Footnote 227: _Certain Notes of Instruction concerning the making of verse or rhyme in English_, ed. Arber (with _The Steel Glass_, &c.), pp. 31-41, London, 1868. Originally in the 4to edition of Gascoigne’s _Poems_ (London, 1575). Mr Spingarn sees indebtedness in it to Ronsard. Footnote 228: The observations of Ascham, Wilson, and the others being incidental merely. Footnote 229: “If I should undertake to write in praise of a gentlewoman, I would neither praise her crystal eye nor her cherry lip.” ----- He begins his attack by the modest and half-apologetic request, “This may seem a presumptuous order,” that, whatever the verse chosen be, it be regular, and not wobbling backwards and forwards between twelve and fourteen syllables on no principle. [Sidenote: _His_ Notes of Instruction.] Then he enjoins the maintenance of regular and usual accent or quantity; and in so doing insists on a standard in regard to which not merely Wyatt and Surrey earlier, but even Spenser later, were much less scrupulous. “Treasure,” he says, you must use with the first syllable long and the second short: you must not make it “treasùre.” And then he makes a very curious observation:— “Commonly nowadays in English rhymes, for I dare not call them English verses, we use none other order but a foot of two syllables,” to wit, the Iamb. “We have,” he says, “in other times used other kinds of metres,” as "No wight | in the world | that wealth | can attain,"[230] (_i.e._, anapæsts), while “our Father Chaucer had used the same liberty in feet and measures that the Latinists do use,” that is to say, syllabic equivalence of two shorts to a long. And he laments the tyranny of the Iamb; but says, “we must take the ford as we find it.” ----- Footnote 230: Gascoigne does not use this division, or ¯ and ˘ but ´ and ` for long and short, ~ (circumflex) for common, and indented lines ([dissyllabic] and [trisyllabic]) for dissyllabic and trisyllabic foot arrangements. ----- Then, after some particular cautions,—a renewed one as to quantifying words aright—“understànd,” not “undérstand,” &c., as to using as many monosyllables as possible (it is amusing to read this and remember the opposite caution of Pope),—he comes to rhyme, and warns his scholar against rhyme without reason. Alliteration is to be moderate: you must not “hunt a letter to death.” Unusual words are to be employed carefully and with a definite purpose to “draw attentive reading.” Be clear and sensible.[231] Keep English order, and invert substantive and adjective seldom and cautiously. Be moderate in the use also of that “shrewd fellow, poetical licence,” who actually reads "hea|ven" for "heavn"![232] ----- Footnote 231: “For the haughty obscure verse doth not much delight, and the verse that is too easy is like a tale of a roasted horse.” Footnote 232: