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The significance of scripts

by Elisabeth Chaghafi, aka @mutabilitie

One of the first things you’ll notice with early modern manuscripts is that some writers use odd, unfamiliar letter-shapes which take a while to get the hang of. Soon afterwards you’ll probably notice that, for some reason, there are also early modern writers whose handwriting is actually quite legible and “modern”-looking. Broadly speaking, these early modern writers are using two different scripts: secretary and cursive. As far as writing goes, secretary is the script that was predominantly used for all sorts of official documents and formal, business-y correspondence, i.e. the kind of writing that busy and important people needn’t actually do themselves but only put their signatures to, hence the name “secretary”. When busy and important people did take the trouble to dash off a personal note in their own hand as a postscript, they often preferred writing in cursive – partly because they probably lacked their secretaries’ writing routine (that’s the downside of having somebody write out the bulk of your correspondence for you), but also to emphasise the personal touch of writing in their own hand, or to add weight to a request. Robert Devereux, the second earl of Essex (1565–1601) is a typical example of such a busy and important person. He would scrawl the occasional postscript, of course, but unless the recipient was the queen herself, the main part of the letter would normally be written by a secretary.

So much for the writing part. What about reading, though? Literacy levels in the sixteenth century are actually notoriously hard to estimate, because of the various factors involved. Not everyone able to read print was necessarily able to read handwritten letters; not everyone able to read cursive script was necessarily able to read secretary hand, let alone write it. This matters because the type of script in which an early modern letter is written says something about the context of the letter, and in some cases it may even reveal information about the letter-writer and/or the recipient. The letter L.a.241 is a particularly interesting case:

 L.a.241 leaf 1 recto

Folger MS L.a.241 leaf 1 recto

This is a letter from Richard Broughton to Richard Bagot, dated 27 June 1577, written about a month before he married Bagot’s daughter Anne. Broughton was a prolific writer and normally wrote in a flowing secretary hand (often using short forms, abbreviations and brevigraphs, to save time). About halfway through this letter, though, something odd happens. Instead of continuing in his normal handwriting, Broughton suddenly switches to cursive. A possible clue as to what might be happening here can be found in the contents of the letter. The letter begins with work-related matters, but then swiftly moves on to what is probably the main occasion for the letter: he is sending his fiancée—or, as he chooses to call her, his “partner”—a schedule of all his work commitments, “so that vpon viewe therof she may appoint the day / to her best liking & yours. for my self I am hers at half an houres warninge”. While this is an amusing image, the main idea of course remains the relatively boring business of fixing a date.

Once he switches to cursive Broughton also subtly shifts the focus from himself and his “Bysynes” towards the Bagot family, expressing his regret that he hasn’t been able to get a buck (a deer) for Richard Bagot’s son, before launching into a detailed account near the end of the letter, of how he has been rushing about having various items of clothing made for his “partner”, admitting that he partly ignored her wish of having the lot made in London:

…& if it be not so aptly & fitly made I trust my Partner will forgeue me my ^first offence. & for the charges of makinge which will be more then vsuall in the contrey, I challenge that as a thinge due for my part who hitherto enclyned my self to small thrift or sauynge nor do not meane at this instant to Begynne, till hereafter my Partner shall persuade me thereunto & whatsoeuer exces is bestowed, I must take the blame therof…

Which more or less translates to “I know she wanted to save a bit of money by having some of these clothes made in the country, but I’m a generous sort of chap, so I hope my future wife will allow me to spoil her a bit. After all, she can always teach me to be a bit more frugal once we’re married!”

Most of us would probably find it a lot easier to write in cursive, but in Broughton’s letter there are signs he is struggling a little with the unfamiliar script: the size and the shape of the letters are far less consistent than in the first half of the letter. The B in “Bestowinge”, in the penultimate line, is barely half the size of the two B’s in “By reason of Busynes” towards the top of the cursive section, and the three B’s all have slightly different shapes and proportions. Also, the writing gets progressively smaller towards the bottom of the page—not because there’s any need to save space (the verso of this page is left mostly blank)—so this is probably just an unintentional result of Broughton’s efforts to write neatly. He is also making a conscious effort to avoid abbreviations and brevigraphs, of which he is usually very fond, because they save time. In the cursive section he writes out words he would normally shorten, like “neuerthelesse”, “treasourer”, “persuade”, and “Partner”, although he does slip back into his old habits a few times, for example by indicating the n in “contrey” through a “dash” (known as a macron) and using a special p for “prouided”.

What is the purpose of these italic efforts? While the main addressee of the letter of course remains Richard Bagot, it’s clear from the contents that this section is aimed at Anne, and Broughton is doing his best to write legibly for her benefit. That way, she’ll be able to see for herself what a nice, generous and considerate man she is about to marry—so considerate, she won’t need to ask her father to read out the letter to her, and she’ll be able to think of the neatly written sign-off “Yours euer as his owne” as being at least partly meant for her.

It might be wrong to attribute only romantic motivations to Broughton’s decision to switch to a different script so that his future wife would be able to read some of the letter. At one level, there might also be an element of pragmatism involved; they’re not married yet and  it’s in his own interest to be nice to her so she won’t change her mind at the last minute. In fact, about a month earlier, in May 1577, Broughton had sent Richard Bagot a lengthy account of his financial situation and his relationship with his family in L.a.240. This letter’s purpose was presumably to help with the marriage transactions (written entirely in cursive, probably for Anne’s benefit). Whatever his motivations one thing that Richard Broughton’s script-switching does show is consideration for his readers who were not able to read his secretary hand, much like in this letter L.a.279, sent some 20 years later to his brother-in-law Walter Bagot and co-signed by Anne.

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As in the earlier letter, the cursive script is hardly intended for the benefit of the main addressee, but for the other family members: Bagot’s wife Elizabeth, his sister Lettice, his young sons Lewis and Harvey, as well as Broughton’s own children, Mary and Robert (whom he calls by their nicknames, Mall and Robin). In this instance there is no alternative, pragmatic explanation for the choice of script. It seems from this evidence, and his unusual use of the term “partner” to describe his wife, that Richard Broughton was a devoted husband and family-man whose choice of script, as much as his words, reveal his interest in and affection for his family.

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The poison pool

A few weeks ago I wrote about my trip to Buckfast Abbey to work on the hair shirt of Sir Thomas More. While I was there, I enjoyed walking in the grounds and seeing the beautifully cultivated gardens, including a medieval-style garden divided by trellises, box hedges, and trained fruit trees, and broken into four amply sized quadrants: culinary, medicinal, sensory and poisonous.

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I’ve been to a few medieval and renaissance garden re-creations in my time. The beautiful grounds at the Cloisters Museum in New York City; the gardens at the Geoffrey House Museum in London, which exhibits a range of garden styles and domestic interiors from several centuries, and Rowntree public park in the city of York, England. There are countless others, I am sure. But never before had I seen a poisonous plants garden, and I was really impressed with the elegance and thought that went into this one.

How would you present a poisonous plants garden intended for the public to admire, without setting off a string of health and safety alarm bells?

The monks’ (or their gardeners’) solution is to place the plants within a raised planter at the centre of a pool of water.

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Of course you could clear the water with a leap, but it’s just wide enough to discourage little wandering hands and feet, and it provides a buffer for the distracted adult, too. You can’t reach out and grab a berry or a leaf: the water, whether you notice it or just think of it as a nice additional feature, is an effective space between you and the plants. It implies these plants are not like the other plants.

What creative uses of space have you come across in libraries, museums or gardens that offer non-verbal signals like this one? How can architecture and layout tell us what to do and what not to do, without using signs like ‘don’t touch’ or ‘no flash photography’? Have you seen a poisons garden or transcribed an antidote in the recipes category over on Shakespeare’s World? What have you found? Tell us about it here or over on Talk.

The hair shirt of Sir Thomas More #catholic

I recently spent a few days at Buckfast Abbey, in the South of England, in order to conduct research and write an article about the hair shirt worn by Sir Thomas More, Chancellor of England under Henry VIII between 1529–32.

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More is believed to have worn this penitential garment for much of his adult life. According to his numerous early biographers he was unusually devout for a lay person. The hair shirt has had a long journey over the centuries from England to the Low Countries, and back to England, through several monastic and diocesan owners, before it came to Buckfast, where it is on permanent public display in the chapel of the Holy Cross.

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More is reputed not only to have worn his hair shirt secretly for much of his life, he also reportedly carried out other ascetic practices that were unusual for a lay person. When he moved his family to Chelsea outside of London, he built a chapel for his private prayer and the use of a ‘discipline’, a device utilized by some Catholics of the time to repent for sins and as an aid to devotion. When Henry VIII divorced Catherine of Aragon and married Anne Bolyn, More resigned his office in preference for a quiet life in which he would not be expected to aid in or even comment upon these proceedings. Yet More’s silence irked the king, and within a few years of his retirement he was imprisoned, tried and executed for treason by Henry VIII, who was angry with More for refusing to attend his wedding to Anne, and refusing to acknowledge Henry’s claim to be the supreme head of the Church of England.

In the century after More’s death a few competing stories sprang up about the hair shirt, and these are what I’m trying to unpick at the moment. One tradition has it that More sent the hair shirt to his daughter, the extraordinarily learned Margaret More Roper (1505–1544), who gave it to her equally learned sister by adoption, Margaret Giggs Clement (1508–1570), who later went into exile with her family to practice her faith, reportedly taking the hair shirt and other More relic-objects with her. Other traditions hold that Thomas More sent it to Giggs rather than Roper, who kept it until her death. Still other traditions state that he sent it to Giggs, who gave it to Roper, who returned it to Giggs, while another source claims that he sent it to his wife Alice. In any case, the hair shirt ultimately passed to Giggs Clements’ youngest daughter, Prioress Margaret Clement (1539–1612), a nun of the English convent of St Monica’s, founded in Louvain during the period when it was illegal to practice Catholicism in England. The nuns of St Monica’s claim to be More’s spiritual heirs through Margaret Giggs and her daughter Margaret Clement.

The hair shirt remained in Prioress Clement’s community and the communities descended from St Monica’s up until the 1980s, by which time most of the exiled English convents had returned to England. When I first began my doctoral studies in 2010 the exact whereabouts of the hair shirt were not clear. I recently discovered that when the modern-day St Monica’s convent closed, the hair shirt went to the Diocese of Plymouth for safe keeping. In 2011 it was transferred to Buckfast at the request of Abbot David Charleswell who arranged for it to be put on public permanent display at Buckfast starting in 2016. I found this last bit out out one day whilst googling, and I simply had to go to Buckfast to see the hair shirt for myself! It was amazing to see an object up close and personal that has a link to the devotional practices of Thomas More and his descendants. This object is part of a long and complex history of Catholic identity and devotion, and it’s interesting from a historical/literary perspective to see how it continues to have meaning nearly 500 years after More’s execution.

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Those of you who have participated on Talk know I’m interested in any mention of Catholics and Catholic practice in the letters and recipes we transcribe on Shakespeare’s World. You can use the #Catholic hashtag to let me know about any material relating to Catholics, nuns, papists, recusants, priests, etc. etc.! And #womanwriter to let me know when you’ve found a woman writing in any genre. Have you found any references to penitential practices? Let me know!

-By Victoria Van Hyning (@vvh/@snakeweight)

Transcription aggregation update

Many of our regular contributors will have seen (and indeed been interviewed for!) this article by Roberta Kwok for the New Yorker back in January of 2017. Roberta briefly describes the algorithm that merges the multiple transcriptions of pages by independent volunteers in Shakespeare’s World into a single transcription for a given page. The algorithm is called MAAFT, and is typically used to align genetic sequences. The idea behind this approach to transcription is that it allows us to combine transcriptions of smaller strings with longer strings in the same line. So, if I transcribe only one word on a line, and @parsfan and @mutabilitie transcribe the whole line, my small piece will still be counted by being compared with theirs and then slotted into the right place in the transcription. Zooniverse’s former data scientist and I decided to implement this method in an effort to enable people to contribute even small transcriptions to this relatively difficult project.

The other reasons we went for the MAAFT approach is that it means that anyone to take part in the project who wants to, without having prior paleography training. It’s ok if you make mistakes, because multiple people are transcribing the same material, so if you’ve transcribed a few letters correctly and some incorrectly, the correct ones will get taken through to the final transcription. This method of combining multiple volunteers’ efforts stems from the same scientific practices that underpin Galaxy Zoo, Penguin Watch, and all other Zooniverse projects, and is vital to the acceptance of crowdsourced data by experts in the sciences, humanities and museum and library fields. Enabling independent crowdsourcing, and then putting the results together is supposed to create a rigorous dataset, and I’m sure that it will for Shakespeare’s World in the near future, but we’re in a holding pattern until September, when a new data scientist will start working to unpick and rebuild our text aggregation process.

Rest assured that we’re not losing anyone’s work—it’s all saved in a database—but we’re not currently able to piece the separate transcriptions together reliably. This is why, in part, we have not yet published much data in the Early Modern Manuscripts Online (EMMO) database at the Folger. However, as Philip announced in previous posts on this blog, quite a few interesting finds are already being incorporated into the Oxford English Dictionary, and he says that Talk is the most effective platform for getting crowdsourced updates into the dictionary. Meanwhile our guest scholars from the Early Modern Recipes Online Collective (EMROC) have also been gathering invaluable data for their work via Talk, and many of you have been helping me gather #catholic and #womanwriter sources.

So, for now, one of the best ways to contribute to Shakespeare’s World is to hop on Talk and use those hashtags, for example #paper, #oed, #Catholic and #womanwriter. We hope to have our aggregation sorted soon, and the transcriptions freely available to all.

-By Victoria Van Hyning, @vvh

____________ was here

A few days before the Harry Potter series turned 20, I made my way to Stratford-Upon-Avon to visit the Shakespeare Birthplace Trust, and tour around the town for a few hours. Many authors and famous figures such as Charles Dickens, as well as a diverse band of Shakespeare lovers, contributed to a public fund to buy the Shakespeare property at auction in 1847, and turn it into a museum for the public good.

The Tudor property housed several generations of the Shakespeare family and their relations, and must have been a lively place. Shakespeare leased part of it as an inn called the Maindenhead, which was in operation until 1847. I was very struck by this window, formerly in the birthing room.

cof

Nineteenth- and twentieth-century pilgrims from the UK and the USA (and elsewhere, no doubt) carved their names, and sometimes their places or origin in the glass, like so many schoolchildren on so many desks. It seems it was an accepted practice, maybe even an expected practice on the part of both the pilgrims and the caretakers of the property. Famous names include Washington Irving.

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This desire to leave one’s name behind reminded me powerfully of the scene in The Deathly Hallows, the last book of the Harry Potter series, in which Harry and Hermione travel to Godrich’s Hollow in an effort to progress their quest and, though he doesn’t admit it aloud, for Harry to visit his parents’ graves. When they pass by the cottage where Harry’s parents were killed by Voldemort, and where Harry got his lightening scar, an information sign appears, which is visible to magical people only. Pilgrims have inscribed their names on it telling Harry that they’re thinking of him, wherever he is, that they’re on his side and they believe in him. Hermione is scandalized that people have graffitied the sign, but Harry is grateful for their support.

I wonder what Shakespeare would have made of this desire on the part of visitors to inscribe their names on a window of his former home? What kinds of pilgrimage marks have you come across and what do you think of them?

-Victoria

“Your very louing frend” – early modern sign-offs

By @mutabilitie

When was the last time you signed yourself someone’s “very loving friend” at the end of a letter or told them you were theirs to be commanded (or, even more ominously, “used”)? Thought so. Perhaps the oddest thing about early modern letters are the sign-offs, because they sound alien to modern ears and often don’t quite tally with our notions of politeness, formality or friendship.
Take, for example the phrase “your very loving friend”. In the unlikely event that you were actually to consider using it to end one of your emails, it would probably be an email to someone with whom you have a close personal relationship – and even then it might seem too touchy-feely for comfort. In early modern letters, however, the phrase gets used everywhere, even in contexts where the writer and the recipient of the letter aren’t exactly friends and the contents of the letter suggest that there wasn’t much love lost between them at the time of writing:

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This is a copy of an uncharacteristically angry letter from the Earl of Shrewsbury to his deputy lieutenants Sir Walter Aston and Richard Bagot, in which he claims they “never did any thing at my commandment, which might breed content” (i.e. they’re bloody useless at their jobs) and threatens to report them to the Privy Council for their poor performance of their duties. And yet the letter is signed “your Loving friend G Shrewsbury” and addressed to “my Loving ffrendes”. So clearly friendship in the early modern sense doesn’t mean quite what you might think. The same goes for this letter from the Earl of Essex to Richard Bagot (signed “your very louing frend R Essex” in the Earl’s own hand):
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The nature of Essex’ loving friendship with Richard Bagot becomes clear halfway through the letter, however, when he writes “I muste entreate you, as my very good frende, and one in whome I presume to haue some intereste, that you will giue your vttermoste aide vnto the Sheriff […] for the removinge of Robbinson and his associates” (which may be roughly paraphrased as “you owe me, Bagot, so do as you’re told”). So if “your very loving friend” doesn’t have to imply love or friendship between the letter-writer and the recipient, what does it actually mean? Perhaps the best way to think about it is as a relatively neutral, multi-purpose sign-off – a sort of early modern version of “best wishes” and “yours sincerely” rolled into one. It’s also a sign-off that’s normally reserved for letters addressed to people who are the writer’s social equals or inferiors. That’s why in their grovelling reply to Shrewsbury’s letter (L.a.74), Walter Aston and Richard Bagot don’t sign themselves his loving friends but “your Lordships most humble at comandment” – a phrase that sounds obsequious to modern ears but is in fact just the polite acknowledgement of and submission to Shrewsbury’s authority required to pacify him and make him change his mind about that report to the Privy Council. For an example of a truly obsequious early modern sign-off, compare another letter from the Earl of Essex, addressed to the queen (X.c.11), which he concludes “… and with all humble, and reverent thoughtes that may be, rest ever to be commaunded to dye at your feete”. That’s a bit much even by early modern standards.

“MICRO-PRACTICES”: WHERE SUSTAINABILITY AND RECIPES MEET

 

Histories of sustainability have typically situated the origins of our current environmental crises at the advent of industrialism, as if locating a moment in time when things were otherwise might help to remediate our current ecological crises derived from human-induced forms of destruction: air pollution, deforestation, and others. All of these histories, that is, and for obvious and very good reasons, take as their concern large-scale practices especially rooted in moments of rupture when human practices overreach.

I propose here that we might more usefully approach sustainability, however, by taking a step back, moving from the global to the local, as they say, to focus instead on smaller-scale practices, or “micro-practices” that inform what Rosi Braidotti describes as “sustainable becoming,” or “the ethical state of becoming [that] practices a humble kind of hope, rooted in the ordinary micro-practices of everyday life” (Transpositions. Maiden: Polity, 2006: 137).

Early modern receipt books express and enact the very principles of sustainability that our histories attempt to recuperate, the “micro-practices” of the everyday; their details recount an embeddedness of human and nonhuman things, the sort of mutual dependence that sustainability initiatives today aim to recuperate and reproduce. The creation and efficacy of the recipes we find in these books depend not on discrete human/nonhuman entities but instead on the intimate “micro-practices” that constitute human/nonhuman collaborations, as we see in a recipe from the Lady Frances Catchmay book, “A very good medicen for eyes that be trobled wth a pinne and web be or with any other dymnes” (12r):

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“A booke of medicens” (1625), Lady Frances Catchmay, Wellcome MS 184a, f.12r

Take the oyle of a new layd egge or two, beate and clappe it well till it come to afrothe, then let it stande for a little while, and let the oyle rune into a saucer, and put the juce of daysies, with the blossomes, leaves and rootes, beinge stamped and strained into the oyle of the egges, put alittle clarified honey to it and mixt all thes together well, and let the patient take every eveninge and morninge into his eye that is greaved adroppe put in with a fether, let this be used so longe as he hathe payne.

 

The person preparing the remedy uses a “new layd egge or two,” which means that the cure depends on the immediacy of time, participation (at least tacit) by the chickens who produce said egg/s, human movement across ground, into henhouse to gather it. And how “new” is a “new layd egg”? Is it still warm? Can it be several hours or even days old? To know what constitutes “new layd” to prepare the medicine requires the housewife (in all likelihood) to have such intimate knowledge of egg and chicken—touching the warmth of the egg newly delivered, observing the point at which eggs go bad and are no longer fresh enough for the cure; the egg “beate[n]” and “clappe[d]” incorporate egg matter, mixing bowl, and human energy to create the new substance the resulting “frothe.” And to “put the juce of daysies, with the blossomes, leaves and rootes, beinge stamped and strained into the oyle of the egges” not only synthesizes said egg-bowl-human mingling with plant matter, but it depends on the recent human harvest of daisies, which requires human form to cross household threshold into adjoining environs (immediate or further afield) to pick fresh daisies so that they might still have juice to be strained. And again, as human feet traverse the dirt- or gravel-covered pathways outside, sights and sounds of nonhuman activity penetrate human bodily boundaries—a wooden stamper encircled by human hands “stampe[s] and straine[s]” the various parts of the daisies, daisy juice (roots, leaves, and all) mingles with frothy oil of egg mixture.

This recipe illustrates how humans and nonhumans are bound to one another in yet other ways too. The clarified honey added to the plant-egg froth recalls multiple forms of the interdependency of bee and human labor: bees gather pollen, some wild-growing and some perhaps human-cultivated, which combines with the enzymes in their saliva to activate the substance we know as honey; the honey, probably extracted from a hive (or skep, perhaps itself made of plant material) built by humans, becomes the golden, sticky substance by way of its production and storage in combs; it is then harvested and “clarified,” which would have involved separating the liquid honey from the wax and residual pollen. And after mixing yet again, the resulting concoction is “put in” the patient’s “greaved” eyes (morning and evening) “with a feather,” such that human and nonhuman animals and plants intra-act to perform the cure.

Rather than focusing on geologic indicators of fissure between humans and nonhumans or destructive large-scale practices that seem to precipitate them, we might turn our attention to alternative narratives, alternative subjects. A focus on the “micro-practices” in receipt books illustrate intimate human-nonhuman relationships in the past that challenge dominant histories of sustainability; after all, household cookery and medicine was, even if driven by necessity more than a romantic sensibility, sustainable all along.

 

 

 

Shakespeare’s World, meet Shakespeare Documented

You may have noticed by now that there are a dearth of manuscripts by or about Shakespeare among the thousands of images in Shakespeare’s World. As far as we know, he does not make an appearance in any of the thousands of recipes or letters currently available for transcription (but please prove us wrong!). One letter to Shakespeare does in fact survive, from Richard Quiney in 1598, but the letter is at the Shakespeare Birthplace Trust, and therefore does not appear in Shakespeare’s World.

That will change when we add the genres “miscellanies” (blank books filled with poems, notes, copies of letters, and just about anything worth writing down) and “commonplace books” (blank books with extracts arranged by theme or category) to the site later this year. If you are a close reader of the Bard, you will likely encounter extracts from Shakespeare’s plays and poems, copies of William Basse’s elegy on Shakespeare, and perhaps passages that scholars at the Folger Shakespeare Library have not yet discovered. It will be exciting for Shakespeare enthusiasts to be able to read these references and allusions in the context of the manuscript volumes in which they appear, and to think further about how early modern readers digested their Shakespeare.

Until then, you can get your fill of Shakespeare at Shakespeare Documented, an online exhibition convened by the Folger Shakespeare Library, with contributions by over thirty institutions. Also, many of the actual manuscripts related to the famous literary figure are on display in the current exhibition at the Folger Shakespeare Library’s Great Hall: Shakespeare, Life of an Icon.

Home page for Shakespeare Documented, one stop shopping for all surviving manuscripts and printed works relating to Shakespeare, his family, and his works.

Home page for Shakespeare Documented (shakespearedocumented.org), one-stop shopping for all surviving contemporary manuscripts and printed works relating to Shakespeare, his family, and his works.

Shakespeare Documented includes high-resolution images, descriptions, metadata, and in many cases, transcriptions, of approximately 500 references to William Shakespeare and his family in their lifetimes, as well as editions of, and references and allusions to, Shakespeare’s works, in his lifetime and in the years following his death in 1616. If we discover anything Shakespeare-related in Shakespeare’s World, we would be thrilled to add it to Shakespeare Documented, and are eager to see this new resource grow and evolve!

Learning to write the alphabet

Learning to write the alphabet is one of the first stages of writing literacy. For early modern English children, this meant first learning to read the letters of the alphabet (printed in black letter) from a hornbook.

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Hornbook (London?, 1630). Folger Shakespeare Library STC 13813.5. Click on the image (and all other images) to view a larger version.

They then learned to write the letters of the alphabet in one or both of the two main handwritten scripts, secretary and italic. For this, they relied on manuscript or printed copybooks or exemplars, usually supplemented by instruction from a writing master at a writing school, a private tutor or family member, or usher in a grammar school. ((See Herbert C. Schulz, “The Teaching of Handwriting in Tudor and Stuart Times,” The Huntington Library Quarterly (4), August 1943: 381-425.)) 

Below are two plates from Jehan de Beau-Chesne’s and John Baildon’s A booke containing diuers sortes of hands, as well the English as French secretarie with the Italian, Roman, chancelry & court hands (London, 1602 [first ed. 1570]) (Folger STC 6450.2) that depict versions of secretary and italic hand:

“The secretarie Alphabete”

“The secretarie Alphabete” from Jehan de Beau-Chesne and John Baildon, A booke containing diuers sortes of hands (London, 1602). This was the first English-language writing manual, first published in 1570.

Italic hands alphabet

“Italique hands”

On both of these leaves, someone has tried to imitate the letter forms. In the top example, the brand new writer got through some of the minuscule and majuscule forms of the letter A (“a a a A A [upside down!] a a a”) before smudging out his or her work. Further progress is made on the “Italique hande” leaf, where the letters A through J (and perhaps an attempt at the letter K) are awkwardly and painstakingly formed underneath the exemplar. (By the way, the aphorism on this leaf is from Cicero.)

Children learned their letters by repeatedly tracing and copying strokes, letters, alphabets, pangrams (sentences that contain all the letters of the alphabet), and aphorisms. Beau-Chesne’s copybook was not the only one to contain the verse instructions, “Rules made by E.B. for children to write by,” that describe the ideal quill, ink, and posture for a child’s first experiences with writing. The instructions even advise on how the teacher should prepare the paper:

… Scholler to learne, it may do you pleasure,
To rule him two lines iust of a measure:
Those two lines betweene to write very iust,
Not aboue or below write that he must:
The same to be done is best with blacke lead,
Which written betweene, is cleansed with bread.
Your pen from your booke, but seldome remoue,
To follow strange hand with drie pen first proue:
(copied from Folger STC 6450.2)

That is, use a graphite pencil to rule a piece of paper with sets of double lines for the child to write between. Then write some exemplar letters for the child to copy. He or she can trace them with an inkless quill in the first instance, and then proceed to use ink. The pencil lines can be erased with bread.

The result might be something like below, in which one Stephen Poynting, possibly a student at the Free School in Gloucester, practices a pangram, “Job a Righteous man of uz waxed poor Quickly” (i/j and u/v counting as single graphs). He writes it twenty-one times, and his spacing between words grows larger and larger so that he can no longer fit the last word of the sentence (he appears to be writing one word of the sentence at a time, in columnar format). If you look closely at the piece of paper, you can see that it is blind-ruled; that is, guidelines have been made with an inkless quill to help him write in a straight line.

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Stephen Poynting, “Job a Righteous Man.” Handwriting practice. Folger Shakespeare Library MS X.d.243

by Heather Wolfe @hwolfe

What is EMMO?

Some may well ask what is EMMO, and what does this acronym have to do with Shakespeare’s World? To give a short answer first, EMMO (pronounced “eh’-moh” not “ee’-moh”) stands for Early Modern Manuscripts Online.

EMMO Logo

The EMMO logo

Essentially, EMMO is a broad paleography project funded by a grant from the Institute of Museum and Library Services (IMLS) and based at the Folger Shakespeare Library in Washington, DC. EMMO has two main goals, the first of which is to build a compilation of vetted transcriptions to accompany images of manuscript pages from the Folger’s collection. To give an idea of the numbers involved, EMMO currently has over 41,000 images to transcribe and encode. The second — but certainly not secondary — goal of EMMO is to promote the general study of early modern paleography. Serendipitously, Zooniverse was branching out from the sciences and looking into the humanities at about the same time that the EMMO project began, so a crowd-sourcing website pertaining to paleography and enlisting the skills of citizen humanists seemed an excellent way to accomplish many goals at once.

In early 2015, members of the respective EMMO and Zooniverse teams reached an agreement about the site, and development work began in earnest over the summer. By September of 2015, we were ready to try a limited alpha test.

Something we discovered during the alpha was a way to make the Shakespeare’s World transcription interface match the way paleography is taught and practiced at workshops and events sponsored by EMMO, such as transcribathons. Taking a cue from the Folger’s online transcription tool, Dromio, and the list of common abbreviations in our “Alphabet Book,” the Zooniverse team crafted a substantial number of shortcut buttons to help citizen humanists transcribe these shortened forms quickly.

common-abbreviations from alphabet book

Sample of common abbreviations from Alphabet Book that are available in the Shakespeare’s World interface

Feedback was received from the alpha, observations made, and a beta test followed in November. One of the suggestions was to have sample alphabets available for users on the site. The EMMO team found examples of individual letters, both minuscule (lower case) and majuscule (upper case) and sent these to the Zooniverse team who integrated the alphabets into the main interface.

picture of alphabet feature

Sample Alphabet – Minuscules

alphabet picture - majuscules

Sample Alphabet – Majuscules

Originally, manuscript page images from a wider variety of genres were planned for the launch, but we decided to focus on just two genres for the start, specifically letters and recipes, as these materials would likely be more recognizable, and the Folger’s entire collection of these genres could be included. In all, the EMMO team identified and transferred just under 8700 distinct images to Zooniverse for the launch. So far, we been pleased with the way users have taken to these manuscript pages so readily! The discussions on “Talk” have been quite lively and most interesting.

In the months ahead, we plan to transfer additional genres of manuscript images from the Folger collection to Shakespeare’s World, including miscellanies, literary works, newsletters, diaries, coats of arms, sermons, and more. Watch for announcements in 2016.

After we receive aggregated transcription data back from Zooniverse (a conglomeration of the contributions by all the citizen humanists on Shakespeare’s World), the EMMO team will check the data and encode the transcriptions into TEI-P5 compliant XML that will eventually be fully searchable via the free, online EMMO database. When this database is implemented later in 2016 or early 2017, scholars and the general public will have much greater accessibility to these rare manuscripts and a new research tool for analysis.

For more about EMMO and our transcribing events, see the links below:

We may try to do some virtual or in-person (or combination) transcribathons with the Shakespeare’s World community of citizen humanists in 2016, so stay tuned!

By Paul Dingman @pding001

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