Puttenham is not averse to the use of classical metres, but as a conservative he considers all sudden innovations dangerous.[550] The system he adopts is not unlike Harvey's. Sidney's original enthusiasm for quantitative verse soon abated; and in the _Defence of Poesy_ he points out that although the ancient versification is better suited to musical accompaniment than the modern, both systems cause delight, and are therefore equally effective and valuable; and English is more fitted than any other language to use both.[551] Campion, like Ascham, regards English polysyllables as too heavy to be used as dactyls; so that only trochaic and iambic verse can be suitably employed in English poetry.[552] He suggests eight new forms of verse. The English accent is to be diligently observed, and is to yield to nothing save the law of position; hence the second syllable of _Trumpington_ is to be accounted long.[553] In observing the law of position, however, the sound, and not the spelling, is to be the test of quantity; thus, _love-sick_ is pronounced _love-sik_, _dangerous_ is pronounced _dangerus_, and the like.[554] III. _Other Evidences of Classicism_ With Campion's _Observations_ (1602) the history of classical metres in England may be said to close, until the resuscitation of quantitative verse in the present century. Daniel's _Defence of Rhyme_ effectually put an end to this innovation; but the strong hold which the movement seems to have had during the Elizabethan age is interesting evidence of the classical tendencies of the period. Ben Jonson has usually been regarded as the forerunner of neo-classicism in England; but long before his influence was felt, classical tendencies may be observed in English criticism. Thus Ascham's conservatism and aversion to singularity in matters of art are distinctly classical. "He that can neither like Aristotle in logic and philosophy, nor Tully in rhetoric and eloquence," says Ascham, "will from these steps likely enough presume by like pride to mount higher to the misliking of graver matters; that is, either in religion to have a dissentious head, or in the commonwealth to have a factious heart."[555] His insistence that it is no slavery to be bound by the laws of art, and the stress he lays on perfection of style, are no less classical.[556]