• Arthur BROOKE drowns in GREYHOUND wreck (2/2)

    From Arthur Neuendorffer@21:1/5 to All on Thu Nov 4 10:37:53 2021
    [continued from previous message]

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    ---------------------------------------------------
    Dr. Michael Delahoyde, Washington State University ..................................................
    THE TRAGICAL HISTORY OF ROMEUS AND JULIET

    <<This narrative poem, first published in 1562 and the key "source" for Shakespeare's Romeo and Juliet, can be found complete as:

    https://quod.lib.umich.edu/e/eebo/A03435.0001.001?rgn=main;view=fulltext

    The original publication title page reads only The Tragicall Historye of Romeus and Iuliet, written first in Italian by Bandell, and nowe in Englishe by Ar. Br. Very little is known about Arthur Brooke, who is later credited with the work: although see
    Nina Green, "Who Was Arthur Brooke?" The Oxfordian 3 (2000): 51-70. An Arthur Brooke existed, born about 1544 and drowned early in 1564 on his way to help Protestant forces in France, but many Oxfordians consider this poem a youthful composition by de
    Vere, who later expanded and revised the story for the stage. See Paul H. Altrocchi, MD, "Shakespeare, Not Arthur Brooke, Wrote Tragicall Historye of Romeus & Juliet." Shakespeare Oxford Newsletter 43.1 (Winter 2007): 22-26.

    Ponderous amounts of source study and comparisons can be found; most pertinent involves Chaucer's Troilus and Criseyde (stylistically also detectable in uses of such archaisms as the verb prefix "y-" and words such as "eke," "eyne," "cleped," "maugre," "
    hight," etc.).

    The poem is a "cautionary tale for young lovers" (Farina 177) and is faulted for its (a) excessive alliteration; (b) frequent classical allusions; (c) a curious form of 'unnatural' natural history ... ; (d) didactic harangues; (e) lengthy soliloquies; (f)
    balanced antithesis; (g) extravagant description and artificial sentiment" (l-li). The "dullness" of this "long, moralising poem" is supposedly "undisputed" (Farina 175).

    It is written in poulter's measure (rhyming couplets of first six and then seven beats), the from used in the "Golding" translation of Ovid's Metamorphoses and in other suspected early de Vere works.>>
    ----------------------------------------------------------------
    The Readers Encyclopedia of Shakespeare (Campbell & Quinn)

    The preface to the poem is highly moralistic
    and *heavily tinged with Protestant polemics*: ...........................................................
    . . . ROMEUS AND JULIET: To the Reader

    The God of all Glory created, universally, all creatures to set forth His praise; both those which we esteem profitable in use and pleasure, and also those which we accompt noisome and loathsome. But principally He hath appointed man the chiefest
    instrument of His honour, not only for ministering matter thereof in man himself, but as well in gathering out of other the occasions of publishing God's goodness, wisdom, and power. And in like sort, every doing of man hath, by God's dispensation,
    something whereby God may and ought to be honoured. So the good doings of the good and the evil acts of the wicked, the happy success of the blessed and the woeful proceedings of the miserable, do in divers sort sound one praise of God. And as each
    flower yieldeth honey to the bee, so every example ministereth good lessons to the well-disposed mind. The glorious triumph of the continent man upon the lusts of wanton flesh, encourageth men to honest restraint of wild affections; the shameful and
    wretched ends of such as have yielded their liberty thrall to foul desires teach men to withhold themselves from the headlong fall of loose dishonesty. So, to like effect, by sundry means the good man's example biddeth men to be good, and the evil man's
    mischief warneth men not to be evil. To this good end serve all ill ends of ill beginnings. And to this end, good Reader, is this tragical matter written, to describe unto thee a couple of unfortunate lovers, thralling themselves to unhonest desire;
    neglecting the authority and advice of parents and friends; conferring their principal counsels with drunken gossips and superstitious friars (the naturally fit instruments of unchastity); attempting all adventures of peril for th' attaining of their
    wished lust; using auricular confession the key of whoredom and treason, for furtherance of their purpose; abusing the honourable name of lawful marriage to cloak the shame of stolen contracts; finally by all means of unhonest life hasting to most
    unhappy death. This precedent, good Reader, shall be to thee, as the slaves of Lacedemon, oppressed with excess of drink, deformed and altered from likeness of men both in mind and use of body, were to the free-born children, so shewed to them by their
    parents, to th' intent to raise in them an hateful loathing of so filthy beastliness. Hereunto, if you apply it, ye shall deliver my doing from offence and profit yourselves. Though I saw the same argument lately set forth on stage with more commendation
    than I can look for -- being there much better set forth than I have or can do -- yet the same matter penned as it is may serve to like good effect, if the readers do bring with them like good minds to consider it, which hath the more encouraged me to
    publish it, such as it is.

    --Ar. Br.
    ---------------------------------------------------------- https://en.wikipedia.org/wiki/William_Brooke,_10th_Baron_Cobham

    Sir William Brooke, 10th Baron Cobham, KG (1 November 1527 – 6 March 1597) was Lord Warden of the Cinque Ports, and a Member of Parliament for Hythe. Although he was viewed by some as a religious radical during the Somerset Protectorate, he entertained
    Queen Elizabeth I of England at Cobham Hall in 1559, signalling his acceptance of the moderate regime.
    ---------------------------------------------------------- https://en.wikipedia.org/wiki/Henry_Brooke,_11th_Baron_Cobham

    <<In 1597 Henry Brooke, 11th Baron Cobham (22 November 1564 – 3 February 1618) succeeded his father as Lord Warden of the Cinque Ports under Queen Elizabeth. Shortly after the accession of James I, he was implicated in the 'treason of the main' in 1603.
    His brother George was executed, and Henry was imprisoned in the Tower of London by James I, probably in an attempt to obtain the Cobham estates for the Duke of Lennox.

    He may have been the subject of a number of Elizabethan satires such as Thomas Nashe's Lenten Stuffe, Ben Jonson's Every Man in his Humour, and may have been the model of Shakespeare's Falstaff, who was originally given the name "Oldcastle". Sir John
    Oldcastle was an ancestor of Lord Cobham. Though Falstaff is more likely modelled on his father William Brooke, 10th Baron Cobham (also descended from John Oldcastle) who was married to Frances Newton, whose family name was originally Caradock;
    referenced in 2 Henry IV when Falstaff sings "The Boy and the Mantle," a ballad in which Sir Caradoc's wife comes away with her fidelity and reputation intact (McKeen 1981). This could point to William Brooke, being married to a Caradock such as the Sir
    Cacadoc in the ballad sung by Falstaff, as the model for Falstaff rather than Henry, being the son of a Caradock.
    -------------------------------------------------
    . The Merry Wives of Windsor, Quarto 1, 1602
    . Act II, scene I
    .
    Host: Hast thou no shute against my knight,
    . My guest, my cauellira:
    .
    For. None I protest: But tell hi[M] my n[A]me
    . I[S] Bro[O]ke, o[N]lie for a *IEST*.
    ...................
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    . . S T*.
    .
    [MASON] 4
    ------------------------------------------------------------------
    . The Merry Wives of Windsor, Folio 1, 1623
    .
    Host. Hast thou no suit against my Knight?
    . my guest-Caualeire?
    .
    Shal. None, I protest: but Ile giue you a pottle of
    . burn'd sacke, to giue me recourse to him, and tell
    . hi[M] my n[A]me I[S] Bro[O]me: o[N]ely for a *IEST*.
    ...................
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    .
    [MASON] 4
    ------------------------------------------------------------------ https://en.wikipedia.org/wiki/Henry_IV,_Part_1#Oldcastle_controversy

    <<Henry IV, Part 1 caused controversy on its first performances in 1597, because the comic character now known as "Falstaff" was originally named "Oldcastle" and was based on John Oldcastle, a famous proto-Protestant martyr with powerful living
    descendants in England.

    Although the character is called Falstaff in all surviving texts of the play, there is abundant external and internal evidence that he was originally called Oldcastle. The change of names is mentioned in seventeenth-century works by Richard James ("
    Epistle to Sir Harry Bourchier", c. 1625) and Thomas Fuller (Worthies of England, 1662). It is also indicated in details in the early texts of Shakespeare's plays. In the quarto text of Henry IV, Part 2 (1600), one of Falstaff's speech prefixes in Act I,
    Scene ii is mistakenly left uncorrected, "Old." instead of "Falst." In III, ii, 25-6 of the same play, Falstaff is said to have been a "page to Thomas Mowbray, Duke of Norfolk"—which was true of the historical Oldcastle. In Henry IV, Part 1, I,ii,42,
    Prince Hal calls Falstaff "my old lad of the castle." Iambic pentameter verse lines in both parts are irregular when using the name "Falstaff", but correct with "Oldcastle". Finally, there is the blatant disclaimer at the close of Henry IV, Part 2 that
    discriminates between the two figures: "for Oldcastle died [a] martyr, and this is not the man" (Epilogue, 29–32).

    There is even a hint that Falstaff was originally Oldcastle in The Merry Wives of Windsor too. When the First Folio and quarto texts of that play are compared, it appears that the joke in V,v,85–90 is that Oldcastle/Falstaff incriminates himself by
    calling out the first letter of his name, "O, O, O!," when his fingertips are singed with candles—which of course works for "Oldcastle" but not "Falstaff." There is also the "castle" reference in IV,v,6 of the same play.

    The name change and the Epilogue disclaimer were required, it is generally thought, because of political pressure: the historical Oldcastle was not only a Protestant martyr, but a nobleman with powerful living descendants in Elizabethan England. These
    were the Lords Cobham: William Brooke, 10th Baron Cobham (died 6 March 1597), was Warden of the Cinque Ports (1558–97), Knight of the Order of the Garter (1584), and member of the Privy Council (1586–97); his son Henry Brooke, 11th Baron Cobham, was
    granted the paternal post of Warden of the Cinque Ports upon his father's death, and made a Knight of the Order of the Garter in 1599. Even more so, Frances Brooke, the 10th Baron's wife and 11th Baron's mother, was a close personal favourite of Her
    Majesty Queen Elizabeth I.

    The elder Lord Cobham even had a strong negative impact upon the lives of Shakespeare and his contemporaries in the theatre. The company of actors formed by Shakespeare, Richard Burbage, Will Kempe and the others in 1594 enjoyed the patronage of Henry
    Carey, first Lord Hunsdon, then serving as Lord Chamberlain; they were, famously, the Lord Chamberlain's Men. When Carey died on 22 July 1596, the post of Lord Chamberlain was given to William Brooke, Lord Cobham, who definitely was not a friend to the
    players, and who withdrew what official protection they had enjoyed. The players were left to the mercies of the local officials of the City of London, who had long wanted to drive the companies of actors out of the City. Thomas Nashe, in a contemporary
    letter, complained that the actors were "piteously persecuted by the Lord Mayor and the aldermen" during this period. This interval did not last; when Cobham died less than a year later, the post of Lord Chamberlain went to Henry Carey's son George, 2nd
    baron Hunsdon, and the actors regained their previous patronage.[20]

    The name was changed to "Falstaff", based on Sir John Fastolf, an historical person with a reputation for cowardice at the Battle of Patay, and whom Shakespeare had previously represented in Henry VI, Part 1. Fastolf had died without descendants, making
    him safe for a playwright's use.

    Shortly afterward, a team of playwrights wrote a two-part play entitled Sir John Oldcastle, which presents a heroic dramatisation of Oldcastle's life and was published in 1600.

    In 1986, the Oxford Shakespeare edition of Shakespeare's works rendered the character's name as Oldcastle, rather than Falstaff, in Henry IV, Part 1 (although not, confusingly, in Part 2), as a consequence of the editors' aim to present the plays as they
    would have appeared during their original performances. No other published editions have followed suit.>>
    --------------------------------------------------------------------- https://en.wikibooks.org/wiki/Annotations_to_James_Joyce%27s_Ulysses/Eumaeus/615

    Annotations to James Joyce's Ulysses/Eumaeus/615 ...................................................
    anno ludendo hausi, Doulandus (Errata) Gabler emends this to: annos ludendo hausi, Doulandus.

    annos ludendo hausi, Doulandus (Latin) I used up my years in playing — Dowland.

    The words are taken from an emblem presented to Dowland by his friend Henry Peacham (1578-1644).
    Peachum describes the gift thus in The Compleat Gentleman:

    Of my good friend Master Doctor Dowland, in regard he had slipt many opportunities in advancing his fortunes and a rare Lutenist as any of our Nation, beside one of our greatest Masters of Musicke for composing: I gave him an Embleme with this;
    IOHANNES DOVLANDVS
    Annos ludendo hausi.

    The astute reader will have noticed that annos ludendo hausi is an anagram of Iohannes Doulandus. By omitting Iohannes, Stephen has lost the anagram. According to Thomas Fuller, the anagram was composed by *Ralph Sadler*, Esq, of Standon, Hertfordshire,
    who was with Dowland in Copenhagen. ------------------------------------------------------------- https://en.wikipedia.org/wiki/Ralph_Sadler

    <<Sir Ralph Sadler (1507 – 30 March 1587) was an English statesman, who served Henry VIII as Privy Councillor, Secretary of State and ambassador to Scotland. Sadler went on to serve Edward VI, although having signed the device settling the crown on
    Jane Grey, was obliged to retire to his estates during the reign of Mary I. Sadler was restored to royal favour during the reign of Elizabeth I, serving as a Privy Councillor and once again participating in Anglo-Scottish diplomacy. He was appointed
    Chancellor of the Duchy of Lancaster in May 1568.Sadler is one of the major characters in Hilary Mantel's 2009 novel Wolf Hall, which gives a fictional portrayal of Sadler's youth and early manhood in the household of Thomas Cromwell.>>
    -------------------------------------------------------------
    BROOKE HOUSE (King's Place) OWNERS .............................................................
    July-Aug 1547: Sir William Herbert

    The First Folio is, of course, dedicated to Herbert's sons.

    Aug-Oct 1547: Sir Ralph Sadler & John Hales of Coventry
    Oct 1547 - Feb 1548: Sir Ralph Sadler
    (Shakspere's neighbor: Hamnet Sadler)

    Feb 1548 - July 1578: Sir Wymond CAREW;
    1548: Brooke House was sold by Richard CAREW,
    antiquary and author of _The Survey of Cornwall_.

    . Elizabeth angrily rejected Essex's suggestion
    . of Sir George CAREW as Lord Deputy of Ireland.
    . (Essex almost pulls a sword on Liz after she strikes him
    . on the ear and tells him to go get hanged.) ------------------------------------------------------------ http://www.masterofshakespeare.com/master_of_shakespeare.htm

    Ungentle Shakespeare, Katherine Duncan-Jones, Arden Shakespeare (2001), p.35

    <<My conjecture is that the earliest patron of [John Heminge and William Shakespeare] may have been the affable and generous Sir Fulke Greville of Beauchamps court ... the elder Greville was deeply involved in local affairs. From 1591 until his death in
    1606, he was the Recorder of Stratford-upon-Avon ... Shakespeare ... perhaps came to the notice of Sir Fulke Greville of Beauchamps Court and for a couple of years served him in some capacity, probably as a player, possible also as a clerk or secretary>>
    ------------------------------------------------------------ http://www.masterofshakespeare.com/master_of_shakespeare.htm

    The Master of Shakespeare, Volume I, by A. W. L. Saunders (2007),

    <<Fulke Greville's alleged remark: 'I am the master of Shakespeare', first appeared in print in David Lloyd's biography of him in The Statesmen and Favourites of England since the Reformation (1670). Lloyds most likely source for the remark is Greville's
    page, William Davenant, who is famous for his claim to have been Shakespeare's son. The one time prompter of Drury Lane (founded by Davenant), William Chetwood, wrote that Greville's page 'was, by many, supposed the natural son of Shakespear'. If the
    Stratford Recorder did make such a remark to his young page, was he telling the truth? Greville had the reputation among his contemporaries of being a gentle, honourable and honest man.

    Greville's biographers have proved remarkably shy of investigating his 'tantalizing' claim. Professor Rebholz, in his Life of Fulke Greville, makes no mention of it at all, which seems very strange. Professor Rees in her Fulke Greville, Lord Brooke (42,
    218), says only that his claim 'whets the curiosity'. Some Stratfordian biographers such as Ralegh (1907), Brown (1951), Alexander (1964), Holden (1999) and Greenblatt (2005), make no mention of Greville or his claim in their books but, on the whole,
    Stratfordian scholars have been very willing to incorporate Greville into their theory and give him a staring role in the life of his fellow townsman.

    E. K. Chambers held that Shakspere had been first employed by Greville's father, the old Stratford Recorder, who 'maintained domestic players at Beauchamps Court'. Katherine Duncan-Jones also believed that 'Shakspere's earliest patron' was Fulke Greville
    senior. Ackroyd in his Shakespeare - The Biography (477), was certain that as a 'poet and dramatist', as well as a fellow townsman, Greville 'knew Shakespeare very well indeed'. Dame Francis Yates believed that the young William Shakspere 'had access to
    Greville's house and circle' and Rosemary Sisson suggested that he had once been 'Fulke Greville's page'.

    The great Shakespearean scholar Charles Lamb was deeply interested in Greville's claim to have been Shakespeare's 'master' and the author of Antony and Cleopatra. When he was asked at a dinner party which personages from history he would most like to
    meet face to face, he astonished his friends, including Hazlett (Essays, 1821-2, 'Of persons One Would Wish to have Seen'), by choosing, not Shakespeare, but Fulke Greville, Lord Brooke, as one of the 'ghosts' he would most like to question. Lamb
    described Greville as 'a truly formidable and inviting personage; his style apocalyptical, cabalistical, a knot worthy of such an apparition to untie; and for the unravelling of a passage or two, I would stand the brunt of an encounter with so portentous
    a commentator.' Obviously referring to Greville's 'mysterious' claim, Lamb said 'I should like to ask him 'the meaning of what no mortal I should suppose, can fathom.'
    ------------------------------------------------------------ http://www.masterofshakespeare.com/fulke_greville.htm

    <<There is probably more evidence about the life of the soldier, courtier, statesman and poet, Fulke Greville, Lord Brooke (1554-1628), than about the life of any other English writer of the sixteenth and seventeenth centuries. These records show that
    the Stratford poet was one of the most extraordinary men of his age. He was the son of Sir Fulke Greville, de jure 4th Lord Willoughby de Broke, of Beauchamps Court, the family seat situated a few miles from Stratford-upon-Avon. Physically, Greville is
    reported to have been a thin, athletic and extremely handsome man. He was a

    After being educated at Shrewsbury (where he met his lifelong friend Philip Sidney), and Jesus College, Cambridge, he was successfully (and in many cases simultaneously): an 'intelligencer' who traveled all over Europe and recruited spies for Walsingham
    and Essex (Marlowe, Gwinne and Coke); a soldier (he was captain of a hundred lancers and fought for Henry of Navarre at the Battle of Coutras in 1586); a sailor (master and commander of the Foresight, 1580 and, in 1599, Rear-Admiral commanding The
    Triumph, the largest ship in the British Navy). He was a renowned horseman and a 'famous Champion of the tiltyard'.

    During his long career the Recorder of Stratford-upon-Avon managed to repair his family estates and 'died reputed to be the richest man in England'.

    Greville never married and spent much of his great fortune on many diverse interests. He was an art collector (the Warwick Collection, particularly the tapestries). A builder (rebuilding the ruined Warwick Castle), and an early patron of Inigo Jones (
    Brooke House, Holborn and The Banqueting House, Whitehall). He designed three of the most famous gardens in England, (Warwick Castle, Brooke House, Holborn, and Kings Place, Hackney). He was a great promoter of America (The Virginia Company), and, with
    Philip Sidney and Francis Drake, he planned 'The Invasion of America' in 1585. Greville's lasting fame is as a patron to men of literature (including three Poets Laureate, Samuel Daniel, Edmund Spencer and Ben Jonson); history (William Camden, Dorislaus);
    trade (the East India Company); science (Giordano Bruno and John Speed); politics (Francis Bacon and Sir John Coke); and the Church (Bishops Andrews and Overall).

    Modern scholars agree (What the Critics said about Fulke Greville), that the poet and dramatist from Stratford-upon-Avon was a superlative poet and a 'rare and singular genius'. According to Gorley Putt:

    Geoffrey Bullough summed it up ... What is conceivable is that Fulke Greville the man, freed from the restrictions of Fulke Greville the courtier and administrator, might well have found the true medium for his metaphysical debating mind not in closet-
    dramas but in the popular theatre of his day. What Chapman achieved by sheer power of intellectual will and Tourneur vainly strove to equal, Greville was equipped to equal or surpass.>>
    ---------------------------------------------------------
    Art Neuendorffer

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