Re: ASYLUM PEEPS

[Arthur Neuendorffer]

---------------------------------------------­-----
"(To the m)[eMOry of my beloVED]" - Ben Jonson
"(To them) [my OM, by fo(DEVere)ol]"
...................................................
___ *fo(DEVere)ol's ISCHIA*
____ *of HeroICAl DEVISes*
...................................................
A Garden *of HeroICAl DEVISes*
or Henry Peacham's _Minerva Britanna_

http://home.att.net/~tleary/minerva.htm
---------------------------------------------------------
http://www.mhs.ox.ac.uk/gatt/garden/catalog.asp?CN=21

<<In 1621, a gift of £250 from Henry, Lord DAN-VERS allowed
the University of Oxford to take out the lease from Magdalen
College of a 5-acre tract of meadowland, on a bend of the river.
-------------------------------------------------------
bookburn wrote:

> Bacon's formal layout was very much admired and by Charles II's
> reign the Walks had become a highly fashionable place to be seen.
> The diarist *SAMUEL PEPYS* was a frequent visitor,
> relishing the opportunity *to eye the ladies* ...
-------------------------------------------------------
___ *SAMUEL PEPYS*
___ *ASYLUM PEEPS*

*PEPYS* is pronounced the same as the English word *PEEPS* .
...................................................
<<The two Visscher engravings are the most important of all the
views of the first Globe. The Globe in the British Museum print
is found to be slightly the larger building [as compared to the
Folger print], as scaled by the height of the man who peers
into a *PEEP-hole* in the south-west wall.>>
- p.20 Shakespeare's Globe Playhouse_ (1956) by Irwin Smith
-------------------------------------------------------
. King Henry V Act 4, Scene 2

GRANDPRE: And faintly through a *RUSTY BEAVER PEEPS*
...................................................
[G] O O D F R [E] N D F O __ *R* __ I [E]
[S] V S S A K [E] F O R __ *B E A* __ [R]
[E] T O D I G [G] T H E D __ *V* __ S [T]
[E] N C L O A [S] E D H E __ *A* __ R [E]
...................................................
*BEA* He makes someone happy (Italian)
*BEA* make someone happy (Italian)
*BEA* life (Manx)

*AVER* , n. [OF. *AVER* domestic animal] A working *OX*

*AVER* , v. t. [F. avérer, LL. adverare, averare]
1. To assert, or prove, the truth of. [Obs.]
2. To affirm with confidence

*être* : *to be*
--------------------------------------------------------------
<< *SAMUEL PEPYS* (pronounced *PEEPS* , as his lineal descendants
still do, was born in London February 23, 1633, the son of
a *TAILOR.* He was educated at *Magdalene* College, Cambridge.

On January 1, 1660 he started his diary. The same year he
became Clerk of the Acts to the Navy Board. In May 1669 his
diary was brought to a sudden conclusion, owing to the weak
state *of Pepys' eyes* . His wife died the same year.

When Pepys died on May 26, 1703 his diaries were bequeathed
to Magdalene College. The six volumes were written
IN A CIPHER based on *THOMAS SHELTON's* system of shorthand.

The books were first deciphered by a Mr. *John SMITH*
from 1819 to 1822. A shortened (& expurgated)
publication appeared in 1825; the complete diary
of more than 3800 pages appeared in 1893.>>
.
. From Wikipedia, http://www.pepysdiary.com/
--------------------------­------------------------------­--
The SUSAN Constant: (Henry) May 26

May 26, 1232 Spanish Inquisition starts
May 26, 1543 Vesalius' _Fabrica_ published

May 26, 1583 SUSANna Shakespeare Hall born
_____________ (after a 26 week gestation!)
May 26, 1587 SUSANna Vere Herbert born

May 26, 1599 HENRY PORTER disappears
May 26, 1607 Jamestown Indian attack
May 26, 1703 Samuel Pepys ( *PEEPS* ) dies
May 26, 1759 Mary WollSTONECRAFT Godwin born
May 26, 1799 Freemason Alexander Pushkin born
May 26, 1819 Prince Albert born
May 26, 1827 Poe enlists in Army as PERRY
--------------------------------------------------------------
From Sir George Greenwood's "The Northumberland Manuscript," 1922:
http://www.baconscipher.com/North1.html
http://www.sirbacon.org/nmsaunders.htm
..............................................................
<<And lower down in the left-hand column we have,

" *REVE*aling day through *EVERY CRANY PEEPES* and see Shak"

which seems to be an imperfect reminiscence of the line
in Lucrece, " *REVE*aling day through *EVERY CRANY SPIES* ,"
-----------------------------------------------------------------
Epicoene - Ben Jonson

B: O, hold me up a little, I shall go away in the iest else. He has
got on his whole nest of NIGHT-CAPs, and lock'd himselfe up, in the
top of the house, as high, as EUER he can climbe from the noise.

*I PEEP'D in at a crany* ,

and saw him sitting OUER a cross-beame of the roofe, like him on
the sadlers horse in Fleetstreet, vp-right: and he will sleepe there.
-------------------------------------------------------------------
Which of the following quotes is due to Shakespeare
and which is due to *THOMAS SHELTON's* "Don Quixote" ):
........................................................
. *THE NAKED TRUTH* *THE NAKED TRUTH*
. Murder will out Murder will speak
. Know thyself. Know thyself.
.
through narrow chinkes & Cranyes through *EVERY CRANY SPIES*
----------------------------------------------------------------
http://www.ashtead.org/people/sp.htm

* Historians owe most of their knowledge of the London of the 1660s to
Samuel Pepys, England's greatest diarist. He began his diary in 1660,
the year that Puritan rule ended and the period called the Restoration
began. After the seriousness and sobriety of the Puritan years,
Londoners now took great pleasure in attending the reopened theaters,
where they enjoyed the comedies of John Dryden and other Restoration
dramatists. Pepys enjoyed London life to the full, and he wrote down
practically everything he thought, felt, saw, or heard. He describes
the city's churches, theaters, and taverns, its streets and homes, and
even the clothes that he and his wife wore. Samuel Pepys was born in
London on Feb. 23, 1633. His father was a poor tailor. Young Pepys
probably owed his education to his father's cousin, Sir Edward Montagu
(the "My Lord" of the diary), who later became first earl of Sandwich.
Pepys went to St Paul's School in London and then to Cambridge
University. At 22 he married a 15-year-old French girl, Elizabeth St
Michel. By 1655 Montagu had become an admiral, and Pepys was a clerk
in his service. In 1660 Pepys was on the ship that brought Charles II
back to England. He notes that the king "was in a sad poor condition
for clothes and money." Pepys himself had been poor up to this time.
After the Restoration his career advanced rapidly, and he became
secretary of the Admiralty. Many momentous happenings took place
during the years covered in Pepys's diary. He remained in London
during the Great Plague of 1664-65, and he also saw the Great Fire of
1666. He numbered among his friends many of the well-known people of
the time, including the scientist Isaac Newton, the architect
Christopher Wren, and the poet John Dryden. Owing to failing eyesight,
Pepys regretfully closed his diary on May 31, 1669. His wife died
later in the same year. Pepys wrote his diary in Thomas Shelton's
system of shorthand, but he complicated the more secret passages by
using foreign languages and a cipher of his own invention. Along with
other books and papers, the diary went to his old college at
Cambridge. It was not deciphered until 1822. An incomplete edition
appeared in 1825, and the entire diary, except for a few passages
deliberately omitted by the editors, was available by 1899. An edition
completed in 1983 includes the entire work. In addition to its
historical significance, the diary holds a high place in literature.
The style is vigorous, racy, and colloquial. Because he intended it
to be read only by himself, Pepys was completely honest. He admits
to being greedy, deceitful, and vain, but he also reveals acts of
kindness. Pepys did not become blind as he had feared, and in his
later years he helped put through a great shipbuilding program.
Great Britain's continuing tradition as a maritime power was based
to a great extent on Pepys's accomplishments. The revolution of
1688 ended his official career. He died in London on May 26, 1703.

Source: Compton's Interactive Encyclopedia © 1998
-----------------------------------------------------------------------
http://encyclopedia.stateuniversity.com/pages/19489/Samuel-Pepys.html

<<Samuel Pepys, FRS (23 February 1633 – 26 May 1703) was an English
naval administrator and Member of Parliament, famous chiefly for his
comprehensive diary. Although Pepys had no maritime experience, he
rose by hard work and his talent for administration to be the Chief
Secretary to the Admiralty under King James II.

The detailed private diary that he kept during 1660–1669 was published
after his death and is one of the most important primary sources for
the English Restoration period. It provides a fascinating combination
of personal revelation and eyewitness accounts of great events, such
as the Great Plague of London, the Second Dutch War and the Great Fire
of London.

His surname is usually pronounced the same as the English word peeps.

Read more: Samuel Pepys - Chronology, Interests and achievements, The
Pepys Library, The Diary, Disease of the stone, Pepysiana
http://encyclopedia.stateuniversity.com/pages/19489/Samuel-Pepys.html...

The diary was written in one of the many standard forms of shorthand
used in Pepys's time, in this case called Tachygraphy and devised by
Thomas Shelton; but, by the time at which the college took an interest
in the diary, it was thought to be ciphered. The Reverend John Smith
was engaged to transcribe the diaries into plain English; and he
laboured at this task for three years, from 1819 to 1822, apparently
unaware that a key to the shorthand system was stored in Pepys's
library a few shelves above the diary volumes. Smith's transcription
(which is also kept in the Pepys Library) was the basis for the first
published edition of the diary, released in two volumes in 1825.
------------------------------------------------------------------
Thomas Shelton and Hamet Benengeli by Francis Carr
http://www.sirbacon.org/links/carrq.html

<<If Don Quixote was not written by Miguel de Cervantes,
who was the real author?

There is no evidence that it came from the pen of any of Cervantes'
contemporaries in Spain. None of his private letters have come down
to us; there is no evidence that another Spanish author is involved.

It is in Don Quixote, in the work itself, that we may find an answer
to the question of authorship. If someone wrote this novel using
the name of Cervantes, it is possible that some clues have been
deliberately placed in the text.

The author, whoever he was, speaks to us, his readers, in his Preface.
In the very first page he takes the trouble to point out that there
is some problem of authorship, or fatherhood. Of course, this may be
merely a device, a pose but it may not be.

Though in shew a Father, yet in truth but a stepfather to Don Quixote.

If this were the only reference to another man as the author, the real
father, this mention of stepfatherhood could be ignored. But another
name is mentioned over and over again. In Chapter 1 of Book 2 of the
First Part in Shelton's translation(Chapter 9 of the modern Penguin
translation by J. M. Cohen, P77) we read:

The historie of Don Quixote of the Mancha, written by Cyd Hamet
Benengeli, an Arabicall Historiographer.

Whenever this name is mentioned in Don Quixote , we are told that this
man is the real author. No-one has discovered any Arab by this name,
so it has been assumed that this is another device, another odd joke,
by Cervantes, to distance himself , for some unstated reason, from the
story of Quixote. Again this may be a device , but once again perhaps
we are offered another clue. If the same name, the same clue, is
repeated thirty-three times, we are perhaps being invited t examine it
more closely.

Before following up this possibility, we should see if there is
anything more to be learnt about Thomas Shelton.

A Thomas Shelton was employed by Thomas Howard, the Earl of Walden,
later the Earl of Suffolk, to whom the translation of Don Quixote was
dedicated. His wife, Catherine, Lady Suffolk received a payment of
£1,000 a year from the King of Spain for her work on his behalf in
this country. What this consisted of has remained a secret. Shelton
may have worked for her and have undertaken missions in Spain, and on
these visits to Madrid, Shelton may have met and conferred with
Cervantes. From 1603 to 1614, Suffolk, the builder of Audley End, near
Saffron Walden in Essex, was Lord Chamberlain to the royal household.
However, it must be stressed that there is no evidence that the
Thomas Shelton who worked for Lady Suffolk was the Thomas Shelton
who translated Don Quixote. We have no further information about
either man, if indeed two men by this name are involved.

We have information about three other Sheltons, but there is no
evidence that any of them were related to Thomas Shelton. Mary
Shelton, one of Queen Elizabeth's ladies of the Privy Chamber,
married a Mr. Scudamore; Audrey Shelton married Sir Thomas Walsingham;
and Humphrey Shelton, a Catholic expatriate, lived for thirty years
in Rouen. In return for information sent to the King of Spain,
he was paid 30 escudos a year.

There is no contemporary reference to Thomas Shelton, apart from
his name, in the printed editions of the First Part of Don Quixote.
Although it has always been assumed that Shelton also translated the
Second Part, published eight years later in 1620, no translator's name
appears in it. One would have expected such a brilliant reader of
Spanish would have left some record of his education and his life, but
he has left not a trace, and there is no record of anyone having met
him.

If Thomas Shelton, or a man using this name, was the author, another
question still remains unsolved. Who translated his work into Spanish?
There is no evidence that Cervantes was capable of such a task, or
that he was interested in any way in England or in the English
language. However, if Cervantes merely lent his name to Don Quixote,
having done no work on the translation, then that would account for
the absence of any payment after its publication. We have no record
of Shelton's acquaintance with the Spanish language; we have no
record of Cervantes' acquaintance with the English language.

As the work was going to appear for the first time in Madrid under a
Spaniard's name, it is possible that, if the original text was written
in English, the translation was carried out in Spain. In Chapter 9,
Part I of Don Quixote, we find just such an operation mentioned in
some detail.

If Heaven, Chance and Fortune had not assisted me, the world had bin
deprived of the delight and pastime, that he may take for almost two
hours together, who shall with attention read it. The manner of
finding it (a written account of Don Quixote) was this:

Being one day walking on the Exchange of Toledo, a certain boy by
chance would have sold divers old quires and scroules of bookes to a
Squire that walked up and down in that place, and I, being addicted to
reade such scroules, though I found them torne in the streets, borne
away by this my natural inclination, tooke one of the quiers in my
hand and perceived it to be written in Arabicall characters... I
looked about to view whether I could perceive any Moore that could
read them...

In fine my good fortune presented one to me . . . I departed with the
Moore, to the Cloyster of the great church, and I requested him to
turn all the sheetes that treated of Don-Quixote into Spanish. I would
pay him what he listed (wanted) for his paines. He demanded fifty
pounds of Reasons and three bushels of Wheate, and promised to
translate them speedily, well, and faithfully. But I, to hasten the
matter more, lest I should lose such an unexpected and welcome
treasure, brought him to my house, where he translated
all the worke in lesse than a month and a halfe.

When it is impossible to link the name of a translator, with any real
person, one has to accept the possibility of a pseudonym being used.
To help us in finding the man behind the pen-name, we can at last
narrow the field. Only those who can write well need be considered,
for no translator has ever received more praise than Thomas Shelton.

In the opinion of Fitzmaurice-Kelly, Shelton was ''a man of letters".
He brought to the execution of his enterprise an endowment and a
temperament such as no late arrival could pretend to boast. He owned
an alert intelligence, a perfect sympathy for his author's theme, and
a vocabulary of exceeding wealth and rarity. His language is ever
fitted to the incident. He is always at his ease and, in the most
trying case, he remains neutral, unspotted from affectation. Safe from
the pitfalls of anachronism and the possibilities of Wardour-Street
English, Shelton despatches his phrase with address and vigour. The
atmosphere of the book is his own. Cervantes' manner is more nearly
attained by Shelton than by any successor. In narrative, as in
description, the Englishman vies with the Spaniard in dignity, grace
and fleetness. With inimitable felicity of phrase and setting, with
sustained sonority and splendour, in passages of uncommon majesty, he
continues his deliverance of a classic masterpiece. Cervantes would
have been "the foremost to applaud the breadth and gusto of a
performance still unrivalled for simplicity, force and beauty".

In his introduction to the Second Part of Don Quixote, Fitzmaurice-
Kelly states that of all the translators, Cervantes owes "Most to
Shelton, Lord of the golden Elizabethan speech, an exquisite in the
noble style."

Shelton is also praised by Roger de Manvel. The carelessness he found
in Cervantes' text is eliminated in the English version, which has "a
direct ruggedness which some better equipped translators have failed
to achieve".

Cervantes was indeed fortunate in having such a brilliant translator.
If his identity were known, he would have his rightful place as one
more distinguished figure in that golden age of English literature.
As it is, few people even know his name.

In the Dictionary of National Biography we learn that Thomas Shelton
'may be the fourth son of William Sheldon of Broadway, Worcester".
This may be correct, but we have no information about this particular
Sheldon. There is no doubt, however, in the DNB about the excellence
of his translation. It "often seizes with curious effect the English
word that is nearest the sound of the Spanish in defiance of its
literal meaning" . Shelton "realises Cervantes' manner more nearly
than any successor".

As the search for Thomas Shelton has proved so unsuccessful, we are
obliged to look elsewhere. A pen-name may have been adopted. In Don
Quixote there is no information about Shelton, apart from his
dedicatory letter to Lord Walden. He is surprisingly candid about his
shortcomings. He cast the work aside, "where it lay a long time
neglected in a corner, and so little regarded by me as I never once
set hand to review or correct the same. He was too busy with other
matters to revise or correct the same. He was too busy with other
matters to revise the translation, hoping that "some one or other
would peruse and amend the errors escaped". The air of casualness is
maintained. His manuscript, his printer tells him, has in fact been
printed and a copy has been delivered to Lord Walden. The work is, he
admits "farre unworthy" and "abortive". An ill-favour'd thing, but
mine own, as Touchstone described his wife, Audrey, in As You Like it.

Here is Shelton's letter in full:

Mine Honourable Lord; having Translated some five or six years ago,
The Historie of Don Quixote, out of the Spanish Tongue, into the
English, in the space of forty days: Being therunto more than halfe
enforced, through the importunity of a very dear friend, that was
desirous to understand the subject: After I had given hime once a
view thereof, I cast it aside, where it lay long time neglected in
a corner, and so little regarded by me as I never once set hand to
review or correct the same.

Since when, at the entreatie of others of my friends, I was content to
let it come to light, conditionally, that some one or other would
peruse and amend the errors escaped; my many affairs hindering me from
undergoing that labour. Now I understand by the Printer, that the Copy
was presented to your Honour: which did at the first somewhat disgust
me, because as it must pass, I fear much, it will prove far unworthy,
either of your Noble view or protection.

Your Honours most affectionate servitor, Thomas Shelton.

The wording of Shelton's concluding sentence is perhaps significant.
The usual word in this context is 'servant'. Shelton has chosen
instead another word which, apart from one letter, is the Spanish word
for servant, 'servidor'. It is also unusual for the 'servant' to
describe himself as affectionate, unless he is a member of the same
class as the dedicatee.

There is little to learn, therefore, in our attempt to discover the
identity of Thomas Shelton, if that was indeed the real name of the
translator of Don Quixote. If that was his real name, we can be
certain that, with the instant success of the book, he would have
become, if not famous, at least well-known among academics, writers
and the growing number of readers As it was, he was as unknown in the
seventeenth century as he is today.

Thus we are left with the other name that the author of Don Quixote
gives us, as the man who really was the father, the creator, of this
work Ð Cid Hamet Benengeli. No one by this name appears in any history
of Arab literature. When the name is mentioned, all we are given is a
brief statement that he is the supposed author of Cervantes' Don
Quixote. If there was no doubt that Miguel de Cervantes was the
author, there would be no point in pursuing the matter any further.
We could justifiably accept that Cid Hamet Benengeli is just another
whimsical invention.

Even if this is an invented name, one can still wonder why the author
tells us thirty-three times that Hamet is the real creator, and why he
has chosen this name, not another. To make quite certain that the
reader reads this name correctly, we have Sancho Panza, Quixote's
patient servant, pronouncing it wrongly: "Cid Hamet Beregena". His
master tells him that the name is Benengeli. In the Shelton text this
correction is repeated in a marginal note: "It should be Benengeli,
but Sancho simply mistakes.'' The only explanation of this odd name
offered by Spanish scholars is that it might mean 'aubergine',
the Spanish word for which is 'berenjena'.

Carlos Fuentes, in The Buried Mirror (1992), admits that Cervantes
"proposes uncertainty of authorship . "Who is the author of Don
Quixote ?" we are constantly asked. Cervantes? An Arab author?"
That is all he has to say on this subject.

In Don Quixote we are given a little information about
this mysterious man:

C id Hamet was a very exact historiographer . . . Cid Hamet Benengeli,
an Arabical and Manchegan author, recounts in this most grave, lofty,
divine, sweet, conceited history . . . Well fare Cid Hamet Benegeli,
that left the stories of your greatness to posterity, and more than
well may that curious author fare that had the care to cause them to
be translated out of the Arabic into our vulgar Castilian to the
general entertainment of all men . . . The translator of this famous
history out of its original, written by Cid Hamet Benengeli . . .
Certainly, all they that delight in such Histories as these must be
thankful to Cid Hamet, the author of the original . . . Cid Hamet,
flower of historians . . .

In Part 2 of Don Quixote the author himself invites us to look a
little closer at this Arab name.

Cide in the Arabicke signifieth Lord.-Part 2, ch. 2.

Ben means son. Engeli could be 'of England', as the Arabic word for
England is 'anglia ' or 'ingelterra '. The name, then, could be
translated as Lord Hamet, son of England.

It is natural to doubt whether one is justified in looking for the
real author in a foreign country, that is, not in Spain, the country
of Cervantes. It is at this point that the title page of the first
Spanish edition of Don Quixote can shed some light. An examination
of this page confirms to us that a foreign hand is indeed at work.

We see a hooded falcon resting on the gloved hand of a man who is
hidden from view. Swirling shapes, possibly mist, on one side only,
stress the fact that the falconer is hidden, just out of sight. Around
the arm and the bird is the inscription: POST TENEBRAS SPERO LUCEMÐ
after darkness I hope for light. Beneath the falcon a lion is keeping
his eye on the bird. It could be said that both the lion and the
falcon hope for light after the darkness, for the clear light of day
after the dark night, or a time of impaired vision. The lion could
symbolise England; the falcon could be Cervantes. Who is the falconer?

The inscription takes us to Chapter 68 of the Second Part of Don
Quixote, in which the knight tells Sancho Panza that he too hopes
for light:

O hard heart! oh ungodly Squire! oh ill given bread, and favours ill
placed which I bestowed, and thought to have more and more conferred
upon thee . . . for I post tenebras spero lucem. I understand not
that, said Sancho, only I know that whitest I am sleeping,
I neither feare nor hope, have neither paine nor pleasure.

In Cervantes' text, Quixote follows the words in Latin with a
translation into the vernacular: "after darkness I expect light".
Sancho, however, still says "I don't understand that".

Shelton's version makes sense. It seems that Cervantes' explanation
has been added to help the reader, but it is a mistake, as it makes
Sancho's reply incomprehensible. Was Cervantes' text, in fact, a
translation of Shelton?

At this point Sancho surprises Quixote by launching,
uncharacteristically, into a lyrical tribute to sleep.

Well fare him that invented sleepe, a cloke that covers all human
thoughts; the foode that slakes hunger; the water that quencheth
thirst; and the fire that warmeth cold; the cold that tempers heate;
and finally a currant coine, with which all things are bought, a
ballance and weight that equals the King to the Shepheard; the fool
to the wiseman; onely one thing (as I have heard) sleepe hath ill,
which is, that it is like death, in that betweene a man asleepe
and a dead man, there is little difference.

This eloquent prose-poem on sleep certainly reminds one of that speech
in a play written in England a few years before the publication of
Don Quixote, in which Macbeth discourses on the same subject:

Sleep that knits up the ravened Leave of care, The death of each day's
life, sore labour's bath, Balm of hurt minds, great nature's second
course, Chief nourisher in life's feast.

In Sonnet 87 of Shakespeare, the poem ends with this couplet:

Thus have I had thee, as a dream doth flatter In sleepe a King,
but waking no such matter.

And in Macbeth, Macuff exclaims

Malcolm awake! Shake off this downy sleep, death's counterfeit...

Had Shelton read Macbeth when he worked on Don Quixote?

The reference to Darkness and Light in the Latin motto on the
title page takes us to one of the central themes of the Rosicrucian
doctrines, which date from the early seventeenth century. One of
the six articles in the Fama Fraternitatis , the Rosicrucian
manifesto of 1614, is that
"the Fraternity should remain secret for one hundred years."

In Part 2, ch. 52, Quixote tells an author that
"there is need of infinite light for so many are in the dark."

A further pointer is to be found in the title page of the first
English edition of Don Quixote, published in 1612, the first
appearance of this work in a foreign language. The name of the
publisher, Ed Blounte, appears at the bottom of the page - but no
author's name is given. Blounte & William Haggard were the printers
and publishers of the 1623 First Folio of the Shakespeare plays.>>
--------------------------------------------
Art Neuendorffer