Fraternization in Twelfth Night

1. RECAPPING THE FINAL ASSIGNMENT: • REQUIRED: • At least two passages from two different early texts that elucidate the idea under discussion. • Dramatic Passages from Twelfth Night and/or Romeo and Juliet that elucidate those passages. • A relevant image or a piece of theatrical evidence (from a prompt book, a designer’s renderings, a production program, etc.), preferably drawn from the collection or EEBO. • An essay that offers an account of the meaningfulness of your evidence. • A journal of your work. • BONUS: • Make use of the resources that have been specially identified for you, or that are Featured at the Folger. • Address other works in Shakespeare’s corpus. • Gather data, chart it. • Track scholarly / reception history. • Discuss Shakespeare on Film, or Shakespeare on the Web. True Confession: This research project develops from a question that hasn’t (yet?) borne fruit: why does Shakespeare never use the Latinate term FRATERNITY in his works? Is there a lost difference between BROTHERHOOD [6x, + 538x for BROTHER, + 21x BRETHREN] and FRATERNITY that we fail to catch? Fraternization in Twelfth Night Ellen MacKayJuly 8th, 2014Twelfth Night 2

2. Rank Opportunism: The exhibit on Heraldry in the Great Hall offers a useful register in which to think about this subject of fraternity. I will draw freely from information gathered there. THINKING FRATERNALLY ABOUT TWELFTH NIGHT FRATERNAL ABSENCE: Twelfth Night’s two principal characters share the circumstance of being suddenly made brotherless. FRATERNITY: Twelfth Night is a play in which characters group themselves or commingle along shared interests, regardless of social difference. FRATERNIZATION: Twelfth Night features characters who are dispatched into enemy territory, and whose loyalties are perhaps impinged.

3. CONSANGUINOUS BROTHERHOOD

4. DUCHESS of GLOUCESTER: Finds brotherhood in thee no sharper spur? Hath love in thy old blood no living fire? Edward’s seven sons, whereof thyself art one, Were as seven vials of his sacred blood, Or seven fair branches springing from one root. Some of those seven are dried by nature’s course, Some of those branches by the Destinies cut. But Thomas, my dear lord, my life, my Gloucester, One vial full of Edward’s sacred blood, One flourishing branch of his most royal root, Is cracked, and all the precious liquor spilt, Is hacked down, and his summer leaves all faded, By envy’s hand and murder’s bloody ax. Ah, Gaunt, his blood was thine! That bed, that womb, That metal, that self mold that fashioned thee Made him a man; and though thou livestand breathest, Yet art thou slain in him. (RICHARD II, 1.2.9-26) I. CONSANGUINOUS BROTHERHOOD

5. Brotherhood as a Function of Pedigree. Here the family tree originates in a literal representative of a shared ancestor. Poorly reproduced from “Heraldry, Shakespeare, and Family History” in the Great Hall. I. CONSANGUINOUS BROTHERHOOD

6. Huth Psalter, 1280. The Tree of Jesse, Historiated Initial for Psalm 1. British Library. Improvisation with genealogical patterns begins early: “The tree of Christ's ancestors arises from the sleeping Jesse's body, but instead of selected ancestors or scenes of the life of Christ it bears scenes of David--as king, composer, warrior (accompanied by jousting knights)--topped with vignettes of the Virgin and Child and Christ enthroned in heaven.” --from the British Library website. I. CONSANGUINOUS BROTHERHOOD

7. The (lost) Brother as a Depletion or Attenuation of the Self: VIOLA: And what should I do in Illyria? My brother he is in Elysium. (2.1.4-5) ORSINO But died thy sister of her love, my boy? VIOLA I am all the daughters of my father’s house, And all the brothers, too—and yet I know not. (2.4.131-3) I. CONSANGUINOUS BROTHERHOOD

8. VALENTINE: So please my lord, I might not be admitted, But from her handmaid do return this answer: The element itself, till seven years’ heat, Shall not behold her face at ample view, But like a cloistress she will veilèd walk, And water once a day her chamber round With eye-offending brine—all this to season A brother’s dead love, which she would keep fresh And lasting in her sad remembrance. (1.1.26-34) SIR TOBY: What a plague means my niece to take the death of her brother thus? I am sure care’s an enemy to life. (1.3.1-3) I. CONSANGUINOUS FRATERNITY

9. Yet this loss of brothers vivifies other forms of brotherhood, or leads to new modes of fraternizing: II. BROTHERLINESS, OR ATTACHMENT WITHOUT SHARED PARENTAGE II. BROTHERLINESS, OR ATTACHMENT WITHOUT SHARED PARENTAGE

10. For example: • The surprisingly quick and deep bond between Antonio and Sebastian: • ANTONIO If you will not murder me for my love, let me be your servant. (2.1.34-5) • The surprisingly quick and deep bond between Orsino and Cesario: • VALENTINE If the Duke continue these favors towards you, Cesario, you are like to be much advanced. He hath known you but three days, and already you are no stranger. (1.4.1-4) II. BROTHERLINESS, OR ATTACHMENT WITHOUT SHARED PARENTAGE

11. We can link these affiliations, borne [arguably] of affliction and compassion, to Shakespeare’s famous expression of “horizontal comeradeship” in Henry V: This is Benedict Anderson’s phrase from Imagined Communities, 1983, revised in 1991, the standard scholarly text with which to begin a discussion of nationhood or nationalism. KING HENRY We would not die in that man’s company That fears his fellowship to die with us. This day is called the feast of Crispian. He that outlives this day and comes safe home Will stand o’ tiptoe when this day is named And rouse him at the name of Crispian. He that shall see this day, and live old age, Will yearly on the vigil feast his neighbors And say “Tomorrow is Saint Crispian.” Then will he strip his sleeve and show his scars. Continued… II. BROTHERLINESS, OR ATTACHMENT WITHOUT SHARED PARENTAGE

12. Old men forget; yet all shall be forgot,But he’ll remember with advantagesWhat feats he did that day. Then shall our names,Familiar in his mouth as household words,Harry the King, Bedford and Exeter,Warwick and Talbot, Salisbury and Gloucester,Be in their flowing cups freshly remembered.This story shall the good man teach his son,And Crispin Crispian shall ne’er go by,From this day to the ending of the world,But we in it shall be rememberèd—We few, we happy few, we band of brothers;For he today that sheds his blood with meShall be my brother; be he ne’er so vile,This day shall gentle his condition;And gentlemen in England now abedShall think themselves accursed they were not here,And hold their manhoods cheap whiles any speaksThat fought with us upon Saint Crispin’s day. (HENRY V, 4.3.41-69) II. BROTHERLINESS, OR ATTACHMENT WITHOUT SHARED PARENTAGE

13. In light of this very famous speech, Brotherhood shifts its definition to mean a quasi-republican value that Shakespeare is particularly good at eliciting. (though it’s worth noting this spirit of brotherhood irrespective of parentage is nevertheless sometimes fratricidal) But it can also be true that honor trumps blood in the imagining of brotherhood: SEBASTIAN: I am sorry, madam, I have hurt your kinsman, But, had it been the brother of my blood, I must have done no less with wit and safety. (5.1.219-21) CAESAR But yet let me lament With tears as sovereign as the blood of hearts That thou my brother, my competitor In top of all design, my mate in empire, Friend and companion in the front of war, The arm of mine own body, and the heart Where mine his thoughts did kindle—that our stars Unreconciliableshould divide Our equalness to this. (ANTONY & CLEOPATRA, 5.1.49-56) II. BROTHERLINESS, OR ATTACHMENT WITHOUT SHARED PARENTAGE

14. J. B. Lecerf, artist, “Morality Inculcated by Example: From Instruction a Nation’s Greatness is Born: Liberty, Equality, Fraternity” 1901. BibliothèqueNationale de France.

15. Fraternisationentre l'armée et le peuplesur les barricades. 1848. BNF. Note that Victor Hugo, whose idealization of Fraternity on the 1848 barricade in Les Misérablesis with us still, is the French translator of Shakespeare II. BROTHERLINESS, OR ATTACHMENT WITHOUT SHARED PARENTAGE

16. The Band of Brothers philosophy coheres well with an early modern moment in which aristocratic blood is no longer the only means to secure distinction, either for the individual or for whole communities. The Order of the Garter, instituted in 1348 by Edward III, is a means the monarch can use to elevate a citizen to the status of knight, or “gentle his condition,” regardless of pedigree. William Segar, Names and arms of the Knights of the Garter [manuscript], 1606. See “Heraldry, Shakespeare, and Family History” in the Great Hall. II. BROTHERLINESS, OR ATTACHMENT WITHOUT SHARED PARENTAGE

17. Initially, the vast majority of those elevated by garter are already nobly born M. P. d., A briefe description of the triumphant show made by the right honourableAulgernonPercie, Earle of Northumberland at his installation and intiation into the princely fraternitie of the garter, upon the 13. of May, 1635. To the tune of Quell the pride, &c. London, 1635 [EEBO]

18. But the elevation of civic leaders and other working men is a feature of the early modern period (and one of the reasons for this term) No fishmongers in Brooke’s peerage, please: “The crest is not fitt for so meane ay son. But rather for one that pocesseth the whole worlde” Brooke, Ralph, 1553-1625, compiler. Coats of arms granted by William Dethick as York herald and Garter king of arms, 1570-1595 [manuscript], compiled ca. 1595-ca. 1600. II. BROTHERLINESS, OR ATTACHMENT WITHOUT SHARED PARENTAGE

19. Shakespeare’s arms also came under attack by Brooke, who felt the family too humble to deserve the distinction. Ben Jonson, ever the curmudgeon, mocks Shakespeare’s social aspirations by giving a character in his play Everyman Out of His Humor (1599) the motto “not without mustard,” an absurd rendering of the one granted to Shakespeare’s father with his coat of arms, Non Sans Droit, or “not without right.” A note of some coats and crests lately come to my hands given by William Dethick when he was York..., ca. 1600. Again, see “Heraldry, Shakespeare, and Family History” in the Great Hall. II. BROTHERLINESS, OR ATTACHMENT WITHOUT SHARED PARENTAGE

20. A further expression of Brotherhood untethered to blood claims occurs with the rise to economic and social prominence of guilds and their affiliated trades. Benjamin Wright’s The armes of all the cheifecorporatons [sic] of England wt. the companees of London described by letters for therseuerallcolloresis a rich demonstration of the migration of aristocratic heraldry into the sphere of working men. 2 sheets, London 1596. II. BROTHERLINESS, OR ATTACHMENT WITHOUT SHARED PARENTAGE

21. Thomas Middleton, script of the Mayoral pageant for Edward Barkham, member of the Fraternity of Drapers, 1621. [EEBO] Middleton is a contemporary and collaborator of Shakespeare’s. He is thought to have written about half of Timon of Athens. Middleton’s City Comedies feature high placed tradesmen like Goldsmiths marrying their daughters to the aristocracy. II. BROTHERLINESS, OR ATTACHMENT WITHOUT SHARED PARENTAGE

22. John Webster, Monuments of honor Deriued from remarkable antiquity, and celebrated in the honorable city of London, at the sole munificent charge and expences of the right worthy and worshipfullfraternity, of the eminent Merchant-Taylors. Directed in their most affectionate loue, at the confirmation of their right worthy brother Iohn Gore in the high office of His Maiestiesliuetenantouer his royoll [sic] chamber. Expressing in a magnificent tryumph, all the pageants, chariots of glory, temples of honor, besides a specious and goodly sea tryumph, as well particularly to the honor of the city, as generally to the glory of this our kingdome. Invented and written by Iohn Webster Merchant-Taylor. 1624. [EEBO] John Webster (1580-1634) is another contemporary dramatist to Shakespespeare. His most famous play, The Duchess of Malfi, is hailed by fellow poets as a masterpiece of the period. That’s a play about a woman of rank who marries her steward in secret. Things do not go well. Webster was the son of a Merchant Taylor, and was sent to the guild school, demonstrating one type of benefit that accrued to members of the guilds or corporations. II. BROTHERLINESS, OR ATTACHMENT WITHOUT SHARED PARENTAGE

23. III. FRATERNITY AS THE AFFILIATION OF JUGGLERS, PRANKSTERS, AND (LOVEABLE) ROGUES Alpha Delta Phi - The Fraternity house and some of its members at Amherst, ca. 1879. College residence of Henry Clay Folger. III. FRATERNITY AS THE AFFILIATION OF JUGGLERS, PRANKSTERS, AND ROGUES

24. The Work of a Fraternity The terms brotherhood and fraternity are also often used to describe an affiliation across individuals that grows out of a shared “practice,” in the sense that Margaret Maurer described yesterday. The work of a fraternity OLIVIA:This practice hath most shrewdly passed upon thee. (5.1.374) III. FRATERNITY AS THE AFFILIATION OF JUGGLERS, PRANKSTERS, AND ROGUES

25. Practicing Fraternity: Sir Toby, Aguecheek and Fabian do not hold their peace. MALVOLIO: My masters, are you mad? Or what are you? Have you no wit, manners, nor honesty but to gabble like tinkers at this time of night? Do you make an ale-house of my lady’s house, that you squeak out your coziers’ catches without any mitigation or remorse of voice? (2.3.87-92) William Heath, Twelfth Night Act 2 Scene 3, early to mid 19th century.

26. A Health to All Vintners, Beer Brewers, and Ale-Tonners, London, 1642 A satirical tract printed on one sheet.

27. Thomas Dekker (1572-1632) is a contemporary to Shakespeare and a fellow dramatist. He was commissioned to write the Royal Entry of James I (with Ben Jonson, a bitter rival), but he also wrote a lot of satirical pamphlets and studies of the London demimonde that you might find engrossing. To get a richer sense of the authors of works you find in EEBO or Hamnet, consult the DNB or Dictionary of National Biography—a Hamnet e-resource. Thomas Dekker, O per se O. Or A new cryer of Lanthorne and candle-light Being an addition, or lengthening, of the Bell-mans second night-walke. In which, are discouered those villanies, which the bell-man (because hee went i'thdarke) could not see: now laid open to the world. Together with the shooting through the arme, vsed by counterfeit souldiers: the making of the great soare, (commonly called the great cleyme:) the mad-mensmarkes: their phrase of begging: the articles and oathesgiuen to the fraternitieof roagues, vagabonds, and sturdy beggers at their meetings. And last of all, a new canting-song. London, 1612. Note that the Gul’s Horne-booke (1609) includes a satire of fashionable theatregoers

28. FRATERNAL ROGUERY (THAT GOES TOO FAR) IN TWELFTH NIGHT: SIR TOBY Does not our lives consist of the four elements? ANDREW Faith, so they say, but I think it rather consists of eating and drinking. SIR TOBY Thou ’rt a scholar. Let us therefore eat and drink. Marian, I say, a stoup of wine! (2.3.9-14) MARIA: Observe him, for the love of mockery, for I know this letter will make a contemplative idiot of him. Close, in the name of jesting! [They hide] Lie thou there, for here comes the trout that must be caught with tickling. (2.5.17) III. FRATERNITY AS THE AFFILIATION OF JUGGLERS, PRANKSTERS, AND ROGUES

29. FRATERNAL ROGUERY THAT NEARLY GOES TOO FAR IN HENRY IV PART 1 HAL: Sirrah, I am sworn brother to a leash of drawers, and can call them all by their Christian names, as Tom, Dick, and Francis. They take it already upon their salvation that though I be but Prince of Wales, yet I am the king of courtesy, and tell me flatly I am no proud jack, like Falstaff, but a Corinthian, a lad of mettle, a good boy—by the Lord, so they call me—and when I am king of England, I shall command all the good lads in Eastcheap. (HENRY IV PART 1, 2.4.6-15) FALSTAFF: Well, thou wilt be horribly chid tomorrow when thou comest to thy father. If thou love me,practicean answer. (HENRY IV PART 1, 2.4.384-6) III. FRATERNITY AS THE AFFILIATION OF JUGGLERS, PRANKSTERS, AND ROGUES

30. FRATERNAL ROGUERY THAT GOES MUCH TOO FAR IN HENRY V A sutler is the fellow who follows an army and provisions the soldiers PISTOL: A noble shalt thou have, and present pay; And liquor likewise will I give to thee, And friendship shall combine, and brotherhood: I'll live by Nym, and Nym shall live by me; Is not this just? for I shall sutler be Unto the camp, and profits will accrue. Give me thy hand. (2.1.105-110) Nym is executed with Bardolph for looting. BOY: Nymand Bardolph are sworn brothers in filching (3.2.46)

31. IV. FRATERNITY AS CHRISTIAN SIBLINGHOOD Anonymous, A pious and seasonable persvvasive to the sonnes of Zion soveraignelyusefull for composing their unbrotherlydevisions. 1647. EEBO IV. CHRISTIAN BROTHERHOOD

32. One of the zealous brethren [anonymous] A sermon preached the last fast day in Leaden-Hall Street, in the house of one Padmore, a cheesmonger, by one of the zealous brethren, being a shoomaker, to the fraternity and holy sisters assembled together in a chamber. London, 1643 EEBO. This illustration is from a satirical report of a sermon preached by a dissenting sect called the Adamites. Their name arose from the fact that they did not acknowledge the fall and thus refused the doctrine of Original Sin. They were notorious for ‘going naked as a sign’ of their innocence.

33. Puritan uses of “brother” and “sister” are often put to satirical usein drama and popular print. MARIA Marry, sir, sometimes he is a kind of puritan. (2.3.139) MALVOLIO  She sends him on purpose that I may appear stubborn to him, for she incites me to that in the letter: “Cast thy humble slough,” says she. “Be opposite with a kinsman, surly with servants” (3.4.72-6) Charles Buchel, H. Beerbohm Tree as Malvolio, late 19th or early 20th c. IV. FRATERNITY AS CHRISTIAN SIBLINGHOOD

34. Accessible through Hamnet’s e-resources! An easily navigable site with great images of early modern attire. Purecraft:.O Brother Busy! your help here to edifieand raise us up in a scruple; my Daughter Win-the-fightis visited with a natural Disease of Women;call'd, A long-ingto eat Pig. (Ben Jonson, Bartholomew Fair, 1614, (1.4.47-51) From Wenceslas Hollar’sA Pack of Knaves, in the Wenceslas Hollar Digital Collection (University of Toronto). IV. FRATERNITY AS CHRISTIAN SIBLINGHOOD

35. BY WAY OF CONCLUSION: How Does this Fadge? Forasmuch as it is the duty of every Christian society to help and relive every willing and labouring brother in the Commonwealth, and specially such as are incorporated, grafted, and knit together in brotherly society, remembering the scripture written he which doth not provide for family and household is worse than an infidel… “Ordinance for Nourishing and Relieving the Poor Members of the Merchant Taylors Company”, 3rd December, 1571. V. Fraternity vs. Marital Domesticity

36. THE END OF TOBY’S FRATERNITY OLIVIA Will it be ever thus? Ungracious wretch, Fit for the mountains and the barbarous caves, Where manners ne’er were preached! Out of my sight!—Be not offended, dear Cesario.—Rudesby, begone! [Toby, Andrew, and Fabian exit.] I prithee, gentle friend, Let thy fair wisdom, not thy passion, sway In this uncivil and unjust extent Against thy peace. Go with me to my house, And hear thou there how many fruitless pranks This ruffian hath botched up, that thou therebyMayst smile at this. (4.2.48-60) SIR TOBY I would we were well rid of this knavery. If he may be conveniently delivered, I would he were, for I am now so far in offense with my niece that I cannot pursue with any safety this sport the upshot. (4.2.70-4)

37. Retrospectively, we can see the courtship and marital mutuality of the play’s discourteous couple. FABIAN: Maria writ The letter at Sir Toby’s great importance, In recompense whereof he hath married her. (5.1.385-7) TOBY I could marry this wench for this device. ANDREW So could I too. TOBY And ask no other dowry with her but such another jest. (2.5.186-9) V. Fraternity vs. Domesticity

38. Other abrupt ends, beyond the decamped comic couple (to be discussed at some length this week): • THE END OF FRATERNAL AMITY: • Antonio, mute and divided from his rescued friend. • Orsino, deprived of the intimacy with Cesario, betrayed by Cesario’s seeming fraternization with Olivia. • THE END OF RIOTOUS FRATERNITY: • Andrew, head bloodied, out of ducats, with no dowry to replenish his expenses. • The jest at Malvolio’s expense is no longer funny. • THE END OF CHRISTIAN SIBLINGHOOD AND ITS PARODY: • “I’ll be revenged on the whole pack of you” (5.1.401) V. Fraternity vs. Domesticity

39. THE SHIFT TO SORORITY ORSINO O, she that hath a heart of that fine frame To pay this debt of love but to a brother, How will she love when the rich golden shaft Hath killed the flock of all affections else That live in her; when liver, brain, and heart, These sovereign thrones, are all supplied, and filled Her sweet perfections with one self king! (1.1.35-41) OLIVIA My lord, so please you, these things further thought on, To think me as well a sister as a wife, One day shall crown th’ alliance on ’t, so please you, Here at my house, and at my proper cost. (5.1.330-35) V. Fraternity vs. Domesticity

40. Uses of Brother and Sister in Twelfth Night

41. Perhaps the play’s several abandoned modes of fraternity/fraternization make possible its resolution, with sisters who make their own matches, and thereby form households made of smaller, more reciprocal affective economies. Perhaps that’s why the play makes heavier use of the term “recompense” than any other of Shakespeare’s works (5 instances) V. Fraternity vs. Domesticity

42. Totals: FATHER: 854 uses, most in H3 Part 3 (72) MOTHER: 345 uses, most in Hamlet (36) HUSBAND: 299 uses, most in Merry Wives (38) WIFE: 482 uses, most in Merry Wives (38) BROTHER: 536 uses, most in Measure for Measure (59) SISTER: 180 uses, most in King Lear (33) Familial Terms across Shakespeare