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Arthur Neuendorffer
May 24, 2020, 1:14:57 PM5/24/20
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https://en.wikipedia.org/wiki/Peter_Street_(carpenter)
<<[PETER] Street (baptised 1 July 1553, died in May 1609) was an English carpenter. He built the Fortune Playhouse, and probably the Globe Theatre. He had a part in building King James's Banqueting House in Whitehall Palace and he may have been responsible for the settings for the king's royal masques.
On 28 December 1598, Street, with twelve of his men and "diverse other persons", started to dismantle the old Theatre. Street assured bystanders that he was only starting a refurbishment project, intending to rebuild the structure "in another form", but in due course the half-ton oak beams were on their way by wagon to Street's Bridewell yard. There they were stored until the pile and masonry foundations at Southwark, prepared under Street's direction by one William Shepherd to "force the building out of the marsh", as Ben Jonson put it, were complete. Three weeks after the raid Street found himself the chief defendant in a court case, brought by The Theatre's landlord Giles Allen, complaining of the "carrying away of…all the wood and timber thereof", but no determination was made, as claim and counterclaim between the Burbages and Allen occupied lawyers for years to come.
As well as storing the reclaimed material from The Theatre, Street's preparations would have included prefabricating extra framing for his structure, near to where the timber was grown and seasoned, upriver in Berkshire—The Globe was going to be larger than the building it replaced. In a later building project, that of The Fortune theatre in the following year, Street fabricated and loosely fitted together the timber framing at Windsor and Maidenhead, and it is assumed that he followed this procedure for The Globe as well. Once the foundations were complete, erection took a further ten weeks, finishing in the Summer of 1599, leaving only the lath and plaster infill to complete. The cost was £700. The "Glory of the Bank", as Ben Jonson described the new theatre, was very near to The Rose, the playhouse of their rival company The Admiral's Men, and The Swan.
In January 1600 Philip Henslowe, the proprietor of The Rose theatre now so surpassed by its new neighbour The Globe, in turn commissioned Street to build a new theatre in competition at a site in Finsbury, north of the City, to be called The Fortune. The contract and accounts for the work survive and it is evident that Henslowe approved of Street's work on The Globe, as in many places the contract merely specified that in the new building Street should do as had been done at The Globe; the major difference was that The Fortune was to be a square building, as opposed to the polygonal Globe. While labourers and bricklayers prepared the foundations Street returned to Berkshire to select and prepare his timber—the contract specified, in a possible further allusion to The Globe's construction, that only new timber was to be used. By early May 1600 the foundations in London, and the carpentry in Berkshire, were nearly complete and the building was finished, a little later than Street had anticipated, in August 1600. Street was paid £400, less than he had received for the Globe, but Henslowe is on record as having travelled to Berkshire to pay directly for materials Street was working on there, and local wages.
The Hope
Richard Henslowe retained property in Southwark after opening The Fortune in Finsbury, and in June 1606 he contracted Street to demolish his Bear Garden, a bear-baiting arena, and re-build it as the Hope Theatre but Street died before the main part of the work started and the eventual rebuilding was carried out by Gilbert Katherens.
At one of the court cases to settle the 1596 Bridewell leasehold dispute, Street described himself as a member of the Queen's household, but the other party accused him of making this claim only to overawe his opponents and so divert attention from his "dishonest practices". An inconclusive Palace record of 1593 does show one "Peter Street" as living and working at court, but in what capacity is not recorded. There is, however, no doubt that later in his working life, as he rose to prominence, he did work for the royal household. He was on good terms with William Portington, the king's carpenter, and he certainly provided specialist knowledge and machinery when the first permanent Banqueting House, built in 1606 to provide a theatrical setting for royal occasions, was put up. Apart from offering the benefit of his experience in theatre design, Street's particular contribution was the wooden columns, hollowed out to prevent splitting and painted to resemble marble, in the style of those at The Globe. Mary Edmond speculates that Street's experience in theatre construction was also put to use in building the stage and seating for the royal masques at James's court.
He was carpenter to the Bridewell Palace, but this was not a royal appointment as the former palace of King Henry was, at that time, in use as the Bridewell Hospital, an orphanage. After his death Street's son John was appointed to the post.
The poet Seamus Heaney commemorated Street's work in his 1965 poem Peter Street at Bankside. Street's character – as played by actor Matt King – also appeared in the second episode of Series 3 of the new Doctor Who, entitled The Shakespeare Code, as first broadcast in April 2007.>>
https://www.youtube.com/watch?v=fJ4nZxn4vHc
-------------------------------------------------------
http://hhh.gavilan.edu/fmayrhofer/spanish/shelton/PartII/p000027.html
Thomas Shelton's : _The History of the Valorous &
Witty Knight-Errant Don Quixote of the Mancha
The Second Part
.............................................................
http://hhh.gavilan.edu/fmayrhofer/spanish/shelton/PartII/p000025.html
CHAPTER XXV: Of the Adventure of the Braying, and the Merry One of the Puppet-man, with the Memorable Soothsaying of the Prophesying Ape
Whilst they were thus communing, Master Peter came to call Don Quixote, and to tell him that the motion was now up, if he would please to see it, which would give him content. Don Quixote told him his desire, and wished that his ape might tell him if certain things that befel him in Montesinos’ Cave were true or but dreams, for himself was uncertain whether. Master Peter, without answering a word, fetched his ape, and, putting him before Don Quixote and Sancho, said, ‘Look you, master ape, Signior Don Quixote would have you tell him whether certain things that happened to him in Montesinos’ Cave were true or false.’ And, making the accustomed sign, the ape whipped upon his left shoulder, and, seeming to speak to him in his ear, Master Peter straight interpreted: ‘The ape, signior, says that part of those things are false and part of them true, and this is all he knows touching this demand; and now his virtue is gone from him, and, if you will know any more, you must expect till Friday next, and then he will answer you all you will ask, for his virtue will not return till then.’
.............................................................
http://hhh.gavilan.edu/fmayrhofer/spanish/shelton/PartII/p000027.html
CHAPTER XXVII: Who Master Peter and his Ape were, with the Ill Success that Don Quixote had in the Adventure of the Braying, which ended not so well as he would, or thought for
CID HAMET, the chronicler of this famous history, begins this chapter with these words: ‘ I swear like a Catholic Christian.’ To which the translator says that Cid his swearing like a Catholic Christian, he being a Moor, as undoubtedly he was, was no otherwise to be understood than that, as the Catholic Christian, when he swears, doth or ought to swear truth, so did he, as if he had sworn like a Catholic Christian in what he meant to write of Don Quixote, especially in recounting who Master Peter and the prophesying ape were, that made all the country astonished at his foretelling things. He says, then, that he who hath read the former part of this history will have well remembered that same Gines de Passamonte whom Don Quixote, amongst other galley-slaves, freed in Sierra Morena, a benefit for which afterward he had small thanks and worse payment from that wicked and ungrateful rout.
This Gines de Passamonte, whom Don Quixote called Ginesillo de Parapilla, was he that stole Sancho’s Dapple, which, because neither the manner nor the time were put in the First Part, made many attribute the fault of the impression to the author’s weakness of memory. But true it is that Gines stole him as Sancho slept upon his back, using the same trick and device of Brunelo’s, whenas Sacripante being upon the siege of Albraca, he stole his horse from under his legs; and after Sancho recovered him again, as was showed.
This Gines, fearful of being found by the justices that sought after him, to punish him for his infinite villanies and faults, that were so many and so great that himself made a great volume of them, determined to get him into the kingdom of Aragon, and so covering his left eye, to apply himself to the office of a puppet-man; for this and juggling he was excellent at. It fell out so that he bought his ape of certain captive Christians that came out of Barbary, whom he had instructed that upon making a certain sign he should leap upon his shoulder, and should mumble, or seem to do so at least, something in his ear. This done, before he would enter into any town with his motion or ape, he informed himself in the nearest town, or where he best could, what particulars had happened in such a place or to such persons, and, bearing all well in mind, the first thing he did was to show his motion, which was sometimes of one story, otherwhiles of another; but all merry, delightful, and familiarly known. The sight being finished, he propounded the rarities of his ape, telling the people that he could declare unto them all things past and present; but in things to come he had no skill. For an answer to each question he demanded a shilling; but to some he did it cheaper, according as he perceived the demanders in case to pay him. And sometimes he came to such places as he knew what had happened to the inhabitants, who, although they would demand nothing, because they would not pay him, yet he would still make signs to the ape, and tell them the beast had told him this or that, which fell out just by what he had before heard, and with this he got an unspeakable name, and all men flocked about him; and at other times, as he was very cunning, he would reply so that the answer fell out very fit to the questions; and, since nobody went about to sift or to press him how his ape did prophesy, he gulled every one and filled his pouch. As soon as ever he came into the vent he knew Don Quixote and Sancho, and all that were there; but it had cost him dear if Don Quixote had let his hand fall somewhat lower when he cut off King Marsilius his head and destroyed all his chivalry, as was related in the antecedent chapter. And this is all that may be said of Master Peter and his ape.
-------------------------------------------------------
An Epitaph on the Death of Maister Arthur Brooke
Drownde in Passing to New Haven. (1567)
by George Turberville (1540?-1610?)
.................................................
AT point to ende and finishe this my Booke,
Came good report to mee, and wild me write
A dolefull VER(s)E, in praise of Arthur Brooke
That age to come lament his fortune might.
Agreede (quoth I) for sure his Vertues were
As many as his yeare[S] in number few:
The M[U]ses him in learned [L]aps did beare,
And *P[A]LLAS* D{U}g this dain[T]ie Bab did ch{E}w.
Apollo lent him Lute fo{R} solace sake
To sound his {V}erse by touch of stately {S}tring,
........................................
[TALUS] -16
{UERVS} 21
........................................
And of the neuer fading Baye did make
A Lawrell Crowne, about his br{OWE}s to c{L}ing,
In p{R}oufe th{A}t he for {M}yter did excell
As may be iudge by Iulyet and hir Mate:
For there he shewde his cunning passing well
When he the Tale to English did translate.
........................................
. <= 7 =>
.
. A L a w r e l
. l C r o w n e,
. a b o u t h i
. s b r {O W E} s
. t o c {L} i n g,
. I n p {R} o u f
. e t h {A} t h e
. f o r {M} y t e
. r d i d e x c
. e l l
.........................................
{MARLO/WE} -7 : Prob. at top ~ 1 in 11,000
...........................................
But what? as he to forraine Realme was bownd
With others moe his soueraigne Queene to serue,
Amid the Seas vnluckie youth was drownd,
More speedie death than such one did DE(s)E{R}VE.
Aye mee, that time (thou crooked Delphin) where
Wast thou, Aryons help and onely stay,
That safely him from Sea to shore didst beare?
when Brooke was drownd why wast yu thē away?
If sound of Harp thine eare delighted so
(A)nd causer was that he bestrid thy back,
(T)hen doubtlesse yu moughst wel on Brooke bestow
(A)s good a turne to saue him from the wrack.
(F|O]r sure his hande Aryons Harp exceld,
His pleasant Pen did passe the others skill,
Who so his Booke with iudging eie beheld
Gaue thanks to {H}im, {A}nd {P}ra{I}sd{E} hi{S} learned quill.
........................................
{HAPIES} 3 :
........................................
Thou cruell Goulf, what meanst thou to devoure
With supping Seas a Iewel o[F] such *FAME*?
Why didst thou so with w[A]ter marre the Flowre,
That *PALLAS* [T]hought so curiously to frame ?
UnH[A]PPY was the Haven which he sought,
Cruel the Seas whereon his Ship did glide,
The windes so rough that Brooke to ruin brought,
Unskilfull he that undertooke to glide.
But sithens teares can not revoke the dead,
Nor cries recall a d{R}owned man to land{E}:
Let this suffice {T}'extall the lyfe h{E} led
And print his {P|R}raise in house of *[F]AM{E}* to st[A]nde,
That [T]hey {T}hat [A]fter us shall b{E}e and live
DE(s)ERVED {P}raise to Arthur Brooke may give."
.........................................................
. <= 16 =>
.
. t e a r e s c a n n o t r e v o
. k e t h e d e a d,N o r c r i e
. s r e c a l l a d{R}o w n e d m
. a n t o l a n d{E}L e t t h i s
. s u f f i c e{T}e x t a l l t h
. e l y f e h{E}l e d A n d p r i
. n t h i s{P|R}a i s e i n h o u
. s e o f[F]A M{E}t o s t[A]n d e,
. T h a t[T]h e y{T}h a t[A]f t e
. r u s s h a l l b{E}e a n d l i
. v e D E(s)E R V E D{P}r a i s e
. t o A r t h u r B r o o k e m a
. y g i v e."
.
{PETER} -15,-17 : Prob. of both at end ~ 1 in 29,000
[FATA] 28,8 : Prob. of both at ends ~ 1 in 120
-------------------------------------------------------
https://quod.lib.umich.edu/e/eebo/A03435.0001.001/1:1?rgn=div1;view=fulltext
THE TRAGICALL HIStorye of Romeus and Iuliet,
written first in Italian by Bandell,
and nowe in Englishe by Ar. Br.
...........................................
At length doth Iuliet,
heaue fayntly v{P} he{R} eyes,
And th{E}n sh{E} stretche{T}h for{T}h her arm{E},
and th{E}n her nu{R}ce she s{P}yes.
....................................
. <= 13 =>
.
. A t l e n g t h d o t h I
. u l i e t,h e a u e f a y
. n t l y v{P}h e{R}e y e s,
. A n d t h{E}n s h{E}s t r
. e t c h e{T}h f o r{T}h h
. e r a r m{E}a n d t h{E}n
. h e r n u{R}c e s h e s{P}
. y e s.
.
{PETER} 13,-14
----------------------------------------------------------------------
A Funerall Elegye in memory of the late vertuous Maister William {PETER}
W.S., (London: G. Eld for T. Thorpe, 1612)
Of singleness, not tending to offense;
Whose very virtues [A]re, not to det{R}ac[T]
Whiles hope rem[A]ins of gain (base [F]e{E} of slaves),
Despising chiefly men in for{T}unes w{R}ack'd-
But death to such gives unr{E}memb'red grav{E}s.
Now therein liv'd he hap{P}y, if to be
Free from de{T}raction happiness it be.
His younger years gav{E} comfortable hope
To hope for comfort in his ri{P}er youth,
Which, harvest-like, did yield again the crop
Of Education, better'd in his truth.
.........................................................
. <= 36 =>
.
. Ofsinglene s sn o tt e nd i ng t oo f fe n se W ho s e
. veryvirtue s ar e no t to d et{R}ac t Wh i le s ho p e
. remainsofg a in b as e fe{E}of s la v es D es p is i n
. gchieflyme n in f or{T}un e sw{R}ac k dB u td e at h t
. osuchgives u nr{E}me m br e dg r av{E}sN o wt h er e i
. nlivdhehap{P}yi f to b eF r ee f ro m de{T}ra c ti o n
. happinessi t be H is y ou n ge r ye a rs g av{E}co m f
. ortablehop e To h op e fo r co m fo r ti n hi s ri{P}e
. ryouthWhic h ha r ve s tl i ke d id y ie l da g ai n t
. hecropOfEd u ca t io n be t te r di n hi s tr u th
.
{PETER} -33,-39
[FATA] -14
-------------------------------------------------------
http://www.shakespeare-navigators.com/romeo/BrookeIndex.html
Lines 2689-2808: Friar Laurence, worried that he hasn't heard from Romeus, and knowing Juliet is about to wake up, goes to the tomb, where he finds {PETER}, Romeus' servant. The two go into the tomb and see that Romeus is dead. Juliet awakes and grieves. Friar Laurence and {PETER} are frightened by a noise and leave. Juliet grieves more and stabs herself to death. The watchmen notice a light in the tomb and investigate. They find the dead lovers in each others' arms, and then conduct a search for the murderers, whom they find and put in a dungeon for the night. (In the next section we learn that they have found Friar Laurence and {PETER}.)
...................................................
Lines 2809-2914: To prevent the spread of wild rumors and suspicions, the Prince orders an open inquiry. The bodies of Romeus and Juliet are laid upon a platform in public, and Friar Laurence and {PETER} are brought forth. In a long speech Friar Laurence says his conscience is clear, then says he will tell how and why Romeus and Juliet died.
...................................................
Lines 2915-3020: Friar Laurence tells the story of Romeus and Juliet. {PETER} supports his story by showing the letter Romeus had given him to be delivered to his father. Prince Escalus passes judgment: The apothecary is hanged; the nurse is exiled; {PETER} and Friar Laurence go free. Friar Laurence voluntarily retires to a hermitage where he dies, five years hence. The Montagues and Capulets are reconciled, and a monument is built to Romeus and Juliet. The monument may still be seen in Verona.
-------------------------------------------------------
https://public.wsu.edu/~delahoyd/shakespeare/romeus.html
THE TRAGICAL HISTORY OF ROMEUS AND JULIET
Dr. Michael Delahoyde, Washington State University
<<In Verona, Romeus gets his servant {PETER} to help him roll back the stone of the tomb. He sees and feels the dead Juliet and downs the poison. He apostrophizes to Tybalt's corpse and dies. Juliet awakens. Friar Laurence is there now and points out Romeus' corpse, saying she could go into religious seclusion for the rest of her life . During some melodrama, the Friar and {PETER} hear noise and flee. Juliet takes Romeus' dagger and kills herself.
The Friar and Peter are arrested as murderers, and the Friar, "set to the show upon the open stage", is left to yammer on in explanation to the families. His lengthy discourse includes a discussion of iron's uses, the insistence "I feel no worm that gnaweth me, / And from remorse's pricking sting I joy that I am free", and a more pertinent explanation for his marrying the young lovers: "For like they were in nobleness, age, riches, and degree". The documentary evidence in Romeus' own hand is produced, and the Friar is acquitted. But the nurse is banished; the apothecary hanged (such distribution of "justice" reminds one of Chaucer's Prioress' Tale). The young lovers are memorialized with a stately tomb in Verona:
.
[ http://www.shakespeare-navigators.com/romeo/B2915_3020.html ]
.
. And lest that length of time might from our minds remove
. The memory of so perfect, sound, and so app{R}ov(é)d love,
. The bodies dead, removed from vault wh{E}re they did die,
. In stately tomb, on pillars grea{T} of marble, raise they high.
. On every side above w{E}re set, and eke beneath,
. Great store of cunning e{P}itaphs, in honour of their death.
. And even at thi{S} day the tomb is to be seen;
. So that among the monu{M}ents that in Verona been,
. There is no monument m{O}re worthy of the sight,
. Than is the tomb of Julie{T} and Romeus her knight.>>
.
{TOM'S PETER} -39
............................................................
And lest that length of time might from our myndes remoue,
The memory of so perfect, sound, and so approued loue.
The bodies dead remoued from vaulte where they did dye,
In stately tombe, on pillers great, of marble rayse they hye.
On euery syde aboue, were set and eke beneath,
Great store of cunning Epitaphes, in honor of theyr death.
And euen at this day the tombe is to be seene.
So that among the monumentes that in Verona been,
There is no monument more worthy of the sight:
Then is the tombe of Iuliet, and Romeus her knight.
------------------------------------------------------------------------------
<<{PETER} the pumpkin-eater is about the 13th century English King John, who
famously bricked a rebellious noble's wife into a wall to starve to death.>>
.............................................
Romeo and Juliet > Act II, scene IV
MERCUTIO: A sail, a sail!
BENVOLIO: Two, two; a shirt and a smock.
Nurse: {PETER}!
{PETER}: Anon!
Nurse: My fan, {PETER}.
MERCUTIO: Good {PETER}, to hide her face; for her fan's the
fairer face.
...........................................................
Nurse: And thou must stand by
too, and suffer every knave to use me at his pleasure?
{PETER}: I saw no man use you a pleasure; if I had, my weapon
should quickly have been out, I warrant you: I dare
draw as soon as another man, if I see occasion in a
good quarrel, and the law on my side.
---------------------------------------------------------------
Romeo and Juliet > Act IV, scene V
{PETER}: Musicians, O, musicians, 'Heart's ease, Heart's
ease:' O, an you will have me live, play 'Heart's ease.'
First Musician: Why 'Heart's ease?'
{PETER}: O, musicians, because my heart itself plays 'My
heart is full of woe:' O, play me some merry dump,
to comfort me.
First Musician: Not a dump we; 'tis no time to play now.
{PETER}: You will not, then?
First Musician: No.
{PETER}: I will then give it you soundly.
First Musician: What will you give us?
{PETER}: No money, on my faith, but the gleek;
I will give you the minstrel.
First Musician: Then I will give you the serving-creature.
{PETER}: Then will I lay the serving-creature's dagger on
your pate. I will carry no crotchets: I'll re you,
I'll fa you; do you note me?
First Musician: An you re us and fa us, you note us.
Second Musician: Pray you, put up your dagger, and put out your wit.
{PETER}: Then have at you with my wit! I will dry-beat you
with an iron wit, and put up my iron dagger. Answer
me like men:
'When griping grief the heart doth wound,
And doleful dumps the mind oppress,
Then music with her silver sound'--
why 'silver sound'? why 'music with her silver
sound'? What say you, Simon Catling?
Musician: Marry, sir, because silver hath a sweet sound.
{PETER}: Pretty! What say you, Hugh Rebeck?
Second Musician: I say 'silver sound,' because musicians sound for silver.
{PETER}: Pretty too! What say you, James Soundpost?
Third Musician: Faith, I know not what to say.
{PETER}: O, I cry you mercy; you are the singer: I will say
for you. It is 'music with her silver sound,'
because musicians have no gold for sounding:
'Then music with her silver sound
With speedy help doth lend redress.'
[Exit]
First Musician: What a pestilent knave is this same!
---------------------------------------------------------------------
. King Henry VI, part II : Act I, scene III
.
Hold, {PETER}, hold! I confess, I confess treason.
.
{PETER}: [Giving his petition] Against my master, [THo]mas [HORNER],
. For saying that the Duke of York was rightful heir to the crown.
.
QUEEN MARGARET: What sayst thou? did the Duke of York say he was
. rightful heir to the crown?
.
{PETER}: That my master was? no, forsooth: my master said
. that he was, and that the king was an usurper.
.......................................................
WARWICK: Image of pride, why should I hold my peace?
.
. [Enter HORNER, the Armourer, and his man
. {PETER}, guarded]
.
SUFFOLK: Because here is a man accused of treason:
. Pray God the Duke of York excuse himself!
.
YORK: Doth any one accuse York for a traitor?
.
KING HENRY VI: What mean'st thou, Suffolk; tell me, what are these?
.
SUFFOLK: Please it your majesty, this is the man
. That doth accuse his master of high treason:
. His words were these: that Richard, Duke of York,
. Was rightful heir unto the English crown
. And that your majesty was a usurper.
.
KING HENRY VI: Say, man, were these thy words?
.
[HORNER]: An't shall please your majesty, I never said nor
. thought any such matter: God is my witness, I am
. falsely accused by the villain.
.
{PETER}: By these ten bones, my lords, he did speak them to
. me in the garret one night, as we were scouring my
. Lord of York's armour.
.
YORK: Base dunghill villain and mechanical,
. I'll have thy head for this thy traitor's speech.
. I do beseech your royal majesty,
. Let him have all the rigor of the law.
.
[HORNER]: Alas, my lord, hang me, if ever I spake the words.
. My accuser is my 'prentice; and when I did correct
. him for his fault the other day, he did vow upon his
. knees he would be even with me: I have good
. witness of this: therefore I beseech your majesty,
. do not cast away an honest man for a villain's
. accusation.
.
KING HENRY VI: Uncle, what shall we say to this in law?
.
GLOUCESTER: This doom, my lord, if I may judge:
. Let Somerset be regent over the French,
. Because in York this breeds suspicion:
. And let these have a day appointed them
. For single combat in convenient place,
. For he hath witness of his servant's malice:
. This is the law, and this Duke Humphrey's doom.
.
SOMERSET: I humbly thank your royal majesty.
.
[HORNER]: And I accept the combat willingly.
.................................................................
.................................................................
. Act II, scene III
.
YORK: I never saw a fellow worse bested,
. Or more afraid to fight, than is the appellant,
. The servant of this armourer, my lords.
.
. [Enter at one door, [HORNER], the Armourer, and his
. Neighbours, drinking to him so much that he is drunk;
. and he enters with a drum before him and his staff
. with a sand-bag fastened to it; and at the other
. door {PETER}, his man, with a drum and sand-bag, and
. 'Prentices drinking to him]
.
First Neighbour: Here, neighbour [HORNER], I drink to you in a cup of
. sack: and fear not, neighbour, you shall do well enough.
.
Second Neighbour: And here, neighbour, here's a cup of charneco.
.
Third Neighbour: And here's a pot of good double beer, neighbour:
. drink, and fear not your man.
.
[HORNER]: Let it come, i' faith, and I'll pledge you all; and
. a fig for {PETER}!
.
First 'Prentice: Here, {PETER}, I drink to thee: and be not afraid.
.
Second 'Prentice: Be merry, {PETER}, and fear not thy master: fight
. for credit of the 'prentices.
.
{PETER}: I thank you all: drink, and pray for me, I pray
. you; for I think I have taken my last draught in
. this world.
.
. Here, Robin, an if I die, *I give thee my APRON*:
. and, Will, thou shalt have my hammer:
.
. and here, Tom, take all the money that I have. O
. Lord bless me! I pray God! for I am never able to
. deal with my master, he hath learnt me so much fence already.
.
SALISBURY: Come, leave your drinking, and fall to blows.
. Sirrah, what's thy name?
.
{PETER}: {PETER}, forsooth.
.
SALISBURY: {PETER}! what more?
.
{PETER}: Thump.
.
SALISBURY: Thump! then see thou thump thy master well.
.
[HORNER]: Masters, I am come hither, as it were, upon my man's
. instigation, to prove him a knave and myself an
. honest man: and touching the Duke of York, I will
. take my death, I never meant him any ill, nor the
. king, nor the queen: and therefore, {PETER}, have at
. thee with a downright blow!
.
YORK: Dispatch: this knave's tongue begins to double.
. Sound, trumpets, alarum to the combatants!
.
. [Alarum. They fight, and {PETER} strikes him down]
.
[HORNER]: Hold, {PETER}, hold! I confess, I confess treason.
.
. [Dies]
.......................................................................
<<Grafton & Holinshed: “William Catur, an armourer, was accused of high
treason by his own servant, John David, who for want of other proof
offered to make good his charge by combat. The defendant's friends,
knowing his timorous nature, fortified his spirits with plenty of wind.
Catur, on entering the lists intoxicated, was killed by his servant,
who, being afterwards convicted of felony, confessed the falsehood
of the charge against his unhappy master." Stow, adds, - "myself
have had the like servant, that likewise accused me of many
articles, he liveth yet, but hath hardly escaped hanging since.">>
--------------------------------------------------------------------
. MWW (Folio 1, 1623) Act 1, Scene 4
.
Qu. Goe, and we'{L}l haue a pos{S}et for't soone {A}t night,
. (i{N} faith) at the lat{T}er end {O}f a Sea-cole-fire: An
. {H}one{S}t, willing, kinde fell{O}w, {A}s EVER seruant shall co{M}e
. in house withall: and I warrant you, no tel-tale, nor no breede-
. bate: his worst fault is, that he is giuen to prayer; hee is
. something peeuish that way: but no body but has his fault:
. but let that passe. {PETER} Simple, you say your name is?
...................................................
. <= 21 =>
.
. G o e,a n d w e'{L}l h a u e a p o s{S} e t
. f o r't s o o n e {A}t n i g h t(i{N} f a i
. t h)a t t h e l a t {T}e r e n d{O} f a S e
. a-c o l e-f i r e:A n {H}o n e{S} t,w i l l
. i n g,k i n d e f e l l {O}w{A} s e u e r s
. e r u a n t s h a l l c o {M} e i n h o u s
. e w i t h a l l:
.
{LATHOM} 22
{MASONS} -20
------------------------------------------------------------
. F.F. : To the great Variety of Readers.
{And if then you doe not like him},
surely you are in some manifest dange[R], not to vnderstand him.
And so w[E] leaue you to other of his Frie[N]ds, whom if you need,
can bee you[R] guides: if you neede them not, y[O]u can leade
your selues, and ot[H]ers. And such Readers we wish h[I]m.
Iohn Heminge.
Henrie Condell.
...........................................................
. <= 25 =>
.
.{A n d i f t h e n y o u d o e n o t l i k e h i m},
. s u r e l y y o u a r e i n s o m e m a n i f e s
. t d a n g e [R],n o t t o v n d e r s t a n d h i m.
. A n d s o w [E] l e a u e y o u t o o t h e r o f h
. i s F r i e [N] d s,w h o m i f y o u n e e d,c a n
. b e e y o u [R] g u i d e s:i f y o u n e e d e t h
. e m n o t,y [O] u c a n l e a d e y o u r s e l u e
. s,a n d o [T H] e r s.A n d s u c h R e a d e r s w
. e w i s h h [I] m.
.
[I.HORNER] -25 : Prob. at end ~1 in 14,000
[T./HORNER] -25
------------------------------------------------------------
https://en.wikipedia.org/wiki/Little_Jack_Horner
<<"Little [I]ack [HORNER]" is actually about [THo]mas [HORNER], who was steward to Richard Whiting, the last abbot of Glastonbury before the dissolution of the monasteries under Henry VIII of England. It is asserted that, prior to the abbey's destruction, the abbot sent Horner to London with a huge Christmas <PIE> which had the deeds to a dozen manors hidden within it as a gift to try to convince the King not to nationalise Church lands. During the journey Horner opened the <PIE> and extracted the deeds of the manor of Mells in Somerset, which he kept for himself. It is further suggested that, since the manor properties included lead mines in the Mendip Hills, the plum is a pun on the Latin plumbum, for lead. While records do indicate that Thomas Horner became the owner of the manor, both his descendants and subsequent owners of Mells Manor have asserted that the legend is untrue and that Wells purchased the deed from the abbey.>>
.
. I put in my thumb,
. And pulled out a plum,
. And said, "What a good boy am I!"
------------------------------------------------------
. Sonnet 37
.
. AS a decrepit father takes delight,
. To see his actiue childe do deeds of youth,
. So I, made lame by Fortunes dearest spight
. Take all my comfort of thy worth and truth.
.
. For whether beauty, b[I]rth, or weal[TH, o]r wit,
. Or any [O]f these all, o[R] all, or more
. I[N]titled in th[E]ir parts, do c[R]owned sit,
. I make my loue ingrafted to this store:
.........................................
. <= 11 =>
.
. F o r w h e t h e r b
. e a u t y, b [I] r t h,o
. r w e a l [T H,o.] r w i
. t,O r a n y [O] f t h e
. s e a l l, o [R] a l l,o
. r m o r e I [N] t i t l
. e d i n t h [E] i r p a
. r t s,d o c [R] o w n e
. d s i t,I m a k e m y
. l o u e i n g r a f t
. e d t o t h i s s t o
. r e:
[I.HORNER] 10 : Prob. in any Sonnet ~ 1 in 70
..............................................
. So then I am not lame, poore, nor dispis'd,
. Whilst that this shadow doth such substance giue,
. That I in thy abundance am suffic'd,
. And by a part of all thy glory liue:
.
. Looke what is best, that best I wish in thee,
. This wish I haue, then ten times happy me.
-----------------------------------------------------------------------
https://clasmerdin.blogspot.com/2011/11/execution-of-richard-whiting.html
The Execution of Richard Whiting The Last Abbot of Glastonbury
“....the Abbot was arrayned, and the next daye putt to execution, with ii. other of his monkes, for the robbyng of Glastonburye Churche ; on the Torre Hill, the seyde Abbottes body beyng devyded in fower partes, and his heedd stryken off, whereof oone quarter stondyth at Welles, another at Bathe, and at Ylchester and Brigewater the rest, and his hedd upon the abbey gate at Glaston." - Letter of 16th November 1539, Lord Russell to Thomas Cromwell.
The execution is reminiscent of a scene from the crucifixion. The hanging and dismemberment on the Tor possesses elements of ritual execution. One is compelled to agree with Arthurian scholar, the Avalonian Geoffrey Ashe, who knows the Tor better than many and states, “If the object was to strike terror, the place to do it was in the town. The ascent of the Tor was the act of madmen or mystics …”
In 1538 Abbot Whiting had received assurances from the Vicar General, Thomas Cromwell, that the Abbey was not under threat. At some time there appears to have been a change in the game plan. When the Royal Commissioner Richard Layton visited the abbey in 1535, he had given it a complete clean bill of health, reporting that “there is nothing notable; the brethren be so straight kept that they cannot offend,” he even praised the Abbot to Cromwell. In the same year Nicholas FitzJames, as friend of the Abbot, had written to Cromwell supporting Richard Whiting and petitioning against the Vicar General's impracticable injunctions upon Glastonbury.
Yet when he returned a few years later in 1539 Layton retracts his praise of Abbot Whiting with these odd words: “The Abbot of Glastonbury appeareth neither then nor now to have known God, nor his prince, nor any part of a good Christian man’s religion.” Further, according to a letter written by Pollard on the 16th November, Nicholas FitzJames was one of the jurors at the trial of the Glastonbury three at Wells, along with [TH]omas ([I]ack) [HORNER], the Abbot's steward. Friends turned into enemies, trustees became traitors.>>
------------------------------------------------------------
https://hauntedpalaceblog.wordpress.com/tag/thomas-horner/
<<"Little [I]ack [HORNER]" was in fact [TH]omas [HORNER], the steward of Abbot Whiting of Glastonbury. The story goes that the abbot had sent Horner on a mission to see King Henry VIII in London, the aim of which was to try to save Glastonbury Abbey from being dissolved. Feeling hungry on the journey, Horner, who had been sent on his way with a <PIE>, decided to eat a piece of it. To his surprise instead of pulling out the mince filling he pulled out a deed to one of Glastonbury’s smaller properties. On examining the contents of the <PIE> he found a further eleven deeds concealed inside. Keeping the first deed, he delivered the other papers to the king. The abbot was caught in a no-win situation as he could not accuse Horner of theft because then he would have to openly admit to trying to bribe the king giving Henry an easy excuse to charge the abbot with corruption. Horner gained the deeds to the estate of Mells Manor in Somerset where his descendants lived until the beginning of the 20th century.
“Take a Legge of Mutton, and cut the best of the flesh from the bone, and
parboyl it well then put to it three-pound of the best Mutton suet and shred
it very small; then spread it abroad, and fashion it with Salt Cloves and Mace”
The quote above is taken from a 1615 recipe for mince <PIES>. The recipe goes on to instruct the reader to place the mixture in a coffin or divers coffin before baking. The coffin is in fact a dough crust in the shape of a basket or box which was several inches thick and had been cooked for several hours. The coffin was inedible and acted as a container and cooking vessel to keep the meat tender by preventing the juice meat dripping away. Due to the sturdy nature of the <PIES>, people often hid valuable objects such as jewellery, money and important papers in them to stop their possessions falling into the hands of robbers. Therefore it is highly plausible that the deeds to the Glastonbury properties would have been hidden in a mince-pie.
It is also interesting to note that mince <PIES> were considered
symbols of Catholic idolatry and were banned under Oliver Cromwell.>>
---------------------------------------------------------
Art Neuendorffer
https://en.wikipedia.org/wiki/Peter_Street_(carpenter)
<<[PETER] Street (baptised 1 July 1553, died in May 1609) was an English carpenter. He built the Fortune Playhouse, and probably the Globe Theatre. He had a part in building King James's Banqueting House in Whitehall Palace and he may have been responsible for the settings for the king's royal masques.
On 28 December 1598, Street, with twelve of his men and "diverse other persons", started to dismantle the old Theatre. Street assured bystanders that he was only starting a refurbishment project, intending to rebuild the structure "in another form", but in due course the half-ton oak beams were on their way by wagon to Street's Bridewell yard. There they were stored until the pile and masonry foundations at Southwark, prepared under Street's direction by one William Shepherd to "force the building out of the marsh", as Ben Jonson put it, were complete. Three weeks after the raid Street found himself the chief defendant in a court case, brought by The Theatre's landlord Giles Allen, complaining of the "carrying away of…all the wood and timber thereof", but no determination was made, as claim and counterclaim between the Burbages and Allen occupied lawyers for years to come.
As well as storing the reclaimed material from The Theatre, Street's preparations would have included prefabricating extra framing for his structure, near to where the timber was grown and seasoned, upriver in Berkshire—The Globe was going to be larger than the building it replaced. In a later building project, that of The Fortune theatre in the following year, Street fabricated and loosely fitted together the timber framing at Windsor and Maidenhead, and it is assumed that he followed this procedure for The Globe as well. Once the foundations were complete, erection took a further ten weeks, finishing in the Summer of 1599, leaving only the lath and plaster infill to complete. The cost was £700. The "Glory of the Bank", as Ben Jonson described the new theatre, was very near to The Rose, the playhouse of their rival company The Admiral's Men, and The Swan.
In January 1600 Philip Henslowe, the proprietor of The Rose theatre now so surpassed by its new neighbour The Globe, in turn commissioned Street to build a new theatre in competition at a site in Finsbury, north of the City, to be called The Fortune. The contract and accounts for the work survive and it is evident that Henslowe approved of Street's work on The Globe, as in many places the contract merely specified that in the new building Street should do as had been done at The Globe; the major difference was that The Fortune was to be a square building, as opposed to the polygonal Globe. While labourers and bricklayers prepared the foundations Street returned to Berkshire to select and prepare his timber—the contract specified, in a possible further allusion to The Globe's construction, that only new timber was to be used. By early May 1600 the foundations in London, and the carpentry in Berkshire, were nearly complete and the building was finished, a little later than Street had anticipated, in August 1600. Street was paid £400, less than he had received for the Globe, but Henslowe is on record as having travelled to Berkshire to pay directly for materials Street was working on there, and local wages.
The Hope
Richard Henslowe retained property in Southwark after opening The Fortune in Finsbury, and in June 1606 he contracted Street to demolish his Bear Garden, a bear-baiting arena, and re-build it as the Hope Theatre but Street died before the main part of the work started and the eventual rebuilding was carried out by Gilbert Katherens.
At one of the court cases to settle the 1596 Bridewell leasehold dispute, Street described himself as a member of the Queen's household, but the other party accused him of making this claim only to overawe his opponents and so divert attention from his "dishonest practices". An inconclusive Palace record of 1593 does show one "Peter Street" as living and working at court, but in what capacity is not recorded. There is, however, no doubt that later in his working life, as he rose to prominence, he did work for the royal household. He was on good terms with William Portington, the king's carpenter, and he certainly provided specialist knowledge and machinery when the first permanent Banqueting House, built in 1606 to provide a theatrical setting for royal occasions, was put up. Apart from offering the benefit of his experience in theatre design, Street's particular contribution was the wooden columns, hollowed out to prevent splitting and painted to resemble marble, in the style of those at The Globe. Mary Edmond speculates that Street's experience in theatre construction was also put to use in building the stage and seating for the royal masques at James's court.
He was carpenter to the Bridewell Palace, but this was not a royal appointment as the former palace of King Henry was, at that time, in use as the Bridewell Hospital, an orphanage. After his death Street's son John was appointed to the post.
The poet Seamus Heaney commemorated Street's work in his 1965 poem Peter Street at Bankside. Street's character – as played by actor Matt King – also appeared in the second episode of Series 3 of the new Doctor Who, entitled The Shakespeare Code, as first broadcast in April 2007.>>
https://www.youtube.com/watch?v=fJ4nZxn4vHc
-------------------------------------------------------
http://hhh.gavilan.edu/fmayrhofer/spanish/shelton/PartII/p000027.html
Thomas Shelton's : _The History of the Valorous &
Witty Knight-Errant Don Quixote of the Mancha
The Second Part
.............................................................
http://hhh.gavilan.edu/fmayrhofer/spanish/shelton/PartII/p000025.html
CHAPTER XXV: Of the Adventure of the Braying, and the Merry One of the Puppet-man, with the Memorable Soothsaying of the Prophesying Ape
Whilst they were thus communing, Master Peter came to call Don Quixote, and to tell him that the motion was now up, if he would please to see it, which would give him content. Don Quixote told him his desire, and wished that his ape might tell him if certain things that befel him in Montesinos’ Cave were true or but dreams, for himself was uncertain whether. Master Peter, without answering a word, fetched his ape, and, putting him before Don Quixote and Sancho, said, ‘Look you, master ape, Signior Don Quixote would have you tell him whether certain things that happened to him in Montesinos’ Cave were true or false.’ And, making the accustomed sign, the ape whipped upon his left shoulder, and, seeming to speak to him in his ear, Master Peter straight interpreted: ‘The ape, signior, says that part of those things are false and part of them true, and this is all he knows touching this demand; and now his virtue is gone from him, and, if you will know any more, you must expect till Friday next, and then he will answer you all you will ask, for his virtue will not return till then.’
.............................................................
http://hhh.gavilan.edu/fmayrhofer/spanish/shelton/PartII/p000027.html
CHAPTER XXVII: Who Master Peter and his Ape were, with the Ill Success that Don Quixote had in the Adventure of the Braying, which ended not so well as he would, or thought for
CID HAMET, the chronicler of this famous history, begins this chapter with these words: ‘ I swear like a Catholic Christian.’ To which the translator says that Cid his swearing like a Catholic Christian, he being a Moor, as undoubtedly he was, was no otherwise to be understood than that, as the Catholic Christian, when he swears, doth or ought to swear truth, so did he, as if he had sworn like a Catholic Christian in what he meant to write of Don Quixote, especially in recounting who Master Peter and the prophesying ape were, that made all the country astonished at his foretelling things. He says, then, that he who hath read the former part of this history will have well remembered that same Gines de Passamonte whom Don Quixote, amongst other galley-slaves, freed in Sierra Morena, a benefit for which afterward he had small thanks and worse payment from that wicked and ungrateful rout.
This Gines de Passamonte, whom Don Quixote called Ginesillo de Parapilla, was he that stole Sancho’s Dapple, which, because neither the manner nor the time were put in the First Part, made many attribute the fault of the impression to the author’s weakness of memory. But true it is that Gines stole him as Sancho slept upon his back, using the same trick and device of Brunelo’s, whenas Sacripante being upon the siege of Albraca, he stole his horse from under his legs; and after Sancho recovered him again, as was showed.
This Gines, fearful of being found by the justices that sought after him, to punish him for his infinite villanies and faults, that were so many and so great that himself made a great volume of them, determined to get him into the kingdom of Aragon, and so covering his left eye, to apply himself to the office of a puppet-man; for this and juggling he was excellent at. It fell out so that he bought his ape of certain captive Christians that came out of Barbary, whom he had instructed that upon making a certain sign he should leap upon his shoulder, and should mumble, or seem to do so at least, something in his ear. This done, before he would enter into any town with his motion or ape, he informed himself in the nearest town, or where he best could, what particulars had happened in such a place or to such persons, and, bearing all well in mind, the first thing he did was to show his motion, which was sometimes of one story, otherwhiles of another; but all merry, delightful, and familiarly known. The sight being finished, he propounded the rarities of his ape, telling the people that he could declare unto them all things past and present; but in things to come he had no skill. For an answer to each question he demanded a shilling; but to some he did it cheaper, according as he perceived the demanders in case to pay him. And sometimes he came to such places as he knew what had happened to the inhabitants, who, although they would demand nothing, because they would not pay him, yet he would still make signs to the ape, and tell them the beast had told him this or that, which fell out just by what he had before heard, and with this he got an unspeakable name, and all men flocked about him; and at other times, as he was very cunning, he would reply so that the answer fell out very fit to the questions; and, since nobody went about to sift or to press him how his ape did prophesy, he gulled every one and filled his pouch. As soon as ever he came into the vent he knew Don Quixote and Sancho, and all that were there; but it had cost him dear if Don Quixote had let his hand fall somewhat lower when he cut off King Marsilius his head and destroyed all his chivalry, as was related in the antecedent chapter. And this is all that may be said of Master Peter and his ape.
-------------------------------------------------------
An Epitaph on the Death of Maister Arthur Brooke
Drownde in Passing to New Haven. (1567)
by George Turberville (1540?-1610?)
.................................................
AT point to ende and finishe this my Booke,
Came good report to mee, and wild me write
A dolefull VER(s)E, in praise of Arthur Brooke
That age to come lament his fortune might.
Agreede (quoth I) for sure his Vertues were
As many as his yeare[S] in number few:
The M[U]ses him in learned [L]aps did beare,
And *P[A]LLAS* D{U}g this dain[T]ie Bab did ch{E}w.
Apollo lent him Lute fo{R} solace sake
To sound his {V}erse by touch of stately {S}tring,
........................................
[TALUS] -16
{UERVS} 21
........................................
And of the neuer fading Baye did make
A Lawrell Crowne, about his br{OWE}s to c{L}ing,
In p{R}oufe th{A}t he for {M}yter did excell
As may be iudge by Iulyet and hir Mate:
For there he shewde his cunning passing well
When he the Tale to English did translate.
........................................
. <= 7 =>
.
. A L a w r e l
. l C r o w n e,
. a b o u t h i
. s b r {O W E} s
. t o c {L} i n g,
. I n p {R} o u f
. e t h {A} t h e
. f o r {M} y t e
. r d i d e x c
. e l l
.........................................
{MARLO/WE} -7 : Prob. at top ~ 1 in 11,000
...........................................
But what? as he to forraine Realme was bownd
With others moe his soueraigne Queene to serue,
Amid the Seas vnluckie youth was drownd,
More speedie death than such one did DE(s)E{R}VE.
Aye mee, that time (thou crooked Delphin) where
Wast thou, Aryons help and onely stay,
That safely him from Sea to shore didst beare?
when Brooke was drownd why wast yu thē away?
If sound of Harp thine eare delighted so
(A)nd causer was that he bestrid thy back,
(T)hen doubtlesse yu moughst wel on Brooke bestow
(A)s good a turne to saue him from the wrack.
(F|O]r sure his hande Aryons Harp exceld,
His pleasant Pen did passe the others skill,
Who so his Booke with iudging eie beheld
Gaue thanks to {H}im, {A}nd {P}ra{I}sd{E} hi{S} learned quill.
........................................
{HAPIES} 3 :
........................................
Thou cruell Goulf, what meanst thou to devoure
With supping Seas a Iewel o[F] such *FAME*?
Why didst thou so with w[A]ter marre the Flowre,
That *PALLAS* [T]hought so curiously to frame ?
UnH[A]PPY was the Haven which he sought,
Cruel the Seas whereon his Ship did glide,
The windes so rough that Brooke to ruin brought,
Unskilfull he that undertooke to glide.
But sithens teares can not revoke the dead,
Nor cries recall a d{R}owned man to land{E}:
Let this suffice {T}'extall the lyfe h{E} led
And print his {P|R}raise in house of *[F]AM{E}* to st[A]nde,
That [T]hey {T}hat [A]fter us shall b{E}e and live
DE(s)ERVED {P}raise to Arthur Brooke may give."
.........................................................
. <= 16 =>
.
. t e a r e s c a n n o t r e v o
. k e t h e d e a d,N o r c r i e
. s r e c a l l a d{R}o w n e d m
. a n t o l a n d{E}L e t t h i s
. s u f f i c e{T}e x t a l l t h
. e l y f e h{E}l e d A n d p r i
. n t h i s{P|R}a i s e i n h o u
. s e o f[F]A M{E}t o s t[A]n d e,
. T h a t[T]h e y{T}h a t[A]f t e
. r u s s h a l l b{E}e a n d l i
. v e D E(s)E R V E D{P}r a i s e
. t o A r t h u r B r o o k e m a
. y g i v e."
.
{PETER} -15,-17 : Prob. of both at end ~ 1 in 29,000
[FATA] 28,8 : Prob. of both at ends ~ 1 in 120
-------------------------------------------------------
https://quod.lib.umich.edu/e/eebo/A03435.0001.001/1:1?rgn=div1;view=fulltext
THE TRAGICALL HIStorye of Romeus and Iuliet,
written first in Italian by Bandell,
and nowe in Englishe by Ar. Br.
...........................................
At length doth Iuliet,
heaue fayntly v{P} he{R} eyes,
And th{E}n sh{E} stretche{T}h for{T}h her arm{E},
and th{E}n her nu{R}ce she s{P}yes.
....................................
. <= 13 =>
.
. A t l e n g t h d o t h I
. u l i e t,h e a u e f a y
. n t l y v{P}h e{R}e y e s,
. A n d t h{E}n s h{E}s t r
. e t c h e{T}h f o r{T}h h
. e r a r m{E}a n d t h{E}n
. h e r n u{R}c e s h e s{P}
. y e s.
.
{PETER} 13,-14
----------------------------------------------------------------------
A Funerall Elegye in memory of the late vertuous Maister William {PETER}
W.S., (London: G. Eld for T. Thorpe, 1612)
Of singleness, not tending to offense;
Whose very virtues [A]re, not to det{R}ac[T]
Whiles hope rem[A]ins of gain (base [F]e{E} of slaves),
Despising chiefly men in for{T}unes w{R}ack'd-
But death to such gives unr{E}memb'red grav{E}s.
Now therein liv'd he hap{P}y, if to be
Free from de{T}raction happiness it be.
His younger years gav{E} comfortable hope
To hope for comfort in his ri{P}er youth,
Which, harvest-like, did yield again the crop
Of Education, better'd in his truth.
.........................................................
. <= 36 =>
.
. Ofsinglene s sn o tt e nd i ng t oo f fe n se W ho s e
. veryvirtue s ar e no t to d et{R}ac t Wh i le s ho p e
. remainsofg a in b as e fe{E}of s la v es D es p is i n
. gchieflyme n in f or{T}un e sw{R}ac k dB u td e at h t
. osuchgives u nr{E}me m br e dg r av{E}sN o wt h er e i
. nlivdhehap{P}yi f to b eF r ee f ro m de{T}ra c ti o n
. happinessi t be H is y ou n ge r ye a rs g av{E}co m f
. ortablehop e To h op e fo r co m fo r ti n hi s ri{P}e
. ryouthWhic h ha r ve s tl i ke d id y ie l da g ai n t
. hecropOfEd u ca t io n be t te r di n hi s tr u th
.
{PETER} -33,-39
[FATA] -14
-------------------------------------------------------
http://www.shakespeare-navigators.com/romeo/BrookeIndex.html
Lines 2689-2808: Friar Laurence, worried that he hasn't heard from Romeus, and knowing Juliet is about to wake up, goes to the tomb, where he finds {PETER}, Romeus' servant. The two go into the tomb and see that Romeus is dead. Juliet awakes and grieves. Friar Laurence and {PETER} are frightened by a noise and leave. Juliet grieves more and stabs herself to death. The watchmen notice a light in the tomb and investigate. They find the dead lovers in each others' arms, and then conduct a search for the murderers, whom they find and put in a dungeon for the night. (In the next section we learn that they have found Friar Laurence and {PETER}.)
...................................................
Lines 2809-2914: To prevent the spread of wild rumors and suspicions, the Prince orders an open inquiry. The bodies of Romeus and Juliet are laid upon a platform in public, and Friar Laurence and {PETER} are brought forth. In a long speech Friar Laurence says his conscience is clear, then says he will tell how and why Romeus and Juliet died.
...................................................
Lines 2915-3020: Friar Laurence tells the story of Romeus and Juliet. {PETER} supports his story by showing the letter Romeus had given him to be delivered to his father. Prince Escalus passes judgment: The apothecary is hanged; the nurse is exiled; {PETER} and Friar Laurence go free. Friar Laurence voluntarily retires to a hermitage where he dies, five years hence. The Montagues and Capulets are reconciled, and a monument is built to Romeus and Juliet. The monument may still be seen in Verona.
-------------------------------------------------------
https://public.wsu.edu/~delahoyd/shakespeare/romeus.html
THE TRAGICAL HISTORY OF ROMEUS AND JULIET
Dr. Michael Delahoyde, Washington State University
<<In Verona, Romeus gets his servant {PETER} to help him roll back the stone of the tomb. He sees and feels the dead Juliet and downs the poison. He apostrophizes to Tybalt's corpse and dies. Juliet awakens. Friar Laurence is there now and points out Romeus' corpse, saying she could go into religious seclusion for the rest of her life . During some melodrama, the Friar and {PETER} hear noise and flee. Juliet takes Romeus' dagger and kills herself.
The Friar and Peter are arrested as murderers, and the Friar, "set to the show upon the open stage", is left to yammer on in explanation to the families. His lengthy discourse includes a discussion of iron's uses, the insistence "I feel no worm that gnaweth me, / And from remorse's pricking sting I joy that I am free", and a more pertinent explanation for his marrying the young lovers: "For like they were in nobleness, age, riches, and degree". The documentary evidence in Romeus' own hand is produced, and the Friar is acquitted. But the nurse is banished; the apothecary hanged (such distribution of "justice" reminds one of Chaucer's Prioress' Tale). The young lovers are memorialized with a stately tomb in Verona:
.
[ http://www.shakespeare-navigators.com/romeo/B2915_3020.html ]
.
. And lest that length of time might from our minds remove
. The memory of so perfect, sound, and so app{R}ov(é)d love,
. The bodies dead, removed from vault wh{E}re they did die,
. In stately tomb, on pillars grea{T} of marble, raise they high.
. On every side above w{E}re set, and eke beneath,
. Great store of cunning e{P}itaphs, in honour of their death.
. And even at thi{S} day the tomb is to be seen;
. So that among the monu{M}ents that in Verona been,
. There is no monument m{O}re worthy of the sight,
. Than is the tomb of Julie{T} and Romeus her knight.>>
.
{TOM'S PETER} -39
............................................................
And lest that length of time might from our myndes remoue,
The memory of so perfect, sound, and so approued loue.
The bodies dead remoued from vaulte where they did dye,
In stately tombe, on pillers great, of marble rayse they hye.
On euery syde aboue, were set and eke beneath,
Great store of cunning Epitaphes, in honor of theyr death.
And euen at this day the tombe is to be seene.
So that among the monumentes that in Verona been,
There is no monument more worthy of the sight:
Then is the tombe of Iuliet, and Romeus her knight.
------------------------------------------------------------------------------
<<{PETER} the pumpkin-eater is about the 13th century English King John, who
famously bricked a rebellious noble's wife into a wall to starve to death.>>
.............................................
Romeo and Juliet > Act II, scene IV
MERCUTIO: A sail, a sail!
BENVOLIO: Two, two; a shirt and a smock.
Nurse: {PETER}!
{PETER}: Anon!
Nurse: My fan, {PETER}.
MERCUTIO: Good {PETER}, to hide her face; for her fan's the
fairer face.
...........................................................
Nurse: And thou must stand by
too, and suffer every knave to use me at his pleasure?
{PETER}: I saw no man use you a pleasure; if I had, my weapon
should quickly have been out, I warrant you: I dare
draw as soon as another man, if I see occasion in a
good quarrel, and the law on my side.
---------------------------------------------------------------
Romeo and Juliet > Act IV, scene V
{PETER}: Musicians, O, musicians, 'Heart's ease, Heart's
ease:' O, an you will have me live, play 'Heart's ease.'
First Musician: Why 'Heart's ease?'
{PETER}: O, musicians, because my heart itself plays 'My
heart is full of woe:' O, play me some merry dump,
to comfort me.
First Musician: Not a dump we; 'tis no time to play now.
{PETER}: You will not, then?
First Musician: No.
{PETER}: I will then give it you soundly.
First Musician: What will you give us?
{PETER}: No money, on my faith, but the gleek;
I will give you the minstrel.
First Musician: Then I will give you the serving-creature.
{PETER}: Then will I lay the serving-creature's dagger on
your pate. I will carry no crotchets: I'll re you,
I'll fa you; do you note me?
First Musician: An you re us and fa us, you note us.
Second Musician: Pray you, put up your dagger, and put out your wit.
{PETER}: Then have at you with my wit! I will dry-beat you
with an iron wit, and put up my iron dagger. Answer
me like men:
'When griping grief the heart doth wound,
And doleful dumps the mind oppress,
Then music with her silver sound'--
why 'silver sound'? why 'music with her silver
sound'? What say you, Simon Catling?
Musician: Marry, sir, because silver hath a sweet sound.
{PETER}: Pretty! What say you, Hugh Rebeck?
Second Musician: I say 'silver sound,' because musicians sound for silver.
{PETER}: Pretty too! What say you, James Soundpost?
Third Musician: Faith, I know not what to say.
{PETER}: O, I cry you mercy; you are the singer: I will say
for you. It is 'music with her silver sound,'
because musicians have no gold for sounding:
'Then music with her silver sound
With speedy help doth lend redress.'
[Exit]
First Musician: What a pestilent knave is this same!
---------------------------------------------------------------------
. King Henry VI, part II : Act I, scene III
.
Hold, {PETER}, hold! I confess, I confess treason.
.
{PETER}: [Giving his petition] Against my master, [THo]mas [HORNER],
. For saying that the Duke of York was rightful heir to the crown.
.
QUEEN MARGARET: What sayst thou? did the Duke of York say he was
. rightful heir to the crown?
.
{PETER}: That my master was? no, forsooth: my master said
. that he was, and that the king was an usurper.
.......................................................
WARWICK: Image of pride, why should I hold my peace?
.
. [Enter HORNER, the Armourer, and his man
. {PETER}, guarded]
.
SUFFOLK: Because here is a man accused of treason:
. Pray God the Duke of York excuse himself!
.
YORK: Doth any one accuse York for a traitor?
.
KING HENRY VI: What mean'st thou, Suffolk; tell me, what are these?
.
SUFFOLK: Please it your majesty, this is the man
. That doth accuse his master of high treason:
. His words were these: that Richard, Duke of York,
. Was rightful heir unto the English crown
. And that your majesty was a usurper.
.
KING HENRY VI: Say, man, were these thy words?
.
[HORNER]: An't shall please your majesty, I never said nor
. thought any such matter: God is my witness, I am
. falsely accused by the villain.
.
{PETER}: By these ten bones, my lords, he did speak them to
. me in the garret one night, as we were scouring my
. Lord of York's armour.
.
YORK: Base dunghill villain and mechanical,
. I'll have thy head for this thy traitor's speech.
. I do beseech your royal majesty,
. Let him have all the rigor of the law.
.
[HORNER]: Alas, my lord, hang me, if ever I spake the words.
. My accuser is my 'prentice; and when I did correct
. him for his fault the other day, he did vow upon his
. knees he would be even with me: I have good
. witness of this: therefore I beseech your majesty,
. do not cast away an honest man for a villain's
. accusation.
.
KING HENRY VI: Uncle, what shall we say to this in law?
.
GLOUCESTER: This doom, my lord, if I may judge:
. Let Somerset be regent over the French,
. Because in York this breeds suspicion:
. And let these have a day appointed them
. For single combat in convenient place,
. For he hath witness of his servant's malice:
. This is the law, and this Duke Humphrey's doom.
.
SOMERSET: I humbly thank your royal majesty.
.
[HORNER]: And I accept the combat willingly.
.................................................................
.................................................................
. Act II, scene III
.
YORK: I never saw a fellow worse bested,
. Or more afraid to fight, than is the appellant,
. The servant of this armourer, my lords.
.
. [Enter at one door, [HORNER], the Armourer, and his
. Neighbours, drinking to him so much that he is drunk;
. and he enters with a drum before him and his staff
. with a sand-bag fastened to it; and at the other
. door {PETER}, his man, with a drum and sand-bag, and
. 'Prentices drinking to him]
.
First Neighbour: Here, neighbour [HORNER], I drink to you in a cup of
. sack: and fear not, neighbour, you shall do well enough.
.
Second Neighbour: And here, neighbour, here's a cup of charneco.
.
Third Neighbour: And here's a pot of good double beer, neighbour:
. drink, and fear not your man.
.
[HORNER]: Let it come, i' faith, and I'll pledge you all; and
. a fig for {PETER}!
.
First 'Prentice: Here, {PETER}, I drink to thee: and be not afraid.
.
Second 'Prentice: Be merry, {PETER}, and fear not thy master: fight
. for credit of the 'prentices.
.
{PETER}: I thank you all: drink, and pray for me, I pray
. you; for I think I have taken my last draught in
. this world.
.
. Here, Robin, an if I die, *I give thee my APRON*:
. and, Will, thou shalt have my hammer:
.
. and here, Tom, take all the money that I have. O
. Lord bless me! I pray God! for I am never able to
. deal with my master, he hath learnt me so much fence already.
.
SALISBURY: Come, leave your drinking, and fall to blows.
. Sirrah, what's thy name?
.
{PETER}: {PETER}, forsooth.
.
SALISBURY: {PETER}! what more?
.
{PETER}: Thump.
.
SALISBURY: Thump! then see thou thump thy master well.
.
[HORNER]: Masters, I am come hither, as it were, upon my man's
. instigation, to prove him a knave and myself an
. honest man: and touching the Duke of York, I will
. take my death, I never meant him any ill, nor the
. king, nor the queen: and therefore, {PETER}, have at
. thee with a downright blow!
.
YORK: Dispatch: this knave's tongue begins to double.
. Sound, trumpets, alarum to the combatants!
.
. [Alarum. They fight, and {PETER} strikes him down]
.
[HORNER]: Hold, {PETER}, hold! I confess, I confess treason.
.
. [Dies]
.......................................................................
<<Grafton & Holinshed: “William Catur, an armourer, was accused of high
treason by his own servant, John David, who for want of other proof
offered to make good his charge by combat. The defendant's friends,
knowing his timorous nature, fortified his spirits with plenty of wind.
Catur, on entering the lists intoxicated, was killed by his servant,
who, being afterwards convicted of felony, confessed the falsehood
of the charge against his unhappy master." Stow, adds, - "myself
have had the like servant, that likewise accused me of many
articles, he liveth yet, but hath hardly escaped hanging since.">>
--------------------------------------------------------------------
. MWW (Folio 1, 1623) Act 1, Scene 4
.
Qu. Goe, and we'{L}l haue a pos{S}et for't soone {A}t night,
. (i{N} faith) at the lat{T}er end {O}f a Sea-cole-fire: An
. {H}one{S}t, willing, kinde fell{O}w, {A}s EVER seruant shall co{M}e
. in house withall: and I warrant you, no tel-tale, nor no breede-
. bate: his worst fault is, that he is giuen to prayer; hee is
. something peeuish that way: but no body but has his fault:
. but let that passe. {PETER} Simple, you say your name is?
...................................................
. <= 21 =>
.
. G o e,a n d w e'{L}l h a u e a p o s{S} e t
. f o r't s o o n e {A}t n i g h t(i{N} f a i
. t h)a t t h e l a t {T}e r e n d{O} f a S e
. a-c o l e-f i r e:A n {H}o n e{S} t,w i l l
. i n g,k i n d e f e l l {O}w{A} s e u e r s
. e r u a n t s h a l l c o {M} e i n h o u s
. e w i t h a l l:
.
{LATHOM} 22
{MASONS} -20
------------------------------------------------------------
. F.F. : To the great Variety of Readers.
{And if then you doe not like him},
surely you are in some manifest dange[R], not to vnderstand him.
And so w[E] leaue you to other of his Frie[N]ds, whom if you need,
can bee you[R] guides: if you neede them not, y[O]u can leade
your selues, and ot[H]ers. And such Readers we wish h[I]m.
Iohn Heminge.
Henrie Condell.
...........................................................
. <= 25 =>
.
.{A n d i f t h e n y o u d o e n o t l i k e h i m},
. s u r e l y y o u a r e i n s o m e m a n i f e s
. t d a n g e [R],n o t t o v n d e r s t a n d h i m.
. A n d s o w [E] l e a u e y o u t o o t h e r o f h
. i s F r i e [N] d s,w h o m i f y o u n e e d,c a n
. b e e y o u [R] g u i d e s:i f y o u n e e d e t h
. e m n o t,y [O] u c a n l e a d e y o u r s e l u e
. s,a n d o [T H] e r s.A n d s u c h R e a d e r s w
. e w i s h h [I] m.
.
[I.HORNER] -25 : Prob. at end ~1 in 14,000
[T./HORNER] -25
------------------------------------------------------------
https://en.wikipedia.org/wiki/Little_Jack_Horner
<<"Little [I]ack [HORNER]" is actually about [THo]mas [HORNER], who was steward to Richard Whiting, the last abbot of Glastonbury before the dissolution of the monasteries under Henry VIII of England. It is asserted that, prior to the abbey's destruction, the abbot sent Horner to London with a huge Christmas <PIE> which had the deeds to a dozen manors hidden within it as a gift to try to convince the King not to nationalise Church lands. During the journey Horner opened the <PIE> and extracted the deeds of the manor of Mells in Somerset, which he kept for himself. It is further suggested that, since the manor properties included lead mines in the Mendip Hills, the plum is a pun on the Latin plumbum, for lead. While records do indicate that Thomas Horner became the owner of the manor, both his descendants and subsequent owners of Mells Manor have asserted that the legend is untrue and that Wells purchased the deed from the abbey.>>
.
. I put in my thumb,
. And pulled out a plum,
. And said, "What a good boy am I!"
------------------------------------------------------
. Sonnet 37
.
. AS a decrepit father takes delight,
. To see his actiue childe do deeds of youth,
. So I, made lame by Fortunes dearest spight
. Take all my comfort of thy worth and truth.
.
. For whether beauty, b[I]rth, or weal[TH, o]r wit,
. Or any [O]f these all, o[R] all, or more
. I[N]titled in th[E]ir parts, do c[R]owned sit,
. I make my loue ingrafted to this store:
.........................................
. <= 11 =>
.
. F o r w h e t h e r b
. e a u t y, b [I] r t h,o
. r w e a l [T H,o.] r w i
. t,O r a n y [O] f t h e
. s e a l l, o [R] a l l,o
. r m o r e I [N] t i t l
. e d i n t h [E] i r p a
. r t s,d o c [R] o w n e
. d s i t,I m a k e m y
. l o u e i n g r a f t
. e d t o t h i s s t o
. r e:
[I.HORNER] 10 : Prob. in any Sonnet ~ 1 in 70
..............................................
. So then I am not lame, poore, nor dispis'd,
. Whilst that this shadow doth such substance giue,
. That I in thy abundance am suffic'd,
. And by a part of all thy glory liue:
.
. Looke what is best, that best I wish in thee,
. This wish I haue, then ten times happy me.
-----------------------------------------------------------------------
https://clasmerdin.blogspot.com/2011/11/execution-of-richard-whiting.html
The Execution of Richard Whiting The Last Abbot of Glastonbury
“....the Abbot was arrayned, and the next daye putt to execution, with ii. other of his monkes, for the robbyng of Glastonburye Churche ; on the Torre Hill, the seyde Abbottes body beyng devyded in fower partes, and his heedd stryken off, whereof oone quarter stondyth at Welles, another at Bathe, and at Ylchester and Brigewater the rest, and his hedd upon the abbey gate at Glaston." - Letter of 16th November 1539, Lord Russell to Thomas Cromwell.
The execution is reminiscent of a scene from the crucifixion. The hanging and dismemberment on the Tor possesses elements of ritual execution. One is compelled to agree with Arthurian scholar, the Avalonian Geoffrey Ashe, who knows the Tor better than many and states, “If the object was to strike terror, the place to do it was in the town. The ascent of the Tor was the act of madmen or mystics …”
In 1538 Abbot Whiting had received assurances from the Vicar General, Thomas Cromwell, that the Abbey was not under threat. At some time there appears to have been a change in the game plan. When the Royal Commissioner Richard Layton visited the abbey in 1535, he had given it a complete clean bill of health, reporting that “there is nothing notable; the brethren be so straight kept that they cannot offend,” he even praised the Abbot to Cromwell. In the same year Nicholas FitzJames, as friend of the Abbot, had written to Cromwell supporting Richard Whiting and petitioning against the Vicar General's impracticable injunctions upon Glastonbury.
Yet when he returned a few years later in 1539 Layton retracts his praise of Abbot Whiting with these odd words: “The Abbot of Glastonbury appeareth neither then nor now to have known God, nor his prince, nor any part of a good Christian man’s religion.” Further, according to a letter written by Pollard on the 16th November, Nicholas FitzJames was one of the jurors at the trial of the Glastonbury three at Wells, along with [TH]omas ([I]ack) [HORNER], the Abbot's steward. Friends turned into enemies, trustees became traitors.>>
------------------------------------------------------------
https://hauntedpalaceblog.wordpress.com/tag/thomas-horner/
<<"Little [I]ack [HORNER]" was in fact [TH]omas [HORNER], the steward of Abbot Whiting of Glastonbury. The story goes that the abbot had sent Horner on a mission to see King Henry VIII in London, the aim of which was to try to save Glastonbury Abbey from being dissolved. Feeling hungry on the journey, Horner, who had been sent on his way with a <PIE>, decided to eat a piece of it. To his surprise instead of pulling out the mince filling he pulled out a deed to one of Glastonbury’s smaller properties. On examining the contents of the <PIE> he found a further eleven deeds concealed inside. Keeping the first deed, he delivered the other papers to the king. The abbot was caught in a no-win situation as he could not accuse Horner of theft because then he would have to openly admit to trying to bribe the king giving Henry an easy excuse to charge the abbot with corruption. Horner gained the deeds to the estate of Mells Manor in Somerset where his descendants lived until the beginning of the 20th century.
“Take a Legge of Mutton, and cut the best of the flesh from the bone, and
parboyl it well then put to it three-pound of the best Mutton suet and shred
it very small; then spread it abroad, and fashion it with Salt Cloves and Mace”
The quote above is taken from a 1615 recipe for mince <PIES>. The recipe goes on to instruct the reader to place the mixture in a coffin or divers coffin before baking. The coffin is in fact a dough crust in the shape of a basket or box which was several inches thick and had been cooked for several hours. The coffin was inedible and acted as a container and cooking vessel to keep the meat tender by preventing the juice meat dripping away. Due to the sturdy nature of the <PIES>, people often hid valuable objects such as jewellery, money and important papers in them to stop their possessions falling into the hands of robbers. Therefore it is highly plausible that the deeds to the Glastonbury properties would have been hidden in a mince-pie.
It is also interesting to note that mince <PIES> were considered
symbols of Catholic idolatry and were banned under Oliver Cromwell.>>
---------------------------------------------------------
Art Neuendorffer
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