Wednesday, June 26, 2019

William Killigrew's Holinshed's Chronicles, Henry Neville, and Shakespeare?

Note: This is a completely new discovery.

The University of Kansas' Kenneth Spencer Research Library has a copy of the 1577 first edition of Holinshed's Chronicles. Please visit their website for a complete description of this book and its provenance. Here is the auction notice of the book.


The Killigrew Family Connection with Henry Neville

The book has the name William Killigrew written on the title page. William Killigrew was the younger brother of Henry Killigrew; Henry Killigrew was the father of Anne Killigrew Neville, the wife of Henry Neville. 

When Henry Neville sent letters from London, he often signed them from "Lothbury." That is where William Killigrew lived; whether Henry Neville stayed with William (his wife's uncle) or Henry (his wife's father) is unclear. This needs further research. In either case, he certainly could have had access to William Killigrew's library staying in Lothbury.

This is the first edition of the book; it is conventional wisdom that the author of the works of Shakespeare used the 1587, second edition of the book. However, it is very possible that the author actually consulted both editions. It is worth noting that Henry Killigrew was one of the three people chosen to review and censor the second edition of the book before it was published.

Several sections of this copy are annotated. They seem to have a close connection with the works of Shakespeare.

King John

On page 559, in the section on King John, there is a manicule pointing to this text (spelling modernized):
About this time, Queen Eleanor the mother of King John departed this life, consumed rather through sorrow and anguish of mind than of any other natural infirmity.
Queen Elinor was a key character in the play King John and her death is mentioned. 

There is a mark also next to this text on the same page, describing a fish man (the so-called Wild Man of Orford) :
A fish was taken by fishers in their nets as they were at sea, resembling in shape a wild or savage man.
This is language quite similar to the description of Caliban in The Tempest, 2.2:
What have we here? a man or a fish? dead or alive? A fish: he smells like a fish; a very ancient and fish-like smell.


Henry VI, Part I

Most importantly, on page 1239, in the section on Henry VI, this text has a mark:
After this, the Earl caused certain Bulwarks to be made round the town, casting trenches between the one and the other, laying ordnance in every place where he saw that any battery might be devised.



Compare to Shakespeare, Henry VI, Part I, 1.4:
But now thou shalt not. Be thou ruled by me:
Chief master-gunner am I of this town;
Something I must do to procure me grace.
The prince's espials have informed me
How the English, in the suburbs close intrench'd,  
Wont, through a secret grate of iron bars
In yonder tower, to overpeer the city,
And thence discover how with most advantage
They may vex us with shot, or with assault.
To intercept this inconvenience,
A piece of ordnance 'gainst it I have placed;
And even these three days have I watch'd,
If I could see them.
Now do thou watch, for I can stay no longer.
If thou spy'st any, run and bring me word;
And thou shalt find me at the governor's.
The Wikipedia entry for Henry VI, Part I, explains that this section of the play is taken directly from Holinshed's Chronicles, even though much of the play is taken from Hall's Chronicle:
Another piece of information unique to Holinshed occurs when the Master Gunner mentions that the English have taken control of some of the suburbs of Orléans (1.4.2). Holinshed reports that the English captured several of the suburbs on the other side of the Loire, something not found in Hall.
Since there are so few annotations in the book, this mark on a passage that is directly reflected in Henry VI, Part I is particularly noteworthy.

This section about Henry VI is also marked:


The 1571 Earthquake

The book also has a mark on the section of Queen Elizabeth that deals with the earthquake in Herefordshire February 17, 1571:


Neville and Iron Ordnance

Fans of this blog know I have series of posts called Cannons in the Canon detailing how Neville's experiences as a manufacturer of iron ordnance influenced the works of Shakespeare. This is a prime example of such synergy. The highlighted section in Holinshed's Chronicle -- and in the play Henry VI, Part I -- deal with ordnance explicitly. It was Neville's interest at the time and its reflected in his play writing.

Connection with Thomas Killigrew

Thomas Killigrew was a dramatist and theater manage and the grandson of William Killigrew. His father, Robert Killigrew, was very closely connected to Henry Neville; Neville explicitly mentions Robert in his will. Thomas owned a copy of Shakespeare's First Folio; it is currently at Meisei University in Tokyo. 


Wednesday, May 22, 2019

Is There a Shakespeare Authorship Question?

Recently an outstanding Shakespeare scholar has suggested to me that there is no Shakespeare Authorship Question. Here are a few possible ways to interpret that suggestion, and my responses:

1. It doesn't matter who wrote the works of Shakespeare; the works should be evaluated on their own terms, without regard to authorship. Any biographical readings, even if we know for certain the author's identity, aren't likely to enrich our understanding of the works. "Shakespeare" IS the works of Shakespeare. Nothing else should concern us.

This is the current, default interpretation of the works of Shakespeare. The biography of William Shakespeare offers no insights into the works themselves, so it is almost universally ignored. This has pretty much always been the case, and it is the case today. Fanciful biographies have been produced for generations, but the bulk of scholarship over the past 100+ years largely disregards William Shakespeare the individual.

Biographical readings also tend to lead people away from the texts themselves, causing confusion and often not adding a lot of insight. A good example is guessing games about the intent of John Donne's poems. Even though a lot is known about his life -- and no one doubts his authorship -- biographical interpretations of his poems really aren't fruitful. It is also likely true that works of that period were less autobiographical than more recent literature.

However, the Shakespeare Authorship Question is a question of historical fact. Some single person put pen to paper and wrote most or all of the Shakespeare canon. That single person must have accessed and read the sources of Shakespeare's works. That person must have known the vocabulary  used and the facts described. That person must have been alive when the works of Shakespeare were being written. That person must have had the motivation -- whatever that might have been -- to write those specific works at the specific times they were written.

Through careful historical research we very well may be able determine who that person was. The main problem up until now is that wrong Authorship Candidates have been suggested (Oxford, Marlowe, etc.) What has been provided as "evidence" for these candidates hasn't been evidence at all. This has confused the situation, and led people to abandon hope of ever resolving this question.

Failures of the past don't mean the question should be abandoned. It means that people need to adopt higher standards of facts and evidence. They need to assess the facts first and then see if it fits potential authorship candidates, rather than distorting facts to fit their favorite candidate.

Note, even if we discover the solution to the Authorship Question, that probably won't greatly alter our interpretation or understanding of the works themselves. But that doesn't invalidate the need for historical research into this question. Facts are facts and we ought to discover them as best we can.

2. The evidence is so overwhelming that William Shakespeare of Stratford wrote all or most of the plays and poems attributed to him, any discussion of a Shakespeare Authorship Question is ridiculous. 

My interest is in original research, not fighting the same battles that haven't changed for 150 years. But the facts and evidence do not support this whatsoever. There is shockingly little evidence that William Shakespeare wrote anything, let alone 36+ plays and three books of poetry. The works were, of course, attributed to him. He also appears to have been a member of the acting company that produced the plays. But there is no plausible theory of how he could have written them, and there is no agreement among the implausible theories. This falls far short of conclusive proof, especially with all of the contradictory evidence.

3. The Shakespeare Authorship Debate is bad for everyone. It hurts Shakespeare studies; it takes time and resources away from more important pursuits. It is a distraction. So it should be abandoned.

Scholarship is about finding out the truth. That is the whole point. Research should follow the highest standards, but it shouldn't be restrained in this way. Free inquiry is the way that we learn new, unexpected, and important things. Stifling it is bad for everyone.

Denying the Shakespeare Authorship Question will not make it go away. Punishing and shunning people for engaging in this research has indeed discouraged it in academia. But with the current digital tools available to everyone all over the world, more and more independent researchers will be working on this issue. There is no way to stop it.

Fortunately, we are way way closer to solving this question than people realize. The correct candidate has been identified: Henry Neville. My new research will show the path to completely resolving the question once and for all. Stay tuned!

Wednesday, May 15, 2019

New Words in Hamlet

So in preparation for my upcoming book, I have been doing extensive research and experiments using Pervez Rizvi's database of 527 early modern English plays. Loading the data into a MySQL database makes it into an incredibly valuable research tool. He has done a great service by making this database available for anyone to use.

A key emphasis of my research is studying the vocabulary usage across plays. Here I have done a search of the "lemmas" (simplified, dictionary headword versions of words) that appear in Hamlet but do not appear in any previous plays. So it's essentially a list of the new vocabulary items that first appear in Hamlet. This is just the raw result; there may be errors or omissions based on the lemmatization, etc. It also doesn't include the poems, this is a search only on plays. So some of these words may appear in Venus and Adonis or Rape of Lucrece. But it's still a very interesting list!

abstinence
acquire
adjoin
affront
allowance
altitude
ambiguous
ankle
annexment
anticipation
apoplex
ardour
argal
arraign
artery
artless
attent
audit
auspicious
barnardo
bat
batten
benet
berattle
bernardo
betoken
bisson
blastment
blench
bloat
bodiless
bourn
brainish
brute
bunghole
buyer
buzzer
bye
calumnious
calumny
capability
casual
cataplasm
cautel
caution
caviar
cellarage
cerement
chanson
chary
cherub
chopine
circumvent
clemency
climature
coagulate
collateral
collection
comart
comical
comma
commeddle
commencement
commutual
comply
compost
compulsatory
compulsive
concernancy
condolement
congrue
conjunctive
consummation
contraction
contumely
convenience
cornelius
crant
crash
credent
criminal
croak
damon
dane
danish
dansker
debatement
decayer
definement
delve
delver
denmark
desperation
diameter
dicer
diction
dild
disappoint
disaster
dismantle
distilment
ditcher
document
dozy
drossy
dup
easiness
eastward
eggshell
eisel
elsinore
emphasis
enacture
encompassment
encumber
engineer
enseam
entreatment
equivocation
es
escote
eterne
excitement
expectance
extolment
fardel
fatness
felly
fishmonger
fitness
flagon
flaxen
flush
fortinbras
frock
fust
garbage
germane
gertrude
gibber
glare
glimpse
gonzago
graveness
grope
groundling
guildenstern
gules
hamlet
harrow
hatchment
headshake
hebona
hectic
hent
herods
hillo
historical
hoodman
horatio
hugger
illo
illume
impartment
impaste
impiteous
implement
implorator
importunate
impostume
impotence
incest
incestuous
incontinency
incorporal
incorpse
incorrect
indict
indiscretion
individable
inexplicable
infusion
inhibition
inoculate
instrumental
inventor
inventorial
israel
jawbone
jelly
jointress
kettle
kettledrum
kindless
laboursome
lamord
leaven
leprous
lewdness
loan
loggat
loneliness
lucianus
machine
malefaction
malicho
mandate
marcellus
matin
mazzard
miching
mildew
milky
mine
mineral
miraculous
mobled
mortise
mousetrap
mugger
nerve
neutral
niobe
northerly
norway
noyance
nunnery
nutshell
observant
occult
occurrent
offendo
omen
operant
ophelia
oppressor
ordinant
ore
origin
osric
ossa
outbreak
overcrow
overdo
overgrowth
overhasty
overstep
overtop
overweigh
paddle
paddock
pah
pall
palmy
pansy
pastor
pastoral
peculiar
pendant
permanent
perturb
perusal
petard
pickax
pious
plausive
plautus
pleurisy
pocky
poem
poisoner
polack
polonius
ponderous
portraiture
potency
precede
precurse
prenominate
presentment
pressure
prettiness
primal
primy
proposer
provincial
puh
purport
pursy
pyrrhus
quarry
questionable
quickness
quietus
quillity
ratifier
real
recognizance
reconcilement
rede
redeliver
relative
repel
repugnant
requiem
respeak
responsive
retrograde
revisit
reword
reynaldo
rhapsody
rosencrantz
rummage
salary
sanctuarize
sanity
sate
satirical
satyr
savageness
saviour
savoury
schoolfellow
screen
scrimer
se
select
seneca
shard
shark
shatter
sheepskin
shipwright
shred
signet
skyish
sled
sleeper's
sliver
solidity
southerly
spectator
spendthrift
splenitive
springe
squeeze
stallion
station
statist
stithy
stow
strewment
sulphurous
sultry
summit
suppliance
supposal
survivor
suspiration
swinish
swisser
swoopstake
tan
temperance
tenable
test
tether
tetter
thereunto
tinct
total
traduce
tropical
truepenny
truster
turbulent
tweak
tyrannical
ubique
ulcer
ulcerous
umbrage
unaneled
uncharge
unction
uneffectual
unfellowed
unfledged
unforced
unfortified
ungored
unhand
unhouseled
unimproved
unknowing
unlimited
unmask
unmastered
unmixed
unnerved
unpack
unpeg
unpolluted
unpregnant
unprevailing
unproportioned
unreclaimed
unrighteous
unripe
unsanctified
unshake
unshape
unsifted
unsmirched
unused
unwatched
unweeded
unwring
uphoard
upspring
vanquisher
ventage
vienna
voltemand
voucher
waterfly
weedy
wharf
wheaten
whensoever
whiff
wick
windlass
wittenberg
woundless
yaw
yeasty
yorick
zone

Was Shakespeare a Woman? A few thoughts

Elizabeth Winkler set the world ablaze with her article Was Shakespeare a Woman in The Atlantic Monthly. A few key points.

1. The article is probably the best-written piece ever on the Shakespeare Authorship Question. It's also incredibly accurate in the details; I can't really quibble with the factual accuracy of anything in the article.

2. The reaction to the article has been fascinating to watch. The "big names" in Shakespeare apologetics have largely remained silent or dismissed it casually. They've figured out that defending Shakespeare, since their defense is so weak, doesn't help their cause. Better to just dismiss attacks rather than engaging.

3. The evidence for Emilia Bassano Lanier (Lanyer)'s authorship is extremely light. In fact, there's  really no reason at all to think she wrote the works of Shakespeare. The evidence about her family names appearing in the plays certainly could be something real, but it doesn't imply authorship. She really was too young to have written the plays/poems and lived way too long after. In addition, her poetry just isn't like Shakespeare's. There's no way the author of Shakespeare's works wrote these poems in 1611.

4. Obviously, I think that Henry Neville wrote the works of Shakespeare, so I don't think a woman wrote the works of Shakespeare. However, it is very likely that Henry Neville's wife, Anne Killigrew Neville, was in some ways involved in the works of Shakespeare. We will probably never know all of the details, but she was a highly educated woman and may have played a substantial role.


Sunday, March 3, 2019

Learning French with Henry Neville

So the son of Richard Carew went to France with Henry Neville when Neville went there as ambassador in 1599. He talks about it in this book about learning Latin:

https://quod.lib.umich.edu/e/eebo/A42982.0001.001/1:5?rgn=div1;view=fulltext
After my return and short staying here I was sent by my Father into France with Sir Henry-Nevill, who was then Ambassadour Leiger unto Henry the Fourth, that there I might learn the French Tongue, which Language, though it seemed very hard to me in the beginning, because mine ignorant made me unable to distinguish one word from another, and so imagine that those people used to talk much faster then we did.

In a little time, when by often-hearing their talk, I began to discern the distance of one word from another, I found they used to talk rather more deliberately then we do; and so by reading and talking, I learn'd more French in three quarters of a year then I had done Latin in above thirteen.

Tuesday, January 22, 2019

Henry Neville, Shakespeare, and Merry Wives of Windsor

The play Merry Wives of Windsor demonstrates an intimate knowledge of Windsor Forest and the surrounding areas. Henry Neville lived at Billingbear House near Windsor Forest most of his life and was keeper of Windsor Forest, as was his father before him.

Professor Randall Martin Suggests Shakespeare Must Have Visited Windsor

Professor Randall Martin's Shakespeare and Ecology describes the local detail in Merry Wives of Windsor:
"Merry Wives of Windsor [is] his most locally detailed play... Set in a small town next to a royal castle and surrounding fields and forest in eastern Berkshire, its fine-grained mosaic of natural and human eco-systems (woods, parks, chases, fields heath, mead, urban and rural buildings) is meshed by distinct corridors (the River Thames, a ditch, footpaths, roads, streets). These features direct much of the toing and froing of the plays' domestic intrigue" (Martin: 33)
He even concludes that Shakespeare must have visited Windsor:
"The spatial accuracy of Shakespeare's references, however, that he also visited the area."
Annals of Windsor (1853) Agrees on the Exact Detail in Merry Wives of Windsor
We believe indeed that Shakespeare has been more than usually careful in conforming his plot to the place or rather that he has brought a greater number of local details to his assistance in the Merry Wives of Windsor than in his other works, We are convinced moreover that he had in view in the composition or perfecting of the play some one particular individual oak and that in the selection of that tree he was guided by the local tradition of the period.
There is a vast 19th century literature on the specific location of Herne's Oak...  For instance this or this...

Henry Neville Grew Up in Billingbear House near Windsor Forest

Here is Neville's description of his offices in 1601:
"The offices I held are two parks, a walk in Windsor Forest, the stewardship of the manor of Sonning, and the keeping of the house at Windsor "
More information on his life and offices can be found at the History of Parliament Online. A similarly excellent article is available on his father was also a justice of the peace

Falstaff Literally Refers to Henry Neville (or his father) in Merry Wives of Windsor

In this passage from Merry Wives of Windsor, 5.5, "the fellow of this walk" refers to the keeper of Windsor Forest, Neville or his father depending on when the play was set:
FALSTAFF. Divide me like a bribe buck, each a haunch: I will keep my sides to myself, my shoulders for the fellow of this walk, and my horns I bequeath your husbands. Am I a woodman, ha? Speak I like Herne the hunter? Why, now is Cupid a child of conscience; he makes restitution. As I am a true spirit, welcome!
Compare Neville's letter from 1606:
I am very sorry that it lies not in my power to send you a half a buck; my keepers tell me that there is none in my walk; sure I am that have not seene a pasty of venison of this yeere. I did adventure to send you the side of a stag which I thought might serve your turne as well if it came sweet to you, which the heate of the weather made me fearfull of.
And note the reference above to venison pasties, compare Merry Wives of Windsor, 1.1 :
Wife, bid these gentlemen welcome. Come, we have a hot venison pasty to dinner: come, gentlemen, I hope we shall drink down all unkindness.

Thursday, January 10, 2019

Cannons in the Canon 7: The Tempest and Mill-Wheels Strike

There is a curious line in the Tempest:

And left thee there: where thou didst vent thy groanes
As fast as Mill-wheeles strike: Then was this Island

If you do a search on EEBO, there are many Mill-Wheel metaphors, but they are different; they deal with the turning of the wheel. For instance:

1584  thyne imagination goeth alwayes aboute lyke the wheele of a mill, and if thou doest put into it good thoughtes, it will yelde thee meale agayne of good workes:

1593 doth grinde the mill, the Wheele turnes round, and neuer standeth still: long is the toyle

1607 by reason of the continuall motion which the wheeles of the mill made, he was taken vp and saued

1610 the couetous or most wealthiest man, is but as the mill-wheele, which though it turne all day about, yet at night is found where it vvas in the morning

1614 Carnall men make their praiers as the water mooues the mill-wheele; when the water ceaseth, the wheele staieth

So why is Shakespeare talking about a mill-wheel striking something, making a noise?

If you follow this blog carefully, you know the answer. From the mid 1580s to the mid 1590s Henry Neville owned and operated an ironworks in Sussex in Mayfield. He cast iron ordnance. Metaphors from that experience are found throughout the Shakespeare canon.

The blast furnaces of that time used giant bellows run by a water wheel. But the water wheel did double-duty. It also drove hammers that pounded on the iron. You can read more in this blog post.

Better yet here is a video of what he is talking about (skip to about a minute in):




Here are two more examples of the same metaphor:

Vengeance is in my heart, death in my hand,
Blood and revenge are hammering in my head.
Titus Andronicus, 2.3

To dry the old oak's sap and cherish springs,
To spoil antiquities of hammer'd steel,
And turn the giddy round of Fortune's wheel;
Rape of Lucrece

Needs must I under my transgression bow,
Unless my nerves were brass or hammer'd steel.
Sonnet 120