Edition: Friar Bacon and Friar BungayThe Vanity of the Eye
From George Hakewill, The Vanity of the Eye
CAP 2. How idolatry hath a kind of necessary dependence upon the eye.
Para1I had thought to have passed over in silence the rest of those particular vices which
flow from the eye without any farther opening of them, only contenting myself to have
pointed at them with some brief references in the margin, but upon farther search
I found some of them, and those of the higher degree, to depend upon the sight in
a more necessary & immediate manner than at the first I conceived: among the chiefest
of which rank is Idolatry, which as it had his original from the eye, so is it still
nourished by the same, the very name giving us to understand that primarily, and properly
in the nature of the word it is nothing else but the representation of somewhat in
a material shape, apprehended by the eye, & adored by the mind; whence it is in my
judgement that among all these idolatrous nations which worshipped false Gods & went
a whoring after their own inventions, ascribing the honor due to the creator to some
creature, the greatest part have ever consented in worshipping the host of heaven,
the sun, the moon, or the stars, which among all creatures the eye most admireth and
delighteth in, as the Egyptians, the Assyrians, the Phoenicians, the Medes, the Massagetes,
the Persians, & in a word, as Macrobius hath learnedly observed, all the heathen.
… For this cause doth God by his Prophet call the Idols of Egypt the abomination of
the eyes twice within the compass of 2 verses, and in the 15 of Numbers, you shall
not seek after your own hart, nor after your own eyes, after which you go a whoring;
but that of Exodus is in my judgement yet much fitter for this present discourse:
Take therefore good heed unto your selves, for you saw no image in the day that the
Lord spake unto you in Horeb out of the midst of the fire, that ye corrupt not your
selves & make a graven image or representation of figure, and lest thou lift up thine
eyes to heaven and when thou seest the sun and the moon and the stars with all the
host of heaven, shouldst be driven to worship them. Which words in the weakest apprehension,
at first view, cannot but enforce a very powerful and active operation of the eye
in drawing the mind from the contemplation of the fairest visible creatures to the
foulest of all sins, if it find not the grace of God and the sense of true religion
planted in it.
CAP 5. How curiosity & prying into other mens’ business is bred and maintained by the eye.
Para2The 6th particular is curiosity, for such is the condition of most men that although
nature have seated the eye in the inner chamber of the face yet are they prying always
into other mens’ business: sharp-sighted as eagles in censuring other mens’ actions,
but bats & moles in their own. Not unlike those witches called Lamiae of whom Plutarch
speaks in his book of curiosity, who were wont to put up their eyes in a box whiles
they stayed at home, and never to set them in their heads till they were going abroad.
Insomuch that the oracle of truth itself hath pronounced it for truth that those who
can see a mote in their brothers eye cannot yet discern a beam in their own; & the
second wise man that ever lived hath laid it down for a maxim that a wise man’s eyes
are in his head, but a fool’s are peeping in at every window […]
CAP 10. A general discourse of the delusion of the eye by artificial means as also by the passions of the mind.
Para3I might here take occasion to enlarge of the delusion of the sight by the subtlety
of the devil, by the charms of sorcerers, by the spells and exorcisms of conjurers,
by the legerdemain of jugglers, by the knavery of priests and friars, by the nimbleness
of tumblers and ropewalkers, by the sleights of false and cunning merchants, by the
smooth deportment and behavior of hypocrites, by the stratagems of generals, by the
giddiness of the brain, by the distemper of frenzies, and lastly, by the violent passions
of fear and melancholy; besides a thousand pretty conclusions drawn out of the bowels
of natural philosophy and the mathematics; by the burning of certain mixed powders,
oils, & liquors; by the casting of false lights, by the reflection of glasses, and
the like […]
CAP 21. That the eye is not so useful for the gathering of knowledge as is pretended, whether we consider it absolutely in itself or in respect of the hearing.
Para4And surely for the gaining of knowledge, I durst confidently affirm, that were the
eye never so indefatigable in watching or informed the inner faculties aright in all
it apprehended yet in most things can it not possibly without the help of hearing
hunt out the truth, since as well in the works of art as nature that which hath greatest
force in actuating & quickening the thing we see (as the soul in the body) is notwithstanding
itself for the most not seen; the stateliness of houses, the goodliness of trees when
we behold them delighteth the eye, but the foundation which beareth up the one and
the root which to the other ministreth sap and juice is in the bosom of the earth
concealed. And generally the sight is not capable but of corporal, accidental, particular
things and in them only of their crust and surface, and that only in direct objects
and by help of the light; whereas the hearing apprehends all manner of sounds from
all difference of places, as well from behind as from before, & that at all times
as well in the dark as in the day, and that which chiefly makes for the increase of
knowledge: universals, immaterials, and the inward parts of things.
Para5 […] We read that Democritus, supposing the sharpness of his sight to hinder the quickness
of his wit, was content to pluck out both his eyes for the better compassing of that
one end which he attained sowell, that (as Tully witnesseth of him) though he were
not able to put a difference between blacks and whites yet was he able to distinguish
between good and bad, just and unjust, honest and dishonest; & without the variety
of colors could he live happily, without the knowledge of things he could not; and
when others saw not that which lay before their eyes, he traveled through all infinity,
setting no stint to his boundless conceit. And surely I for my part am clearly of
opinion that howbeit his practice in this case be not allowed, much less his example
to be followed, yet the reason and ground of the action was not so strange and ridiculous
as some men have conceited it, it being a necessary certain means for the unity of
the thoughts and by it redoubling of their force, which by the sight are commonly
distracted in the variety of objects, & by consequence lose much even of their natural
strength […]
CAP 27. That the eye of the sense failing, that of the understanding & spirit wax more clear.
Para6So ordained it is, in a manner by God and nature, that as when one eye is deprived
of sight the other sees better than it did before; or as John Baptist decreasing,
Christ increased; and as the house of David waxed stronger & stronger, the house of
Saul waxed weaker & weaker. So when the eye of the outward sense grows dull & dim,
the intellectual eye of reason and the spiritual eye of faith grow more fresh and
clear; between which three I find the like proportion as between the life of man in
his mother’s womb, the world, and the kingdom of heaven. Thus we see Paul’s blindness
in the eyes of his sense, and the opening of the eyes of his understanding to have
happened in a manner at the same instant. And in the Ecclesiastical story, Paphnutius
comforts Maximus his friend with this speech, that the mortal light of their bodily
eye being extinguished they had gained a fuller fruition of heavenly and immortal
brightness. And in the Gospel we read not of any on whom our Savior wrought so many
miracles as upon the blind in restoring their sight, which must needs argue in them
an extraordinary strength of faith, the virtue and effect of his working being ever
proportioned to the belief of those on whom he wrought. To which we may from thence
be the more easily induced to grant assent, for that among all those blind men which
the scripture names and commends to our consideration, we find none of them branded
with any notorious vice but on the contrary, many of them of excellent virtue, renowned
in their ages, and commended to posterity […]
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.
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.
George Hakewill
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 Queen’s 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 Beatrice 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.
Mahayla Galliford
Project Manager, 2025-present; Assistant Project Manager, 2024-2025; Research Assistant,
2021-present. Mahayla Galliford (she/her) graduated from the University of Victoria
with a BA (honours with distinction) in 2024, and an MA English in 2026. Mahayla’s
undergraduate research explored early modern stage directions and civic water pageantry.
Her SSHRC-funded MA thesis project focuses on transcribing, editing, and encoding
early modern girls’ manuscripts, specifically Lady Rachel Fane’s May Masque in collaboration with LEMDO.
Martin Holmes
Martin Holmes has worked as a developer in the UVic’s 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
Training and Documentation Lead 2025–present. LEMDO project manager 2022–2025. Textual
remediator 2021–present. Navarra Houldin (they/them) completed their BA with a major
in history and minor in Spanish at the University of Victoria in 2022. Their primary
research was on gender and sexuality in early modern Europe and Latin America. They
are continuing their education through an MA program in Gender and Social Justice
Studies at the University of Alberta where they will specialize in Digital Humanities.
Peter Cockett
Peter Cockett is an associate professor in the iArts (Integrated Arts) program at
McMaster University. He is the co-editor, with Melinda Gough, of Engendering the Stage in the Age of Shakespeare and Beyond (University of Toronto Press, 2025) which publishes the findings of their 2018 Performance
as Research (PaR) workshop at the Stratford Festival Lab. He is the general editor
(performance), and technical co-ordinating editor of Queen’s Men Editions. His PaR directing credits include King Leir, The Famous Victories of Henry V, and Friar Bacon and Friar Bungay (2006), Clyomon and Clamydes (2010), and Three Ladies of London (2015) for the Shakespeare and the Queen’s Men project (SQM). The process behind
the 2006 productions is documented in depth on the project website Performing the Queen’s Men. 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); Andrew Griffin, General Editor (Text); and Janelle Jenstad General Editor (Text).
Queen’s Men Editions (QME1)
The Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter
Cockett, General Editor (Performance); Andrew Griffin, General Editor (Text; until
2026); and Janelle Jenstad, General Editor (Text; 2026–)
University of Victoria (UVIC1)
https://www.uvic.ca/Metadata
| Authority title | The Vanity of the Eye |
| Type of text | Primary Source |
| Publisher | University of Victoria on the Linked Early Modern Drama Online Platform |
| Series | Queen’s 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 Queen’s Men Editions 2.0 |
| Sponsor(s) |
Queen’s Men EditionsThe Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter
Cockett, General Editor (Performance); Andrew Griffin, General Editor (Text; until
2026); and Janelle Jenstad, General Editor (Text; 2026–)
|
| Encoding description | Encoded in TEI P5 according to the LEMDO Customization and Encoding Guidelines |
| Document status | published, peer-reviewed |
| Funder(s) | Social Sciences and Humanities Research Council of Canada McMaster University Poculi Ludique Societas University of Waterloo University of Toronto Centre for Drama, Theatre & Performance Studies University of Victoria Friends of the ISE |
| License/availability |
Intellectual copyright in this edition is held by the editor, Christopher Matusiak. The supplementary texts, including this
Vanity of the Eye,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.
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