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And let the foolish YEOMAN go.
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Art Neuendorffer
Jan 7, 2005, 11:46:14 AM1/7/05
to
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"Chess One" <inn...@verizon.net> wrote
> HARTYKYN: A term of endearment [excuse the pun!!]
> //Palsgrave's Acolastus,
1540.
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A little more than
KIND, and
less than KIN:
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Eight days before Shakspere's death his brother-in-law William HARTTE
the HATTER ['HATTER' is an anagram of 'HARTTE'] died.
Eight days before Shakspere's death his brother-in-law William HARTTE
the HATTER ['HATTER' is an anagram of 'HARTTE'] died.
Descendants of Mr.W.H. (and wife Joan S. HARTTE) are still alive!
"Shall KIN with KIN and KIND with KIND
confound?"
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------------------------------------------------------------
Chettle's 'KIND-HARTE's Dream':
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Echoes -- Lewis Carroll
(1869)
Lady Clara VERE de VERE
Was eight years old, she said:
EVERy ringlet, lightly SHAKEn, ran itself in GOLDEN THREAD.
She took her little porringer:
Of me she shall not win renown:
For the baseness of its nature shall have strength to drag her down.
"Sisters and brothers, little Maid?
There stands the inspector at thy door:
Like a dog, he hunts for boys who know not two and two are four."
"KIND HEARTS are more than coronets,"
She said, and wondering looked at me:
"It is the dead unhappy night, and I must hurry home to tea."
------------------------------------------------------------------
<<KIND HEARTS and Coronets is a black comedy, presented in
<<KIND HEARTS and Coronets is a black comedy, presented in
a coolly elegant style with the most articulate and literate of all
Ealing
screenplays. The title was taken from a Tennysonian couplet
screenplays. The title was taken from a Tennysonian couplet
quoted by one of the characters:
'KIND HEARTS are more than
coronets,
And simple faith than Norman blood';
in France the film was called Noblesse Oblige.>>
-----------------------------------------------------------
Lady Clara VERE de VERE (1842) - Alfred Lord Tennyson
Lady Clara VERE de VERE (1842) - Alfred Lord Tennyson
Lady Clara VERE de VERE,
Of me you shall not win renown:
You thought to break a country HEART
For pastime, ere you went to town.
At me you smiled, but unbeguiled
I saw the snare, and I retired;
The daughter of a hundred earls,
You are not one to be desired.
Of me you shall not win renown:
You thought to break a country HEART
For pastime, ere you went to town.
At me you smiled, but unbeguiled
I saw the snare, and I retired;
The daughter of a hundred earls,
You are not one to be desired.
Lady Clara VERE de VERE,
I know you proud to bear your name,
Your pride is yet no mate for mine,
Too proud to care from whence I came.
Nor would I break for your sweet sake
A HEART that dotes on truer charms.
A simple maiden in her flower
Is worth a hundred coats-of-arms.
I know you proud to bear your name,
Your pride is yet no mate for mine,
Too proud to care from whence I came.
Nor would I break for your sweet sake
A HEART that dotes on truer charms.
A simple maiden in her flower
Is worth a hundred coats-of-arms.
Lady Clara VERE de VERE,
Some meeker pupil you must find,
For, were you queen of all that is,
I could not stoop to such a mind.
You sought to prove how I could love,
And my disdain is my reply.
The lion on your old stone gates
Is not more cold to you than I.
Some meeker pupil you must find,
For, were you queen of all that is,
I could not stoop to such a mind.
You sought to prove how I could love,
And my disdain is my reply.
The lion on your old stone gates
Is not more cold to you than I.
Lady Clara VERE de VERE,
You put strange memories in my head.
Not thrice your branching lines have blown
Since I beheld young Laurence dead.
O, your sweet eyes, your low replies!
A great enchantress you may be;
But there was that across his throat
Which you had hardly cared to see.
You put strange memories in my head.
Not thrice your branching lines have blown
Since I beheld young Laurence dead.
O, your sweet eyes, your low replies!
A great enchantress you may be;
But there was that across his throat
Which you had hardly cared to see.
Lady Clara VERE de VERE,
When thus he met his mother’s view,
She had the passion of her KIND,
She spake some certain truths of you.
Indeed I heard one bitter word
That scarce is fit for you to hear;
Her manners had not that repose
Which stamps the caste of VERE de VERE.
When thus he met his mother’s view,
She had the passion of her KIND,
She spake some certain truths of you.
Indeed I heard one bitter word
That scarce is fit for you to hear;
Her manners had not that repose
Which stamps the caste of VERE de VERE.
Lady Clara VERE de VERE,
There stands a spectre in your hall;
The guilt of blood is at your door;
You changed a wholesome HEART to gall.
You held your course without remorse,
To make him trust his modest worth,
And, last, you fix’d a vacant stare,
And slew him with your noble birth.
There stands a spectre in your hall;
The guilt of blood is at your door;
You changed a wholesome HEART to gall.
You held your course without remorse,
To make him trust his modest worth,
And, last, you fix’d a vacant stare,
And slew him with your noble birth.
Trust me, Clara VERE
de VERE,
From yon blue heavens above us bent
The gardener Adam and his wife
Smile at the claims of long descent.
Howe’er it be, it seems to me,
’Tis only noble to be good.
KIND HEARTS are more than coronets,
And simple faith than Norman blood.
Smile at the claims of long descent.
Howe’er it be, it seems to me,
’Tis only noble to be good.
KIND HEARTS are more than coronets,
And simple faith than Norman blood.
I know you, Clara VERE
de VERE,
You pine among your halls and towers;
The languid light of your proud eyes
Is wearied of the rolling hours.
In glowing health, with boundless wealth,
But sickening of a vague disease,
You know so ill to deal with time,
You needs must play such pranks as these.
You pine among your halls and towers;
The languid light of your proud eyes
Is wearied of the rolling hours.
In glowing health, with boundless wealth,
But sickening of a vague disease,
You know so ill to deal with time,
You needs must play such pranks as these.
Clara, Clara VERE de VERE,
If time be heavy on your hands,
Are there no beggars at your gate,
Nor any poor about your lands?
O, teach the orphan-boy to read,
Or teach the orphan-girl to sew;
Pray Heaven for a human HEART,
And let the foolish YEOMAN go.
------------------------------------------------------------------
<<A YEOMAN was anciently a 40-shilling freeholder, and as
If time be heavy on your hands,
Are there no beggars at your gate,
Nor any poor about your lands?
O, teach the orphan-boy to read,
Or teach the orphan-girl to sew;
Pray Heaven for a human HEART,
And let the foolish YEOMAN go.
------------------------------------------------------------------
<<A YEOMAN was anciently a 40-shilling freeholder, and as
such qualified to vote, and serve on juries. In more modern times
it meant a farmer who cultivated his own freehold. Later still,
an upper farmer, tenant or otherwise, is often called a YEOMAN.>>
---------------------------------------------------------------
King Lear (Folio) Act 3, Scene 6
it meant a farmer who cultivated his own freehold. Later still,
an upper farmer, tenant or otherwise, is often called a YEOMAN.>>
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King Lear (Folio) Act 3, Scene 6
Foole. Prythee Nunkle tell me,
whether a madman be a Gentleman, or a YEOMAN.
whether a madman be a Gentleman, or a YEOMAN.
Lear. A King, a King.
Foole. No, he's a YEOMAN, that ha's a
Gentleman
to his Sonne: for hee's a mad YEOMAN
that sees his Sonne a Gentleman before him.
------------------------------------------------------------------------
{YEOMAN of the guard}, one of the bodyguard of the English sovereign,
consisting of the hundred YEOMEN, armed with partisans,
to his Sonne: for hee's a mad YEOMAN
that sees his Sonne a Gentleman before him.
------------------------------------------------------------------------
{YEOMAN of the guard}, one of the bodyguard of the English sovereign,
consisting of the hundred YEOMEN, armed with partisans,
and habited in the costume of the sixteenth
century.
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YEOMAN, n.; pl. {YEOMEN}. [OE. yoman, [yogh]eman, [yogh]oman;
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YEOMAN, n.; pl. {YEOMEN}. [OE. yoman, [yogh]eman, [yogh]oman;
of uncertain origin; perhaps the first, syllable is akin to
OFries.
g[=a] district, region, G. gau, OHG. gewi, gouwi, Goth. gawi.]
g[=a] district, region, G. gau, OHG. gewi, gouwi, Goth. gawi.]
1. A common man, or one of the commonly of the first or
most respectable class; a freeholder; a man free born.
most respectable class; a freeholder; a man free born.
A YEOMAN in England is
considered as next in order to the gentry.
2. A servant; a retainer. [Obs.]
A yeman hadde he and servants no mo. --Chaucer.
3. A YEOMAN of the guard; also,
a member of the YEOMANry
cavalry.
4. (Naut.) An interior officer under the boatswain,
gunner,
or carpenters, charged with the stowage, account,
and distribution of the stores.
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King Henry VI, Part iii Act 1, Scene 4
or carpenters, charged with the stowage, account,
and distribution of the stores.
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King Henry VI, Part iii Act 1, Scene 4
YORK Thy father bears the type of King of Naples,
Of both the Sicils and Jerusalem,
Yet not so wealthy as an English YEOMAN.
Hath that poor monarch taught thee to insult?
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King Henry VI, Part i Act 2, Scene 4
Of both the Sicils and Jerusalem,
Yet not so wealthy as an English YEOMAN.
Hath that poor monarch taught thee to insult?
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King Henry VI, Part i Act 2, Scene 4
SOMERSET: Away, away, good William de la Pole!
We grace the YEOMAN by conversing with him.
We grace the YEOMAN by conversing with him.
WARWICK: Now, by God's will, thou wrong'st him,
Somerset;
His grandfather was Lionel Duke of Clarence,
Third son to the third Edward King of England:
Spring crestless YEOMEN from so deep a root?
His grandfather was Lionel Duke of Clarence,
Third son to the third Edward King of England:
Spring crestless YEOMEN from so deep a root?
SOMERSET: Was not thy father, Richard Earl of Cambridge,
For treason executed in our late king's days?
And, by his treason, stand'st not thou attainted,
Corrupted, and exempt from ancient gentry?
His trespass yet lives guilty in thy blood;
And, till thou be restored, thou art a YEOMAN.
------------------------------------------------------------------
King Henry V Act 3, Scene 1
For treason executed in our late king's days?
And, by his treason, stand'st not thou attainted,
Corrupted, and exempt from ancient gentry?
His trespass yet lives guilty in thy blood;
And, till thou be restored, thou art a YEOMAN.
------------------------------------------------------------------
King Henry V Act 3, Scene 1
KING HENRY: And you, good YEOMAN,
Whose limbs were made in England, show us here
The mettle of your pasture; let us swear
That you are worth your breeding; which I doubt not;
For there is none of you so mean and base,
That hath not noble lustre in your eyes.
I see you stand like greyhounds in the slips,
Straining upon the start. The game's afoot:
Follow your spirit, and upon this charge
Cry 'God for Harry, England, and Saint George!'
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Twelfth Night Act 2, Scene 5
Whose limbs were made in England, show us here
The mettle of your pasture; let us swear
That you are worth your breeding; which I doubt not;
For there is none of you so mean and base,
That hath not noble lustre in your eyes.
I see you stand like greyhounds in the slips,
Straining upon the start. The game's afoot:
Follow your spirit, and upon this charge
Cry 'God for Harry, England, and Saint George!'
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Twelfth Night Act 2, Scene 5
MALVOLIO: There is example for't; the lady of the
Strachy
married the YEOMAN of the wardrobe.
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Waverly - Sir Walter Scott
married the YEOMAN of the wardrobe.
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Waverly - Sir Walter Scott
<<The Baron entered at this moment, and rebuked her with
more asperity than Waverley had ever heard him use to any
one. ``Was it not a shame,'' he said, ``that she should
exhibit herself before any gentleman in such a light, as if
she shed tears for a drove of horned nolt and milch kine,
like the daughter of a Cheshire YEOMAN;>>
-------------------------------------------------------------
Dodgson, Charles Lutwidge (Lewis Carroll) (1832-1898).
son of a clergyman at Daresbury, Cheshire,
Lady Clara VERE de VERE
Was eight years old, she said:
EVERy ringlet, lightly SHAKEn, ran itself in GOLDEN THREAD.
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Richard VELE: Coroner's Inquest
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<<Inquisition taken in the parish of St. Martin's in the Fields 24 July
1567 before Richard VALE, coroner, upon a viewing of the body of Thomas
Brincknell, of Westminster, YEOMAN, lying dead, by seventeen named
jurymen, who affirm that on 23 July 1567 between seven and eight in the
evening Edward earl of Oxford and Edward Baynham, TAILOR of the same
city, were together in the back yard of the residence of Sir William
CECIL in the same parish, meaning no harm to anyone. Each had a sword,
called a foil, and together they meant to practice the science of
defense. Along came Thomas Brincknell, drunk, . . . who ran and fell
upon the point of the earl of OXFORD's FOIL (WORTH TWELVE PENCE),
more asperity than Waverley had ever heard him use to any
one. ``Was it not a shame,'' he said, ``that she should
exhibit herself before any gentleman in such a light, as if
she shed tears for a drove of horned nolt and milch kine,
like the daughter of a Cheshire YEOMAN;>>
-------------------------------------------------------------
Dodgson, Charles Lutwidge (Lewis Carroll) (1832-1898).
son of a clergyman at Daresbury, Cheshire,
------------------------------------------------------------
Echoes -- Lewis Carroll
(1869)
Lady Clara VERE de VERE
Was eight years old, she said:
EVERy ringlet, lightly SHAKEn, ran itself in GOLDEN THREAD.
-------------------------------------------------------------
Richard VELE: Coroner's Inquest
-----------------------------------------------------------
<<Inquisition taken in the parish of St. Martin's in the Fields 24 July
1567 before Richard VALE, coroner, upon a viewing of the body of Thomas
Brincknell, of Westminster, YEOMAN, lying dead, by seventeen named
jurymen, who affirm that on 23 July 1567 between seven and eight in the
evening Edward earl of Oxford and Edward Baynham, TAILOR of the same
city, were together in the back yard of the residence of Sir William
CECIL in the same parish, meaning no harm to anyone. Each had a sword,
called a foil, and together they meant to practice the science of
defense. Along came Thomas Brincknell, drunk, . . . who ran and fell
upon the point of the earl of OXFORD's FOIL (WORTH TWELVE PENCE),
which Oxford held in his right hand intending to play a round (as
they
call it). With the foil Thomas [Brincknell] gave himself a wound to
the front of his thigh four inches deep and one inch wide, of which
he died instantly. This, to the exclusion of all other explanations,
was the way he
died.>>
----------------------------------------------------
Another person who died in a ditch was Jane Shore:
----------------------------------------------------
Another person who died in a ditch was Jane Shore:
Shore (Jane). Sir Thomas More says, ?She was well-born, honestly
brought up, and married somewhat too soon to a wealthy YEOMAN.?
(The tragedy of Jane Shore is by Nicholas Rowe).
brought up, and married somewhat too soon to a wealthy YEOMAN.?
(The tragedy of Jane Shore is by Nicholas Rowe).
?I could not get one bit of bread
Whereby my hunger might be fed. ...
So, weary of my life, at length
I yielded up my vital strength
Within a ditch ... which since that day
Is Shoreditch called, as writers say.?
Whereby my hunger might be fed. ...
So, weary of my life, at length
I yielded up my vital strength
Within a ditch ... which since that day
Is Shoreditch called, as writers say.?
Shoreditch according to tradition, is so called from Jane Shore, who,
it is said, died there in a ditch. This tale comes from a ballad in
Pepys' collection; but the truth is, it receives its name from Sir
John de Soerdich, lord of the manor in the reign of Edward III.
-------------------------------------------------------------
The Croppy Boy By Anonymous
it is said, died there in a ditch. This tale comes from a ballad in
Pepys' collection; but the truth is, it receives its name from Sir
John de Soerdich, lord of the manor in the reign of Edward III.
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The Croppy Boy By Anonymous
It was early, early in the night,
The YEOMAN cavalry gave me a fright;
The YEOMAN cavalry was my downfall
And taken was I by Lord Cornwall.
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George Eliot. (1819?1880). The Mill on the Floss.
The YEOMAN cavalry gave me a fright;
The YEOMAN cavalry was my downfall
And taken was I by Lord Cornwall.
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George Eliot. (1819?1880). The Mill on the Floss.
<<Uncle Pullet belonged to that extinct class of British
YEOMAN who,
dressed in good broadcloth, paid high rates and taxes, went to church,
and ate a particularly good dinner on Sunday, without dreaming that
the British constitution in Church and State had a traceable
origin any more than the solar system and the fixed stars.>>
-------------------------------------------------------------
1388 Geoffrey Chaucer Canterbury Tales discussed alchemy
in the Canon's YEOMAN's Tale
----------------------------------------------------
ClassicNote on Canterbury Tales
http://www.gradesaver.com/ClassicNotes/Titles/canterbury/tale22.html
dressed in good broadcloth, paid high rates and taxes, went to church,
and ate a particularly good dinner on Sunday, without dreaming that
the British constitution in Church and State had a traceable
origin any more than the solar system and the fixed stars.>>
-------------------------------------------------------------
1388 Geoffrey Chaucer Canterbury Tales discussed alchemy
in the Canon's YEOMAN's Tale
----------------------------------------------------
ClassicNote on Canterbury Tales
http://www.gradesaver.com/ClassicNotes/Titles/canterbury/tale22.html
Prologue to the Canon's YEOMAN's Tale:
When the story of Saint Cecilia was finished and the company
continued
on their journey, they came across two men. One of them was clad all in
black and had been traveling quickly on their horses; the narrator
believes that he must be a canon (an alchemist). The Canon's YEOMAN
said that they wished to join the company on their journey, for they had
heard of their tales. The Host asked if the Canon could tell a tale, and
the YEOMAN answers that the Canon knows tales of mirth and jollity, and
is a man whom anybody would be honored to know. The Host guesses that
his master was a clerk, but the YEOMAN says that he is something
greater. The Host, however, wonders why the Canon dresses so shabbily
if he is so important. The YEOMAN brags about what the Canon can do,
such as creating the illusion of gold, until the Canon tells him to
stop. For shame at his YEOMAN's behavior, the Canon then departed.
The Canon's YEOMAN then decides to tell a tale himself.
on their journey, they came across two men. One of them was clad all in
black and had been traveling quickly on their horses; the narrator
believes that he must be a canon (an alchemist). The Canon's YEOMAN
said that they wished to join the company on their journey, for they had
heard of their tales. The Host asked if the Canon could tell a tale, and
the YEOMAN answers that the Canon knows tales of mirth and jollity, and
is a man whom anybody would be honored to know. The Host guesses that
his master was a clerk, but the YEOMAN says that he is something
greater. The Host, however, wonders why the Canon dresses so shabbily
if he is so important. The YEOMAN brags about what the Canon can do,
such as creating the illusion of gold, until the Canon tells him to
stop. For shame at his YEOMAN's behavior, the Canon then departed.
The Canon's YEOMAN then decides to tell a tale himself.
Analysis:
The dull religious reverie of the Second Nun's Tale gives way to
the
most prominent narrative development within the story of the pilgrims to
Canterbury. Chaucer introduces two new characters, the Canon and his
YEOMAN. The Canon is an imposing figure, a mysterious and intimidating
character who differs greatly from the Canterbury pilgrims, who are
either jovial and boisterous or quiet and respectable. The Canon is
nearly silent, yet his reticence does not stem from chivalric honor
or religious principles. He is a man of menacing action afraid to
be definitely identified as part of his dubious profession. This
automatically marks him as different from the other travelers,
who primarily exist as part of their particular job and accept it,
even when that line of work as in the cases of the summoner
and the pardoner is not respectable.
most prominent narrative development within the story of the pilgrims to
Canterbury. Chaucer introduces two new characters, the Canon and his
YEOMAN. The Canon is an imposing figure, a mysterious and intimidating
character who differs greatly from the Canterbury pilgrims, who are
either jovial and boisterous or quiet and respectable. The Canon is
nearly silent, yet his reticence does not stem from chivalric honor
or religious principles. He is a man of menacing action afraid to
be definitely identified as part of his dubious profession. This
automatically marks him as different from the other travelers,
who primarily exist as part of their particular job and accept it,
even when that line of work as in the cases of the summoner
and the pardoner is not respectable.
The Canon's YEOMAN serves as
the voice of his master, but that
voice proves inadequate. The Canon's YEOMAN reveals too much
about his master and then turns on him,
condemning the Canon for his fraudulent practices.
voice proves inadequate. The Canon's YEOMAN reveals too much
about his master and then turns on him,
condemning the Canon for his fraudulent practices.
The Canon YEOMAN's Tale:
The Canon's YEOMAN admits that
he has served the Canon for seven years
and knows a great deal about his craft. He warns that anybody who
becomes involved with a canon will suffer similar miseries: losing one's
wealth and esteem. He tells about the wicked craft of alchemy from which
they try to gain wealth. He claims that there is a canon of religion
of how an alchemist can defraud a person. He then begins his tale of a
priest in London who was visited by a false canon who begged for a loan.
Two days later he repays the loan and offers to show the priest his
methods. The priest was blinded by his avarice. The canon tells the
priest to have his servant fetch three ounces of quicksilver and coal.
The canon claims that he can make the quicksilver into real silver. The
canon contrived to make it appear to the priest that he had made real
silver in his crucible. The priest unwittingly exchanged this false
silver for money, which he gave to the canon, who made the priest
promise never to reveal his methods. The Canon's YEOMAN ends his tale
with a warning that these types of fraud will eventually be punished.
and knows a great deal about his craft. He warns that anybody who
becomes involved with a canon will suffer similar miseries: losing one's
wealth and esteem. He tells about the wicked craft of alchemy from which
they try to gain wealth. He claims that there is a canon of religion
of how an alchemist can defraud a person. He then begins his tale of a
priest in London who was visited by a false canon who begged for a loan.
Two days later he repays the loan and offers to show the priest his
methods. The priest was blinded by his avarice. The canon tells the
priest to have his servant fetch three ounces of quicksilver and coal.
The canon claims that he can make the quicksilver into real silver. The
canon contrived to make it appear to the priest that he had made real
silver in his crucible. The priest unwittingly exchanged this false
silver for money, which he gave to the canon, who made the priest
promise never to reveal his methods. The Canon's YEOMAN ends his tale
with a warning that these types of fraud will eventually be punished.
Analysis:
The actual profession of the Canon is that of an alchemist, a
profession
that relates to modern scientific pursuits but in Chaucer's time was
endowed with mysterious connotations borne from fear and wonder. The
YEOMAN regards the Canon as a man of great powers, yet fears the
implications of his craft. The YEOMAN is most assured when
he tells of his masters' sins and deceptions, for it is here
that he can consign the Canon to the status of mere charlatan.
that relates to modern scientific pursuits but in Chaucer's time was
endowed with mysterious connotations borne from fear and wonder. The
YEOMAN regards the Canon as a man of great powers, yet fears the
implications of his craft. The YEOMAN is most assured when
he tells of his masters' sins and deceptions, for it is here
that he can consign the Canon to the status of mere charlatan.
The description of the Canon that his YEOMAN gives during his tale is
equivalent to that of the devil. He deals in mystical and dark forces,
with references to brimstone and fire, and serves the same purpose
as the devil incarnated in several of the other tales,
tempting weak men to sin by appealing to their weaknesses.
In this case, the Canon manipulates the priest's avarice.
equivalent to that of the devil. He deals in mystical and dark forces,
with references to brimstone and fire, and serves the same purpose
as the devil incarnated in several of the other tales,
tempting weak men to sin by appealing to their weaknesses.
In this case, the Canon manipulates the priest's avarice.
The story serves as a confession for the Canon's YEOMAN, who admits
the sins that he and his master have committed. By revealing his
master's professional practices he asks for penance.>>
-----------------------------------
Art Neuendorffer
the sins that he and his master have committed. By revealing his
master's professional practices he asks for penance.>>
-----------------------------------
Art Neuendorffer
Chess One
Jan 7, 2005, 1:30:14 PM1/7/05
to
1. A common man, or one of the commonly of the first or
most respectable class; a freeholder; a man free born.
A YEOMAN in England is considered as next in order to the gentry.
-------
You found YEMAN, Art, which is more explicit: A servant of a rank next below
a squire; a person of middling rank. And a YEME is an uncle, and another YEO
is [Exmoor] an ewe. From the point of view of those who wrote, YEO~ meant
ordinary. Unknown origin. Devon has a placename YEOVIL. Phil
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