THE SCHOLARS GUIDE From the ACCIDENCE to the UNIVERSITY.  
OR, Short, Plain, and Easy Rules for performing all manner of Exercise in the Grammar School, viz.  
RULES for Spelling, Orthography, Pointing, Construing, Parsing, making Latin, placing Latin, Variation, Amplification, Allusion, Imitation, Observation, Moving-passion.  
AS ALSO RULES for making Colloquys, Essays, Fables, Prosopopaeia's, Characters, Themes, Epistles, Orations, Declamations of all sorts.  
TOGETHER WITH RULES for Translation, Variation, Imitation, Carmen, Epigrams, Dialogues, Echoes, Epitaphs, Hymns, Anagrams, Acrostiches, Chronostiches, etc.  
By Ra. Johnson Schoolmaster.  
Etsi omnia à veteribus inventa essent; hoc tamen semper novum erit usus &c inventorum ab aliis scientia & dispositio.  Seneca. 
LONDON, Printed for The Pierrepont at the Sun in St Paul's Churchyard. 1665   

To the Reader.  
READER,  
THou mayst justly wonder, that after so many elaborate Pieces written by the most Learned and Experienced Pens (both in Latin and English) upon this Subject, I should suffer these Childish and Unpolished lines to see the light: But who so looketh into our Grammar-schools, may more justly wonder to see so little improvement of those worthy means which this age enjoys. Many who take in hand to instruct Youth, requiring no Exercise at all, or however no way suitable to the Books that are read in their Schools: others exacting brick but affording no straw, charging Exercise upon their Scholars, yet neither showing how it may, nor (which is worse) observing that it be performed. I have for some years, and not without profit made use of these short Rules, each evening examining, explaining, enlarging upon them, and propounding examples thereof. And now to save the labour of transcribing, I have caused them to be Printed. The Rules are not mine, save some few which in teaching I have observed, The most of them I gathered from Vossius, Macropedius, Clark, Aphthonius, Buchlerus, Horn and others: I only have for memory's sake brought them into this method, and which none ever yet would stoop to do, have expressed them in a low and familiar language, such as a Child doth readilyest apprehend. If any one (who is not better provided) please with me to make use of them, I fear not he shall complain of his labour lost:  
— Si quid novisti rectius istis,  
Candidus imperti, si non his utere mecum.   

Lincensed according to Order.   


RULES' of Spelling.  

I. EVery Syllable must have a Vowel (a, e, i, o, u, y,) for without one of these there can be no sound.  
II. The Consonant must be taken to the following Syllable, as Adam, a-men, not Adam, am-en.  
III. If there be two Consonants together, the one goes to the former Syllable, the other to the latter, as, mel-lis, folly, for-mer, ab-sent.  
iv Two Consonants in the middle of a word may not be parted, if in that language they may begin a word, as, a-stray, e-spy, cancri, atlas'.  
V Compound words are commonly resolved into their parts, as, trans-co, perago, sustuli, upon, ad-ore    

RULES of Orthography.  

1. Accustom yourselves to pronounce the words as you read them, very distinctly, or by Syllables, for as you use to pronounce them so will they settle in your memories.  
2. Observe the Radix of words, and the Supines of Verbs, and they will direct to write right, thus you may know that Mansion is written with (s) station with (t) Schism with (sch) because they come from Mansum, Statum, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉.  
3. (s) must not be written after (x) as, excribo, not exscribo, exul, not exsul, yet in compound words sometimes, Autl ours use it.  
4. The first letter in a Sentence, all Proper Names, remarkable Appellatives, and (I) per se, must be written with great letters, as, Thomas, London, Colonel, Parliament, Precedent.  
5. These terminations are Latin, not English, us, ans, ens, on's, am, n, u, i.  
6. These terminations of the same sound as English not Latin, ous, ance, ence once, ome, ay, ve, or ewe, y, or ie.  
7. Some English words are not pronounced as they are writ, or have redundant Letters, as, people, reign, razed, tongue, debt, rogue, beauty, public, goal, isle.  
8. Some words are pronounced alike, but writ diversely, as, hair, hare; bear, beer, bier: rain, reign: their, there.  
9 When a word is pronounced flatly or long, it must have an (e) at the end, but when sharply, or short, it must have none, as, non, none, quite, quit, stat, state, us, use, writ, writ.  
10. Writ not (e) after (g) in the end of a word, unless when (g) hath the sound of (j) Consonant, as, strante, change.    

RULES for Pointing.  

1. A Comma (,) used at the end of every sentence, and in verse, when words are displaced.  
2. A Colon (:) used in the middle of a period consisting of two equal parts.  
3. A Period (.) used at the end of perfect sentence, viz. when the sense is finished.  
4. A Parenthesis () used when a sentence is put within another, which yet may be left out, and the Sense not destroyed, as, Parve (nec invideo) sine me liber ibis in urbem.  
5. A note of Interrogation (?) used when a question is asked, as, Cujum pecus, and Melibai?  
6. A note of Exclamation (!) used when we express any thing with wonder, as, heu pietas!  
7. A Subunio (-) used 1. when two whole words are united, as, pale-faced. 2. when one part of the word is writ at the end of the line, and the other at the beginning of the next.  
8. A Dialysis (¨) used when a diphthong is parted into two Syllables, as. pictäi, aquäi, poëma.  
9 An Induction (⁁) used to bring in a word interlined.  
10. An Apostrophes (’) used when a letter is cast out, as, dix ’ tin ’ for dixistine.  
11. A note of Quotation (”) used in the Margin, when we quote a Sentence out of an Author.  
12. An Acute tone (´) used to distinguish doubtful quantities, as, cécidit, cecídit.  
13. A Grave tone (`) used to distinguish adverbs from other words, as, stultè, unà, seriò, palàm.  
14. A Circumflex tone, () used 1. over Ablative cases of the first, 2. Genitive cases of the fourth Declension, 3. Words Syncopated and contracted, as, musâ, manûs, amâsti, tibîcen.    

RULES' for construing Grammatically.  

Praecognita.  
1. Read over the Sentence of a period, observing the general scope of the matter.  
2. Find the principal Verb, viz. the first which is not the Infinitive Mood, nor hath a Relative or Conjunction before it.  
3. By ask the question who, or what? find out the Nominative case. This done;   

Rule.  
1. Take the Vocative case, or what supplies the place thereof, as, Adverb, Conjunct. Interject.  
2. Take the Nominative case, and what depends thereon, as, Adjective, Genitive case, Gerund.  
3. Take the Verb with what depends thereon, as, Adverb, Infinitive mood, Participle, Supine.  
4. Take casual words in this order, 1. Thing, 2. Person, 3. The rest in order of cases, as, ¹ dedit ³ mihi ² vestem ⁴ pignori ⁶ te-praesente ⁵ propriâ-manu. ² Jupiter ¹ O ⁵ mibi ¹ si ⁴ juveniles ³ redderet ⁴ annos.  
5. When any casual word hath much depending on it cast it back to the last place, as, ³ vitam-tuam-suppliciis-justis-debitisque-ere-ptam ² fugae ¹ mandato.  
6. Relatives and Interrogatives cross this order, being taken before the Verb which they should follow, as, ¹ Quantum ¹ quisque ⁴ suâ ¹ nummorum ³ servat ⁴ in-arcâ, etc.  
7. A Parenthesis, or Subjunctive sentence must be construed alone, and taken where the sense gives best room, sometimes in the beginning, but most usually after the Nominative case.  
8. Be sure in construing ever to avoid nonsense, and breach of Grammar rule.    

RVLes for construing Rhetorically.  

1. Give every Phrase or Proverb a suitable English one, and construe the whole Phrase or Proverb together, as, Sator hominum atque deorum, Jupiter. Ad graecas calendas, at latter Lammas.  
2. When a word hath various significations, choose that which may best express the sense, as, colere Deum, to worship God: colere parents, to honour one's parents: colere sylvas, to haunt the woods: colere agros, to till the fields, etc.  
3. Be careful to express terms of Art by proper English terms, as,— viscera nudant, they paunch, vela dabant ventis, they hoist up sails.  
4. Resolve Infinitive moods, and words put absolute, as, te venisse, that thou art come: Me duce, when I am Caplain: interjecto tempore, after a certain time: Saturno rege, while Saturn ruled.  
5. Express Impersonals, and Passives with their casual words Personally and Actively, as, tibi licet, thou mayest: vivitur ex rapto, men live by plunder.  
6. Always endeavour to carry on a proper English style, choosing such expressions as may best fit the matter in hand.    

RULES' for parsing.  

1. Read over the sentence distinctly, find the Verb, and so the Nominative case.  
2. Inquire by your Rules what Declension, Number, Gender, Person, Species, Figure your Nominat. is of.  
3. Inquire of what Conjugation the Verb is, what it maketh in the Perfect tense, what in the Supine, what Mood, Tense, Number, Person, as also what kind, Species, and Figure.  
4. Take next the casual word of the thing, govern it on the next word before which cannot be lest out, but destroy the sense.  
5. Do the like in order with the other casual words according to their nature, and rule.  
6. When you have a Relative, put ille in the same case and you may see its Government by construing the Sentence, as, cui similem non vidi, non vidi similem illi.  
7. When you have an Adjective, search what Declensions it is of, what Species, what Degree of Comparison, and what is its Substantive, unless it be put absolute in the neuter Gender, for than it hath none.  
8. In Parsing all words be sure to inquire for the Radix, whether it be Latin or Greek.    

RULES' for making Latin Grammatically.  

Praecognita.  
1. Learn to know of what parts any Sentence propounded doth consist, viz. the Nominat. Verb, and casual words, with what depends on them.  
2. Learn to know and distinguish by the sense and signs all sort of casual words, viz. of the thing, person, place, time, cause, crime, space, instrument, price, etc. and what case they are used in, with the Exceptions.   

Rule.  
1. Read over the Sentence, and if there be a Vocative case, or any thing in stead thereof, make that first.  
2. Find out the Nominative, see what number it is of, put it in that number, and write it down.  
3. If any thing depend on the Nominat. as Gen. case, Adjective, Gerund, or Subjunctive sentence, make that first. Then,  
4. Come to the Verb, find what mood and tense it is, from it in that mood and tense according to its Conjugation, and put it in the same Number and person the Nominative case is.  
5. Make next the Infinitive mood, Gerund, Supine, Adverb or what else doth depend on the Verb.  
6. Put the casual word of the thing in the Accusat. case, the person in the Dat. the rest according to your Rules.  
7. If you have a Verb, or Adjective which will properly Govern a case, such as, satago, memini, opus, utor, natus, etc. be careful to put the right case after it.  
8. When you doubt what case any Noun or Verb will govern, if Grammar will not determine, consult with some Author, or the Dictionary, Cowper, Thomas, etc.  
9 When you have a relative, ask the question who, or what? and thereby find the antecedent, and therewith make it agree in Gender, and Number; and if it be not the Nominat. to the Verb, make it such case as the Verb, or other word whereof it doth depend, will govern.    

RULES' for making Latin Rhetorically.  

1. In reading Authors, mark out and remember all Latin Phrases, that so when you meet with any English Phrase, you may render it in proper Latin.  
2. When you have an English Phrase, and know not a Latin one for it, turn your phrase into Latin according to the sense, not the words; as, I will not deal doubly, say, Non utar fraude malâ, not, non agam dupliciter.  
3. Care not to render a sentence word by word, but change it so as the Latin may be handsomest, and most agreeable to a Latin style, as, he must needs grieve that's wronged, non potest non dolere qui laesus est, or fieri non potest quin doleat cui fit injuria.  
4. The Latin tongue loves Verbals, Participials, Gerundives, and Participles of the future in rus.   
Est mihi oblectamento, Rather than Me oblectat. Ad emendas merces,  emeret merces. Redempturus filiam,  redimeret filium.  

5. When the English sets the Preposition at the end of the sentence, or after the Verb, in Latin set it in composition before the Verb, as, pull me out, Eripe me: get thee away, Eripe re● cast thy eye back, retorque oculum.  
6. Remember to cast away quòd or ut, turning the Verb into the Infinitive mood: to make Ablative cases absolute by casting away Dum, cùm, quando, si, postquam, quanquam: to express Actives sometimes by Passives, and Personals by Impersonals: to make have by est or suppetit: and to observe such other Grammar rules as have most Elegancy, as,   
Gaudeo te venisse, Rather than Gaudeo quòd venisti. Appetente hieme, Cùm appeteret hiems. Laudatur ab omnibus, Omnes laudant. Miserè vivitur, Miserè vivunt. Rerum suppetit usus. Habet usum rerum.   

RULES for placing Latin.  

1. Read the best Authors by periods, viuâ voce, thereby their stile will be secretly instilled into your minds.  
2. Avoid the craggy concourse of many Consonants, and the gaping of many Vowels, temper one with the other, so as a Vowel ending, the next word may begin with a Consonant, & vice versâ, as, Quousque tandem abutere patientiâ nostrâ Catilina?  
3. Place the word last wherein the Emphasis of the sentence doth lie, as, — Caesare fortiorem legimus neminem. So in the Example next above.— Where these Rules permit,  
4. Place the casual word first, the Nominat. in the middle, and the verb last: as, Galliam Caesar occupavit, Religionem pauci colunt.  
5. Between the Adjective and his Substantive, likewise between the Preposition and his case put a Genitive case or other Particle, as, Innumeras hostium copias Caesar fudit: omnis enim perturbatio, etc.  
6. Comparatives, Superlatives, and Nouns of multitude must be set after their Substantives, as, sceleratos omnes Catilina unus superavit.  
7. Polysyllable Ajectives elegantly begin and end sentences, as, Miserrimi sunt omnes inglorii.    

RULES' of Variation.  

1. Express your sentence in proper, choice, and purely Latin words, without barbarism or Solaecism, as, fecit mihi potestatem abeundi, not dedit mihi licentiam.  
2. By Synonyma's or words signifying the same thing, as, Literae tuae magnopere me delectârunt: Epistola tua fuit mihi oblectamento: fuit mihi voluptati.  
3. By tropes or figures, viz. 1. Periphrasis, as, homo sapientiae studiosus, pro Philosopho: cubito se emungit, pro salsumentario: ars bene dicendi, pro rhetorica. 2. Metaphora, as, fluit oratio: buccinare laudes: 3. Allegoria, as, flamma fumo proxima. 4. Mitonymia, as, Bacchus, provino; Vcalegon pro Domo: ferrum pro gladio. 5. Synecdoche, as, capus, pro homine: Hannibal: Adria.  
4. Express the Active by the Pastive, Or Personal by Impersonal: & contura, as, Virgilius legitur à me: ego lego, etc. Starur ab illis: illi stant.  
5. Change the Verbs into Verbals or Participles, as quae nocent, docent; nocumenta, documenta: ut emerem libros: empturus libros:  
6. Express the sentence by the contrary or negative, as, semper, dum vivam, tui meminero: nunquam dum vivam tui non meminero.  
7. Express the sentence by Interrogation, Admiration, or Aporia, or Ironia, as, Num tui me unquam qucat capere oblivio?  
8. Vary the sentence by the rules in Grammar, viz. Est pro habeo: The English of the Infinitive mood: Gerunds turned into adjectives, etc. as, habeo pecuniam est mihi pecunia; suppetit mihi pecunia. Huc veni ad emendum: emptum: empturus; ut emerem: causâ emendi: ad emendos libros.    

RULES' of Amplification.  

1. A sentence is amplified by reckoning up all the parts included within the General heads of the Theme. ex. gr. love conquers all men: here amplify men, by reckoning up all there under included, as, poor, rich: wise, foolish: young, old: Prince, peasant, etc.  
2. By handling the Antecedents, concomitants, and consequents of things ex. gr. theft, the Anteced. crafty looks and gestures. Concom. fear. Conseq. shame, fear, etc.  
3. By showing the causes, grounds, or occasions of the matter in hand.  
4. By Diatypósis or a particular description of each circumstance ex. gr. if we describe the ransacking of a City, we shall mention, houses burned, virgins ravished, temples ruined, young men murdered, etc.  
5. By digressions, or stepping aside to other matters, which notwithstanding bring light to the subject in hand, especially from the Hypothesis to the Thesis.  
6. By Comparisons or Similes illustrating the argument; taken from things artificial or natural, from things in heaven, earth, or sea.  
7. By Congeries, or heaping up many sentence signifying all the same thing in substance: ex. gr. we must all die, Calcanda lethi semel via: nullum saeva caput Proserpina fugit: Seriùs aut citiùs sedem properamus ad unam.  
8. By Definitions or Descriptions various in words but one in Substance, as, mare est fons imbrium, hospitium fluviorum, Inventio commeatuum, it incrum compendium, etc.  
9 By Rhetorical figures, as, Prosopopeia, Apostrophe, periphrasis, correctio, Aporia, etc.  
10. By showing the good or evil of the contrary. ex. gr. if we treat of Sobriety, show the evil effects of drunkenness, it wastes the estate, consumes the body, etc.  
11. By producing examples, Apothegms and Testimonies out of Authors, viz. Poets or Historians.    

RULES of Allusion.  

1. It is hand some to allude to the various significations, or nearness in sound of Hebrew, Greek, Italian, Saxon words, or of any other Language, as what we call a Grave the Welsh call a bed, so near a kin are death and sleep.  
2. We may allude to Sentences of Authors, applying them to another matter. ex. gr. de amore dicere possumus, quod olim Seneca de ira, furor brevis est. We may say of drunkenness as the Poet did of love, raptam tollit de cardine mentem.  
3. We may allude to persons, as, altar Hercules, alia Minerva: a second Alexander: Vsque adeo Demeae: Si fueris Thraso nusquam decrit tibi Gnatho. Thus persons notable for any virtues or vices may be used as Appellatives.  
4. We may allude to memorable actions, ex. gr. he consumes his estate. In exstruendo mari, & montibus coaequandis. Alluding to Xerxes.  
5. We may allude to the manners or customs of Nations, ex. gr. The Baeotians used to burn the Axletree of the Coach that brought home a Bride: intimating that she being once married, might never return from her husband: We worship the rising Sun.  
6. We allude to places, as, Qui sub zonâ torridâ persecution● degunt: quasi in insulis Fortunatis natus. Thus, Psittacorum regio, Terra del fogo, Mare Pacificum, and the like may be alluded to.  
7. We may allude to occasions of Proverbs, as, His plots are as undiscoverable, as if he had Gyges' ring.  
8. We may allude to any observable thing in nature or Art, Viz. Stars, Meteors, Birds, Beasts, Fishes, Plants, Stones, etc. He is the rising Sun. Thus, Stella cadens, ignis fatuus, the Stork, the Panther, the Remora, the Turn-sol, the Magnet, and a thousand such may be alluded to.    

RULES' of Imitation.  

1. Observe the parts of such Sentences as you would imitate.  
2. Take another subject and make your sentences of the same parts, putting Noun for Noun, Verb for Verb, Adverb for Adverb, etc. as, The love of money is the root of evil: The fear of God is the spring of Wisdom.  
3. When you would imitate a whole speech, strive to make like style, phrase, and length of Periods.  
4. Where the Author useth any interrogations, Admirations, Epiphonema's, Similes, Examples, Allusions, digressions, do you the like.  
5. Observe from what heads your Author fetcheth his Arguments, as, cause, effect, subject, Adjunct, à pari, à minore, à majore, à simili, à contrario, etc. and fetch yours thence also, if the matter will permit.   
See Examples hereof in Horn's Manuduct. pag. 88 The fountains of Eloquence whence Scholars must draw forth, and lay up matter for Exercises.  

1. Histories, remarkable and applicable, See Plutarch, Florus, Justin, Pliny, Livy, Tacitus, Sallust, etc.  
2. Fables choice and witty. See Ovid's Metam. Aesop. 1. Natal. Comes, Rosse's. Mystag. Poeticus.  
3. Proverbs witty and best known. See Erasmus Chil. Clarks Proverbs.  
4. Hierogliyphicks, most significant and apposite. See Nich. Causinas', Pierius. Clem. Alexandrinus.  
5. Emblems, Symhols, Impresses, upon the Coins or Arms of Emperors or other great Person, Pictures of the Heathens Gods, Geaces, Furys, Fates, Virtues, etc. See Rousner, Quarles, Alciat, Cambden.  
6. Laws and Customs of the Jews, Greeks, Romans, Egyptians, Saxons, etc. See Godwins Antiq. Leo Modena, Plutarch, Verstegan, Olaus Magnus.  
7. Neat and Significant Sentences, and Apothegms, out of Tacitus, Sallust, Livy, Tully, Licosthones, and the Poets.  
8. Rhetorical sigures especially such as adorn an Oration, or move the Passions. See Vessius, Faruaby, Vicars, Butler.  
9 Topics of Logic, or heads from whence arguments are drawn, viz. Causes, Effects, Subjects, Adjuncts, Contraries.  
10. The whole Series of Natural and Artificial things, especially Pyramids, Labyrinths, Temples, Palaces, Shops of Artists, Meats, Merchandise, Stones, Plants, Fish, Fowls, Stars, etc.   
Collections out of choice Authors under these heads, will serve in all manner of Exercise, for Exordiums, Similes, Testimonies, Allusions, and other Ornaments.   

RULES' of Observation.  
In reading Authors (besides the above recited particulars) Scholars must diligently observe, and treasure up in memory.  

1. All choice single words, especially, such as agree in sound with the thing signified, as, Boatus, mugitus, ululatus, lugubris, vortex, tinnio, clangor, stridor, fragor, etc. 2. Such as both by use and Etymology appositely express the thing signified, as, philomela, sacrosanctus, sartus-tectus, praeter-propter. 3. Such whose signification is very large, or hardly to be expressed in other words, as, colo, s●ringo, mereor, tenor, Idea, tinctura.  
2. All choice Phrases or Idiotisms of the tongue whether Poetical, Historical, or oratorical; together with Congruous and Significant Epithets, Neat Periphrases, and Descriptions.  
3. All choice strains of Eloquence fit to be imitated, such be, Non feram, non patiar, non sinam: pleni sunt omnes librí, plenae sapientium voces, plena exemplorum vetustas: nullo possessio firmior constantior nulla: Obsequium amicos, veritac odium parit.  
4. The Rhetorical Analysis, viz. the parts of which any Oration doth consift, the heads from whence the Arguments are drawn, as also, what passions are moved and from what heads.  
5. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, or the heights of Eloquence, viz. when an Author doth express a passion, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, or other Action to the life, so that nothing can be said further. Such be, Seneca.   Med. 
Mens intus agitat vulnera, & caedem, & vagum  
Funus per artus, levia memoravi cinnis:  
Haec virgo feci, gravior exurgat dolour.  
Majora jam me scelera post partus decent.  Ja. 
Infesta memet perime. Med. misereri jubes.   

RULES' for moving the Passions.  

1. Fear is moved, 1. By setting forth the greatness of the approaching evil. 2. By showing that it is near at hand. 3. By producing examples in like cases, or prodigies.  
2. Confidence and hope are moved, 1. By showing that the Dangers or evils may be or have been escaped by us or others. 2. By reckoning up the convenient means, or helps, which we have and others want. 3. By persuasion of Divine favour from prodigys', prophecies, or common voice of the people.  
3. Shame is moved, 1. By setting forth the baseness of the fact, 2 Or the signs of baseness in the parties or their relations.  
4. Joy is moved, 1. By recounting our former miseries, 2. By exaggerating our present happiness.  
5. Anger is moved, 1. By showing the heinousness and indignity of the fact, 2. The Innocency, virtue, dignity of the person injured, 3. The vices and contemptible condition of the person injuring, 4. That the injury extends not only to the present, but to posterity.  
6. Lenity is moved, 1. By showing that the offence was not committed through wilfulness or disrespect, but through passion, rashness, etc. 2. That the former good deeds exceeded this offence, 3. By testifying our unfeigned sorrow, 4. By setting forth the glory and benefits of lenity.  
7. Love is moved, by expressing our willingness to do good to others or their relations especially under the notion of good men, without respect to our own advantage.  
8. Hatred is moved by relating and exaggerating the offences enviously committed against what is dealt to us.  
9 Indignation is moved, by comparing the former baseness of a person with his present undeserved honour, or plenty.  
10. Envy is moved, 1. By showing that the honour, or riches gotten, were not obtained by virtue, but basely, 2. By exaggerating the persons insolency. shewint that it exceeds his merits.  
11. Pity is moved, by exaggerating the misery, from the adjuncts of time, place, person, end, manner, 2. By comparing our former felicity with our present misery.   
〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉.  
OR,  
Short and plain directions for the making of all manner of School-Exercises in Prose, or Verse.   

A Colloquy.  
A Colloquy is a feigned discourse betwixt two or more Persons.  

RULES' for making it.  
1. Imagine some discourse betwixt two or more persons, concerning some matter daily happening among people, as about the School, House, Church, Market, Fields, Woods, or something done therein: or about News, Travels, Games, Employments, Trades, etc.  
2. Express your thoughts in choice and good phrase, such as you have collected out of approved Authors.  
3. Let not one word or phrase be said oft over, but if you must use the same Sense, vary the Phrase.  
4. Endeavour to make your Colloquy pleasant, with witty jerks, quibbles and fancies (such as you shall often find in Erasmus) joking upon a name, action, proverb or the like.  
5. In larger Colloquies upon any particular Subject, as, Football, Hand-ball, Hunting, Hawking, Fishing, Swimming, Shuting, Music, Dancing, Feasts, Soldiery, Law, Heraldry, etc. Endeavour to apply as many of the terms belonging to that exercise as may be.    

An Essay.  
An Essay is a short discourse about any virtue, vice, or other common-place. Such be Learning, Ignorance, Justice, Temperance, Fortitude, Prudence, Drunkenness, Usury, Love, Joy, Fear, Hope, Sorrow, Anger, Covetousness, Contentation, Labour, Idleness, Riches, Poverty, Pride, Humility, Virginity, etc.  

RULES' for making it.  
1. Having chosen a Subject, express the nature of it in two or three short Definitions, or Descriptions.  
2. Show the several sorts or kinds of it, with their distinctions.  
3. Show the several causes, adjuncts, and effects of each sort or kind.  
4. Be careful to do this briefly, without tautology or superfluous words, in good and choice language.  
5. Metaphors, Allegories, Antithetons, and Paranomasia's do greatly adorn this kind of exercise.  
6. In larger and complete Essays (such as Bacon's, Feltham's, &c.) we must labour compendiously to express the whole nature of, with all observables about our subject.    

A Fable.  
A Fable is a facetious discourse false in itself yet secretly intimating a truth.  

RULES' for making it.  
1. Choose some Subject which you intent for your moral, as, Learning, Arts, Cowardice, Courage, Fraud, Patience, Envy, Ingratitude, etc.  
2. Pitch upon some living creatures for your speakers, which may fitly resemble the virtue or vice chosen, as the Hieroglyphic thereof, as for Corwardise the Hare, or Dear: for subtlety, the Fox: for courage, the Lion: for dulness, the Ass: for Hypocrisy, the Crocodile: for Chastity, the Turtle: for natural affection, the Stork: for cruelty the Tiger.  
3. Let the Style of your Fable be very short, and quick, the matter witty and facetious, the phrase choice and good.  
4. If the conclusion of the Fable fall in with something remarkable in nature, it adds a singular grace to the Fable, such be these of Daphne, the Bar, Battus, etc.  
4. For enlarging a Fable, (according to the Rules of amplification) express the particulars contained in the generals, and seign speeches to the persons in the Fable.    

A Prosopopaeia.  
A Prosopopaeia is a discourse, pathetically, and livelily setting forth what we conceive a person might say in such or such a case.  

RULES' for making it.  
1. Consider the case and condition of the person you represent, and imagine yourself in such a place, so qualified.  
2. Observe what passions the person is most affected with, as, love, joy, sorrow, fear, hatred, anger, despair; also what virtues or vices he is inclined to, and by the Rules of moving passions, make use of those sigures and arguments which best suit the purpose.  
3. Consider the time, place, condition, age, sex, religion, and former estate of the person, that all things may be done ad decorum, not unsutably in any circumstance.  
4. Consider the endowments, and office of the person, let an old Patriot speak gravely, a King majestically, a Soldier resolutely, a young novice headily, all men altogether 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉.    

A Character.  
A Character is a witty and facetious description of the nature and qualities of some person, or sort of people.  

RVLEs for making it.  
1. Choose a Subject, viz. such a sort of men as will admit of variety of observation, such be, drunkards, usurers, liars, tailors, excise-men, travellers, pedlars, merchants, tapsters, lawyers, an upstart gentleman, a young Justice, a Constable, an Alderman, and the like.  
2. Express their natures, qualities, conditions, practices, tools, desires, aims, or ends, by witty Allegories, or Allusions, to things or terms in nature, or art, of like nature and resemblance, still striving for wit and pleasantness, together with tart nipping jerks about their vices or miscarriages.  
3. Conclude with some witty and near passage, leavig them to the effect of their follies or studies.    

A Theme.  
A Theme is a discourse amplifying a subject, by showing the meaning and proving the truth thereof.  

It hath eight parts.  
1. Exordium, wherein we praise the Author of the Theme, by setting forth his wit, learning, eloquence, or other excellency above others.  
2. Narratio, wherein we show the meaning of the Theme, by Periphrasing and opening the same.  
3. Causa, wherein we show the cause or reason of the Theme, how it comes to be so true.  
4. Coutrarium, wherein we treat of the contrary to our Theme, showing how ill, if a vice, how good, if a virtue.  
5. Simile, wherein we bring in something in nature or art like to what is said in our Theme, for illustrating the truth thereof.  
6. Exemplum, wherein we bring one or more examples out of history, of persons that have done or suffered as our Theme says.  
7. Testimonium, wherein we bring sentences out of Authors, proving the truth of the Theme.  
8. Epilogus, wherein we briefly conclude with the praise of the Author.   

General Rules for making a Theme.  
1. When you are to make a Theme, run thorough these eight parts in your mind, and observe what variety of matter you can, out of which gather the choicest and best.  
2. Strive to adorn your Theme with flowers of Rherorick, Gnome's, Proverbs, Allusions, Epiphonema's, and the like.  
3. For bringing in any part neatly, at first make use of Clarks Formulae: for Similes, Examples and Testimonies, See Licosthenes, Reusner, and the Poets.    

An Epistle.  
An Epistle is a Discourse wherein we talk with an absent friend, as if we were with him.  

General Rules for all Epistles.  
1. All Epistles. have these four Accidents, or parts, 1. A Superscription, 2. A compellation, 3. A Subscription, and 4. A Date.  
2. All Epistles must be written in a low, short, and pithy style, without affection, periphrase or garrulity.  
3. In all Epistles eat Tauntologies, by varying the phrase, when the same sense is repeated.   
Epistles are either of the Demonstrative, Deliberative, or Judicial kind.  

Demonstrative Epistles are such as respect praise, or dispraise— Such be,  
1. Narrative, wherein 1. We declare some matter to our friend, setting it forth as livelily as we can, 2. We desire out friends advice, or assistance.  
2. Lamentatory, wherein 1. We bemoan our own or friends calamity, 2. We propound our resolution, 3. We give, or ask advice.  
3. Eucharistical. wherein, we praise the courtesy receive 1. because done voluntarily, ur expectedly, undeservedly, opportunely, 2. We promise requital in deeds or thankfulness.  
4. gratulatory, wherein 1. We express our joy for the good befallen our friend, 2. We extol the benefit our friend hath gotten, 3. We pray that it may have good effect, and be a favour indeed.  
5. Officious, wherein 1. We offer our service to our friend in any business unrequested, 2. We desire him to take our service in good part.  
6. Disputatorie, wherein we propound, 1. The Occasion, 2. The Question, 3. The opinion of others, 4. Our own opinion, 5. We ask our friend's judgement.  
7. Laudatory, wherein we praise a person, action, or thing. See Orations of the Demonstrative kind.  
8. deprecatory, wherein 1. We confess our fault, 2. We extenuate it from our age, heedlessness, or the kind of the offence, 3. We express our sorrow for the miscarriage, 4. We praise our friend's clemency. 5. We testify our better resolution for the future.   

Deliberative Epistles are such as tend to persuade or dissuade. Such be,  
1. suasory, wherein we persuade our friend to any thing in a case doubtful, 1. Showing him that it will be honest, profitable, necessary, pleasant, easy, 2. We amplify the reasons ab exemple, à majori, à minori, à simili, à contrario. In disswasory, we use contrary arguments.  
2. hortatory, wherein we exhort our friend, and four him up to a known duty, 1. From the hope of reward, 2. From the fear of disprofit, 3. From the hatred, emulation, expectation, of our adversaries, 4. From the love, commiseration, and expectation of our friends, 5. From Examples.   

Dehortatory from the Contrary.  
3. petitory, wherein 1. We insinuate into our friend's favour, 2. We tell our request, 3. We show it to be godly, just, honest, necessary, facile, honourable, 4. We promise requital.  
4. Commendatitious, wherein we recommend our Friend to another, 1. Showing him to be our dear friend, 2. Worthy our commendations, 3. That he hath done like courtesies for others, 4. We tell our request, and show it to be just and facile, 5 We promise our thankfulness.  
5. consolatory, wherein we show, 1. That our friend in that case ought not to mourn at all, or however not so much, 2. We lessen the evil, 3. We bring examples of brave men that have not sorrowed in that case, 4. We acknowledge God's providence in ordering all things, 5. We proffer our assistance or help.  
6. Responsatorie to consolatory Epistles, wherein 1. We give thanks for the good advice, 2. We mention the comfort we ●eaped therefrom, 3. We mention other Arguments: whereby we comfort ourselves.  
7. monitory, wherein 1. We advise our friend what to do, 2. What to shun, 3. We show the Authority we have to do thus, from our age, relation, experience, former intimacy, or the like.  
8. Convitiatorie, wherein 1. We express our own, and others sorrow for the offence committed, 2. We reprehend the fact, 3. We admonish our friend to take better courses.  
9 conciliatory, wherein we desire acquaintance with one, 1. Expressing his virtues and endowments which make us love him, 2. We modestly desire to be reckoned as a friend, 3. If there be any thing which may make him love us, we modestly mention it, however we promise faithfulness and integrity.   

Judicial Epistles are such as accuse or defend, viz.  
1. Criminatorie, wherein we accuse a Person, 1. By showing our sorrow for the offence, 2. By setting forth the heinousness of the crime, 3. By reckoning up the evil effects thereof.  
2. Difensorie. wherein we defend ourselves from a crime imputed, 1. Either by plainly denying it, 2. Or by showing that it was done otherwise then was objected.  
3. Expostulaterie, wherein 1. We express our complaint, 2. We mitigate the crime with fair interpretation, of the Action, 3. We admonish our friend to walk more cautiously hereafter.  
4. Exprobratorie, where we upbraid the ingratitude of a friend by showing that we deserved better things at his hands.  
5. Purgatory, wherein we show, 1. That we are not offended but delighted with the reproof of a friend, 2. We remove the suspittion objected against us, 3. We prove our own innocency.    

ORATIONS.  
AN Oration is a Discourse wherein we praise, or dispraise; persuade, or dissuade; prove, or disprove.  
there be three sorts of Orations.  
Demonstrative, Deliberative, Judicial.  

Orations of the Demonstrative kind.  
A Panagyrick ancient, used at general assemblies, to see public games, wherein they used, 1. To praise the God or man that instituted the games, 2. The Nation or City where they were used, 3. The games themselves, 4. The prize played for. 5. The master of the play, 6. They exhorted the gamesters to behave themselves bravely, and leave an example of virtue to be imitated.  
2. A Panegyric modern, used at any public assembly, as the Inauguration, or Coronation of a Prince, or the yearly Solemnity thereof, or at the welcome of some Commander to his Office, or Trust; wherein 1. We show the difficulty of the task, or other cause which makes us undertake it, 2. We praise the Prince from his Country, Kindred, Nature, Education, Studies, Achievements in Peace or War, virtues, Fortune, Children, Citizens-love; and lastly by comparing him with some other, 3. We set forth the happiness of the times having such a Prince, affirming that nothing is so much to be prayed for as his long Life, and his Children and grandchildren to Rule after him, 4. We conclude with an exhortation to obedience and concord.  
3. Nuptial, used at Marriages; wherein 1. We treat of the first institution of Marriage, and of nature's Prolific force in all creatures, 2. We show the pre-eminence of humane propagation above other creatures, 3. We show the profits of Marriage, as credit or good name, procreation of children, honour, mutual comfort in prosperity, and help in adversity, increase of society and civility, affinity with foreigners, 4. We pray for the felicity of the Bridegroom and Bride, 5. By Hypotypôsis we feign their children before them playing, prattling, singing, waxing, etc. 6. We may bring examples of what Children have done for their Parents, 7. We praise the Bridegroom and Bride from the likeness or distlikeness of their country, nation, age, faculties, etc.  
4. Epithalamium, used at the marriage bed, wherein we treat of 1. The necessity of Marriage, 2. The praise of the Married eouple, 3. We exhort to mutual concord, showing what joy this will be to their friends, what sorrow to their enemies, 4. We wish they may soon see their Children.  
5. Natalitiall, at or in honour of ones birthday; wherein, 1. We create of the time of the Nacivity, year, month, day, hour if any of them afford observation, 2. The place, nation, or City, 3. The virtue of the Parents, and Predecessors, 4. The hope we conceive of the Child from his Kindred, Face, future Education, 5. We pray for long life and prosperity to the Child.  
6. Funeral, used at Burials, wherein 1. We express our present sorrow, and the sad cause of our meeting, 2. We set forth the worth and virtue of the deceased, 3. The hope we had of him whereof now bereavest, 4. An exhortation to imitate his virtues.  
7. Eucharistical, when we give thanks for a courtesy received, wherein 1. We express our joy for the benefit received, 2. We exaggerate the courtesy, from its greatness, opportuneness, etc. 3. We promise thankfulness in heart, word, or deed, 4. We pray sometimes that God may requite, where we cannot.  
8. gratulatory, used when we rejoice with our friends in some good event; wherein 1. We signify how joyful we were to hear of the good success, 2. We augment the benefit acquired by showing its excellency, and use, 3. We pray that like success may be perpetual.  
9 Lawtutatorie, wherein 1. We show into what evil we are falling, aggtavating it, 2. We exclaim against the Authors, 3. We tell others that it may be their case, and move pity.  
10 Valedictorie, used when we leave a town or Country; wherein, 1. We express our sorrow to leave our Friends and Country, 2. We praise the people's fidelity, clemency, piety, etc. The City or countries' situation and excellencies, 3. We promise our mindsulness of the courtesies received, and our study to express our thankfulness.  
11. Propempticall, used when we take our leave of a departing Friend; wherein 1. We complain of fortune, or other cause of this separation, 2. We mention our former familiarity, mutual studies, recreations, etc. 3. We express the want and loss of our friend, 4. We set forth his praise, 5. We pray him to be mindful of us while absent, 6. We pray for a good journey.   

Orations of the Deliberative kind.  
1. monitory, when we reprove persons, yet so as not to offend; wherein, 1. we set forth the parts and good qualities of them we admonish, and our love to them, 2. we show that nothing is so perfect but hath some stain or vice, 3. we mention the fault, or offence, withal telling them that true love causeth us to mention it, and grant the like liberty to them of reproving us when we offend, 4. Sometimes we lay the blame upon age, nation, so ciety, etc. 5. we persuade to amendment, ab honesto, utili, glorioso, etc.  
2. conciliatory, used when we desire friendship, favour or acquaintance, wherein 1. we tell the causes of our request, speaking well of the person according to nis place, 2. we modestly show that we are not altogether unworthy of friendship, or league, but may be serviceable to him.  
3. hortatory, wherein we inflame the mind in ● known duty, by moving the passions.  
4. suasory, wherein we persuade by argument in a case doubtful.   
In both which  

1. we commend the former virtues of the persons we exhort,  
2. we bring in arguments à jucundo, honesto, utili, sacili, 3 we excite love of the thing we persuade to, and love or pity of the person for whom we move, with hatred to his enemies, 4. we stir up emulation, by the good examples of others, 5. we show the hope of good if done, the fear of evil if neglected.  
5. dehortatory, wherein 1. we show the matter to be ill, vile, laborious, impossible, uncertain, not worth the pains, 2. we jeer it as a babble, 3. we blame the auditors as over-credulous, 4. we show the great dangers likely to accompany or ensue the undertaking.  
6. consolatory, used when we comfort mourners; wherein 1. we show the causes of our undertaking, as kindred, friendship, pity, etc. 2. we confess a true cause of mourning, and that we Sympathise, but that nothing should make men so exceed, 3. we show that misfortunes are common to all, 4. That effeminate mourning becomes not a man, 5. That what we have is but lent, 6. That we must show good examples to others, of patience, courage, etc.  
7. petitory, when we beg any thing; wherein, 1. when occasion serves we use insinuation, 2. we show our business to be in the power of the Auditors, 3. That our request is just, honest, and facile, 4. we declare the manner how to perform it, 5. we promise requital.   

Orations of the Judicial kind.  
1. Invective, used against an enemy, wherein 1. Either we begin at his birth and exaggerate his vices to that time, 2. Or we insist on the several heads of vices whereto he is inclined, 3. The possions we excite are shame, fear, and sometimes anger, hatred, envy.  
2. Objurgatorie, wherein we chide inferiors, in which 1. we lay the crime before their eyes, 2. we exnggerate it from the circumstances of time, place, person, manner, or by comparison with others, 3. we expostulate and threaten more or less, according to the ingenuity or stubbornness of the offender, 4. Sometimes we bemoan their miscarriage, and give cantions.  
3. expostulatory, when we complain of an injury from others; wherein, 1. Relating the injury we exaggerate it, yet intimating that we have suffered more than we speak of, 2. That we concealed as long as we could, now necessity makes us speak, we searing worse things, 3. If the injury be of small moment, we only jest it out, excusing their will, and laying the blame somewhere else, 4. we admonish future heed and diligence.  
4. Exprobratorie, when we upbraid unthankfulness in others, wherein 1. we relate and exaggerate our former favours, yet with excuse as done unwillingly, as forced thereto by them, 2. we declare and amplify the others injuries, 3. we may run out into the common place of Ingratitude.  
5. deprecatory, when we plead for others about to be punished; wherein, 1. we show that the fault was not committed of malice, but if it were, we ingenously confess it, 2. we treat of the excellency of clemency, 3. If the cause permit we fetch arguments of pardon, from the offenders: Nobility, Learning, former Innocency, well-deserving of the Commonwealth; or lest this Sentence though just, prove a bad precedent, 4. we show that his pardon will be no damage, 5. we add an Aporia what shall he or his do.    

DECLAMATIONS.  
A Declamation is a kind of exercise wherein we plead for, or against, or moderate in a cause propounded.  
There be four sorts of Declamations (according to the four States, 1. Conjectural, 2. Finitive, 3. Qualitative, 4. Quantitative.  

General Rules for Declamations.  
1. In Declamations (as in Orations) the Exordium may be taken, 1. Ex visceribus materia, 2. à personâ Oratoris, auditorum, Judicis, adversarii, vel rei, 3. à generali pronunciato, fabulâ, proverbio, simili, Historiâ, vel Lege.  
2. Not only in the Exordium, but elsewhere in the Declamation, we must labour for attention, and good will of the Auditors, by plausible compellations, fair entreaties, and promises of our candour and faithfulness.  
3. Sometimes we must use insiovation, plausibly yet subtly stealing into our cause and the Auditor's affection, viz. in re turpi, ancipiti, vel paradoxâ.  
4. If our adversaries cause be bad we insult over him, jeer his absurdities, and the weakness of his arguments with Ironia's, Sarcasmus, Epitropt's, Exclamatio's, &c. Especially near the conclusion.  
5. It is frequent and laudable in Declamations, by Prosopopaeia to seign speeches to the persons most concerned, and therein livelily to move the passions of sorrow, love, envy, pity, etc. as our cause requires.  
6. We must place strong Arguments in the beginning, weaker in the middle, and the strongest of all last.  
7. In the conclusion we briefly repeat our strongest Arguments, and strongly moving the passions requisite, we triumph over our adversary.  
8. In Academical Declamations where the question is propounded in a short history, either party after the Exoraium, briefly runs thorough the parts of the story, hinting what observations make for him, or against his adversary, and aster insists largely upon the weightiest Arguments.  
9 In this kind of exercise there be three parties, Actor, Reus, Judex: Plaintiff, Defendant, Moderator, who weighs the Arguments and decides.   

1. Declamations Conjectural.  
1. A Conjectural Declamation is, when we inquire whether or by whom a fact was committed, as, An Roscius occiderit patrem? An Clodius occiderit Milonem?  
We prove a person to have committed a fact, by arguments taken from these heads.  

1. A velle, showing that the Person had a will to do it, and that either 1. From Impulsive causes, as anger, hatred, love, enmity, envy, etc. or 2. From Ratiocinative, as hope of profit, hope of escaping unpunished, having nothing to lose, etc. 3. From the dispositions of the parties, as nation, kindred, sex, education, habit of body, former life, age, friends, study, etc. 4. From former words or deeds.  
2. A posse, showing that the person had ability to do it, from the Circumstances, 1. Of the person, as that he had strength of body, wit, means, friends, weapons, etc. 2. Of the thing, as conveniency of time, and place.  
3. A Signis facti, from the signs fore going, accompanying, or following an Action.  
4. A testibus, from witnesses, rumours, or reports.   
We disprove by Arguments taken from centrary heads, and by showing the incredibles of what is alleged.   

2. Declamations Finitive.  
2. A Finitive Declamation is, when we inquire whether the crime imputed be such as it is deemed; as if a person be slain, whether the fact be murder, manslaughter, chance-medley, or se defendendo.  
We prove a crime to be such as is objected, by Arguments drawn from these heads.  

1. A Definitione, by laying down a Desinition of the crime objected, and showing there is par ratio in the offence committed.  
A Liege, by a Law or custom, either from the letter or the sense of the Law.  
3. A Quantitate, by exaggerating the offence committed.  
4. A Comparato, by comparing what was committed with what was omitted, and showing the heinousness of the one above the other.   
We disprove by the same heads, viz. Defining otherwise, Interpreting the Law otherwise, exaggerating the requisite omitted, etc.   

3. Declamations Qualitative.  
3. A Declamation Qualitative is, when we inquire concerning the quality of an Action, whether profitable or unprofitable, just, or unjust, etc.  
These are 1. Negotiall, 2. Juridiciall, 3. Legal.  

1. Negotiall, wherein we deliberate concerning matters public, or private. We persuade to any enterprise from these heads.  
1. A legitimo, from Law, or Custom Humane, or Divine.  
2. Ab aquo, from what may advantage Divine Worship, Parents, Citizens, etc.  
3. Ab utili, from getting or keeping what is good or shuning what is evil; or on the contrary, loss or damage if we neglect.  
4. A necessario, when the matter is such that we cannot be without it.  
5. A jucundo, from what may bring pleasure, delight, and contentment.  
6. A possibili, whence we prove the thing possible, and facile, or excuse the difficulty, from the advantage to be got thereby.  
7. A glorioso, whence we show, what glory and honour we shall thereby get or keep.  
8. Ab eventu, whence we show, that however the matter fall out, the end will be profitable or honourable.   

2. Juridiciall, wherein we plead the lawfulness or justice of a past action, viz.  
1. A naturâ, that it is according to the Law of Nature.  
2. A Liege, that it is agreeable to the Laws of God or men.  
3. A consuetudine, that it is according to the custom of men, or nations.  
4. A judicato, that there have been former precedents of like nature.  
5. Ab aequitate, that it is according to equity, or equal dealing.  
6. A pacto, that it is according to covenant, or former agreement.   

But if the cause cannot be defended from these heads, than we must make use of Colours, viz.  
1. A comparatione, wherein we compare the fact with a worse, whereunto we should otherwise have been necessitated.  
2. A relatione, wherein we lay the blame upon the person injured, aggravating the provocation.  
3. A remotione, wherein we lay the blame upon some other person or thing, commanding, provoking, or forcing us.  
4. A purgatione, wherein we do not defend the fact, but excuse our will, laying the blame upon necessity, fortune, or ignorance, bringing instances of like offences excused.   

3. Legal, wherein the state or cause especially consists in the meaning of a Law: here are four cases considerable.  
1. De scripto & sententiâ, when the one party stands upon the words, the other upon the Sense, of the Law or contract. In this case, The former shall allege, 1. How dangerous it is to departed from the letter of the Law, 2. That we ought to follow what is briefly and plainly written, and that if the Lawgiver meant any thing further he would have added it. 3. He shall bring a reason to prove that no further was meant, 4. He shall add like examples, or adjudged cases. The other party shall allege, 1. That the Lawgiver thought not needful to write what every one did of himself see, 2. That it is a cavillers' part to stand upon the Apices of the letter and neglect the sense, 3. He shall confute the other opinion from some other clause of this Law, or from some other Law, 4. He shall show that his opinion is according to nature, and Law, 5. He shall bring examples of Laws where the Sense, not the words have prevailed.  
2. Contrariarum legum, when two Laws or two Clauses of one Law seem contrary, in this Case if the Laws cannot be reconciled, than the less must yield to the greater, 1. Humane Laws yield to Divine, 2. Old Laws to new, 3. Permissive to Preceptive, 3. General to particular, 4. Private to Public.  
3. Ratiocinationis, when there is no particular Law in the Case, but we gather the cause by likeness from some other Law, Here the one party will allege, that the matter is either virtually contained in the Law, or that which is less necessary, The other party shall show that there is not par ratio, and bring a reason why, and where they are unlike.  
4. Ex ambiguo, when the question is with what Accent a word is to be read, or whither a word is to be referred, or in what signification to be taken; In this case both the parties shall endeavour to prove, that his cause is manifest, or at least not absurd, that it is equal and good, agreeable to Law or custom, and refute the other opinion.    

4: Declamations Quantitative.  
4. A Quantitative Declamation is, wherein we inquire of the heinousness of an offence, viz. Whether of two crimes is the greater; and this is proved,  

1. Ratione animi depravati, when the offence is committed upon light eauses.  
2. Ratione noxae, when the Damage is greater, as to kill, is more than to rob, or defame.  
3. Ratione patientis, when the injured person cannot have justice, or hath therefore grievously punished himself, as Lucretia.  
4. Ratione agentis, as if one offended alone, or first, or with few, or often, or occasioned a new Law, or Punishment.  
5. Ratione adjunctorum, as if one commie an offence on set purpose, or ungratesully, or if many injuries be involved in one.  
6. Ratione violati juris, as when the written Law is violated, we shall allege that he who transgresseth Laws which are punishable, how much rather would he if there were no Law, or punishment, so when an unwritten Law is transgressed, we shall say it is a token of a worse disposition.     

POETICAL EXERCISES.  

RULES' for making a Verse.  
1. When you can perfectly scan and prove a Verse, learn to put in meeter any Verse displaced, the same words being retained.  
2. Upon any common place, as Virtue, Learning, Love, War, etc. bethink a Sentence consisting of three or four words, for each word writ down what Synonyma's you know, out of which cull out a Verse; Or seeking the principal words in Thesaurus Poeticus, from thence piece up a Verse.  
3. If a word at any time be wanting to make up the measure, choose out of Textors' Epithets a proper and suitable Adjective.  
4. Be careful to express your sentence in a Poetical manner, using much the Tropes, especially Metonymia, Metaphora, and Periphrasis.   

The virtues and vices of a Verse.  
1. The greatest excellency of a Verse is, when the sound of the words or letters doth resemble the thing signified, as vordt aequore vertex. 
Multum ille & terris jactatus & alto.  
una Eurusque Notusque ruunt creberque procellis, etc.  
Insequitur clamorque virum stridorque rudentum.   
2. Gravity, Majesty, Slowness, require Spondees, Lightness and Swiftness are expressed by Dactyls, otherwise let the feet be mixed, as, 
Olli subridens respendit ore Latinus.  
— Ea lapsa repente ruinam  
Cum soritu trahit & Danaum super agnima, etc.   
3. Use a Sponde in the first place seldom, and a Monosyllable in the last place never, unless to express Gravity, Majesty, or Wonder, as, 
— Magnum Jovis Incrementum.  
Parturiunt Montes, nascetur ridiculus mus.   
4. Verses run most pleasantly when no feet end a word, as, Infandum regina jubes renovare dolorem.  
5. Let no verse end in a Fentasyllable, nor three Dissyllables, such as, 
Ambubaiarum collegia Pharmacopolae.  
Semper ut inducar, blandos offers mibi vultus.   
6. Eat too many Collisions or Elisions, such as, 
Belli ferratos posts, portasque refregit.  
Monstrum horrendum informe ingens cui lumen ademptum.   
7. Versus leonimi, viz. such as Rhyme one part to another are absurd, as, O fortunatam natam me consul Romam. E re terrenâ premanant mille venena.  
8. In a Pentameter never suffer an Elision betwixt the Penthimimers: Nor end otherwise then in a Monosyllable. And let the former Penthimimer end a word. For these are absurd. 
Non desistere am are omnia si facias.  
Deliciae populi qui fuerint Domini.  
Hac quoque nostra sententia mentis erat.     

1. TRANSLATION.  
Translation is when we turn Latin Verse into English or Greek, & contra: one sort of Verse into another: or Prose into Verse.  

RULES.  
1. In all sorts of Translation be careful to express the Sense clearly and intelligibly.  
2. Tie not yourself to the words, but take liberty to vary the expression so, as may best accord with the Phrase and terms of the Language into which you translate.  
3. Where the Poet is obscure, you may enlarge, where he is prolix, you may contract, so will your Translation be concise and easily understood.  
4. Endeavour as much as may be, to apply the proper terms of Art belonging to any Subject you Translate.    

2. VARIATION.  
Variation is when we express the same thing divers ways, either in the same or divers kinds of Verse. See above Rules of Variation.   

3. IMITATION.  
Imitation is when we take some choice passage of a Poet, and endeavour to imitate it in all the Excellencies of matter, arguments, order, parts, phrase, style, flowers, etc. See the Rules of Imitation. See also Horns Manuduct. pag. 105.   

4. CARMEN.  
Carmen is a Paper of Verses made upon some common place, and hath like parts with a Theme, ut supra, only you must be careful to express the matter in a Poetical manner and dress: using much the Tropes and Figures, especially Perlphrasis, Metonymia, Metaphora, Exclamatio, etc.   

5. EPIGRAM.  
An Epigram is a short but witty Poem, facetiously expressing the nature or quality of an action, thing or person.  

RULES' for making Epigrams.  
1. An Epigram must be short, comprised within a Distich or two, or three at most.  
2. Every Epigram must have a fancy, which is as it were its soul, the deeper or richer this fancy is, the worthier is the Epigram.   

The heads from whence the fancy of Epigrams is fetched, are these and the like.  
1. A comparatione, when comparing one thing with another, we do wittily, suddenly, unexpectedly, & with admiration conclude, 1. A greater from a less, 2. A less from a greater, 3. Equal from Equal, 4. Divers from Divers, 5. Contrary from Contrary, 6. Like from Like, etc.  

Exempla Epigrammatum ubi concluditur.  
1. Majus— Ad Trajanum. 
Tanta tibi est recti reverentia Caesar & aequi  
Quanta Numae fuerat sed Numa pauper erat.  
Ardua res haec est opibus non tradere mores  
Et cum tot Craesos viceris esse Numam.   
2. Minus— De Julio Caesare. 
Spectat Alexandri picta ut certamina Caesar  
Ast ego nondum aliquid gessi ait illacrymen:  
Quod si & Alexander spectasset Caesaris acta  
Dixisset, Persas vincere pigritia est.   
3. Aequale— Columba, Columbus. 
Primus aquis terram refluis emergere pinguem  
Nuntius apperiens ipsa columba fuit,  
Lapsis qui primus tellurem comperit undis  
Nuncius apperiens ipse Columbus erat.   
4. Diversum— Quid novi. 
Nil ait esse novum Salamon sub sole: Columbus  
In veteri mundum repperit esse novum:   
5. Contrarium— In Haereticos. 
Aurùm Virgilius è stercore colligit Ennî:  
Ex auro stercus colligit Haereticus.   
6. Simile,— Eclipsiis animae. 
 solem tellus lunamque stat inter opacam:  
Stat peccatum inter meque deumque meum.    
1. Ab allusione: when we allude, 1, To some History, 2. Proverb, 3. Gnome, 4. Maxim, 5. Term of Art, 6. Custom of a Person or Nation.  

1. Historia— Ulysses & Penelope. 
Mors nobis, velut Vxori subrepsit Ulysses,  
Vivimus ut telam texuit ille suam.   
2. Proverbium— Spiritus Sanctus. 
 semper veniunt ad candida tecta Columbae:  
Ingreditur Sanctus candida corda Deus.   
3. Gnome— Medicus & Juris consultus. 
Dat Galenus opes, that Justinianus honores:  
Dum ne sit patiens iste, nec ille cliens.   
4. Axiôma— Generatio unius est corruptio alterius. 
Ut genereut unam confuso semine prolem,  
Corpora corrumpunt vir mulierque duo.   
5. Vox artis— A centro ad circumferentiam. 
A centro ad circum non unica binea ducit,  
A terra ad Caelum fert tamen una via.    
3. A Paranomasiâ, 1. When we play upon the Etymology of a Proper name, 2. When the proper name is the same with a common or Appellative, whence we observe some likeness, or unlikeness, 3. When by a small change of a letter, or Syllable the Sense is changed, 4. When a word is taken in divers Senses. Examples,  

1. Etymologia— Erasmus. 
Quaritur unde tibi sit nomen Erasmus? o as-mus.  
Sin sum Musego te judice summus ero.   
2. Proprium Appellat.— Gallus. 
Ex gallo capo fit, fierent sl quique capones  
Galli, nun foret Gallica rara lues.   
3. Mutatio Syll.— Podagra, Chiragra. 
Litigat & podagra Diodorus Flacce laborat,  
Sed nil patrono porrigit haec Chiragra est.   
4. Diversi sensus.— Sanguine non virtute. 
Antiquum est virtute decet non sangnine niti,  
Non meritis tamen, at sanguine nitar ego.  
Non inquam virtute decet sed sanguine niti,  
Non virtute me â, sanguine Christe tuo.    
3. Those Epigrams are the richest which have a double or triple fancy, as,  

Opto, poto Anagramma. 
Opto tibi multam, nullam tibi poto salutem,  
Est potior pot â sicca salute salus.      

6. DIALOVE.  
A Dialogue is a short, pithy, and witty Discourse betwixt two or more persons.  

RULES' for making Dialogues.  
1. In all Dialogues we must especially observe the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 or decorum of the speakers, viz. When, what, how much; How or after what manner they ought to speak.  
2. The choicest Dialogues are those which are framed upon the Pictures or Statues of the Gods, Goddesses, virtues, vices, as occasion, repentance, justice, fortune, the fates, the furies, the graces, etc. Briefly demanding, and wittily rendering the reason of what Poets or Paintets have fancied concerning them, as,   
Cum aquilâ portante Jovem Dialogismus.  

Dic mibi quem portes volucrum regina? tonantem.  
Nulla manu quare fulmina gestat? amat.  
Que calet igne Deus? pueri, cur mit is operto  
Respicis ore Jovem? de Granymede loquor.   
Dialogus in Justitiam.  

Quae dea? Justitia, quid torvo lumine? flecti  
Nescia sum, & Lacrhymis, & precio, & precibus.  
Quod genus? à superis, ex quo genitore? modo, ex quâ  
Matre? fide. Nutrix quae tua? pauperies.  
Quis Deus infantem fovit? prudentia, quonam  
Freta duce agnoscis crimina? judicio.  
Cur gladium tua dextra gerit, cur laeva bilancem?  
Ponderat haec causas, percutit illa reos.  
Quid rari assistunt? quòd copia rara bonorum est.  
Quae comes assidua est? caudida simplicitas.  
Aurium aperta tibi cur altera, & altera clausa?  
Haec surda injustis, panditur illa bonis.  
Paupere cur semper cultu? justissimus esse  
qui cupit, exiguas semper habebit opes.    

7. ECHO.  
An Echo is a facetious kind of Poem imitating the resounding Rocks, wherein the last Syllables of a Sentence repeated, give answer to a question in the same, or a divers, and sometime a contrary Sense.  

RULES for making an Echo.  
1. The answer or repetition must be made at the end of every sentence, whether it be at the end or in the middle of the verse.  
2. The answer sometimes only affirms the same thing with the question, sometimes it doth contain something divers, contrary, like, greater, or lesser than the question, and the more unexpected the better.  
3. The Persons speaking are sometimes only the querent and Echo, sometimes the Poet historically relates the passage.  
4. The same letters are not necessary in Echo, so the sound be the same, or near it: the first Consonant may be changed, aspiration added, or taken away.  
5. The repetition is most elegant in Dissyllables, as nearest a natural Echo, yet Trissyllables or Monosyllables may be used. Example. 
Dic mihi quae gelidis habitas convallibus Echo  
Curio populus pacem sic modo clamat? amat.  
Ad divam pacem precibus concurpitur? itur.  
 damnum fugiat triste colonus? onus.  
Rusticus ergo iterum campos reparabit? arabit.  
Et tuto curret remige navita? ita:  
Omniaque evenient in mundo prospera? spera.  
Largaq, nec rerum copia deerit? erit.  
Si retulisti Echo mihi vera relata, voleto.  
Donec nostra iterum verba novabis, abis.     

8. EPITAPH.  
An Epitaph is a Poém writ upon the Hearse, or Tomb of a deceased person, expressing the name, age, merits, state, dignity, praises, studies, kind of death or the like, in way of commiseration or sorrow.  

RULES' for making Epitaphs.  

1. In the Epitaphs of King's Princes, Nobles, etc. 

1. We briefly recite their Praises, viz. Felicity, Wisdom, Justice in Government, Clemency in pardoning their Subjects offences, affability, valour, Piety in building Churches or Schools, or in Defending Religion, or other their peculiar virtues.  
2. We take notice of any thing new, admirable, or woeful in Life or Death.  
3. We conclude with a grave Gnome or Epiphonéma. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉     
Tumulus Caroli quinti.—  

Europae domuit tollentes cornua reges,  
Carolus, atque Asiae terror & horror erat.  
Et pedibus Libyam calcavit victor, & illi  
Innumeras victus praebuit Indus opes.  
Deinde sibi fraenum injecit, fratrique regendum  
Imperium, & nato caetera regna dedit.  
Atque ait è nobis & honores temnere, & unum hoc  
Discite mortales, pulvis & umbrasumus.   

2. In the Epitaphs of Generals, Captains, or Soldiers, 

1. We mention their skill in Military affairs, valour, authority, good fortune, prudence, victories, trophies, love to their Country,  
2. We compare them with former Worthies, and Outvies them,  
3. We bemoan the Country's loss, and want of them.     
Tumulus Hectoris.  

Defensor patriae, juvenum fortissimus Hector  
qui murus miseris civibus alter erat.  
Occubit telo violenti victus Achilles  
Occubuere simul spesque salusque Phrygum.  
Hunc feras Aeacides circumsua maenia traxit,  
Quae juvenis manibus texerat ante suis.  
Heu quantos Priamo lux attulit illa doleres  
Quos flet us Hecubae, quos dedit Andromachae.  
Sed raptum pater infoelix auroque repensum  
condidit & maerens hâc tumulavit humo.   

3. In the Epitaphs of Learned men, 

1. We recount their peculiar virtues: in Divines piety: in Philosophers, quicksightedness: in Physicians, diligence: in Lawyers, integrity: in Orators, elegancy: in Poets, sweetness: in Grammarians, much reading, etc.  
2. We Allegorically hold on in a strain of Terms proper to their Art, 3. We compare and prefer them before the Ancients Renowned for those Arts,  
3. We praise their Works.     
Epitaphium Paridis Pantoninni.  

Quisquis Flaminiam teris viator,  
Noli nobile praeterire marmor.  
Vebis deliciae, salesque Nili,  
Ars, & gratia, lusus, & voluptas,  
Romani decus, & dolour theatri,  
Atque omnes Veneres Cupidinesque  
Hoc sunt condita quo, Paris, sepulchre.   
Tumulus Andreae Vesalii Medici.—  

Quo non arte prior fuit medendi  
Aut Asclepius, aut Senex Machaon  
Aut magnus Podalarius, medensum  
Princeps Vesalius celebriorum,  
Dum morbis bonus artifex medetur  
Cunctis, tam sibi non medetur ipse  
Summus paeoniae magister artis,  
Fato mortuus heu nimis maligno.   

4. In the Epitaphs of friends, or relations, 

1. We mournfully express our loss, and hopes frustrated,  
2. We complain of Death's cruelty,  
3. We use Similes of flowers cropped, and withered with heat, or wind,  
4. We set forth their remarkable praises.     
Lachryma Rabirii in funere Parentum.  

Quisquis laeta tuis & sera parentibus optas  
fata, brevem titulum marmoris hujus ama:  
Condidit hâc charas tellure Rabirius umbras  
nulli sorte jacent candidiore senes.  
Bis sex lustratori nox mit is & ultima clusit,  
arserunt uno funera bina roge.   
Tumulus Astyanactis.—  

Flos Asia, tantâque unus de gente superstes,  
Parvulus, Argivis sed jam de patre timendus,  
Hic jacto Astyanax Scaeis dejectus ab altis,  
Proh dolour! Iliaci Neptunia maenia muri  
Viderant aliquid crudelius Hectore tracto.   
Tumulus Filii.—  

Non lachrymis-indigne meis nec honore sepulchri  
rapt mihi ante diem dulcis alumne jaces.  
Intra bis denos te ostendit & abstulit annos  
parca ferox, vot is inficiata mcis.  
Nec potuit probit as, nec amaeni gratia vultus  
flectere, nec arae, nec piaturba deûm.  
Spes hominum stolidas! tumulavi maestus Ephsbum,  
qui me debuerat laetus humâsse senem.   

5. In feigned Epitaphs, or upon vicious persons, 

1. We merrily and wittily play upon the name, manners, lineaments, manner of death, or other memorable events affording matter of witty conceit.     
Ad Henricum Good-year Kal. Jan.  

Quid tibi prostren â mittam Goodyere, precabor  
ut possis nomen multiplicare tuum.   
Tres dimensiones— in Battologum.  

Vox tua mensuris desiderat è tribus unam,  
lata satis, nimium longa, profunda parum.   
In Vesbiamiracundam faeminem.  

Tres habuit furias quondam, sed Vesbia manes  
ut petiit, furias quatuor orcus habet.     

9 HYMN.  
An Hymn is a divine Poem made in honour of the Gods.  

RULES.  
1. In an Hymn to the true God; we recount his glorious attributes, and wondrous works done for his Church.  
2. In Hymns to the heathen Gods, the Poets used to set forth their Pedigree, Inventions, and Memorable Actions.  
3. In Hymns to Saints or Martyrs, Poets use to set forth their virtues and graces, with what is memorable in their lives, or deaths.   
Hymnus ad Deum.  

Laus tibi coeli pater atque princeps  
Omninm rector simul & creator,  
Quem fides veri studiosa trinum  
credit & unum.   
Hymnus Eulaliae Virgini.  

Germine nobilis nobilis Eulalia  
Mortis & indole nobilior  
Emerilansacra virgo suam   

Cujus ab ubere progenita est  
Offibus ornat, amore colit, etc.  
See Prudentius.    

10. ANAGRAM.  
An Anagram is, when the letters of a proper Name, or other Title are made into a Sentence, which expresses the quality of the Person.  

RULES.  
1. Writ the Letters of the Name in dinstinct squares of Paper, which join several ways till you light upon a fit Sentence.  
2. When you have found an Anagram, make it up into a Distich, explaining the Sense thereof.  
3. In Anagrams some liberty of taking in or leaving out a letter is indulged, so it be not Essential to the Name.   
Galenus, Angelus. Anag.  

Angelus es bonus an malus Galene? salutis  
Humanae custos, angelus ergo bonus.— So  
Maria Novila— Anagr.— Alia Minerva.   
Terra— Anagr. errat, terar.  

Mobile non errat coelum stat terra sed errat,  
Funditus in varias undique secta vias.  
Errantum pedibus calcabor humallima tellus  
Vomere proscindar, dumque ero terra, terar.    

11. ACROSTICH.  
An Acrostich is a Poem wherein the Initial Letters of the Lines, make up this Name or Title of a Person, or some other pleasant Device.  
Sometimes the Name, Motto, or Devise goeth crossways from Angle to Angle, writ in a larger Character.  
An Alphabetical Acrostich on Dr Ailmer.  
A—sk you why so many a tear  
B— ursts forth, I'll tell you in your ear:  
C— ompell me not to speak aloud,  
D— eath would then be too too proud.  
E— yes that cannot vie a tear  
F— orbear to ask you may not hear  
G— entle hearts that overflow  
H—ave only privilege to know.  
I— n these sacred ashes than  
K— now reader that a man of men  
L— yes covered, etc. See Quarls Diu. Poems, pag. ult.   

12. CHRONOSTICH.  
A Chronostich is a Verse, or other Sentence whose Numeral Letters contain the time of some Memorable Action.  
On him who slew his Father. 1568.  
Filius ante Diem patrios inquirit in annos.  
MDLWIIIIIIII.— 1568.  
On Owen's Epigrams finished 1612.  
Si Deus nobiscum. MDCWII.  

13. Epithalamium, or Verses upon a Marriage.  
14. Genethliacum, upon ones Nativity.  
15. Panegyricum, used at solemn assemblies.  
16. Encharisticon, wherein we give thanks.  
17. Encomiasticon, wherein we praise.  
18. Apobaterion, when we depart from any place.  
19 Proseucticon, when we beg any thing.  
20. Dirae, when we curse an enemy.  
21. Palinodia, when we recant an error, etc.   
All these are made according to the Rules of Orations or Epipistles of the same kind; only in a phrase, slyle and dress poëticall.  
An Ode, Satyr, Bucolick, Elegy, Emblem, Comedy, Tragedy, are above the reach of the Grammar School; only Scholars may observe that the chief grace of an Ode is Elegantea: of a satire. Acrimonia: of a Bucolick, Simplicitas: of an Elegy, Mollities: of an Emblem, witty device: of a Comedy, joci & lepôres: of a Tragedy, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, & 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉.   

CONCLUSION.  

Choose always a kind of Verse suitable to your matter.  
For Heroic matter, Hexameter.  
For Mournful, Elegiac.  
For Light and Merry, Lyric.  
Eor Invective, jambic.   

Though Examples for all the  Exercises, he obvious in those Books which are usually read in Schools, yet the young Scholar for his direction, may take notice of these that follow.  
1. For Variation, see Erasm. Copiae verborum.  
2. For Amplification, see Erasm. Copia rerum.  
3. For Allusions, see Horn. Manuduct. pag. 117. See also the writings of Mr Fuller.  
4. For moving the passions, see Vossius Rhetor. lib. 2.  
5. For Colloquys. see Erasm. Coll. Helvicus, etc.  
6. For Essays, see Hall's Essays, Bacon's Essays, Feltham's Resolves.  
7. For Fables, see Aesop's Fables, Ovid's Metamorph. Aphthon. Progymn.  
8. For Prosopopaeia's, see Aphthon. Progym.  
9 For Characters, see blunt's Carat Overburys Charact. Bp Hall's Charact.  
10. For Themes, see Aphthon. Progym.  
11. For Epistles, see Tullies Epistles; Textors Epist. Politians Epist. Macropedius. Plinys Epist.  
12. For Orations, see Isocrates Orat. Tullys Orat. Livys select Orat.  
13. For Declamations, see Clarks Formulae: Quintilians Declamat. Seneca's Contravers.   

Poetical Exercises.  
1. For Translatinos', see the Poets, Ovid, Virgil, Seneca, etc. translated by Sands, Oglby, etc. See also Stradas prolus. pag. 185. Herns' Manuduct. pag. 115.  
2. For Variation. see Virgil de 12 Signis: de Iride: de amne concreto: de 4 anni temp. de ortu Solis.  
3. For Imitation, see Horns Manuduct. pag. 105.  
4. For Carmen, see Virg. de livere, de fortunâ: Seneca's Trag. the Chorus. Clarks formulae, last edit.  
5. For Epigrams, see owen's, Marshals, Textors Epigr. Johnsons Epigr. Ausonius Epigr.  
6. For Dialogues, see Textors' Dialog. Ausonius.  
7. For Echoes, se Thesaurus Poet. Ovid, lib. 3. Erasm. Echo.  
8. For Epitaphs, see Auson. Epitaph. Heroum. Marshals Epigr. lib. 10, & 11. Virg. Epigr.  
9 For Hymns. see Prudent. Peristeph. Sen. Agam. 310. Barcl. Arg. 1. Met. 6. Hor. Od. 11.19.111.25.1.10.  
10. For Anagrams, Acrost. and Chronost. you may find Examples here and there in the Epigrammatists, and in the Encomiastics prefixed before Books.  
11. For Epithalamium, see Sen. Med. 56. Mart. 4.13. Auson. Eidyl. 13. Barcl. Argenis, 5.2.  
For Genethliaeum, see Virg. Eclog. 4. Mart. 6.4. Auson. Eidyl. 5. Sannazarius 1. Eleg. 4. 2 Eleg 8.  
12. For Panegyricum, see Tibul. 4.1. Casim. Lyr. Barlaeus de Fred. Henrici Praefect.  
13. For Eucharisticon, see Virgil. 1 Aeneid. Aenaeas ad Didonem. Sidon. 16. Barclaii Coridon. Barl. ad Pen.  
14. For Encomiasticon, see the Laudatory Verses of Friends upon the Author's worthy Books. See Horat, Od. 2.1. Od. 2.6. Epod. 2.  
15. For Proseucticon, see Virg. Aeneid. 1. Juno ad Aeolum. Venus' ad Jovem. Horat. Od. lib. 1.35.  
16. For Dirae, see Virg. Dirae. Casim. 2.24. Horat. Epod. 10. Sen. Med. 20.531. Ovid. in Ibin.  
17. For Palinodia, see Hor. lib. 1. Od. 16. Od. 34.    
FINIS.