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Robert Reese
J.W. Bruce
Bryan A. Jones
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Microcontrollers: From Assembly Language © 2009, Course Technology, a part of Cengage Learning
to C Using the PIC24 Family
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The authors would like to thank the following individuals for their assistance in
preparing this book:
ECE3724 students for their patience during the development of this text and
the accompanying software libraries.
Lee Hathcock and the students in ECE4723 who provided so many construc-
tive comments on the organization of ESOS.
Samuel Russ for his many insights on code and text improvements in his role
as a technical reviewer for the manuscript.
David Weaver, previously of Bell Laboratories, for serving as an ad-hoc techni-
cal reviewer and who provided many excellent suggestions for code and text
improvements.
Nathan Seidle of SparkFun Electronics for his collaboration and support on
the mini-Bully PIC24 μC platform.
Carol Popovich and the other members of the Microchip Academic Program
team at Microchip Technology Inc. for their support in using Microchip prod-
ucts in a higher education environment.
v
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About the Authors
Robert B. Reese received the B.S. degree from Louisiana Tech University, Ruston, in
1979 and the M.S. and Ph.D. degrees from Texas A&M University, College Station, in
1982 and 1985, respectively, all in electrical engineering. He served as a member of
the technical staff of the Microelectronics and Computer Technology Corporation
(MCC), Austin, TX, from 1985 to 1988. Since 1988, he has been with the Depart-
ment of Electrical and Computer Engineering at Mississippi State University, where
he is an Associate Professor. Courses that he teaches include Microprocessors, VLSI
systems, Digital System design, and senior design. His research interests include
self-timed digital systems and computer architecture.
J.W. Bruce received the B.S.E. from the University of Alabama in Huntsville
in 1991, the M.S.E.E. from the Georgia Institute of Technology in 1993, and the
Ph.D. from the University of Nevada Las Vegas in 2000, all in electrical engineering.
Dr. Bruce has served as a member of the technical staff at the Mevatec Corporation
providing engineering support to the Marshall Space Flight Center Microgravity
Research Program. He also worked in the 3D Workstation Graphics Group at the
Integraph Corporation designing the world’s first OpenGL graphics accelerator for
the Windows operating system. Since 2000, Dr. Bruce has served in the Department
of Electrical and Computer Engineering at Mississippi State University. Dr. Bruce
has contributed to the research areas of data converter architecture design and
embedded systems design. His research has resulted in more than 30 technical pub-
lications and one book chapter.
Bryan A. Jones received the B.S.E.E. and M.S. degrees in electrical engineering
from Rice University, Houston, TX, in 1995 and 2002, respectively, and the Ph.D.
degree in electrical engineering from Clemson University, Clemson, SC, in 2005.
From 1996 to 2000, he was a Hardware Design Engineer for Compaq, specializing
in board layout for high-availability RAID controllers. He is currently an Assistant
Professor at Mississippi State University. His research interests include robotics,
real-time control-system implementation, rapid prototyping for real-time systems,
and modeling and analysis of mechatronic systems.
vii
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Contents
Acknowledgments v
About the Authors vii
Introduction xxi
ix
x Contents
12 Timers 507
Pulse Width Measurement 507
Using a 32-bit Timer 510
Pulse Width, Period Measurement Using Input Capture 514
The Input Capture Module 514
Pulse Width Measurement Using Input Capture 516
Period Measurement Using Input Capture 520
Application: Using Capture Mode for an Infrared Decoder 521
The Output Compare Module 529
Square Wave Generation 531
Pulse Width Modulation 533
A PWM Example 534
PWM Application: DC Motor Speed Control and Servo Control 535
DC Motor Speed Control 535
Hobby Servo Control 536
PWM Control of Multiple Servos 539
A PWM DAC 542
Time Keeping Using Timer1, RTCC 545
The Real-Time Clock Calendar Module 546
Summary 550
Review Problems 550
xxi
xxii Introduction
X86 assembly language programming with the lab experience being 100 percent
assembly language based and containing no hardware component. We found that
students entering our senior design course, which has the expectation of something
“real” being built, were unprepared for doing prototyping activities or for incor-
porating a microcontroller component into their designs. We did offer a course
in microcontrollers, but it was an elective senior-level course and many students
had not taken that course previous to senior design. In spring 2002, the Com-
puter Engineering Steering Committee reexamined our goals for the first course
in microprocessors, and the approach for this book’s predecessor (From Assembly
Language to C Using the PIC18Fxx2) was developed. From fall 2003 through spring
2004, we used the Microchip PIC16 family, then used the PIC18 family from sum-
mer 2004 through spring 2008. In late fall 2007, the authors reexamined the course
once again and decided to switch to the PIC24 family because of its rich instruction
set architecture, 16-bit organization, and advanced on-chip peripherals.
book cover the fundamentals (parallel IO, serial IO, interrupts, timers, analog-to-
digital conversion, digital-to-analog conversion) using devices that do not require
extensive circuits knowledge because of the lack of a circuits course prerequisite.
The microcontroller interfacing topics presented in this textbook are sufficient for
providing a skill set that is extremely useful to a student in a senior design capstone
course or in an advanced embedded system course.
Thus, a principal motivation for this book is that microcontroller knowledge has
become essential for successful completion of senior capstone design courses. These
capstone courses are receiving increased emphasis under ABET 2000 guidelines. This
places increased pressure on Computer Engineering and Electrical Engineering pro-
grams to include significant exposure to embedded systems topics as early in the curric-
ulum as possible. A second motivation for this book is that the ACM/IEEE Computer
Engineering model curriculum recommends 17 hours of embedded system topics as
part of the Computer Engineering curriculum core, which is easily satisfied by a course
containing the topics in this book. A third motivating factor is the increased pressure on
colleges and universities to reduce hours in engineering curriculums; this book shows
how a single course can replace separate courses in assembly language programming
and basic microprocessor interfacing.
The course sequence used at Mississippi State University that this book fits into is:
In using this laboratory approach at Mississippi State University, the authors have seen
a “Culture of Competence” develop in regard to microcontrollers and prototyping in
general. All senior design projects now routinely include a microcontroller component
(not necessarily Microchip-based). Students concentrate their efforts on design defini-
tion, development, and refinement instead of spending most of their time climbing the
learning curve on prototyping and microcontroller usage.
There are more topics in this book than can be covered in a 16-week semester.
In our introductory microprocessor course, we cover Chapters 1 through 6 for the
assembly language coverage (about 6 weeks) and selected topics from Chapters 8
through 12 for the interfacing component. A course with more emphasis on as-
sembly language may include Chapter 7 and fewer interfacing topics. Our follow-
on embedded systems course uses Chapters 8 through 14 with an emphasis on
writing applications using the embedded operating system approach described in
Chapter 14 and a more in-depth coverage of all interfacing topics. A first course in
microcontrollers that contains no assembly language component may want to as-
sign Chapters 1 through 7 as background reading and use Chapters 8 through 15 as
the primary course material.
Introduction xxv
This book’s C examples on hardware interfacing strive for code clarity first
and optimization second. A prefix naming convention (u8_, u16_, i32_, pu8_ etc.)
is used for all variables, and a robust set of macros and library functions have been
developed to make access to the on-chip resources easier for those encountering
microcontrollers for the first time. The library functions emphasize runtime error
trapping and reporting as a way of shedding more light on malfunctioning ap-
plications. Please check the www.reesemicro.com website for updates to the library
functions.
F OR TH E H OBBYIST
This book assumes very little background, and thus is appropriate for readers
with widely varying experience levels. First, read chapter 8 and visit the companion
website at www.reesemicro.com to build and install the hardware and software
PIC24 development environment. Next, examine the experiments in Appendix C
and find the ones that interest you. Then, read the chapter that is referenced by
the experiment for the necessary background. This textbook includes numerous
examples complete with schematics and working code to operate a number of useful
peripherals, including temperature sensors, LCD displays, a robot, and a reflow
oven, providing a good starting point for your designs.
F I NAL T HOUGHTS
We hope readers have as much fun exploring the world of μCs/μPs and the PIC24
family as the authors had in creating this text. And because we know that μC/μP
development does not sit still, let us all look forward to new learning experiences
beyond this text.
Bob Reese, Bryan A. Jones, J. W. Bruce
Mississippi State University
Starkville, Mississippi
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PART
T
his chapter reviews number systems, Boolean algebra, logic gates, combina-
tional building blocks, sequential storage elements, and sequential building
blocks.
Learning Objectives
After reading this chapter, you will be able to:
3
4 Microcontrollers: From Assembly Language to C Using the PIC24 Family
B I NARY D ATA
Binary logic, or digital logic, is the basis for all computer systems built today. Bi-
nary means two, and many concepts can be represented by two values: true/false,
hot/cold, on/off, 1/0, to name a few. A single binary datum whose value is “1” or “0”
is referred to as a bit. Groups of bits are used to represent concepts that have more
than two values. For example, to represent the concepts hot/warm/cool/cold, two
or more bits can be used as shown in Table 1.1.
To encode n objects, the minimum number of bits required is k = ceil(log2 n),
where ceil is the ceiling function that takes the nearest integer greater than or equal
to log2 n. For the four values in Table 1.1, the minimum number of bits required is
ceil(log2 (4)) = 2. Both encoding A and encoding B use the minimum number of bits,
but differ in how codes are assigned to the values. Encoding B uses a special encoding
scheme known as Gray code, in which adjacent table entries only differ by at most one
bit position. Encoding C uses more than the minimum number of bits; this encoding
scheme is known as one-hot encoding, as each code only has a single bit that is a “1” value.
Encoding A uses binary counting order, which means that the code progresses in
numerical counting order if the code is interpreted as a binary number (base 2). In
an unsigned binary number, each bit is weighted by a power of two. The rightmost
bit, or least significant bit (LSb), has a weight of 20, with each successive bit weight in-
creasing by a power of two as one moves from right to left. The leftmost bit, the most
significant bit (MSb), has a weight of 2n – 1 for an n-bit binary number. A lowercase
“b” is purposefully used in the LSb and MSb acronyms since the reference is to a
single bit; the use of an uppercase “B” in LSB and MSB acronyms is discussed later.
The formal term for a number’s base is radix. If r is the radix, then a binary number
has r = 2, a decimal number has r = 10, and a hexadecimal number has r = 16. In gen-
eral, each digit of a number of radix r can take on the values 0 through r – 1. The least
significant digit (LSD) has a weight of r 0, with each successive digit increasing by a power
of r as one moves from right to left. The leftmost digit, the most significant digit (MSD),
has weight of r n– 1, where n is the number of digits in the number. For hexadecimal (hex)
numbers, letters A through F represent the digits 10 through 15, respectively. Decimal,
binary, and hexadecimal numbers are used exclusively in this book. If the base of the
Cold 00 00 0001
Cool 01 10 0010
Warm 10 11 0100
Hot 11 01 1000
Chapter 1 Number System and Digital Logic Review 5
number cannot be determined by context, a “0x” is used as the radix identifier for hex
numbers (i.e., 0x3A) and “0b” for binary numbers (i.e., 0b01101000). No radix identifier
is used for decimal numbers. Table 1.2 lists the binary and hex values for the decimal val-
ues 0 through 15. Note that 4 bits are required to encode these 16 values since 24 = 16. The
binary and hex values in Table 1.2 are given without radix identifiers. The “*” symbol in
Table 1.2 is a multiplication operation; other symbols used in this book for multiplication
are “×” (a × b) and “·” (a · b) with the usage made clear by the context.
A binary number of n bits can represent the unsigned decimal values of 0 to
2N – 1. A common size for binary data is a group of 8 bits, referred to as a byte.
A byte can represent the unsigned decimal range of 0 to 255 (0x00 to 0xFF in hex).
Groups of bytes are often used to represent larger numbers; this topic is explored in
Chapter 5. Common powers of two are given in Table 1.3. Powers of two that are evenly
divisible by 210 can be referred to by the suffixes Ki (kibi, kilobinary, 210), Mi (mebi,
megabinary, 220), and Gi (gibi, gigabinary, 230). The notation of Ki, Mi, and Gi is ad-
opted from IEEE Standard 1541-2002, which was created to avoid confusion with the
suffixes k (kilo, 103), M (mega, 106) and G (giga, 109). Thus, the value of 4096 can be
written in the abbreviated form of 4 Ki (4 * 1 Ki = 22 * 210 = 212 = 4096 = 4.096 k).
However, be aware that the terminology of this IEEE standard is not in widespread
use yet. The terms kBytes and MBytes are commonly used when referring to memory
sizes and these mean the same as KiBytes and MiBytes.
Sample Question: What is the largest unsigned decimal number that can be
represented using a binary number with 16 bits?
Answer: From Table 1.3, we see that 216 = 65536, so 216 – 1 = 65535.
To convert a number of any radix to decimal, simply multiply each digit by its cor-
responding weight and sum the result. The example that follows shows binary-to-
decimal and hex-to-decimal conversion:
(binary to decimal) 0b0101 0010 = 0*27 + 1*26 + 0*25 + 1*24 + 0*23 + 0*22 +
1*21 + 0*20
= 0 + 64 + 0 + 16 + 0 + 0 + 2 + 1 = 82
(hex to decimal) 0x52 = 5*161 + 2*160 = 80 + 2 = 82.
The growth during the interval had been of three kinds, sometimes
Editors, &c., blended, sometimes kept apart. The first kind
of the Poetics. consisted of translations, editions, and
commentaries of and on the Poetics; the second, of abstract
discussions of Poetry; the third, of more or less formal “Arts” not very
different from Trissino’s own. The first class produced later, in the
work of Castelvetro, a contribution of almost the first importance to
the History and to the Art of Criticism; and it could not but exercise a
powerful influence. It belongs, however, in all but its most prominent
examples (such as that just referred to, which will be fully discussed
in the next chapter), rather to monographers on Aristotle than to
general historians of Criticism, inasmuch as it is mainly parasitic.
Pazzi. Before any book of original critical importance later
than Trissino’s had been issued, in 1536,[57]
Alessandro de’ Pazzi published a Latin translation of the Poetics,
which for some time held the position of standard, and a dozen years
later came three important works on the book—Robortello’s edition
of 1548, Segni’s Italian translation of 1549, and Maggi’s edition of
1550—all showing the attention and interest which the subject was
exciting, while, still before the later “Divisions” of Trissino appeared,
Vettori in 1560 added his edition, of greater importance than any
earlier one. Long before this the book had become a regular subject
of lectures. Of these writers Robortello, and still more Vettori
(“Victorius”), were of the greatest service to the text; Maggi, who was
assisted by Lombardi, to the discussion of the matter.[58]
In the critical handling of these editors and commentators we find,
as we should expect, much of the old rhetorical trifling. For all their
Robortello, Segni, Maggi, scorn, expressed or implied, of the Middle
Vettori. Ages, they repeat the distinctions of
poetica, poesis, poeta, and poema[59] as docilely as Martianus, or a
student of Martianus, could have done a thousand or five hundred
years before, and they hand it on too as a sort of charmed catchword
to Scaliger[60] and Jonson.[61] But brought face to face as they are
with the always weighty, though by no means always transparently
clear, doctrines of Aristotle, and self-charged with the duty of
explaining and commenting them, they cannot, if they would, escape
the necessity of grappling with the more abstract and less merely
technological questions. Robortello,[62] like Maggi, though less
elaborately, has a theory of the ludicrous. Both, and others,
necessarily grapple with that crux of the katharsis which has not yet
ceased to be crucial. Both, with Segni, discuss the Unity of Time and
differ about it; though none of the three has yet discovered (as
indeed it is not discoverable in Aristotle or Aristotle’s literary
documents) the yet more malignant Unity of Place. Vettori would
extend the cramp in time (not of course with the twenty-four hours’
limit) from tragedy to epic. Most of them have arrived at that
besotment as to “verisimilitude” which is responsible for the worst
parts of the Neo-Classic theory, and which, in the pleasant irony
common to all entanglements with Duessas of the kind, makes the
unfortunate lovers guilty of the wildest excesses of artificial
improbability. And in all, whether they project their reflections on their
text into more general forms or not, we can see the gradual
crystallising of a theory of poetry, heroic, or dramatic, or general.
Nor was such theory left without direct and independent exposition
Theorists: during the period which we are considering. The first
Daniello. author of one is generally taken to be Daniello,
whose Poetica appeared in 1536; and I have not discovered any
earlier claimant. I do not quite understand how Mr Spingarn has
arrived at the conclusion that “in Daniello’s theory of tragedy there is
no single Aristotelian element,” especially as he himself elsewhere
acknowledges the close—almost verbal—adherence of this early
writer to the Stagirite. But it is probably true that Daniello was
thinking more of the Platonic objections and of following out the
Boccaccian defence, than of merely treading in the footprints of
Aristotle. He is the first, since Boccaccio himself, to undertake that
generous, if rather wide and vague as well as superfluous, “defence
of poesy” which many Italians repeated after him, and which was
repeated after them by our Elizabethans, notably by Sir Philip
Sidney.
As his little book is somewhat rare, and as it has such good claims
to be among the very earliest vernacular disputations of a general
character on poetry in Italy, if not also in Europe, it may be well to
give some account of it. My copy has no title-page, but dates itself by
a colophon on the recto of the errata-leaf at the end, with a veto-
privilege, by concession of the Pope, the seignory of Venice, and all
the other princes and lords of Italy, advertised by Giovan Antonio di
Nicolini da Sabio, Venice, 1536. It fills 136 small pages of italic type,
and is in dialogue form, rather rhetorically but not inelegantly written,
and dedicated by Bernardo Daniello of Lucca to Andrea Cornelio,
Bishop-Elect of Brescia. Daniello does refer to Aristotle, and borrows
(not perhaps quite intelligently) from him; but his chief sources are
the Latins, and he sets or resets, with no small interest for us, that
note of apology for the Poets against Plato which was to dominate
Italian criticism, and after exercising some, but less, effect on
French, to be strenuously echoed in England. There are some rather
striking things in Daniello. He is sound enough on the mission of the
poet as being to delight (though he is to teach too) and also to
persuade—the ancient union of Poetics and limited Rhetoric
evidently working in him. On the relations of poetry and philosophy
he might be echoing Maximus Tyrius and Boccaccio, and very likely
is thinking of the latter. But he strikes a certain cold into us by
remarking that Dante (whom he nevertheless admires very much)
was perhaps greater and more perfect as a philosopher than as a
poet; and it does not seem likely that he was aware of the far-
reaching import of his own words when he lays it down (p. 26) that
Invention, Disposition, and Elocution being the three important
things, the poet is not, as some think, limited to any special matter. If
he had meant this, of course he would have come to one of those
arcana of criticism which are even yet revealed, as matter of serene
conviction, to very few critics. But he pretty certainly did not fully
understand his own assertion; and indeed slurs it off immediately
afterwards. After taking some examples from Dante and more from
Petrarch, Daniello adopts (again prophetically) the doctrine that the
Poet must practically know all arts and sciences, in order that he
may properly deal with his universal subject. He is specially to study
what is called in Latin Decorum and in Italian Convenevolezza.
Tragedy and Comedy are to be rigidly distinguished. And so this
curious First Blast of the Trumpet of sixteenth-century vernacular
criticism is emphatic against the confusion which was to bring about
the mightiest glories of sixteenth-century literature. A large part of
the small treatise is taken up with examples, in the old rhetorical
manner of qualities, “colours,” figures, &c. The whole of the latter
part of the First Book consists of these, as does almost the whole of
the Second, with an extension into verbal criticism of the passages
cited as illustrating kinds, technical terms, and the like. Indeed the
general considerations are chiefly to be found in the first forty or fifty
pages; and it is really remarkable how much there is in this short
space which practically anticipates in summary the ideas of most of
the much more voluminous writers who follow.[63]
Fracastoro, physician, logician, and not ungraceful poet of the
graceless subject of Syphilis, deals with both Plato and Aristotle in
his dialogue Naugerius, and discourses deeply on the doctrine of
Imitation, the Theory of Beauty, the Aristotelian conception of the
poet as more universal and philosophical than the historian, and the
Platonic objection to the intervals between poetry and truth. This
Fracastoro. dialogue,[64] however (the full title is Naugerius sive
de Poetica, its chief interlocutor being Andrea
Navagero, the best follower of Catullus in Renaissance Latin[65]), tells
a certain tale by its coupling with another, Turrius sive de
Intellectione. It is wholly philosophical in intent and drift: it is perhaps
the very “farthest”—comparatively early (1555) as is its date—of
those Italian excursions, in the direction of making Criticism an
almost wholly abstract and a priori subject, which balance the
unblushing “Convey—do nothing but convey,” of Vida and his
followers. One of its very earliest axioms (p. 324 ed. cit. infra) is that
“qui recte dicere de hac re velit, prius sciat necesse est, quænam
poetæ natura est, quidque ipsa poetica, tum et quis philosophi
genius,” &c. It must be admitted that Fracastoro is among the very
ablest and most thoroughgoing explorers of these altitudes. No one
has more clearly grasped, or put more forcibly, than he has that
compromise between Plato and Aristotle which has been and will be
mentioned so often as characteristic of the Italian thinkers in this
kind. Indeed, the fifty pages of his Dialogue are almost a locus
classicus for the first drawing up of the creed which converted
Sidney, and to which Milton, indocile to creeds as he was, gave
scarcely grudging allegiance. It is full, too, of interest in deliverances
on minor points—the difference between the orator and the rhetor (p.
343), the shaping of a particular kind of “orator” into a poet, his
universality and his usefulness, the limits of his permitted fiction and
the character of his charm. But Fracastoro is wholly in these
generals: it is much if he permits himself a rare illustration from an
actual poet.
And always in these writers we find the old deviations, the old red
herrings drawn across the scent. Fracastoro himself, reasonable as
he is in many ways, falls into the foolish old fallacy that a good poet
must be a good man, and the less obviously ridiculous but still
mischievous demand from him of the all-accomplished acquirements
once asked of the rhetorician.
Putting aside, for the moment, such rather later and much more
important works as the Discorsi of Giraldi Cinthio, the De Poetis
Nostrorum Temporum of his half-namesake Lilius Giraldus, and the
two capital treatises of Minturno, one of which appeared after
Trissino’s book, we may give a few words to two Italian tractates, the
Versi e Regole della Nuova Poesia Toscanaof Claudio Tolomei
(1539) and Muzio’s or Mutio’s Italian verse Arte Poetica, which was
Formalists: published with some other work in 1551.[66] The last
Mutio. is noteworthy as an early example of the vernacular
Tolomei and critical poem—a kind suggested by Horace, and
classical
illustrated later by Boileau and Pope, but certainly
metres.
more honoured by its practitioners than in itself. Yet
it would not be just to deny Mutio a high if rather vague conception of
poetry, and, in particular, a most salutary conviction that the poet
must disrealise his subjects. Tolomei’s book, on the other hand,
challenges attention as probably the beginning of that pestilent
heresy of “classical metres” which, arising in Italy, and tainting
France but slightly (as was natural considering the almost
unquantified character of the modern French language), fastened
with virulence upon England, affected some of our best wits, and
was within measurable distance of doing serious harm. The plague
was so much at its worst with us that the chapter on Elizabethan
Criticism will be the proper place for its discussion. But though
Ascham himself thought it no plague at all, it was certainly one of the
very worst of these “Italianations” to which he objected so violently;
and Tolomei was its first prophet in the country of its origin.
Not a few names, some famous in European literature for other
performances of their bearers, some almost unknown except to the
student of this subject, fall into one or other of these classes, or, as
very commonly happens, qualify in a undecided manner for two, or
for all. As early as 1545 Tomitano[67] had dwelt on the above-
Others: mentioned fallacy of the necessary learning of
Tomitano, poets: Lionardi,[68] nine years later, in a pair of
Lionardi, B. Dialogues expressly devoted to Poetic Invention,
Tasso,
extended this in the widest and wildest manner, so
Capriano.
that the poet becomes a perfect good-man-of-the-
Stoics—an all-round and impeccable Grandison-Aristotle. The same
idea and others were emitted by Bernardo Tasso, good father of a
great son, who not only practised poetry to the vast extent of the
Amadigi, but discussed it in a formal Ragionamento of the subject.[69]
Later, Capriano[70] gave the more elaborate exaltation of poetry as a
sort of Art of Arts, combining and subduing to its own purpose all
forms of Imitation, and following up Vida’s superfine objections to
Homer as trivial and undignified, and his rapturous exaltation of the
“decency” of Virgil. This book, very short, is also rather important—
more so than might be judged from some accounts of it. It is neither
paged, nor numbered in folio, but does not extend beyond signature
F ii. of a small quarto, with a brief appendix of Italian verse. There
are eight chapters—the first discussing what things are imitable and
what imitation is; the second vindicating for poetry the portion of
supreme imitative art; the third dividing it into “natural” and “moral”;
the fourth arguing that Epic or Heroic (not, as Aristotle thinks, drama)
is the highest kind of “moral” poetry; the fifth containing, among other
things, an interesting revolt against Greek; the sixth discoursing on
number and sound; the seventh exalting the good poem above
everything; and the eighth rapidly discussing the origin, rank,
necessity, parts, force, end, &c., of Poetry. Capriano does not give
himself much room, and fails, like most of these critics, in the all-
important connection of his theories with actual work; but he must
have been a man of no common independence and force of thought.
[71]