The Arte of English Poesie — Reading Companion

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Puttenham, George, 1529-1590 Project Gutenberg 2005 Not confirmed
Poetry -- Early works to 1800; English poetry -- History and criticism Readers of public-domain and historical texts
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Words 102,788
Reading time 447 min
Text sections 9

The source record for The Arte of English Poesie — Reading Companion measures this digital text at 102,788 words, 7 hr 27 min estimated reading time, and 9 detected text sections.

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Project Gutenberg metadata also associates the work with “Poetry -- Early works to 1800,” connecting these edition facts with the source record’s subject description.

George Puttenham's 1589 treatise classifies poetic devices into three books, using invented English terms like 'the Substitute' and 'the Figure of silence' alongside Greek labels, with examples drawn from courtly love verses and moral anecdotes.
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Poets were also from the beginning the best perswaders and their eloquence the first Rethoricke of the world. Euen so it became that the high mysteries of the gods should be reuealed & taught, by a maner of vtterance and language of extraordinarie phrase, and briefe and compendious, and aboue al others sweet and ciuill as the Metricall is. The same also was meetest to register the liues and noble gests of Princes, and of the great Monarkes of the world, and all other the memorable accidents of time: so as the Poet was also the first historiographer. Then for as much as they were the first obseruers of all naturall causes & effects in the things generable and corruptible, and from thence mounted vp to search after the celestiall courses and influences, & yet penetrated further to know the diuine essences and substances separate, as is sayd before, they were the first Astronomers and Philosophists and Metaphisicks. Finally, because they did altogether endeuor themselues to reduce the life of man to a certaine method of good maners, and made the first differences betweene vertue and vice, and then tempered all these knowledges and skilles with the exercise of a delectable Musicke by melodious instruments, which withall serued them to delight their hearers, & to call the people together by admiration, to a plausible and vertuous conuersation, therefore were they the first Philosophers Ethick, & the first artificial Musiciens of the world. Such was _Linus, Orpheus, Amphion & Museus_ the most ancient Poets and Philosophers, of whom there is left any memorie by the prophane writers King _Dauid_ also & _Salomon_ his sonne and many other of the holy Prophets wrate in meeters, and vsed to sing them to the harpe, although to many of vs ignorant of the Hebrue language and phrase, and not obseruing it, the same seeme but a prose. It can not bee therefore that anie scorn or indignitie should iustly be offred to so noble, profitable, ancient and diuine a science as Poesie is.

_How the wilde and sauage people vsed a naturall Poesie in versicte and time as our vulgar is._

And the Greeke and Latine Poesie was by verse numerous and metricall, running vpon pleasant feete, sometimes swift, sometime slow (their words very aptly seruing that purpose) but without any rime or tunable concord in th'end of their verses, as we and all other nations now use. But the Hebrues & Chaldees who were more ancient then the Greekes, did not only use a metricall Poesie, but also with the same a maner or rime, as hath bene of late obserued by learned men. Wherby it appeareth, that our vulgar running Poesie was common to all the nations of the world besides, whom the Latines and Greekes in speciall called barbarous. So as it was notwithstanding the first and most ancient Poesie, and the most vniuersall, which two points do otherwise giue to all humane inuentions and affaires no small credit. This is proued by certificate of marchants & trauellers, who by late nauigations haue surueyed the whole world, and discouered large countries and strange peoples wild and sauage, affirming that the American, the Perusine & the very Canniball, do sing and also say, their highest and holiest matters in certaine riming versicles and not in prose, which proues also that our maner of vulgar Poesie is more ancient then the artificiall of the Greeks and Latines, ours comming by instinct of nature, which was before Art or obseruation, and vsed with the sauage and vnciuill, who were before all science or ciuilitie, euen as the naked by prioritie of time is before the clothed, and the ignorant before the learned. The naturall Poesie therefore being aided and amended by Art, and not vtterly altered or obscured, but some signe left of it, (as the Greekes and Latines haue left none) is no lesse to be allowed and commended then theirs.

_How the riming Poesie came first to the Grecians and Latines, and had altered and almost split their maner of Poesie_.

Puttenham opens his treatise by defining a poet as 'a maker,' aligning the English term with the Greek poiein. The work is structured into three books: the first on poets and poesy, the second on proportion, and the third on ornament. Rather than a dry catalog, Puttenham invents vivid English names for rhetorical figures—calling hypozeuxis 'the Substitute' and aposiopesis 'the Figure of silence'—and illustrates each with short, often courtly verses. His examples frequently involve lovers, ladies, and moral scenarios, grounding abstract schemes in recognizable human situations.

The Printer's Address and Authorial Ambiguity

The volume begins with a letter from printer Richard Field to Sir William Cecil, explaining that the manuscript arrived 'with his bare title without any Authours name.' Field hesitated to present it to Cecil, fearing the subject 'so slender' as to be beneath a statesman, but ultimately deemed it a 'deuice of some noueltie' worthy of the Queen. This framing reveals the work's uncertain authorship—still debated—and its intended audience: the Queen for 'her recreation and seruice,' yet also learned men like Cecil. The printer's self-deprecating tone ('a feat of mine owne simple facultie') contrasts with the treatise's ambitious scope, hinting at the cultural prestige of poetic theory in Elizabethan England.

Coining English Terms for Classical Figures

Puttenham systematically translates Greek rhetorical terms into English, often with a moral or behavioral twist. For aposiopesis, he offers 'the Figure of silence' or 'of interruption,' and notes it suits 'phantasticall heads and such as be sodaine or lacke memorie.' He even recounts knowing 'one of good learning' who breaks off his tale at the flight of a bird. This blend of technical definition with character observation makes the treatise feel like a guide to both writing and social conduct. Similarly, hypozeuxis becomes 'the Substitute,' illustrated by verses where a single verb serves multiple subjects—as in 'My Ladie laughs for ioy, and I for wo.' Puttenham's coinages are not always elegant, but they reflect a deliberate effort to make classical rhetoric accessible to English readers.

Examples Drawn from Love and Morality

The excerpts show Puttenham favoring examples that involve romantic or moral dilemmas. For prolepsis, he might have used a lover's anticipation; for aposiopesis, he gives a man checking his sweetheart for whispering with a rival: 'And did ye not come by his chamber dore? / And tell him that: goe to, I say no more.' Another example describes a young man who avenges his father's death and mother's rape, with the word 'requite' serving 'a double sence: that is to say, to reuenge, and to satisfie.' These miniature narratives not only clarify the figure but also embed the treatise in a world of courtly intrigue and ethical action, where poetic skill is inseparable from social judgment.

The Figure of Silence and Interruption

Puttenham devotes unusual attention to aposiopesis, breaking it into subtypes based on the speaker's motive: fear, shame, anger, or sudden distraction. For fear, he quotes: 'He said you were, I dare not tell you plaine / For words once out, neuer returne againe.' For shame, the speaker trails off with 'goe to, I say no more.' For anger, a threat is left unfinished: 'I sweare by God, but let this be the last.' This taxonomy reveals Puttenham's interest in the psychology of utterance—how silence can communicate as much as speech. His remark that the figure is 'fit for phantasticall heads' suggests a link between rhetorical device and personality, a theme that runs through the treatise.

Readers approaching The Arte of English Poesie should attend to the interplay between classical learning and English vernacular. Puttenham's invented terms and his habit of illustrating figures with miniature dramas make the work as much a mirror of Elizabethan social life as a technical manual. The incomplete evidence of authorship and the printer's apologetic preface add layers of historical intrigue. For those interested in Renaissance rhetoric, this edition offers a direct encounter with a foundational text that shaped English poetic theory.

Puttenham’s invented figures—the Substitute, the Figure of silence—were the quiet scaffolding of thought, names for the shapes a feeling takes. Many evenings I’ve held his book, then set it down to recall how Cambridge Neighbors (from Literary Friends and Acquaintance) — Reading Companion lingers over the unspoken between old friends. Two treatises, really, on the same gentle arithmetic: what is said by what is left out.

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