The Famous History of Friar Bacon
From Anonymous, The Famous History of Friar Bacon
How Friar Bacon made a Brazen Head to speak, by which he would have walled England about with brass.
Para1Friar Bacon, reading one day of the many conquests of England, bethought himself how
he might keep it hereafter from the like conquests and so make himself famous hereafter
to all posterities. This (after great study) he found could be no way so well done
as one which was to make a head of brass, and if he could make this head to speak
(and hear it when it speaks) then might he be able to wall all England about with
brass. To this purpose he got one Friar Bungay to assist him, who was a great scholar
and a magician (but not to be compared to Friar Bacon). These two with great study
and pains so framed a head of brass that in the inward parts thereof there was all
things like as is in a natural man’s head. This being done, they were as far from
perfection of the work as they were before, for they knew not how to give those parts
that they had made motion, without which it was impossible that it should speak. Many
books they read, but yet could not find out any hope of what they sought, so that
at the last they concluded to raise a spirit and to know of him that which they could
not attain to by their own studies. To do this they prepared all things ready and
went one evening to a wood thereby, and after many ceremonies used they spoke the
words of conjuration, which the devil straight obeyed and appeared unto them, asking
what they would know. Said Friar Bacon that we have made an artificial head of brass
which we would have to speak, to the furtherance of which we have raised thee and
being raised we will here keep thee, unless thou tell to us the way and manner how
to make this head to speak. The devil told him that he had not that power of himself.
Beginner of lies (said Friar Bacon) I know that thou dost dissemble and therefore
tell it us quickly or else we will here bind thee to remain during our pleasures.
At these threatenings the devil consented to do it and told them that with a continual
fume of the six hottest simples it should have motion and in one month space speak.
The time of the month or day he knew not. Also he told them that if they heard it
not before it had done speaking, all their labor should be lost. They, being satisfied,
licensed the spirit for to depart.
Para2Then went these two learned friars home again and prepared the simples ready and made
the fume, and with continual watching attended when this brazen head would speak.
Thus watched they for three weeks without any rest, so that they were so weary and
sleepy that they could not any longer retain from rest. Then called Friar Bacon his
man Miles and told him that it was not unknown to him what pains Friar Bungay and
himself had taken for three weeks’ space only to make and to hear the brazen head
speak, which if they did not then had they lost all their labor and all England had
a great loss thereby. Therefore he entreated Miles that he would watch whilst that
they sleep and call them if the head speak. Fear not, good master (said Miles) I will
not sleep but harken and attend upon the head, and if it do chance to speak I will
call you; therefore, I pray, take you both your rests and let me alone for watching
this head. After Friar Bacon had given him a great charge the second time, Friar Bungay
and he went to sleep and left Miles alone to watch the brazen head. Miles, to keep
him from sleeping, got a tabor and pipe and being merry disposed sung this song to
a northern tune of:
Cam’st thou not from Newcastle.
To couple is a custom,
all things thereto agree.
Why should not I then love
since love to all is free?
But I’ll have one that’s pretty,
her cheeks of scarlet dye,
for to breed my delight
when that I lie her by.
Though virtue be a dowry,
yet I’ll choose money store:
If my love prove untrue
with that I can get more.
The fair is oft inconstant,
the black is often proud.
I’ll choose a lovely brown,
Come fiddler scrape thy crowd.
Come fiddler scrape thy crowd,
for Peggy the brown is she
must be my Bride, God guide
that Peggy and I agree.
Para3With his own music and such songs as these spent he his time and kept from sleeping.
At last, after some noise, the head spoke these two words: Time is. Miles, hearing it to speak no more, thought his master would be angry if he waked
him for that and therefore he let them both sleep and began to mock the head in this
manner: thou brazen-faced head, hath my master took all this pains about thee and
now dost thou requite him with two words: Time is? Had he watched with a lawyer so long as he hath watched with thee he would have
given him more, and better, words then thou hast. Yet, if thou can speak no wiser,
they shall sleep till doomsday for me. Time is. I know Time is, and that you shall hear, goodman brazen-face.
To the tune of
Dainty, come thou to me.
Time is for some to plant,
Time is for some to sow,
Time is for some to graft
The horn as some do know.
Time is for some to eat,
Time is for some to sleep,
Time is for some to laugh,
Time is for some to weep.
Time is for some to sing,
Time is for some to pray,
Time is for some to creep
That have drunk all the day.
Time is to cart a bawd,
Time is to whip a whore,
Time is to hang a thief
And time is for much more.
Para4Do you tell us, copper-nose, when Time is: I hope we scholars know our times, when to drink drunk, when to kiss our hostess,
when to go on her score, and when to pay it (that time comes seldom). After half an
hour had passed, the head did speak again two words, which were these: Time was. Miles respected these words as little as he did the former and would not wake them,
but still scoffed at the brazen head that it had learned no better words and had such
a tutor as his master, and in scorn of it sung this song.
To the tune of
A Rich Merchant Man.
Time was when thou a kettle
wert fill’d with better matter.
But Friar Bacon did thee spoil
when he thy sides did batter.
Time was when conscience dwelled
with men of occupation.
Time was when lawyers did not thrive
so well by men’s vexation.
Time was when kings and beggars
of one poor stuff had being.
Time was when office kept no knaves
that time it was worth seeing.
Time was a bowl of water
did give the face reflection.
Time was when women knew no paint,
which now they call complexion.
Para5Time was. I know that, brazen-face, without your telling. I know Time was, and I know what things there was when Time was, and if you speak no wiser no master shall be waked for me. Thus Miles talked and
sung till another half hour was gone. Then the brazen head spoke again these words
Time is past and therewith fell down; and presently followed a terrible noise with strange flashes
of fire so that Miles was half dead with fear. At this noise the two friars awaked
and wondered to see the whole room so full of smoke, but that being vanished they
might perceive the brazen head broken and lying on the ground. At this sight they
grieved and called Miles to know how this came. Miles, half dead with fear, said that
it fell down of itself and that with the noise and fire that followed he was almost
frighted out of his wits. Friar Bacon asked him if he did not speak? Yes (quoth Miles)
it spoke, but to no purpose. I’ll have a parrot speak better in that time that you
have been teaching this brazen head. Out on the villain (said Friar Bacon), thou hast
undone us both. Had’st thou but called us when it did speak, all England had been
walled roundabout with brass, to its glory and our eternal fames. What were the words
it spoke? Very few (said Miles) and those were none of the wisest that I have heard
neither. First he said Time is. Had’st thou call’d us then (said Friar Bacon) we had been made forever. Then (said
Miles) half an hour after it spoke again and said, Time was. And would’st thou not call us then (said Bungay)? Alas (said Miles), I thought he
would have told me some long tale, and then I purposed to have called you. Then, half
an hour after, he cried Time is past and made such a noise that he hath waked you himself, methinks. At this Friar Bacon
was in such a rage that he would have beaten his man but he was restrained by Bungay.
But nevertheless, for his punishment he with his art struck him dumb for one whole
month’s space. Thus that great work of these learned friars was overthrown (to their
great griefs) by this simple fellow.
How Friar Bacon overcame the German conjuror Vandermast, and made a spirit of his own carry him into Germany.
Para6 […] the King of France sent an ambassador to the King of England for to entreat a peace
between them. This ambassador being come to the King, he feasted him (as it is the
manner of princes to do) and with the best sports as he had then welcomed him. The
ambassador, seeing the King of England so free in his love, desired likewise to give
him some taste of his good liking and to that intent sent for one of his fellows (being
a German and named Vandermast) a famous conjuror, who being come he told the King
that since his grace had been so bountiful in his love to him he would show him (by
a servant of his) such wonderful things that his grace had never seen the like before.
The King demanded of him of what nature those things were that he would do. The ambassador
answered that they were things done by the art of magic. The King hearing of this
sent straight for Friar Bacon, who presently came and brought Friar Bungay with him.
Para7When the banquet was done, Vandermast did ask the King if he desired to see any spirit
of any man deceased, and if that he did he would raise him in such manner and fashion
as he was in when that he lived. The King told him that above all men he desired to
see Pompey the Great, who could abide no equal. Vandermast by his art raised him,
armed in such manner as he was when he was slain at the battle of Pharsalia: at this
they were all highly contented. Friar Bacon presently raised the ghost of Julius Caesar,
who could abide no superior and had slain this Pompey at the battle of Pharsalia.
At the sight of him they were all amazed, but the King who sent for Bacon and Vandermast
said that there was some man of art in that presence whom he desired to see. Friar
Bacon then shewed himself, saying: it was I, Vandermast, who raised Caesar, partly
to give content to this royal presence but chiefly for to conquer thy Pompey, as he
did once before at that great battle of Pharsalia, which he now again shall do. Then
presently began a fight between Caesar and Pompey, which continued a good space to
the content of all except Vandermast. At last Pompey was overcome and slain by Caesar.
Then vanished they both away.
Para8My Lord ambassador (said the King) methinks that my Englishman hath put down your
German. Hath he no better running then this? Yes, answered Vandermast, your Grace
shall see me put down your Englishman ere that you go from hence. And therefore, friar,
prepare thyself with thy best of art to withstand me. Alas, said Friar Bacon, it is
a little thing will serve to resist thee in this kind. I have here one that is my
inferior (showing him Friar Bungay): try thy art with him. And if thou do put him
to the worst, then will I deal with thee, and not till then.
Para9Friar Bungay then began to show his art, and after some turning and looking on his
book he brought up among them the Hysperian Tree which did bear golden apples. These
apples were kept by a waking dragon that lay under the tree. He, having done this,
bid Vandermast find one that durst gather the fruit. Then Vandermast did raise the
ghost of Hercules in his habit that he wore when that he was living and with his club
on his shoulder. Here is one, said Vandermast, that shall gather fruit from this tree;
this is Hercules that in his lifetime gathered of this fruit and made the dragon couch,
and now again shall he gather it in spite of all opposition. As Hercules was going
to pluck the fruit Friar Bacon held up his wand, at which Hercules stayed and seemed
fearful. Vandermast bid him for to gather of the fruit or else he would torment him.
Hercules was more fearful and said, I cannot, nor I dare not, for here great Bacon
stands whose charms are far more powerful then thine. I must obey him, Vandermast.
Hereat, Vandermast cursed Hercules and threatened him. But Friar Bacon laughed and
bid him not to chafe himself ere that his journey was ended, for seeing (said he)
that Hercules will do nothing at your command, I will have him do you some service
at mine. With that he bid Hercules carry him home into Germany. The devil obeyed him
and took Vandermast on his back and went away with him in all their sights. Hold Friar,
cried the ambassador. I will not lose Vandermast for half my land. Content yourself,
my lord, answered Friar Bacon; I have but sent him home to see his wife, and ere long
he may return. The King of England thanked Friar Bacon and forced some gifts on him
for his service that he had done for him, for Friar Bacon did so little respect money
that he never would take any of the King.
How Friar Bacon did help a young man to his sweetheart, which Friar Bungay would have married to another, and of the mirth that was at the wedding.
Para10An Oxfordshire gentleman had long time loved a fair maid called Millisant. This love
of his was as kindly received of her as it was freely given of him, so that there
wanted nothing to the finishing of their joys but the consent of her father, who would
not grant that she should be his wife (though formerly he had been a means to further
the match) by reason there was a knight that was a suitor to her and did desire that
he might have her to his wife. But this knight could never get from her the least
token of good will, so surely was her love fixed upon the gentleman. This knight,
seeing himself thus despised, went to Friar Bungay and told him his mind and did promise
him a good piece of money if he could get her for him, either by his art or counsel.
Para11Bungay (being covetous) told him that there was no better way in his mind than to
get her, with her father, to go take the air in a coach; and if he could do so he
would by his art so direct the horses that they should come to an old chapel where
he would attend and there they might secretly be married. The knight rewarded him
for his counsel and told him that if it took effect he would be more bountiful unto
him, and presently went to her father and told him of this. He liked well of it and
forced the poor maid to ride with them. So soon as they were in the coach, the horses
ran presently to the chapel where they found Friar Bacon attending for them. At the
sight of the church and the priest the poor maid knew that she was betrayed, so that
for grief she fell in a swoon, to see which her father and the knight were very much
grieved and used their best skill for her recovery.
Para12In this time, her best beloved, the gentleman, did come to her father’s to visit her.
But finding her not there, and hearing that she was gone with her father and the knight,
he mistrusted some foul play and in all haste went to Friar Bacon and desired of him
some help to recover his love again, whom he feared was utterly lost.
Para13Friar Bacon (knowing him for a virtuous gentleman) pitied him and to give his griefs
some release showed him a glass wherein any one might see anything done (within fifty
miles apace) that they desired. So soon as he looked in the glass he saw his love
Millisant with her father and the knight, ready to be married by Friar Bungay. At
the sight of this he cried out that he was undone, for now should he lose his life
in losing of his love. Friar Bacon bid him take comfort, for he would prevent the
marriage. So, taking this gentleman in his arms, he set himself down in an enchanted
chair and suddenly they were carried through the air to the chapel. Just as they came
in Friar Bungay was joining their hands to marry them, but Friar Bacon spoiled his
speech, for he struck him dumb so that he could not speak a word. Then raised he a
mist in the chapel so that neither the father could see his daughter, nor the daughter
her father, nor the knight either of them. Then took he Millisant by the hand and
led her to the man she most desired. They both wept for joy that they so happily once
more had met and kindly thanked Friar Bacon.
Para14It greatly pleased Friar Bacon to see the passion of these two lovers, and seeing
them both contented he married them at the chapel door whilst her father, the knight,
and Friar Bungay went groping within and could not find the way out. Now when he had
married them, he bid them get lodging at the next village, and he would send his man
with money (for the gentleman was not stored, and he had a great way to his house);
they did as he bade them. That night he sent his man Miles with money to them, but
he kept her father, the knight, and Friar Bungay till the next day at noon in the
chapel ere he released them.
Para15 […] Thus did Friar Bacon help these poor lovers, who in short time got the love of the
old man and lived in great joy. Friar Bungay’s tongue was again let loose and all
were friends.
How two young gentlemen that came to Friar Bacon to know how their fathers did, killed one another, and how Friar Bacon for grief did break his rare glass wherein he could see anything that was done within fifty miles about him.
Para16It is spoken of before now that Friar Bacon had a glass which was of that excellent
nature that any man might behold anything that he desired to see within the compass
of fifty miles round about him. With this glass he had pleasured diverse kinds of
people. For fathers did oftentimes desire to see thereby how their children did, and
children how their parents did, one friend how another did, and one enemy sometimes
how his enemy did, so that from far they would come to see this wonderful glass. It
happened one day that there came to him two young gentlemen (that were countrymen
and neighbors’ children) for to know of him by his glass how their fathers did. He,
being no niggard of his cunning, let them see his glass, wherein they straight beheld
their wishes which they (through their own follies) bought at their lives’ loss, as
you shall hear. The fathers of these two gentlemen (in their sons’ absence) were become
great foes. This hatred between them was grown to that height that wheresoever they
met they had not only words but blows. Just at that time as it should seem that their
sons were looking to see how they were in health, they were met and had drawn and
were together by the ears. Their sons seeing this and having been always great friends
knew not what to say to one another but beheld each other with angry looks. At last
one of their fathers, as they might perceive in the glass, had a fall and the other,
taking advantage, stood over him ready to strike him. The son of him that was down
could then contain himself no longer but told the other young man that his father
had received wrong. He answered again that it was fair. At last there grew such foul
words between them, and their bloods were so heated, that they presently stabbed one
the other with their daggers and so fell down dead.
Para17Friar Bacon, seeing them fall, ran to them but it was too late, for they were breathless
ere he came. This made him to grieve exceedingly. He, judging that they had received
the cause of their deaths by this glass, took the glass in his hand and uttered words
to this effect:
Para18Wretched Bacon, wretched in thy knowledge, in thy understanding wretched; for thy
art hath been the ruin of these two gentlemen. Had I been busied in those holy things,
the which mine order ties me to, I had not had that time that made this wicked glass.
Wicked I well may call it that is the causer of so vile an act. Would it were sensible,
then should it feel my wrath, but being as it is, I’ll ruin it for ruining of them.
And with that he broke his rare and wonderful glass whose like the whole world had
not. In this grief of his came there news to him of the deaths of Vandermast and Friar
Bungay. This did increase his grief and made him sorrowful that in three days he would
not eat anything but kept his chamber.
How Friar Bacon burnt his books of magic and gave himself to the study of divinity only, and how he turned anchorite.
Para19In the time that Friar Bacon kept his chamber he fell into diverse meditations, sometimes
into the vanity of arts and sciences; then would he condemn himself for studying of
those things that were so contrary to his order and soul’s health, and would say that
magic made a man a devil. Sometimes would he meditate on divinity, then would he cry
out upon himself for neglecting the study of it and for studying magic. Sometime would
he meditate on the shortness of man’s life, then would be condemn himself for spending
a time so short so ill as he had done his. So would he go from one thing to another
and in all condemn his former studies.
Para20And that the world should know how truly he did repent his wicked life he caused to
be made a great fire, and sending for many of his friends, scholars, and others, he
spoke to them after this manner: my good friends and fellow students, it is not unknown
unto you how that, through my art, I have attained to that credit that few men living
ever had. Of the wonders that I have done all England can speak, both king and commons.
I have unlocked the secret of art and nature and let the world see those things that
have lain hid since the death of Hermes, that rare and profound philosopher. My studies
have found the secrets of the stars. The books that I have made of them do serve for
precedents to our greatest doctors, so excellent hath my judgment been therein. I
likewise have found out the secrets of trees, plants, and stones, with their several
uses. Yet all this knowledge of mine I esteem so lightly that I wish that I were ignorant
and knew nothing. For the knowledge of these things (as I have truly found) serveth
not to better a man in goodness but only to make him proud and think too well of himself.
What hath all my knowledge of nature’s secrets gained me? Only this: the loss of a
better knowledge, the loss of divine studies which makes the immortal part of man
(his soul) blessed. I have found that my knowledge has been a heavy burden and has
kept down my good thoughts, but I will remove the cause, which are these books, which
I do purpose here before you all to burn. They all entreated him to spare the books
because in them there were those things that after-ages might receive great benefit
by. He would not hearken unto them but threw them all into the fire, and in that flame
burnt the greatest learning in the world. Then did he dispose of all his goods. Some
part he gave to poor scholars, and some he gave to other poor folks. Nothing left
he for himself. Then caused he to be made in the church wall a cell where he locked
himself in and there remained till his death. His time he spent in prayer, meditation,
and such divine exercises, and did seek by all means to persuade men from the study
of magic. Thus lived he some two years space in that cell, never coming forth. His
meat and drink he received in at a window, and at that window he did discourse with
those that came to him. His grave he digged with his own nails and was laid there
when he died. Thus was the life and death of this famous friar, who lived most part
of his life a magician and died a true penitent sinner and an anchorite.
Prosopography
Andrew Griffin
Andrew Griffin is an associate professor in the department of English and an affiliate
professor in the department of Theater and Dance at the University of California,
Santa Barbara. He is general editor (text) of Queen’s Men Editions. He studies early
modern drama and early modern historiography while serving as the lead editor at the
EMC Imprint. He has co-edited with Helen Ostovich and Holger Schott Syme Locating the Queen’s Men (2009) and has co-edited The Making of a Broadside Ballad (2016) with Patricia Fumerton and Carl Stahmer. His monograph, Untimely Deaths in Renaissance Drama: Biography, History, Catastrophe, was published with the University of Toronto Press in 2019. He is editor of the
anonymous The Chronicle History of King Leir (Queen’s Men Editions, 2011). He can be contacted at griffin@english.ucsb.edu.
Anonymous
Christopher Matusiak
Christopher Matusiak (Friar Bacon and Friar Bungay) is an Associate Professor of English at Ithaca College in New York where he teaches
courses on Shakespeare and early modern drama. His research on seventeenth-century
theatre management at the Drury Lane Cockpit has appeared in Early Theatre and Medieval and Renaissance Drama in England, and in Shakespeare Quarterly on the use of John Aubrey’s manuscripts in studies of Shakespeare’s life. He is currently
writing a book (with Eva Griffith) about Christopher Beeston and the Cockpit playhouse,
and researching another on the persistence of illegal stage-playing during the English
Civil Wars, Shakespearean Actors and their Playhouses in Civil War London. He also prepared REED London: The Cockpit-Phoenix: an edited collection of seventeenth-century manuscripts and printed documents illustrating
the history of the Cockpit-Phoenix playhouse in Drury Lane (for The Records of Early English Drama). He can be contacted at cmatusiak@ithaca.edu.
Helen Ostovich
Helen Ostovich, professor emerita of English at McMaster University, is the founder
and general editor of Queen’s Men Editions. She is a general editor of The Revels Plays (Manchester University Press); Series
Editor of Studies in Performance and Early Modern Drama (Ashgate, now Routledge),
and series co-editor of Late Tudor and Stuart Drama (MIP); play-editor of several
works by Ben Jonson, in Four Comedies: Ben Jonson (1997); Every Man Out of his Humour (Revels 2001); and The Magnetic Lady (Cambridge 2012). She has also edited the Norton Shakespeare 3 The Merry Wives of Windsor Q1602 and F1623 (2015); The Late Lancashire Witches and A Jovial Crew for Richard Brome Online, revised for a 4-volume set from OUP 2021; The Ball, for the Oxford Complete Works of James Shirley (2021); The Merry Wives of Windsor for Internet Shakespeare Editions, and The Dutch Courtesan (with Erin Julian) for the Complete Works of John Marston, OUP 2022. She has published
many articles and book chapters on Jonson, Shakespeare, and others, and several book
collections, most recently Magical Transformations of the Early Modern English Stage with Lisa Hopkins (2014), and the equivalent to book website, Performance as Research in Early English Theatre Studies: The Three Ladies of London in Context containing scripts, glossary, almost fifty conference papers edited and updated to
essays; video; link to Queenʼs Mens Ediitons and YouTube: http://threeladiesoflondon.mcmaster.ca/contexts/index.htm, 2015. Recently, she was guest editor of Strangers and Aliens in London ca 1605,
Special Issue on Marston, Early Theatre 23.1 (June 2020). She can be contacted at ostovich@mcmaster.ca.
Janelle Jenstad
Janelle Jenstad is a Professor of English at the University of
Victoria, Director of The Map
of Early Modern London, and Director of Linked Early Modern Drama
Online. With Jennifer Roberts-Smith and Mark Kaethler, she
co-edited Shakespeare’s Language in Digital Media: Old
Words, New Tools (Routledge). She has edited John Stow’s
A Survey of London (1598 text) for MoEML
and is currently editing The Merchant of Venice
(with Stephen Wittek) and Heywood’s 2 If You Know Not
Me You Know Nobody for DRE. Her articles have appeared in
Digital Humanities Quarterly, Elizabethan Theatre, Early Modern
Literary Studies, Shakespeare
Bulletin, Renaissance and
Reformation, and The Journal of Medieval
and Early Modern Studies. She contributed chapters to Approaches to Teaching Othello (MLA); Teaching Early Modern Literature from the Archives
(MLA); Institutional Culture in Early Modern
England (Brill); Shakespeare, Language, and
the Stage (Arden); Performing Maternity in
Early Modern England (Ashgate); New
Directions in the Geohumanities (Routledge); Early Modern Studies and the Digital Turn (Iter);
Placing Names: Enriching and Integrating
Gazetteers (Indiana); Making Things and
Drawing Boundaries (Minnesota); Rethinking
Shakespeare Source Study: Audiences, Authors, and Digital
Technologies (Routledge); and Civic
Performance: Pageantry and Entertainments in Early Modern
London (Routledge). For more details, see janellejenstad.com.
Joey Takeda
Joey Takeda is LEMDO’s Consulting Programmer and Designer, a role he
assumed in 2020 after three years as the Lead Developer on
LEMDO.
Kate LeBere
Project Manager, 2020–2021. Assistant Project Manager, 2019–2020. Textual Remediator
and Encoder, 2019–2021. Kate LeBere completed her BA (Hons.) in History and English
at the University of Victoria in 2020. During her degree she published papers in The Corvette (2018), The Albatross (2019), and PLVS VLTRA (2020) and presented at the English Undergraduate Conference (2019), Qualicum History
Conference (2020), and the Digital Humanities Summer Institute’s Project Management
in the Humanities Conference (2021). While her primary research focus was sixteenth
and seventeenth century England, she completed her honours thesis on Soviet ballet
during the Russian Cultural Revolution. She is currently a student at the University
of British Columbia’s iSchool, working on her masters in library and information science.
Martin Holmes
Martin Holmes has worked as a developer in the
UVicʼs Humanities Computing and Media Centre for
over two decades, and has been involved with dozens
of Digital Humanities projects. He has served on
the TEI Technical Council and as Managing Editor of
the Journal of the TEI. He took over from Joey Takeda as
lead developer on LEMDO in 2020. He is a collaborator on
the SSHRC Partnership Grant led by Janelle Jenstad.
Navarra Houldin
Project manager 2022-present. Textual remediator 2021-present. Navarra Houldin (they/them)
completed their BA in History and Spanish at the University of Victoria in 2022. During
their degree, they worked as a teaching assistant with the University of Victoriaʼs
Department of Hispanic and Italian Studies. Their primary research was on gender and
sexuality in early modern Europe and Latin America.
Peter Cockett
Peter Cockett is an associate professor in the Theatre and Film Studies at McMaster
University. He is the general editor (performance), and technical co-ordinating editor
of Queen’s Men Editions. He was the stage director for the Shakespeare and the Queen’s Men project (SQM),
directing King Leir, The Famous Victories of Henry V, and Friar Bacon and Friar Bungay (2006) and he is the performance editor for our editions of those plays. The process
behind those productions is documented in depth on his website Performing the Queen’s Men. Also featured on this site are his PAR productions of Clyomon and Clamydes (2009) and Three Ladies of London (2014). For the PLS, the University of Toronto’s Medieval and Renaissance Players,
he has directed the Digby Mary Magdalene (2003) and the double bill of George Peele’s The Old Wives Tale and the Chester Antichrist (2004). He also directed An Experiment in Elizabethan Comedy (2005) for the SQM project and Inside Out: The Persistence of Allegory (2008) in collaboration with Alan Dessen. Peter is a professional actor and director
with numerous stage and screen credits. He can be contacted at cockett@mcmaster.ca.
Robert Greene
Scott Matthews
Tracey El Hajj
Junior Programmer 2019–2020. Research Associate 2020–2021. Tracey received her PhD
from the Department of English at the University of Victoria in the field of Science
and Technology Studies. Her research focuses on the algorhythmics of networked communications. She was a 2019–2020 President’s Fellow in Research-Enriched
Teaching at UVic, where she taught an advanced course on
Artificial Intelligence and Everyday Life.Tracey was also a member of the Map of Early Modern London team, between 2018 and 2021. Between 2020 and 2021, she was a fellow in residence at the Praxis Studio for Comparative Media Studies, where she investigated the relationships between artificial intelligence, creativity, health, and justice. As of July 2021, Tracey has moved into the alt-ac world for a term position, while also teaching in the English Department at the University of Victoria.
Orgography
LEMDO Team (LEMD1)
The LEMDO Team is based at the University of Victoria and normally comprises the project
director, the lead developer, project manager, junior developers(s), remediators,
encoders, and remediating editors.
QME Editorial Board (QMEB1)
The QME Editorial Board consists of Helen Ostovich, General Editor; Peter Cockett, General Editor (Performance); and Andrew Griffin, General Editor (Text), with the support of an Advisory Board.
Queenʼs Men Editions (QME1)
The Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter
Cockett, General Editor (Performance); and Andrew Griffin, General Editor (Text).
University of Victoria (UVIC1)
https://www.uvic.ca/Metadata
Authority title | The Famous History of Friar Bacon |
Type of text | Primary Source |
Short title | FBFB: Grove |
Publisher | University of Victoria on the Linked Early Modern Drama Online Platform |
Series | Queenʼs Men Editions |
Source |
Born-digital, peer-reviewed document written by Christopher Matusiak. First published in the QME 1.0 anthology on the ISE platform. Converted to TEI-XML
and remediated by the LEMDO Team for republication in the QME 2.0 anthology on the LEMDO platform.
|
Editorial declaration | Edited according to the ISE Editorial Guidelines |
Edition | Released with Queenʼs Men Editions 2.0 |
Sponsor(s) |
Queenʼs Men EditionsThe Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter
Cockett, General Editor (Performance); and Andrew Griffin, General Editor (Text).
|
Encoding description | Encoded in TEI P5 according to the LEMDO Customization and Encoding Guidelines |
Document status | published, peer-reviewed |
Licence/availability | Intellectual copyright in this edition is held by the editor, Christopher Matusiak. The supplementary texts, including this Famous History of Friar Bacon, are licensed under a CC BY-NC_ND 4.0 license, which means that they are freely downloadable without permission under the following conditions: (1) credit must be given to the editor, QME, and LEMDO in any subsequent use of the files and/or data; (2) the content cannot be adapted or repurposed (except for quotations for the purposes of academic review and citation); and (3) commercial uses are not permitted without the knowledge and consent of QME, the editor, and LEMDO. This license allows for pedagogical use of the critical paratexts in the classroom. Production photographs and videos on this site may not be downloaded. They appear freely on this site with the permission of the actors and the ACTRA union. They may be used within the context of university courses, within the classroom, and for reference within research contexts, including conferences, when credit is given to the producing company and to the actors. Commercial use of videos and photographs is forbidden. |