest my boy, Bid him make haste, and meet me at the north gate. T. G. iii. 1. 258. On the bat's back I do fly. T. v. 1. 91. As hdrseback, now. I take thy hand, this hand, As soft as dove's down and as white as it. W. T. iv. 4. 374. So, jay's nest, T. ii. 2. 173; swan's nest, Cy. iii. 4. 142; wealth's sake, C. E. iii. 2. 6; fair-play,K. J. v. 1. 67. III. CONTRACTIONS. (ELLIS, 939, 940.) 1. Prefixes dropt. (ABBOTT 466; ELLIS, p. 939). (a)bove, Mcb. iii. 5. 31; (a)bout, T. i. 2. 220; (be)cause, Mcb. iii. 6. 21; (ac)count, H. iv. 7. 17; (be)havior, H. i. 2. 81; (a)larum, Cor. i. 4. 9; (be)nighted, K. L. iv. 5. 13; (an)noyance, H. iii. 3. 13; (ap)parel, K. L. iv. 1. 51; (com)plain, Jb. iii. 1. 39; (e)scape, oftn; 'scuse for excuse, 0. iv. 1. 80; (at)tend,H. iv. 3. 47. A soothsayer bids you (be)ware the ides of March. J. C. i. 2. 19. (Be)c6mes (en)d^ar'd by being lack'd. A. C. i. 4. 44. 2. th in the middle of a word oftn dropt after a vowel. (ABBOTT, 466.) In other the th is so completely dropt that it has becom our ordinary " or." So whether is oftn writn wh'er (K. L. ii. 1. 55), and nearly always so pronounct. Whether aught to us unknown afflicts him thus. H. ii. 2. 17. And whefAer he run or fly they know not whether. V. A. 51. 'Either Heav'w with light' ning strike the murderer dead, Or earth gape open wide. R 3 i. 2. 64. Glou. The king is in high rage. Corn. Whiter is he going? K. L. ii. 4. 299; A. Y. i. 3. 92. Tell me your counsels, I will not disclose 'em. J. C. ii. 1. 298. So, brother, R 2 v. 3. 137; further, 1 H* iii. 1. 257; hither, R3 i. 4. 250; thither, S i. 4. 78; rather, 0. iii. 4. 25; neither, M. V. i. 1. 78. 11 3. Contraction takes place when a vowel follows v. Cf. hast = havest; has = haveth or haves ; o'er = over; e'er = ever; evil = ill, as now. ILu-ing God, her conscience, and these bars against me. R 8 i. 2. 235. Cf. M. V. iii. 2. 124; V. A. 828; 1 H* iii. 1. 34; T. A. v. 1. 61 ; A. W. v. 3. 123. Travel you far <5n, or are you at the farthest. T. S. iv. 2. 73. No marvel, my lord, tho' it affrighted you. R 3 i. 4. 64. Cf. 'T is marie he stabb'd you not. B. Jonson, E. Man out H., v. 4. A deVil, a bor-n de'v-il, in whose nature. T. iv. 1. 188. (Cf. II. 3.) So also, Mcb. iv. 3. 56 ; H 5 iv. 1. 12; 1 H? i. 3. 85; cf. T. N. i. 5. 270. The spirit that I have scene May be a deale, and the deale hath power T' assume a pleasing shape. H. ii. 2. 627; Q2. Q3. So, dram of eale = evil (76. i. 4. 36) = ill, as now. Cy. v. 5. 60; K. J. iii. 4. 115; H&iv. 1. 5. 4. Final vocalic -r (-er, -re), -1 (-el, -le), m, and n, frequently resume the force of consonants, particularly before another vowel or h, with correspond, ing loss of syllable.* Report should render him hourly to your ear. Cy. iii. 4. 153. Read : ren-dV'zm. This letter he early bid me give his father. R. J. v. 3. 275. Read: le"Wr'e. Cowards fa-ther cowards and base things sf-re base. Cy. iv. 2. 26. And trouble deaf heaven with my bootless cries. Son. 29. Read: trull deaf. I 'd whisU' her off and let her drown the wind. 0. iii. 3. 262; K. L. iv. 2. 29. In the dark backward and abysm of time. T. i. 2. 50. Read: abys-mo/. The m&ssewgers from our sister and the King. K. L. ii. 2. 54; A. C. iii. 6. 31. Had we done so at first, we had drovew ^em home. A. C. iv. 7. 4. Read: we'd drov-wm. So, driven, 0. i. 3. 232; and Heavew, givera, etc., as in modern hymns. Needle in " Gammer Gurton's Needle " rymes wiihfeele. Cf. And griping it the needle his finger pricks. Lucr. 319. To thread the postern of a small needle's eye. R 2 v. 5. 17 ; K. J. v. 2. 157. Ct. 1 am a ge'nflman of a company. H 5 iv. 1. 39 ; gen'man, UDALL. * It must not be forgotn that the liquids 1, m, n, r, in English, as well as in the ancient languages (vid. Am. Jour. Philol., I. 3. 282), are sounds capable of being prolongd and suscep- tible of accent, and that consequently they can each form a syllable. ( Vid. Sievers, Phonetik, p. 29, sqq.) E.g. hev-n heaven, not heav-2w ; han-d/, not hand-e or handle. iSweet, 252, 254.) Vocalic m occurs, for example, in the vulg. pron. el-m for elm, and in abysm, chasw, prisnr. Final vocalic r, however, has for the most part becom the neutral vowel d (as in but). E.g., " thd writ-9," for "the writer." But the r reappears before a vowel, ' tha writa-r of books "; sometimes evn where it does not legitimately belong, as " the idea-r of it." ( Vid. Storm. Eng. Phil., 1. 92.) Now a large number of contractions in Shakspere arise from the surrender of this syllabic function of 1, m, n, and r. fid. W. D. WHITNEY, The Rela- tion of Vowel and Consonant, Oriental and Linguistic Essays, p. 277 sqq. 12 Aer, W. T. ii. 1. 20. Cf. For him were levere Aave at his beddes heede. CHAUCEB, Prol. C. T. 293. 5. The force of r is also effectiv in certain classes of words (the greater part of them composd of two short syllables), which are frequently con- tracted into one syllable, or occupy monosyllabic places in the line, chiefly when they are followed by vowels. E. g. : Ham. Perchance 't will walk again. Hor. I warrant it will. H. i. 2. 243. *' have cast off forever; thou shalt, I warrant thee. K. L. i. 4. 332. A barren detested vale you see it is. T. A. ii. 3. 92. And then they say no spirit dares stir abroad. H. i. 1. 161; T. i. 2. 215. Place barrels of pitch upon the fatal stake. 1 H 6 v. 4. 57. So, Clarence, 3 H 6 iv. 1. 9; alarwm, Mcb. v. 5. 51; Cor. ii. 2. 80; flour'shing, T. G. v. 4. 3; nourish, 2 HS iii. 1. 348 (cf. nurse). 6. The weakest unaccented syllable in polysyllables oftn slurrd over, particularly i. (See 5, ad Jin.) Judicious pun'shment! 'T was this flesh begot. K. L. iii. 4. 76. His short thick neck cannot be eas'ly harm'd. V. A. 627. Of smooth civiPty, yet am I inland bred. A. Y. ii. 7. 96. So, prett'ly, heart'ly, am'ty, qual'ty hostiPty, curios'ty, importunity, indign'ty, commun'ties, humid'ty, pur'ty; moiety, Son. 46. Hold thee from this forever. The barbarous Scythian. K. L. i. 1. 118. Our purpose necessary and not envious. J. C. ii. 1. 178. Thoughts speculative their unsure hopes relate. Mcb. v. 4. 19. Conjectural marriages making parties strong. Cor. i. 1. 198. (Cf. 10.) Innocent milk in it most innocent mouth. W. T. iii. 2. 101. 01 Iv. How now, Malvolio ! Mai. Ma'am, you 've done me wrong. T. N". v. 1. 336. Go thou to sanctuary and good thoughts possess thee. R 3 iv. 1. 94. Vid. Ellis, p. 948. So, blemish, W. T. iii. 2. 199; prom'sing, C. E. v. 1. 222; conference, Mcb. iii. 1. 80; majesty, A. W. ii. 1. 98; remedy, Mcb. iii. 2. 11; inventory, H 8 . iii. 2. 152; stillitory, V. A. 74; Bartholomew, T. S. Ind. i. 105; Haverford, R 3 iv. 5. 7; ig- nominy, M. M. ii. 4. Ill; Enobarbus, A. C. iii. 2. 55; par'lous = perilous, R 3 ii. 4. 35 ; canstick = candlestick, 1 H 4 iii. 1. 131. 7. Words in which a " light " vowel sound is preceded by a " heavy " vowel sound are slurrd into monosyllables. That 6n the view and knowing of these contents. H. v. 2. 44. The which no sooner had his prowess confirm' d. Mcb. v. 8. 41. And executing th' outward face of royalty. T. i. 2. 104. 13 So, being, doing, seeming, saying, playing, growing, tying, drawing, blowing, power, jewel. Cf. po'sy of a ring, H. iii. 2. 162. So, poetry and poet in Eliza- bethan writers. Sheriff, 2 H 4 iv. 4. 4 = shrieve. 8. ed following d or t oftn not writn and when writn not pronounct. For treason executed in our late King's days. 1 HS ii. 4. 91 ; v. 1. 169. Was aptly fitted and natwrally performed. T. S. Ind. i. 87. When service sweat for duty, not for meed. A. Y. ii. 3. 58. And I of ladies most deject and wretched. H. iii. 1. 163. The wild waves whist. T. i. 2. 379. MILTON, Nativ. Ode, 64. Cf. Abb. 341, 342, and vid. H. ii. 1. 112; A. Y. i. 2. 156; M. V. iii. 2. 169; M. Ado ii. 1. 189, etc.; H5 i. 2. 305; 1 H 4 v. 5. 13. Similarly two dental syllables are contracted into one. E. g. it after let, set, yet, etc. I humbly set it at your will; but for my mistress. Cy. iv. 3. 13. Yoii are a young huntsman, Marcus ; let it alone. T. A. iv. 2. 101. You see is kill'd in him; and yet it is danger. K. L. iv. 7. 79. 9. ed of participles and preterits (particularly after palatals) contracted into d (after k and s (sh) =t). Lay me stark-naked and let the water flies. A. C. v. 2. 59 ; H. iv. 7. 52. By what by-paths and indirect crook' d ways. 2 H 4 iv. 5. 185. Let hell make crook'd my mind to answer it. 3 H 6 v. 6. 79. Alack, for lesser knowledge ! how accursed (= ') In be"ing so bles*. W. T. ii. 1. 38. (Cf. III. 7.) T. i. 2. 61. What can happen To me above this wretchedness? All your studies Make me a curse like this. H 8 iii. 1. 122. Thus like a slave ragged, like a felon gyv'd. HEYWOOD. Sometimes contracted and uncontracted in the same line. Hence banished is banish'd from the world. E. J. iii. 3. 19. (Cf. II. 3.) To this unlook'd for, unprepared pomp. K. J. ii. 1. 560. That were embatailled and rank'd in Kent. Ib. iv. 2. 200. Despis'd, distressed, hated, martyr'd, kill'd. R. J. iv. 5. 59. 10. The plural and the possessive case of nouns in which the singular ends in s, se, ss, ce, and ge, frequently writn and more frequently pronounct without additional syllable. (WALKER, LI. ; ABBOTT, 471.) Doct. You see her eyes are open. Gent. Avj but their sense are shut. Mcb. v. 1. 29 ; Son. 112. The images of revolt and flying off. K. L. ii. 4. 91. I '11 to him; he is hid at Laurence' cell. R. J. iii. 2. 141. How many ways shall Carthage's glory grow. SURREY'S --