PREFACE
Reading edition
The reception of the first two volumes of a larger work (since completed) on English Prosody suggested, to the author and to the publishers, that there might be room for a more compressed dealing with the subject, possessing more introductory character, and attempting the functions of a manual as well as those of a history. It did not, however, seem that the matter could be satisfactorily treated in extremely brief form, as a primer or elementary school-book. The subject is one not very well suited for elementary instruction; and in endeavouring to shape it for that use there is a particular danger of too positive and peremptory statement in reference to matters of the most contentious kind. Catechetical instruction has to be categorical; if you set hypotheses, or alternative systems, before young scholars, they are apt either to distrust the whole thing or to become hopelessly muddled. And the opposite danger—of unhesitating adoption of positive statements on doubtful points—must have been found to be only too real by any one who has had to do with education. Schoolboys cannot be too early, or too plentifully, or too variously supplied with good examples of verse; but they should be thoroughly familiar with the practice before they come to the principles.
To the Senior Forms of the higher Secondary Schools, on the other hand, and to students in those Universities which admit English literature as a subject, this function of it is quite suitable and well adapted, and it is for their use that this volume is planned (as well as for that of the general reader who may hardly feel inclined to tackle three large octavos). An effort will be made to include everything that is vital to a clear understanding of the subject; while opportunity will, it is hoped, be found for insertion of some information, both of a historical and of a practical kind, which did not seem so germane to the larger History. It has been a main object with me in preparing this book, while reducing prosodic theory to the necessary minimum, but keeping that, to "load every rift" with prosodic fact; and I could almost recommend the student to devote himself to the Contents and the Index, illustrated by the Glossary, all of which have been made exceptionally full, before attacking the text.
The work, like the larger one of which it is not so much an abstract as a parallel with a different purpose, cannot hope to content those who think that prosody should be, like mathematics or music, a science, immutable, peremptory, abstract in the other sense. It will not content those who think—in pursuance or independently of such an opinion—that it should discard appreciation of the actual poetry, on which, from my point of view, it is solely based. It will, from another point, leave dissatisfied those who decline the attempt to reduce this poetry to some general but elastic laws, and who concentrate themselves on the immediate musical or rhetorical values (as they seem to them) of individual poems, or passages, or even (as is not uncommon) lines. Nor will it provide, what some seem to desire, a tabular analysis of every verse-form in the language, for reasons explained in the proper place (v. inf. p. 336 note). But, from past experience, it seems that it may find some public ready for it; and it is perhaps not wholly fatuous to hope that it may help to create a larger.[1]
GEORGE SAINTSBURY. Edinburgh, All Souls' Day, 1910.