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I Tawt I Taw a Puddy Tat
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I Tawt I Taw A Puddy Tat
Directed by
Matthew O'Callaghan
Produced by
Spike Brandt
Tony Cervone
Starring
Mel Blanc
June Foray
Music by
Christopher Lennertz (adaptation score)
Billy May, Warren Foster, and Alan Livingston (song)
Production
company
Warner Bros. Animation
Reel FX Creative Studios
Distributed by
Warner Bros.
Release date
November 18, 2011 (2011-11-18) (with Happy Feet Two)
Running time
4 minutes
I Tawt I Taw a Puddy Tat is a 2011 3D computer-animated short film starring the characters Sylvester, Tweety and Granny.[1] The short is an adaptation of the 1950 song of the same name, sung by Mel Blanc.[1] It features the voice of June Foray as Granny, and Blanc's archive recordings taken from the song for Sylvester and Tweety.[1] The short was released theatrically with Happy Feet Two.
Contents
[hide]
1 Cast
2 Release
3 References
4 External links
Cast[edit]
Mel Blanc as Sylvester/Tweety (archive sound)
June Foray as Granny
Release[edit]
The short was released theatrically with Happy Feet Two.[1] It was attached as a special feature on the Happy Feet Two DVD and Blu-ray.[2]
It was also included as a bonus on the DVD release of Looney Tunes: Rabbits Run.[3]
References[edit]
^ Jump up to: a b c d B. Vary, Adam (November 14, 2011). "Tweety Bird and Sylvester the Cat do battle in new Looney Tunes short -- EXCLUSIVE CLIP". Entertainment Weekly. Retrieved March 29, 2014.
Jump up ^ Sarto, Dan (January 23, 2012). "Happy Feet Two Arrives onto Blu-Ray, DVD and Digital Download on March 13". Animation World Network. Retrieved September 29, 2012.
Jump up ^ Milligan, Mercedes (August 3, 2015). "'Looney Tunes: Rabbits Run' Hops to DVD Shelves". Animation magazine. Retrieved September 2, 2015.
External links[edit]
I Tawt I Taw A Puddy Tat on IMDb
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I Tawt I Taw a Puddy Tat (2011)
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Roomba
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Video of a Roomba 530 in action
A 700 series Roomba
Roomba is a series of autonomous robotic vacuum cleaners sold by iRobot. Introduced in September 2002,[1] Roomba features a set of sensors that enable it to perform its tasks. For instance, the Roomba is able to change direction upon encountering obstacles, to detect dirty spots on the floor, and to sense steep drops to keep it from falling down stairs. The 900 series Roombas also feature a camera, which works in conjunction with onboard mapping and navigation software to systematically cover floor area. Roomba uses two independently operating wheels that allow 360° turns in place. Additionally, it can adapt to perform other, more creative tasks, using an embedded computer in conjunction with the Roomba Open Interface.
Contents
[hide]
1 Description
2 Operation
2.1 Battery life
3 Models
3.1 Original and 400 series
3.2 500 and 600 series
3.3 700 series
3.4 800 series
3.5 900 series
4 Hacking and extending Roomba
5 See also
6 References
7 External links
Description[edit]
A selection of Roomba internal parts
All Roomba models are disc-shaped, 34 cm (13") in diameter and less than 9 cm (3.5") high. A large contact-sensing mechanical bumper is mounted on the front half of the unit, with an omnidirectional infrared sensor at its top front center. A recessed carrying handle is fitted on the top of most units.[2]
As of 2016, there have been seven generations of Roomba units: The first-generation Original Series, the second-generation 400 and Discovery Series, the third-generation Professional and 500 Series, the fourth-generation 600 Series, the fifth-generation 700 Series, the sixth-generation 800 Series, and the seventh-generation 980 model.[3] All models have a pair of brushes, rotating in opposite directions, to pick up debris from the floor. In most models, the brushes are followed by a squeegee vacuum, which directs the airflow through a narrow slit to increase its speed in order to collect fine dust. A horizontally mounted "side spinner" brush on the right side of the unit sweeps against walls to reach debris not accessible by the main brushes and vacuum. In the first generation of robots, the dirty air passes through the fan before reaching the filter, while later models use a fan-bypass vacuum.
The Roomba is powered by a removable NiMH battery, which must be recharged from a wall power adapter. Newer second- and third-generation models have a self-charging homebase that the unit seeks out at the end of a cleaning session via infrared beacons. Charging on the homebase takes about three hours. Four infrared "cliff sensors" on the bottom of the Roomba prevent it from falling off ledges such as stairways or entering black carpet areas. Most second- and third-generation models have internal acoustic-based dirt sensors that allow them to detect particularly dirty spots and focus on those areas accordingly. Fourth-generation models have an optical sensor located in front of the vacuum bin, allowing detection of wider and smaller messes.[4] Many second- and third-generation Roombas come packaged with infrared remote controls, allowing a human operator to "drive" the robot to areas to be specially cleaned.
Some higher-end 500, 700 and 800 series robots are compatible with Virtual Wall Lighthouses,[5] which use radio signals to communicate. These more advanced accessories confine a Roomba to a fixed area to be cleaned, yet allow the robot to later proceed to the next space which needs to be cleaned.[6]
There are several types of dust and debris collection bins for the 500 series robots. The standard vacuum bin incorporates a squeegee vacuum. The high-capacity sweeper bin does not include a vacuum, but has greater debris capacity. The Aerovac Bin directs suction airflow through the main brushes instead of using a squeegee, which is thought to keep the brushes cleaner.
Operation[edit]
Long exposure photo showing path taken by a Roomba as it cleans
All Roomba models can be operated by manually carrying them to the room to be cleaned and pressing a button. Later models introduced several additional operating modes. "Clean" mode is the normal cleaning program, starting in a spiral and then following a wall, until the room is determined to be clean. "Spot" mode cleans a small area using an outward-then-inward spiral. "Max" mode runs the standard cleaning algorithm until the battery is depleted. "Dock" mode, introduced with the third generation, instructs the robot to seek a charging base for recharging. The availability of the modes varies by model.
The robot's bumper allows it to sense when it has bumped into an obstacle, after which it will reverse or change paths. The third- and fourth-generations, which move faster than previous models, have additional forward-looking infrared sensors to detect obstacles. These slow down the robot when nearing obstacles, to reduce its force of impact.[7] This technology is also able to distinguish between soft and solid barriers. After enough time cleaning or as the battery runs down, the Roomba will either search for and dock with the base, or stop where it is.
The cleaning time depends on room size and, for models equipped with dirt sensors, volume of dirt. First-generation models must be told the room size, while second- and third-generation models estimate room size by measuring the longest straight-line run they can perform without bumping into an object. When finished cleaning, or when the battery is nearly depleted, a second- or third-generation Roomba will try to return to a base if one is detected. A second-generation Roomba may also be used with a scheduler accessory, allowing cleaning to start at the time of day and on days of the week that the owner desires. Most 500 Series robots support scheduling through buttons on the unit itself, and higher-end models allow the use of a remote to program schedules.
Early generation Roombas do not map out the rooms they are cleaning. Instead, iRobot developed a technology called iAdapt Responsive Cleaning Technology.[8] Roombas rely on a few simple algorithms, such as spiral cleaning (spiraling), room crossing, wall-following and random walk angle-changing after bumping into an object or wall. This design is based on MIT researcher and iRobot CTO Rodney Brooks' philosophy that robots should be like insects, equipped with simple control mechanisms tuned to their environments. The result is that although Roombas are effective at cleaning rooms, they take several times longer to do the job than a human would. The Roomba may cover some areas many times, and other areas only once or twice. The virtual wall accessories project beams, which the Roomba will not cross.
The Roomba is not designed for deep-pile carpet.[citation needed] Also, the first- and second-generation Roombas can get stuck on rug tassels and electrical cords.[citation needed] The third-generation is able to reverse its brushes to escape entangled cords and tassels. Additionally, all models are designed to be low enough to go under a bed or most other items of furniture. If at any time the unit senses that it has become stuck, no longer senses the floor beneath it, or it decides that it has worked its way into a narrow area from which it is unable to escape, it stops and sounds an error to help someone find it. Early models use only flashing lights to indicate specific problems, while later models use a synthesized voice to announce a problem and a suggested solution.[9]
Battery life[edit]
Battery reliability is a frequently mentioned complaint on customer review websites.[citation needed] Battery replacements from iRobot cost a significant fraction of the purchase price of a new Roomba, though compatible third-party batteries are available at a lower price. The iRobot customer support website offers advice on maximizing battery performance and longevity.[10]
Models[edit]
Original and 400 series[edit]
Introduced in September 2002, the first-generation Roomba had three buttons for room size. The first-generation units comprised the original silver-colored Roomba, the blue Roomba Pro, and the maroon Roomba Pro Elite. The later two models included additional accessories, but all three used the same core robot and cleaning system. The second-generation Roombas ("Discovery", later called 400 series) replaced their predecessors in July 2004, added a larger dust bin, improved software that calculates room size, dirt detection, and fast charging in the home base.
Roomba budget models (Dirt Dog and Model 401) used a simplified interface (a single button) and lacked some of the software-controlled flexibility of other versions. They were less expensive models intended for first-time purchasers. The Roomba Dirt Dog contained sweeping brushes and a larger dust bin, but lacked the vacuum motor, using the space that would be required for the vacuum for additional dust bin volume. It was designed for a home shop or garage environment.[5] The Roomba Model 401 was similar but had a standard-size dust bin and vacuum system. The Dirt Dog was discontinued in 2010.
500 and 600 series[edit]
The third-generation 500 series Roomba was introduced in August 2007[5] and featured a forward-looking infrared sensor to detect obstacles and reduce speed, a docking command button, improved mechanical components, smoother operation, and a modular design to facilitate part replacement.[5][11] It also introduced customizable decorative face plates.[5] The Roomba 530 included two virtual walls and a recharging dock.[5] In August 2012, the 500 series was superseded by the 600 series, which added the aerovac bin and advanced cleaning head as standard features. In 2017 they released the 690, which has WiFi connectivity so it can be started with an app and various personal-assistant software.[12]
700 series[edit]
The 701 series, introduced in May 2011, though largely similar to the 500 and 600 series, included improvements of a more robust cleaning system, improved aerovac bin with HEPA filter, and improved battery life. Like the 500 series, the 700 series included robots with different technologies and accessories. The Roomba 760 was the simplest of the robots, and Roomba 790[13] was the second newest, with both scheduling and a large range of accessories including lighthouses, wireless command center, and extra brushes and filters. Besides these two models, Roomba 770 and 780 were available, with scheduling, dirtdetect, and full bin indicator.
800 series[edit]
The 800 series, introduced in 2013, is similar to the 700 series and its predecessors, but contains updated technology. The aeroforce performance cleaning system, which is five times more powerful than older series,[14] and the iRobot XLife battery are some of the new features. Roomba 880 is the best one compared to all 800 series models. And when Roomba 980 entered, the entire 800 series takes turn because of the wifi-connectivity option[15]. The aeroforce system does away with the large rotating brush, but pulls air between two rubber rollers, thereby getting the vacuum suction closer to the floor. In 2017 iRobot released the 890 with WiFi connectivity that can be started with an app and various personal-assistant software.[12]
900 series[edit]
The Roomba 980 was released in September 2015, and contains a new visual simultaneous localization and mapping (vSLAM) navigation system,[16] which allows it to clean an entire level of a home more efficiently. The 980 also features Wi-Fi connectivity and an iPhone and Android app.[17] As of March 29, 2017, 900 series users can receive detailed cleaning maps of their Roomba through the app. The maps show exact areas of clean and dirty spots in the home, allowing the Roomba to know where it needs to spend more time cleaning. Push notifications of when the Roomba is finished cleaning is also a new feature. Integration to Amazon’s Alexa was also announced, launching in spring 2017.[18]
Hacking and extending Roomba[edit]
See also: iRobot Create
A hacked Roomba drawing a Spirograph-like pattern
From the earliest models on, Roomba vacuum cleaning robots have been hacked to extend their functionality. The first adaptations were based on a microcontroller that was directly connected to the motor drivers and sensors.[19] Versions manufactured after October 2005 contain an electronic and software interface that allows hackers to more easily control or modify behavior and remotely monitor its sensors.[20] One early application was using the device to map a room.[21] The native code for Roomba is written in a dialect of Lisp.[22]
Models with an interface (400 series since October 2007 plus 500 and 700 series) come with a Mini-DIN connector supporting a serial interface, which is electrically and physically incompatible with standard PC/Mac serial ports and cables. However, third-party adapters are available to access the Roomba's computer via Bluetooth, USB, or RS-232 (PC/Mac serial).[23] Roombas pre-October 2005 upgraded with the OSMO hacker[24] device allow monitoring many sensors and modifying the unit's behavior. The Roomba open interface (formerly Roomba serial command interface) allows programmers and roboticists to create their own enhancements.[25][26] Several projects are described on Roomba hacking sites.[27]
In response to the growing interest of hackers in their product, the company developed the iRobot Create. In this model the vacuum cleaner motor is replaced by a "cargo bay" for mounting devices like TV cameras, lasers and other robotic parts. It provides a greatly enhanced 25-pin interface providing both analog and digital bidirectional communication with the hosted device allowing use as the mobile base for completely new robots. Together with a computing platform like a netbook or handheld device with wireless networking, it can be remotely controlled through a network.[28]
See also[edit]
Robotics portal
Electronics portal
Comparison of domestic robots
Domestic robot
List of vacuum cleaners
Robotic mapping
Robotics suite
Scooba floor washer, iRobot's second home robot
References[edit]
Jump up ^ "iRobot Corporation:Our History". Irobot.com. Archived from the original on 2012-01-03. Retrieved 2013-11-24.
Jump up ^ "iRobot Roomba 560 Video Review". Robot Reviews. Retrieved 18 September 2013.
Jump up ^ "iRobot Store". iRobot. Retrieved 30 May 2015.
Jump up ^ "What is Roomba's Dirt Detect technology?". Uksupport.irobot.com. Retrieved 2013-01-29.
^ Jump up to: a b c d e f [1] Archived September 15, 2011, at the Wayback Machine.
Jump up ^ "What are Roomba Virtual Walls?". iRobot Customer Care. iRobot. Retrieved 2012-03-04.
Jump up ^ "iRobot: Customer Care - Roomba 500/600/700 Series Light Touch Technology". Homesupport.irobot.com. Retrieved 2013-01-29.
Jump up ^ "Wayback Machine" (PDF). 11 May 2013. Archived from the original on 11 May 2013. CS1 maint: BOT: original-url status unknown (link)
Jump up ^ "How can I prevent Roomba from getting stuck?". iRobot Customer Care. iRobot. Retrieved 2012-03-04.
Jump up ^ "Roomba 500/600/700 Series Battery Maintenance Tips". iRobot Customer Care. iRobot. Retrieved 2012-03-04.
Jump up ^ "Official iRobot Website". Homesupport.irobot.com. Retrieved 2009-06-09.
^ Jump up to: a b "iRobot Extends Wi-Fi Connectivity with New Roomba 890 and 690 Vacuuming Robots". iRobot MediaKit.
Jump up ^ "iRobot Corporation: Roomba 790". Irobot.com. Retrieved 1 July 2012.
Jump up ^ "Bobsweep vs Roomba vs Neato – Robotic Vacuum Cleaners Battle! — Sevenhints". Sevenhints. 2017-03-14.
Jump up ^ "Roomba Model Comparisons and Reviews". faceithard.com. Retrieved 2017-11-20.
Jump up ^ "Roomba 1,000,000 and 980". Leads Rating, January 04, 2017, by Jeremy Jauncey
Jump up ^ "Roomba 980." http://www.irobot.com/For-the-Home/Vacuuming/Roomba.aspx.
Jump up ^ McFarland, Matt (2017-03-15). "Roomba will now tell you what part of your home is dirtiest". CNNMoney. Retrieved 2017-03-29.
Jump up ^ "Discussing and Dissecting the Roomba 780 ad Scooba 230". Roomba Community. Retrieved 2012-03-04.
Jump up ^ "iRobot Roomba Serial Command Interface (SCI) Specification" (PDF). Irobot.com. Archived from the original (PDF) on 2013-12-02. Retrieved 2013-11-24.
Jump up ^ Gerkey, Brian (2006-03-31). "Robotic mapping for Roomba". Artificial Intelligence Center. SRI International. Retrieved 2013-06-13.
Jump up ^ "Why Lisp?".
Jump up ^ "Roomba Development Tools". Archived from the original on 2006-07-11. Retrieved February 1, 2007.
Jump up ^ "OSMO - RoombaDevTools.com". Web.archive.org. 2007-01-15. Archived from the original on January 15, 2007. Retrieved 2013-11-25.
Jump up ^ "iRobot Roomba Serial Command Interface (SCI) Specification" (PDF). iRobot Corporation. October 2005. Archived from the original (PDF) on December 2, 2013. Retrieved February 1, 2012.
Jump up ^ "iRobot Corporation: Roomba Open Interface" (PDF). iRobot. 2006. Retrieved 2015-09-07.
Jump up ^ "Roomba hacking projects". Hackingroomba.com. Retrieved February 6, 2013.
Jump up ^ "Roomba Robot project". Irobot.com. Retrieved 2012-03-04.
External links[edit]
Wikimedia Commons has media related to Roomba.
iRobot.com, manufacturer and retailer of Roomba in the United States
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Shakespeare's handwriting
From Wikipedia, the free encyclopedia
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William Shakespeare's will, written in a style of handwriting known as the secretary hand.
William Shakespeare's handwriting is known from six surviving signatures, all of which appear on legal documents. It is also generally believed[1][2] that three pages of the handwritten manuscript of the play Sir Thomas More are in Shakespeare's hand.
Contents
[hide]
1 Description
2 Paleography
3 Shakespeare's signatures
4 Handwriting analysis
5 Editor’s interpretations
6 Handwriting thought by some to be Shakespeare's
6.1 A possible seventh signature on the book Archaionomia
6.2 The body of Shakespeare’s last will and testament
6.3 Handwriting in a letter signed by the Earl of Southampton
6.4 A signature on a deed for the purchase of a house
6.5 The applications to grant a coat-of-arms to John Shakespeare
6.6 Edward III
7 Forgeries
7.1 The Ireland Shakespeare forgeries
7.2 A forged signature on a book by Montaigne
8 References
9 External links
Description[edit]
This secretary alphabet is in a penmanship book by Jehan de Beau-Chesne and John Baildon published in 1570, when Shakespeare would have been five or six years old. As a result, this may have been the edition he studied as a child in grammar school.[3]
Shakespeare wrote in the style known as the Secretary hand. It was native and common in England at the time, and was the cursive style taught in schools. It is not the italic script, which was encroaching as an alternate form (and which is more familiar to readers of today). Shakespeare’s handwriting shows a freedom to make variances in style depending on the mood or the composition being written. The three page additions to Sir Thomas More are written in a fluid manner, by a skillful and experienced writer. The writing begins with indications of speed, in the manner of a scrivener, with a practiced sense of uniformity. Then the writing style changes over to a more deliberate and heavier style, as can be seen, for example, in the speeches of Thomas More, which require greater thought and choice of words. Throughout, the writing shows a disposition to play with the pen, to exaggerate certain curves, to use heavier downstrokes, and to finish some final letters with a small flourish. These characteristics are more evident in the slower, deliberate sections.[4]
The secretary hand was popular with authors. It was used by Christopher Marlowe and Francis Bacon. It could be written with ease and swiftness, it was conducive to the use of abbreviations, and it had a beauty in its curves as it swept across the page. As it was taught in the schools and by tutors, it allowed for great diversity — each writer could choose a style for each letter. To the untrained eye, the secretary hand can at first appear to be indecipherable.[5]
Shakespeare wrote with a quill in his right hand. A quill would need to be prepared and sharpened. Black ink would be derived from “oak apples” (small lumps in oak trees caused by insects), with vinegar and gum arabic added.[6]
John Heminges and Henry Condell, who edited the First Folio in 1623, wrote that Shakespeare’s “mind and hand went together, and what he thought he uttered with that easiness that we have scare received from him a blot in his papers.” In his posthumously published essay, Timber: Or, Discoveries, Ben Jonson wrote:
I remember the players have often mentioned it as an honor to Shakespeare, that in his writing, whatsoever he penned, he never blotted out a line. My answer hath been, ‘Would he hath blotted a thousand,’ which they thought a malevolent speech. I had not told posterity this but for their ignorance, who chose that circumstance to commend their friend by wherein he most faulted; and to justify mine own candor, for I loved the man, and do honor his memory on this side idolatry as much as any. He was, indeed, honest, and of an open and free nature; had an excellent fancy, brave notions, and gentle expressions, wherein he flowed with that facility that sometime it was necessary he should be stopped.[7][8]
Paleography[edit]
Serious study of Shakespeare's handwriting began in the 18th century with scholars Edmond Malone and George Steevens. By the late nineteenth century paleographers began to make detailed study of the evidence in the hope of identifying Shakespeare's handwriting in other surviving documents. In those cases when the actual handwriting is not extant, the study of the published texts has yielded indirect evidence of his handwriting quirks through reading and apparent misreadings by compositors. To give one example of this, in the early published versions of Shakespeare’s plays there occurs a recurrence of an upper case letter “C” when the lower case is called for. This might indicate that Shakespeare was fond of such a usage in his handwriting, and that the compositors (working from the handwriting) followed the usage. When trying to determine who the author is of either a printed work or a pen-and-ink manuscript, this is one possible method of discovering such indications.[9]
Shakespeare's signatures[edit]
Willm Shakp
Bellott v. Mountjoy deposition
12 June 1612
William Shakspēr
Blackfriars Gatehouse
conveyance
10 March 1613
Wm Shakspē
Blackfriars mortgage
11 March 1613
William Shakspere
Page 1 of will
(from 1817 engraving)
Willm Shakspere
Page 2 of will
William Shakspeare
Last page of will
25 March 1616
Shakespeare's six surviving signatures are all from legal documents.
There are six surviving signatures, attached to four legal documents, that are generally recognised as authentic:
a deposition in the Bellott v. Mountjoy case, dated 11 May 1612
the purchase of a house in Blackfriars, London, dated 10 March 1613
the mortgage of the same house, dated 11 March 1613
his Last Will and Testament, which contains three signatures, one on each page, dated 25 March 1616
The signatures appear as follows:
Willm Shakp
William Shakspēr
Wm Shakspē
William Shakspere
Willm Shakspere
By me William Shakspeare
In addition, it should be noted that the first signature also includes a short horizontal stroke above the letter “m”, and a horizontal stroke or flourish in the stem of the letter “p”, which may be read as “per” or, less likely, as an indication of abbreviation. The fifth signature also contains a horizontal stroke above the letter “m”. All of his signatures are written in his native English script, which he would have learned as a young boy in school. He used the long Italian cursive letter “s” in the center of his surname, a concession to the new style, except for the fifth signature, in which he reverts to the native English long “s”.[10]
The Blackfriars signatures are fitted into the narrow space of the seal holder
Three of these signatures are abbreviated versions of the surname, using breviographic conventions of the time, which was common practice. For example, Edmund Spenser sometimes wrote his name out in full (spelling his first name Edmund or Edmond), but often used the abbreviated forms "Ed: spser" or "Edm: spser".[11] The signatures on the Blackfriar's document may have been abbreviated because they had to be squeezed into the small space provided by the seal-tag, which they were legally authenticating.
The three signatures on the will were first reproduced by the 18th-century scholar George Steevens, who copied them as accurately as he could by hand and then had his drawings engraved. The facsimiles were first printed in the 1778 edition of Shakespeare's plays, edited by Steevens and Samuel Johnson.[12] The publication of the signatures led to a controversy about the proper spelling of Shakespeare's name. The paleographer Edward Maunde Thompson later criticised the Steevens transcriptions, arguing that his original drawings were inaccurate.[13]
The two signatures relating to the house sale were identified in 1768 and acquired by David Garrick, who presented them to Steevens' colleague Edmond Malone. By the later nineteenth century the signatures had been photographed. Photographs of these five signatures were published by Sidney Lee.[14]
The final signature, on the Bellott v. Mountjoy deposition, was discovered by 1909 by Charles William Wallace.[15] It was first published by him in the March 1910 issue of Harper's Magazine and reprinted in the October 1910 issue of Nebraska University Studies.
Handwriting analysis[edit]
Facsimile of a page written by 'Hand D', in all likelihood written by William Shakespeare
Although some scholars took note of, and reproduced, Shakespeare’s handwriting as early as the 18th century,[13] the paleographer Sir Edward Maunde Thompson wrote in 1916 that the subject of Shakespeare’s handwriting had “never been subjected to a thorough and systematic study.” One reason for this neglect is that the only examples of Shakespeare’s handwriting that were known to earlier scholars were five authentic signatures.[16] A further difficulty was that three of the known signatures were written in the last weeks of Shakespeare’s life, when he may have been suffering from a tremor or otherwise enfeebled by illness, and the other two had been written under conditions that restrained free movement of the hand. Those signed to the Blackfrairs mortgage had to be squeezed into the narrow space of the seal.[17]
Under the circumstances, with evidence limited to those five signatures, an attempt to reconstitute the handwriting that Shakespeare actually used might have been considered impossible. But then in 1910, the discovery of the sixth signature on the Bellott v. Mountjoy deposition changed all this. This signature was written with a free hand, and it was the key to an important part of the problem. Thompson identified distinctive characteristics in Shakespeare's hand, which include delicate introductory upstrokes of the pen, the use of the Italian long “s” in the middle of his surname in his signatures, an unusual form of the letter “k”, and a number of other personal variations.[18][19]
The first time it was suggested that the three-page addition to the play Sir Thomas More was composed and also written out by William Shakespeare was in a correspondence to the publication Notes and Queries in July 1871 by Richard Simpson, who was not an expert in handwriting.[20] Simpson’s note was titled: “Are there any extant MSS in Shakespeare’s handwriting?” His idea received little serious attention for a few decades.[21] After more than a year James Spedding wrote to the same publication in support of that particular suggestion by Simpson, saying that the handwriting found in Sir Thomas More "agrees with [Shakespeare’s] signature, which is a simple one, and written in the ordinary character of the time.”[22]
After a detailed study of the More script, which included analysing every letter formation, and then comparing it to the signatures, Thompson concluded that “sufficient close resemblances have been detected to bring the two handwritings together and to identify them as coming from one and the same hand,” and that “in this addition to the play of Sir Thomas More we have indeed the handwriting of William Shakespeare.”[23][24]
Thompson believed that the first two pages of the script were written quickly, using writing techniques that indicate Shakespeare had received “a more thorough training as a scribe than had been thought probable". These pages contain abbreviations and contractions of words which were “in common use among lawyers and trained secretaries of the day.” These pages show more of the characteristics of “the scrivener”, but the third page, having been written with slower deliberation, reveal more of Shakespeare's own quirks, or, as he put it, “more of the hand of the author”. In addition there are in the three pages suggestions of a “tendency to formality and ornamental calligraphy.”[25]
Editor’s interpretations[edit]
From the play, Sir Thomas More: "but chartered unto them, what would you think to be thus used, this is the strangers case and this your mountanish inhumanity"
The problems editors or compositors can face when transforming the handwritten manuscript into the printed page are demonstrated in the printed edition of Sir Thomas More, edited in 1990 by Gabrieli and Melchiori. In the following line spoken by More addressing the mob: “This is the strangers’ case, and this your mountanish inhumanity,” the reading of the word “mountanish” is supported by references in Twelfth Night and Cymbeline. However, in the handwritten manuscript by Hand D, the “un” in the word has only three strokes, or minims, which makes it look like an “m”: as “momtanish”. So the word has been read by modern editors as “moritanish” (referring to the inhabitants of Mauritania), or as "momtanish" (a contraction of “Mohamadanish” - referring to the followers of Mohammad), or as “mountainish” (suggesting huge and uncivil), as well as other readings and spellings.[26]
Handwriting thought by some to be Shakespeare's[edit]
A possible seventh signature on the book Archaionomia[edit]
Signature discovered on the title page of Lambarde's Archaionomia. This is a reversed photograph of the ink that seeped through to the verso side of the page, the image was reversed so that the signature reads in the legible direction.[27]
In the late 1930s a putative seventh Shakespeare signature was found in the Folger Library copy of William Lambarde's Archaionomia (1568), a collection of Anglo-Saxon laws. In 1942, Giles Dawson published a report cautiously concluding that the signature was genuine, and 30 years later he concluded that there was "an overwhelming probability that the writer of all seven signatures was the same person, William Shakespeare."[28] Nicholas Knight published a book-length study a year later with the same conclusion.[29] Samuel Schoenbaum considered that the signature was more likely to be genuine than not with "a better claim to authenticity than any other pretended Shakespeare autograph," while also writing that "it is premature ... to classify it as the poet's seventh signature."[30] Stanley Wells notes that the authenticity of both the Montaigne and Lambarde signatures have had strong support,[31] but the ascription has not gained wide academic attention nor any overwhelming consensus.
In 2012, University of Mississippi English professor Gregory Heyworth and his students used a 50-megapixel multispectral digital imaging system to enhance the signature as a first step in their authentication process.[32][33]
The body of Shakespeare’s last will and testament[edit]
The first person to claim that the body of Shakespeare’s last will and testament was written in Shakespeare’s own handwriting was John Cordy Jeaffreson, who compared the letters in the will and in the signature, and then expressed his findings in a letter to Athenaeum (1882). He suggests that the will was intended to be a rough draft, and that the progressively deteriorating script indicates an enfeebling illness, an illness which may have caused the “rough draft” to become the will itself.[34][35]
John Pym Yeatman is another who considered that the body of the will is in Shakespeare’s handwriting. In his book, Is William Shakespeare’s Will Holographic? (1901), he argues against the often repeated idea that Francis Collins (or “Francis Collyns” as it is often spelled), Shakespeare’s lawyer, wrote the will. Among the evidence that Yeatman offers, is Collins' signature on the will itself. Collins’ name occurs three times in the will: twice in the body, and the third time when Collyns signs his name at the bottom of page three. The body of the will, along with Shakespeare’s own signature, are written in handwriting known as the secretary hand, whereas the signature by Collins, particularly the initial letters, is written in a modern hand. The difference between the two handwriting styles is primarily in the formations used for each letter of the alphabet. Yeatman then states that the last insertion regarding the second-best bed, is in a handwriting that “exactly corresponds with the signature below it.” This he adds, is “of the utmost value, in proof that one hand wrote them both.”[36]
In 1985 manuscript expert Charles Hamilton, compared the signatures, the handwritten additions to the play Sir Thomas More, and the body of the last will and testament. In his book In Search of Shakespeare he placed letters from each document side-by-side to demonstrate the similarities and his reasons for considering that they were written by the same hand.[37]
Above: The name of the lawyer "Francis Collins" as it appears in the body of the will. Below: Collins' signature on the will.
The handwriting in the body of Shakespeare’s last will and testament indicates that it is written all by one person in at least two sessions: First the entire will of three pages, then a revision on the lower half of the first page that runs over onto page 2, and finally the additions or bequests that are inserted between the lines. The lower half of page one, the part that was written later than page 2 and 3, shows a disintegration of the penmanship. This problem worsens until the last written line, leaving his second-best bed to his wife, is almost indecipherable. The ink used for the interlinear additions is different from the ink in the main body of the will, but it is the same ink that is used by the four witnesses that signed the will.[38][39]
Handwriting in a letter signed by the Earl of Southampton[edit]
The Shakespearean scholar, Eric Sams points to a letter written by the 20-year-old Earl of Southampton to a Mr. Hicks (or Hyckes) regarding Lord Burghley, at a time when Southampton had not yet agreed to marry Burghley’s granddaughter. The letter is signed by the Earl of Southampton, but the body of the letter was written by someone else. It is dated 26 June 1592, a year when it is thought that Shakespeare may have first encountered Southampton and had begun writing the sonnets. Sams notices that the handwriting in the body of the letter is literally a secretary hand, and it resembles the handwriting found in the addition to Sir Thomas More by Hand D. After close scrutiny of the letters and pen strokes in each, and referencing the detailed descriptions found in Edward Thompson’s Shakespeare's Handwriting: A Study, Sams finds that there are enough similarities to merit further consideration. This letter was written by Southampton regarding one of his houses that was in need of repair, and as Eric Sams points out, it was written at a time when Southampton was the recipient of sonnets written by Shakespeare that contained imagery suggesting the young lord might consider repairing his house: “Seeking that beauteous roof to ruinate/Which to repair should be thy chief desire.” (Sonnet 10, lines 7-8) And “who lets so fair a house fall to decay?” (Sonnet 13, line 9)[40][41][42][43][44][45]
A signature on a deed for the purchase of a house[edit]
Judith Shakespeare’s mark, a squiggle with two loops. Her given name and surname were added on either side of her mark.
On 4 December 1612 Shakespeare’s friends, Elizabeth and Adrian Quiney, sold a house to a man named William Mountford for 131 pounds. The deed of sale, written out apparently by a legal clerk, was witnessed and signed twice in different parts of the deed by William Shakespeare’s daughter, Judith, who used for her signature a squiggle with two loops in it. Judith's given name and surname were written out on either side of Judith’s marks, by someone who was not the clerk, or the witnesses or the signers. Paleographer Charles Hamilton studied this document and found that Judith’s surname as it is written out is so similar to the surname in Shakespeare’s own signature as it appears on other documents, that it may be reasonable to consider that Shakespeare could have been there at the signing of the deed, and assisted his daughter as she made her mark. Hamilton considers that there may be reasons for Shakespeare not witnessing the document himself. For example, he could have been involved in some way that would have precluded him from acting as witness, either in the drawing up of the deed or in advising the Quineys.[46][47][48]
The applications to grant a coat-of-arms to John Shakespeare[edit]
A pen-and-ink sketch of Shakespeare’s shield drawn on the first rough draft of the application to grant a coat-of-arms to John Shakespeare.
On 20 October 1596 a rough draft was drawn up for an application to the College of Heralds for Shakespeare’s father to be granted a coat-of-arms. This draft has numerous emendations and corrections, and it appears to have been written by someone “inexperienced in drawing up heraldic drafts.”[49] The script is written at a great speed, but with the fluid, easy character of one well practiced with a quill. The velocity of the writing is increased by shortcuts and abbreviations. Formalities of punctuation and consistent spelling are left behind, as words are pared down. Loops and tails are sheared, and letters are flattened for speed. The handwriting slows down only to produce a clearly legible italic script for proper nouns and family names. Later that day, the same person drew up a second rough draft based on the first one, incorporating the edits that were indicated in the previous draft. This application was ultimately successful, and the coat-of-arms was granted.
A third application was drafted three years later in 1599. This time it was applying to have impaled onto Shakespeare’s coat-of-arms, the arms of the Ardens of Wilmcote, Shakespeare’s mother’s family. All three drafts include a pen-and-ink sketch of the proposed coat-of-arms: a shield, with a spear, surmounted by a falcon standing on its left leg, grasping a spear with its right talon. The coat-of-arms is seen to be pictorially expressing Shakespeare’s name with the verb “shake” shown by the falcon with its fluttering wings grasping a “spear”.[50][51]
William Dethick is mentioned in all the application drafts, as the “Garter-Principal king of Arms in England”. It has been suggested that Dethick wrote the drafts,[52][53] but Dethick’s handwriting, a combination of secretary and italic scripts, appears to be quite different.[54] The idea that Shakespeare himself made out the applications, and that it is his handwriting on the rough drafts, was raised by Samuel A. Tannenbaum.[49] Paleantologist Charles Hamilton considering this, published illustrations for comparison by placing words and letters from the applications side-by-side with words and letters from the additions by Hand D in the play, Sir Thomas More, and other sources.[55]
Edward III[edit]
Though the playwright’s handwriting for Edward III has not survived, the text, as printed, has been analyzed in order to discover indications of characteristics that the handwriting might contain, in the same way that the First Folio and other printed texts have been scrutinized.[56]
This has led to findings that may support the attribution of this play to Shakespeare. For example, scholar Eric Sams, assuming that the pages by Hand D in the play, Sir Thomas More are indeed Shakespeare’s, points out that Hand D shows what scholar Alfred W. Pollard refers to as “excessive carelessness” in minim errors — that is, writing the wrong number of downstrokes in the letters i, m, n, and u.[57] This particular characteristic is indicated in numerous misreadings by the original compositor who set the printed type for Edward III. This is also found in the Good Quartos,[58] which are thought to be printed from Shakespeare’s handwritten manuscripts. For a second example, Hand D uses a short horizontal stroke above a letter to indicate contraction, but twice omits it. This characteristic is indicated by the compositor’s misreadings in a number of instances found in Edward III. And in another example, Hand D and the Good Quartos often show “the frequent and whimsical appearance of an initial capital C, in a way which shows that Shakespeare’s pen was fond of using this letter in place of the minuscule."[59] This characteristic occurs throughout both the Sonnets and Edward III.[56]
Forgeries[edit]
The Ireland Shakespeare forgeries[edit]
In London in the 1790s the author, Samuel Ireland, announced a great discovery of Shakespearean manuscripts, including four plays. This turned out to be a hoax created with great effort by his son, William Henry Ireland. It fooled many experts, caused great excitement, and a production of one of the plays was announced. Shakespearean scholar Edmond Malone was one who was not taken in. The forged handwriting and signatures bore little or no resemblance to Shakespeare’s. Malone said it was a clumsy fraud filled with errors and contradictions, and detailed his reasons. William Henry Ireland eventually confessed.[60]
A forged signature on a book by Montaigne[edit]
The alleged signature in Florio's translation of Montaigne.
On a loose fly-leaf of a copy of John Florio’s translation of the works of Montaigne, is a signature that reads "Willm. Shakspere”. The signature is now widely recognized as a poor forgery, but it has taken in scholars in the past. The book’s first known owner was the Reverend Edward Patteson, who lived in the 1780s in Staffordshire, a few miles from Stratford-upon-Avon. The book was auctioned for a large amount (100 pounds) in 1838 to a London bookseller named Pickering, who then sold it to the British Museum. Frederic Madden accepted it as authentic in his pamphlet Observations on an Autograph of Shakspere and the Orthography of his name (1838),[61] and so did Samuel A. Tannenbaum in his essay “Reclaiming One of Shakspere’s Signatures” (1925).[62] Others, including John Louis Haney writing in 1906, were not taken in. A close consideration and analysis of the signature and each letter shows it to differ markedly from any of the authentic signatures.[63][64][65]
References[edit]
Jump up ^ Brown, Mark (March 15, 2016). "William Shakespeare's handwritten plea for refugees to go online". The Guardian. Retrieved March 19, 2016.
Jump up ^ Adam, Karla (March 15, 2016). "More than 400 years ago, Shakespeare decried the 'mountainish inhumanity' that refugees had to face". The Washington Post. Retrieved March 19, 2016.
Jump up ^ [1] Wolfe, Heather. Learning to Write the Alphabet. The Collation from the Folger Shakespeare Library.
Jump up ^ [2] Pollard, Alfred, editor. Shakespeare’s Hand in the Play of Sir Thomas More. Thompson, E. Maunde. “The Handwriting of the Three Pages Attributed to Shakespeare Compared with His Signatures”. page 67 - 70. Cambridge University Press (1923)
Jump up ^ Hamilton, Charles. In Search of Shakespeare. Harcourt Brace Jovanovich. (1985) page 12
Jump up ^ Edmondson, Paul. Shakespeare: Ideas in Profile. Profile Books (2015). ISBN 9781782831037
Jump up ^ Edmondson, Paul. Shakespeare: Ideas in Profile. Profile Books (2015) ISBN 9781782831037
Jump up ^ [3] Masson, David. Essays Biographical and Critical: Chiefly on English Poets. Macmillan. (1856) page 7
Jump up ^ [4] Pollard, Alfred, editor. Shakespeare’s Hand in the Play of Sir Thomas More. Wison, J. Dover. “Bibliographical Links Between the Three Pages and the Good Quartos”. page 67 - 70. Cambridge University Press (1923)
Jump up ^ [5] Greg, W.W. editor. Shakespeare’s Hand in the Play of Sir Thomas More. Cambridge University Press, 2010. ISBN 9781108015356. pages 58 - 61
Jump up ^ Albert Charles Hamilton (ed), The Spenser Encyclopedia, University of Toronto Press, 1990, p. 346.
Jump up ^ Edward Maude Thompson, Shakespeare's Handwriting: A Study, Oxford, Clarendon, 1916. p. x.
^ Jump up to: a b [6] Thompson, Sir Edward Maunde. Shakespeare's Handwriting: A Study. Clarendon Press (1916) page x
Jump up ^ Sidney Lee, Shakespeare's Handwriting: Facsimiles of the Five Authentic Autograph Signatures, London, Smith Elder, 1899.
Jump up ^ Wallace, Charles William, "Shakespeare and his London Associates," Nebraska University Studies, October 1910.
Jump up ^ [7] Thompson, Sir Edward Maunde. Shakespeare's Handwriting: A Study. Clarendon Press (1916) page 1
Jump up ^ E.M. Thompson, Shakespeare's Handwriting: A Study, Oxford, Clarendon Press, 1916, p. 6-7.
Jump up ^ S. Schoenbaum, A Documentary Life, Oxford University Press/Scolar Press, 1975 p.157.
Jump up ^ [8] Thompson, Sir Edward Maunde. Shakespeare's Handwriting: A Study. Clarendon Press (1916) page 29
Jump up ^ [9] Simpson, Richard. in a correspondence “Are there any extant MSS in Shakespeare’s handwriting?” written to Notes and Queries, 4th Series, volume viii, p. 1 (1 July 1871) Referenced and quoted in: Thompson, Sir Edward Maunde. Shakespeare's Handwriting: A Study. Clarendon Press (1916) pages xii & 38
Jump up ^ [10] Thompson, Sir Edward Maunde. Shakespeare's Handwriting: A Study. Clarendon Press (1916) page xii
Jump up ^ [11] Spedding, James. Notes and Queries, 4th Series, (21 September 1872) Referenced and quoted in: Thompson, Sir Edward Maunde. Shakespeare's Handwriting: A Study. Clarendon Press (1916) page 39
Jump up ^ [12] Thompson, Sir Edward Maunde. Shakespeare's Handwriting: A Study. Clarendon Press (1916) page 53
Jump up ^ Schoenbaum, A Documentary Life, p.158:'The cumulative evidence for Shakespeare's hand in the 'More' fragment may not be sufficient to shake away all doubts – but who else in this period formed an a with a horizontal spur, spelt silence as scilens, and had identical associative patterns of thought and image? All roads converge on Shakespeare'.
Jump up ^ [13] Thompson, Sir Edward Maunde. Shakespeare's Handwriting: A Study. Clarendon Press (1916) page 55-56
Jump up ^ Munday, Anthony and others. Gabrieli, Vittoria. Melchiori, Giorgio, editors. Sir Thomas More. Manchester University Press (1990). ISBN 0 7190 1544 8. page 104-105.
Jump up ^ [14] Easton, Roger L. jr. “Spectral Imaging of Shakespeare’s Seventh Signature”. The Collation; a Gathering of Scholarship from the Folger Shakespeare Library. March 19, 2012.
Jump up ^ Dawson, Giles. "A Seventh Signature for Shakespeare." Shakespeare Quarterly 43 (Spring 1992): 72–79, p. 79.
Jump up ^ Knight, W. Nicholas. Shakespeare's Hidden Life: Shakespeare at the Law 1585-1595. New York: Mason & Lipscomb, 1973.
Jump up ^ Schoenbaum, Samuel. William Shakespeare: Records and Images. New York: Oxford University Press, 1981, p. 109.
Jump up ^ Wells, Stanley (2001). "Shakespeare's signatures" in Dobson, Michael, and Stanley Wells, eds. Oxford Companion to Shakespeare. Oxford Companions to Literature. Oxford University Press. pp. 431. ISBN 978-0-19-811735-3.
Jump up ^ Pappas, Stephanie. "Restored Scribble May Be Shakespeare's Signature". Live Science. TechMediaNetwork. 14 April 2012.
Jump up ^ Hopkins, Curt. “50-megapixel digital imaging system uncovers Shakespeare signature”. Ars Technica website. April 4, 2014.
Jump up ^ [15] Elze, Karl. William Shakespeare: A Literary Biography. Publisher: G. Bell & Sons. (1888) page 509
Jump up ^ [16] Jeaffreson, John Cordy. A Book of Recollections, Volume 2. Hurst and Blackett (1894) Page 227
Jump up ^ [17] Yeatman, J. Pym. Is William Shakespeare’s Will Holographic? Published by the author. (1901) page 12
Jump up ^ Hamilton, Charles. In Search of Shakespeare: A Reconnaissance Into the Poet's Life and Handwriting. Harcourt Brace Jovanovich (1985) ISBN 9780151445349
Jump up ^ Tannenbaum, Samuel A. Reclaiming One of Shakspere’s Signature. University of North Carolina Press (1925)
Jump up ^ Chambers, Edmund K. William Shakespeare: A study of Facts and Problems. Oxford: Clarendon Press. Volume 2, page 173 (1930)
Jump up ^ Sams, Eric. The Real Shakespeare; Retrieving the Early Years. Meridian. (1995) ISBN 0-300-07282-1 page 195.
Jump up ^ [18] Sams, Eric. "Handwriting in the British Library's Lansdowne MS 71” 14 April 1981
Jump up ^ [19] Hazlitt, William Carew. Shakespear, Himself and His Work: A Biographical Study. Published by B. Quaritch (1908) page 59. Location: Lansdown MS. 71 fol. 180
Jump up ^ [20] Printed by command of King George III. British Museum. Catalogue of the Lansdowne Manuscripts in the British Museum. (1819) page 136
Jump up ^ [21] Stopes, Charlotte Carmichael. The Life of Henry, Third Earl of Southampton: Shakespeare's Patron. The University Press (1922) Referencing: Lansdowne MS. LXXI. 72
Jump up ^ Greenblatt, Stephen. Will in the World. Pimlico. (2005) ISBN 0-7126-0098-1 page 228-229
Jump up ^ Hamilton, Charles. ‘’In Search of Shakespeare: A Reconnaissance Into the Poet's Life and Handwriting’’. Harcourt Brace Jovanovich (1985) ISBN 9780151445349 page 125
Jump up ^ Callaghan, Dympna. ‘’Who Was William Shakespeare: An Introduction to the Life and Works’’. John Wiley & Sons (2012) ISBN 9781118312278
Jump up ^ Schoenbaum, Samuel ‘’William Shakespeare: a Documentary Life’’. Oxford University Press (1975) page 241.
^ Jump up to: a b [22] Tannenbaum, Samuel, A. The Shakespeare Coat-of-Arms. The Tenny Press (1908) ISBN 978-0404063368
Jump up ^ [23] Tannenbaum, Samuel Aaron. The Shakespeare Coat-of-arms. The Tenny Press. (1908). page 19
Jump up ^ Furnivall, F. J. “On Shakespeare’s Signatures”. The Journal of the Society of Archivist and Autograph Collectors, No. 1. (1895).
Jump up ^ Lambert, D.H. Shakespeare Documents: Cartae Shakespeareanae (1904)
Jump up ^ Tucker, Stephen, editor. The Assignment of Arms to Shakespeare and Arden (1884)
Jump up ^ Hamilton, Charles. In Search of Shakespeare: A Reconnaissance Into the Poet's Life and Handwriting. Harcourt Brace Jovanovich (1985) ISBN 9780151445349 page 137
Jump up ^ Hamilton, Charles. In Search of Shakespeare: A Reconnaissance Into the Poet's Life and Handwriting. Harcourt Brace Jovanovich (1985) ISBN 9780151445349 page 144
^ Jump up to: a b [24] Sams, Eric. Shakespeare’s Edward III. Yale University Press. (1996) ISBN 9780300066265. page 192
Jump up ^ [25] Pollard, Alfred, editor. Shakespeare’s Hand in the Play of Sir Thomas More. Cambridge University Press (1923) page 117
Jump up ^ [26] Pollard, Alfred, editor. Shakespeare’s Hand in the Play of Sir Thomas More. Cambridge University Press (1923) page 117-118
Jump up ^ [27] Pollard, Alfred, editor. Shakespeare’s Hand in the Play of Sir Thomas More. Cambridge University Press (1923) page 115
Jump up ^ [28] Stewart, Doug. “To Be...Or Not: The Greatest Shakespeare Forgery” Smithsonian Magazine. June 2010.
Jump up ^ [29] Madden, Frederick. Observations on an autograph of Shakspere, and the orthography of his name. Oxford University (1838)
Jump up ^ Tannenbaum, Samuel A. “Reclaiming One of Shakspere’s Signatures” University of North Carolina Press (1925)
Jump up ^ Hamilton, Charles. In Search of Shakespeare: A Reconnaissance Into the Poet's Life and Handwriting. Harcourt Brace Jovanovich (1985) ISBN 9780151445349 page 243
Jump up ^ John Louis Haney, The Name of William Shakespeare, Egerton, 1906, pp. 27–30.
Jump up ^ F. E. Halliday, A Shakespeare Companion, 1550–1950, Funk & Wagnalls, New York, 1952 pp. 209, 424.
External links[edit]
"New Shakespeare Discoveries: Shakespeare as a Man among Men" by Charles William Wallace. Article at Google Books from the March 1910 issue of Harper's Magazine announcing the discovery of Shakespeare's deposition signature from the Bellott-Mountjoy suit.
Spectral Imaging of Shakespeare’s “Seventh Signature” from The Collation.
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Roses Are Red
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the poem. For other uses, see Roses Are Red (disambiguation) and Violets Are Blue (disambiguation).
"Sugar is sweet" redirects here. It is not to be confused with Sweet Sugar (disambiguation). For the song by the Party, see Sugar Is Sweet (song). For the song by C. J. Bolland, see Sugar Is Sweeter.
"Roses Are Red"
William Wallace Denslow's illustrations for "Roses are red", from a 1901 edition of Mother Goose
Nursery rhyme
Published
1784
"Roses Are Red" can refer to a specific poem, or a class of poems inspired by that poem. It has a Roud Folk Song Index number of 19798.[1] It is most commonly used as a love poem.
Contents
[hide]
1 Lyrics
2 Origins
3 Folklore
4 Notes
Lyrics[edit]
The most common modern form of the poem is:
Roses are red,
Violets are blue,
sugar is sweet,
And so are you.
Origins[edit]
The origins of the poem may be traced at least as far back as to the following lines written in 1590 by Sir Edmund Spenser from his epic The Faerie Queene (Book Three, Canto 6, Stanza 6):[2]
It was upon a Sommers shynie day,
When Titan faire his beames did display,
In a fresh fountaine, farre from all mens vew,
She bath'd her brest, the boyling heat t'allay;
She bath'd with roses red, and violets blew,
And all the sweetest flowres, that in the forrest grew.
A nursery rhyme significantly closer to the modern cliché Valentine's Day poem can be found in Gammer Gurton's Garland, a 1784 collection of English nursery rhymes:
The rose is red, the violet's blue,
The honey's sweet, and so are you.
Thou are my love and I am thine;
I drew thee to my Valentine:
The lot was cast and then I drew,
And Fortune said it shou'd be you.[3]
Victor Hugo was likely familiar with Spenser, but may not have known the English nursery rhyme when, in 1862, he published the novel Les Misérables. Hugo was a poet as well as a novelist, and within the text of the novel are many songs. One sung by the character Fantine contains this refrain, in the 1862 English translation:
We will buy very pretty things
A-walking through the faubourgs.
Violets are blue, roses are red,
Violets are blue, I love my loves.
The last two lines in the original French are:
Les bleuets sont bleus, les roses sont roses,
Les bleuets sont bleus, j'aime mes amours.
(Les Misérables, Fantine, Book Seven, Chapter Six)[4]
Folklore[edit]
Numerous satirical versions have long circulated in children's lore.[5] Among them:
Roses are red.
Violets are blue.
Onions stink.
And so do you.[6]
The Marx Brothers' film Horse Feathers has Chico Marx describing the symptoms of cirrhosis thus:
Cirrhosis are red,
so violets are blue,
so sugar is sweet,
so so are you.[7]
Benny Hill version:
Roses are yellow
Violets are bluish
If it weren't for Christmas
We'd all be Jewish[8]
Notes[edit]
Jump up ^ "Roud Folksong Index S299266 Roses are red, violets are blue". Vaughan Williams Memorial Library. English Folk Dance and Song Society. Retrieved May 20, 2016.
Jump up ^ The Faerie Queene, Cant. VI.
Jump up ^ I. Opie and P. Opie, The Oxford Dictionary of Nursery Rhymes (Oxford University Press, 1951, 2nd edn., 1997), p. 375.
Jump up ^ Les misérables, Tome I by Victor Hugo at Project Gutenberg
Jump up ^ S. J. Bronner, American Children’s Folklore (August House: 1988), p. 84.
Jump up ^ "Jill Still Playing Jacks And Hopscotch Endures", retrieved 17 September 2009.
Jump up ^ Horse feathers
Jump up ^ Lawrence Dorfman, Snark! The Herald Angels Sing: Sarcasm, Bitterness and the Holiday Season, Skyhorse Publishing, (2013),
[hide]
v
t
e
Nursery rhymes (list)
"A-Tisket, A-Tasket"
"Baa, Baa, Black Sheep"
"Did You Ever See a Lassie?"
"Happy Birthday to You"
"Hey Diddle Diddle"
"Hickory Dickory Dock"
"Hot Cross Buns"
"Humpty Dumpty"
"I'm a Little Teapot"
"It's Raining, It's Pouring"
"Jack and Jill"
"Little Bo Peep"
"Little Boy Blue"
"Little Jack Horner"
"Little Miss Muffet"
"Mary Had a Little Lamb"
"Mary, Mary, Quite Contrary"
"Old King Cole"
"Old MacDonald Had a Farm"
"Old Mother Hubbard"
"Old Woman Who Lived in a Shoe"
"Peter Piper"
"Polly Put the Kettle On"
"Poor Mary"
"Pop Goes the Weasel"
"Pussy Cat Pussy Cat"
"Rain Rain Go Away"
"Roses Are Red"
"Rub-a-dub-dub"
"Simple Simon"
"Sticks and Stones"
"The Grand Old Duke of York"
"The Queen of Hearts"
"Twinkle, Twinkle, Little Star"
Clapping
"A Sailor Went to Sea"
"Down Down Baby"
"Mary Mack"
"Miss Susie"
"Miss Lucy"
"Pat-a-cake"
"Pretty Little Dutch Girl"
"Pease Porridge Hot"
Counting
"Duck, duck, goose"
"Eeny, meeny, miny, moe"
"One, Two, Buckle My Shoe"
"One, Two, Three, Four, Five"
"This Old Man"
"Tinker, Tailor"
Finger-
plays
"Five Little Monkeys"
"Five Little Ducks"
"Five Little Speckled Frogs"
"Itsy Bitsy Spider"
"Little Robin Redbreast"
"Round and Round the Garden"
"This Little Piggy"
"Two Little Dickie Birds"
Games
"London Bridge"
"The Muffin Man"
"Mulberry Bush"
"Oranges and Lemons"
"Ring a Ring o' Roses"
"The Farmer in the Dell"
Riddle
"As I was going to St Ives"
Lullabies
"Hush, Little Baby"
"Rock-a-bye Baby"
Rounds
"Ding Dong Bell"
"Frère Jacques"
"Kookaburra"
"Row, Row, Row Your Boat"
"Scotland's Burning"
"Three Blind Mice"
Retrieved from "https://en.wikipedia.org/w/index.php?title=Roses_Are_Red&oldid=825779437"
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This page was last edited on 15 February 2018, at 10:45.
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