1 00:00:12,100 --> 00:00:15,840 Okay. Welcome back, everyone. 2 00:00:16,500 --> 00:00:26,340 And it gives me enormous pleasure, firstly, to be here in a space where we held English Parliament during the Civil War. 3 00:00:28,530 --> 00:00:35,220 That gives me an opportunity to say Hail the King, who in this instance is more aggressive to grant it. 4 00:00:37,370 --> 00:00:44,210 I'm very, very delighted and honoured to be introducing Margaret to her book Shakespeare Verbatim. 5 00:00:45,110 --> 00:00:51,590 Her first book really shaped quite a lot of the Malone studies that we've been talking about today. 6 00:00:51,860 --> 00:00:57,530 And in particular, she created the Good and the Bad Malone or reflected them. 7 00:00:57,530 --> 00:01:02,720 And I think we've been jostling with those two. Malone throughout today. 8 00:01:04,220 --> 00:01:08,360 Her second book, Hamlet Without Hamlet, won many awards. 9 00:01:09,800 --> 00:01:17,420 And not only has she also edited a number of important collections, but she's also in the middle at present of two book projects. 10 00:01:17,780 --> 00:01:24,060 One is five Shakespearean period pieces, and one is Shakespeare Without a Life. 11 00:01:24,080 --> 00:01:31,430 So she's being highly, highly productive in all sorts of different areas, which has typified her work. 12 00:01:31,820 --> 00:01:43,820 So I'm very, very delighted to introduce her and I'm fascinated to hear what lines she will now take on this complicated character. 13 00:01:44,300 --> 00:01:56,160 So, Margaret, it. Well. 14 00:01:56,910 --> 00:02:02,250 Many thanks. First to David Carsten of great regret to us all that is not here. 15 00:02:02,640 --> 00:02:08,730 It was so brilliant to collaborate with Catherine and Alexander on this particular topic. 16 00:02:09,360 --> 00:02:11,070 He was at the heart of it from the beginning. 17 00:02:11,100 --> 00:02:18,360 David is also someone who has sent good things my way and to the way of many, many, many others over his career. 18 00:02:19,560 --> 00:02:22,139 And in this instance, I wasn't so sure. 19 00:02:22,140 --> 00:02:30,000 I was so happy with the invitation, because the last thing in the world I wanted to do was to go back where my career began with him alone. 20 00:02:30,810 --> 00:02:38,550 But the marginal aspect of it intrigued me, since I never worked with Malone's manuscripts before. 21 00:02:39,270 --> 00:02:45,570 I was into my book was entirely based on the printed textual situation. 22 00:02:46,110 --> 00:02:48,600 So this has been a wonderful opportunity for me. 23 00:02:49,110 --> 00:02:57,870 I also have to give a special acknowledgement to the editor of the new John Aubrey Brief Lives, and that is Kate Bennett. 24 00:02:58,260 --> 00:03:04,580 And I am so admiring of this book that I actually lugged it here so that you can see it. 25 00:03:04,590 --> 00:03:09,590 But this is a phenomenal addition. I'm in awe of it. 26 00:03:09,600 --> 00:03:17,460 I'm in awe of the sheer genius of it, but also the extraordinary labour that went into it. 27 00:03:18,840 --> 00:03:23,399 And it's not only that I was very lucky. This came out in March. 28 00:03:23,400 --> 00:03:26,940 Toward the end of March, I knew more or less what I wanted to work on. 29 00:03:27,450 --> 00:03:34,980 But what I ended up doing would have been not only impossible, but unthinkable without this extraordinary resource. 30 00:03:35,010 --> 00:03:38,580 Kate Bennett is here, but I want her to know I would have said that even if she hadn't been. 31 00:03:40,860 --> 00:03:53,140 Okay. This is a sampling of the ciphers Malone used when preparing an edition of John Aubrey's Manuscripts of Brief Lives. 32 00:03:54,400 --> 00:03:58,930 And this was just after the publication of a 1790 edition of Shakespeare. 33 00:03:59,650 --> 00:04:04,150 On the Recto page he described Aubrey's text on the Verso. 34 00:04:04,150 --> 00:04:10,930 He annotated it. The edition was never printed, but if it had been those ciphers, 35 00:04:10,930 --> 00:04:19,570 these ciphers would undoubtedly have been converted to conventional superscript numbers or perhaps letters ordered sequentially. 36 00:04:20,320 --> 00:04:27,190 Why such a scramble of irregular and unsystematic ciphers in preparation for print, 37 00:04:28,060 --> 00:04:35,800 especially in the hand of Malone, the editor largely acclaimed for his rationalisation of the Shakespearean text. 38 00:04:40,280 --> 00:04:49,520 When sitting down to the perusal of any work, either ancient or modern, Malone's attention was drawn to its chronology. 39 00:04:50,400 --> 00:04:53,240 There are overlaps of my paper with Tiffany's. 40 00:04:53,250 --> 00:05:02,070 One of the things that I'm going to have a hard time resisting and going through this paper is making links with papers that have already been given. 41 00:05:02,100 --> 00:05:05,700 It's inevitable. It's been so interesting to hear the papers before me. 42 00:05:06,210 --> 00:05:11,340 So that's a comment that I just read sitting down to the perusal of any work. 43 00:05:12,120 --> 00:05:22,589 Malone's attention was drawn to its chronology. That's James Boswell junior observation in his biographical memoir of the late Edmund Malone as the 44 00:05:22,590 --> 00:05:27,900 younger friend and collaborator who completed the 1821 edition Malone worked on until his death. 45 00:05:28,290 --> 00:05:37,980 Boswell knew Malone's working habits well, and it is the primacy Malone accords to chronology that is the focus of my lecture, 46 00:05:38,520 --> 00:05:45,780 the necessity to found his biographical and editorial work on a dating a dated sequencing. 47 00:05:46,920 --> 00:05:52,410 But I will end as I began by raising the question of why an editor committed to chronology, 48 00:05:52,620 --> 00:06:01,170 to the numerical ordering of events and time should be using glyphs that have no sequential relation whatsoever. 49 00:06:01,650 --> 00:06:05,250 And clearly, I've called this from his manuscript. 50 00:06:05,520 --> 00:06:10,790 There's scattered over a number of pages, but they're ubiquitous. 51 00:06:10,830 --> 00:06:13,990 They're the only kind he uses in the first part. 52 00:06:14,850 --> 00:06:30,989 He has no letters, no numbers whatsoever. Malone's attention to chronology first surfaced when insisting the other Boswell James 53 00:06:30,990 --> 00:06:35,970 Boswell senior in writing The Great Broke Brick groundbreaking work life of Johnson. 54 00:06:36,510 --> 00:06:40,830 According to Peter Morton, Malone was the midwife to that biography, 55 00:06:41,190 --> 00:06:45,790 and Boswell describes how he read the manuscript to Malone and benefited from his remarks. 56 00:06:45,810 --> 00:06:49,650 He corrected Have the proof sheets and he annotated later editions. 57 00:06:49,950 --> 00:06:57,870 But Malone's important contribution, most important contribution might have been before Boswell put pen to paper. 58 00:06:59,070 --> 00:07:04,080 Uncertain how to organise the vast quantity of materials he amassed. 59 00:07:04,500 --> 00:07:09,000 Boswell turned to Malone for advice. And this was Malone's advice. 60 00:07:09,030 --> 00:07:12,870 Make a skeleton with references to the materials in the order of time. 61 00:07:13,530 --> 00:07:21,690 And so he did. Boswell had the distinct advantage of having Johnson's diary for the final 20 years of his life. 62 00:07:22,380 --> 00:07:26,230 But even that was not enough, said Boswell. 63 00:07:26,250 --> 00:07:31,380 I have sometimes been obliged to run half over London in order to fix a date correctly. 64 00:07:32,070 --> 00:07:38,430 The result biography was one that conformed to the chronological series of Johnson's life, 65 00:07:38,670 --> 00:07:44,850 which I said Boswell traced as distinctly as I could year by year. 66 00:07:45,840 --> 00:07:52,500 Johnson's works, as well as the events of his life, were put in the same order, and also with Malone's assistance, 67 00:07:52,680 --> 00:08:00,660 who extracted dates of first publications from notices and periodicals and then listed them in that chronological skeleton. 68 00:08:02,060 --> 00:08:10,340 Malone put his own chronological principle into practice when preparing editions of the Life and writings of both Pope and Dryden. 69 00:08:11,720 --> 00:08:22,910 Here in this library is a folded sheet chronological order of Pope's works, and you open it and you see, oh, I don't know. 70 00:08:22,910 --> 00:08:29,090 I'm sorry about that lighting. Alexander Pope, born at London, May 21st, 1618. 71 00:08:29,090 --> 00:08:33,840 Then the chronological list that is continued on the next pages. 72 00:08:34,070 --> 00:08:39,050 So you see him preparing for his edition that he never got very far with. 73 00:08:39,230 --> 00:08:43,580 But he did begin with a chronology, and I think this must have preceded it. 74 00:08:44,150 --> 00:08:48,980 This must be the bad copy because he's reordering with numbers. 75 00:08:49,250 --> 00:08:51,480 Some of the dating on the sheet. 76 00:08:53,720 --> 00:09:05,840 So Malone's aim was to replace William Burton's 1751 edition, an edition that scrupulously followed Malone's specifications in his will. 77 00:09:06,110 --> 00:09:10,010 None of which concerned the chronological ordering of his works. 78 00:09:11,470 --> 00:09:16,780 Malone does, however, complete, and publish his edition of The Life and Writings of Dryden, 79 00:09:17,110 --> 00:09:23,500 where in the preface he explains that he has deviated from chronological order only when strictly necessary, 80 00:09:23,770 --> 00:09:31,569 extending and tabulating technology of plays furnished by Dryden himself and then taking the next step. 81 00:09:31,570 --> 00:09:35,440 And I think this was before Shakespeare's life received periods. 82 00:09:35,440 --> 00:09:44,150 But Malone's malone gives four periods to Dryden's life, as well as working out the chronology as very often. 83 00:09:44,170 --> 00:09:49,060 Almost always. Malone takes inspiration from the errors of his predecessors. 84 00:09:49,570 --> 00:09:59,350 Johnson, in his life of Dryden, in his lives of eminent poets, had loosely ordered his lives from the time of poets deaths rather than births, 85 00:09:59,770 --> 00:10:04,720 and preferred to give the latest date of a given work rather than the earliest. 86 00:10:05,050 --> 00:10:10,510 In addition, unlike Malone himself, Johnson was says Malone, 87 00:10:10,510 --> 00:10:19,210 generally careless of dates because disinclined to examine ancient registers offices of record and those speakers of literature, 88 00:10:19,450 --> 00:10:21,610 public repositories of manuscripts. 89 00:10:21,970 --> 00:10:32,260 And therefore, says Malone of Johnson, he was under the necessity of trusting much to his own retentive but still fallible memory. 90 00:10:33,280 --> 00:10:36,339 Malone also writes a biography of Joshua Reynolds, 91 00:10:36,340 --> 00:10:42,579 his close friend and the painter of the fine portrait that Yvonne had mischievously 92 00:10:42,580 --> 00:10:50,049 placed at the heading of his lecture with all of Reynolds papers in his possession. 93 00:10:50,050 --> 00:10:54,580 And he was a great friend. He was able to track not only the progress of his life, 94 00:10:54,580 --> 00:11:01,180 but also his steadily rising reputation as reflected in the increasing prices commanded by his paintings. 95 00:11:01,660 --> 00:11:09,520 From 12 guineas, a portrait or a head in 1755 to 20, in 1762, 25 and 1772. 96 00:11:09,520 --> 00:11:13,480 A hefty 50 at his retirement in 1781. 97 00:11:15,010 --> 00:11:18,219 Of course, Malone is celebrated among us anyway, 98 00:11:18,220 --> 00:11:24,310 less for his attention to the life and writings of Johnson, Polk, Dryden and Reynolds than to Shakespeare. 99 00:11:25,330 --> 00:11:30,640 And some of this again emphasises his interest in chronology, as Tiffany did. 100 00:11:30,850 --> 00:11:38,570 I also want to emphasise how novel that particular aspect of his apparatus is. 101 00:11:38,770 --> 00:11:42,159 His first scholarly contribution to Shakespeare studies was an attempt to 102 00:11:42,160 --> 00:11:45,280 ascertain the order in which the plays attributed to Shakespeare were written, 103 00:11:46,090 --> 00:11:53,730 and he revised it. Up until his death in 1812 and left Boswell's the instruction to print the plays in that order. 104 00:11:53,740 --> 00:12:00,760 So it wasn't only that he organised them in that order, he also wanted them reproduced and encountered in that order. 105 00:12:01,060 --> 00:12:09,490 And Boswell does so. But interestingly enough, he won't do it for the history plays because it means putting the kings in the wrong regional order. 106 00:12:09,640 --> 00:12:14,950 So it's this wonderful conflict. What's more important? A story or composition or the kings of England? 107 00:12:15,940 --> 00:12:25,540 Boswell thought the latter. All right. So his in the same way that he focuses on chronology and the. 108 00:12:28,110 --> 00:12:31,890 Of the players, she also began. 109 00:12:34,130 --> 00:12:41,600 And worked on until his death, his life of William Shakespeare proposed in 1790 and unfinished at his death. 110 00:12:42,530 --> 00:12:45,559 Malone introduced both projects as novelties. 111 00:12:45,560 --> 00:12:51,650 The chronology was a new and curious inquiry, and the biography an entirely new life of Shakespeare, 112 00:12:52,070 --> 00:12:56,570 pre Malone and biographical notices of Shakespeare have no dates at all. 113 00:12:56,810 --> 00:13:06,140 All the familiar anecdotes deer stealing stop off, sit Devon on Staten Retirement to Stratford etc. have no dates as Malone was quick to complain. 114 00:13:06,350 --> 00:13:19,400 Nothing is more wanting in the traditional details than dates Fuller and Winstanley, who the latter work so closely in correspondence with the former. 115 00:13:19,940 --> 00:13:23,990 They begin to give all they can do in by way of giving. 116 00:13:24,260 --> 00:13:34,280 The date of Shakespeare's death is one six and they leave the last two digits open and in the early listings of the canon. 117 00:13:34,790 --> 00:13:44,390 So it's not only that the anecdotes are not dated or the biographies are not chronological, but also the earliest listings of the canon. 118 00:13:44,960 --> 00:13:49,190 So long Bain and Gilden give his plays, but arrange them alphabetically. 119 00:13:50,000 --> 00:13:55,040 Thomas Wharton's history of English poetry that wasn't completed until 1781, 120 00:13:55,340 --> 00:14:01,459 claims to be the first written in a chronological series so that he can illustrate the gradual 121 00:14:01,460 --> 00:14:08,210 development of progress of our national poetry from 11th century barbarism to 18th century civility. 122 00:14:08,220 --> 00:14:15,080 But that's what I'm stressing the novelty of using chronology for literary history, not just for Malone, but in general. 123 00:14:16,370 --> 00:14:24,379 Now at last, Aubrey's brief lives chronologically minded about his own activities. 124 00:14:24,380 --> 00:14:34,490 Malone records the date 10th July 1792, when he resolved to transcribe and publish Aubrey at some future time. 125 00:14:36,230 --> 00:14:40,650 And he also inscribed the date when he, in fact, began to do so. 126 00:14:40,670 --> 00:14:48,950 I began on this day to transcribe the manuscript of Lives of Celebrated Men, written by John Aubrey, September 16th, 1792. 127 00:14:49,550 --> 00:14:53,900 We don't know when, if ever, Malone gave up on the edition, 128 00:14:54,260 --> 00:15:03,049 though he seems to have held on to the manuscript quite literally until at least 1797, when a pamphlet was published. 129 00:15:03,050 --> 00:15:06,470 Complaining, and this is an echo of papers heard earlier, 130 00:15:06,740 --> 00:15:12,799 complaining that the keeper of the Ashmolean had granted him the almost unknown indulgence of having the 131 00:15:12,800 --> 00:15:19,430 manuscript removed to his house from the museum for his greater convenience and copying and transcribing, 132 00:15:20,210 --> 00:15:26,240 reserving it for his exclusive use. It was claimed until he finished his own edition. 133 00:15:27,170 --> 00:15:31,880 This would have been quite a long spell, especially as was claimed. 134 00:15:32,480 --> 00:15:39,320 He, if he intended to put Aubrey's lies forth to the world on the same scale as his last edition of Shakespeare. 135 00:15:39,320 --> 00:15:41,630 That's the 1790 edition of Shakespeare. 136 00:15:42,290 --> 00:15:51,830 On the one hand, Aubrey's manuscripts were Shakespeare, editor's dream, a manuscript or manuscripts uncontaminated by printers and editors. 137 00:15:52,370 --> 00:15:54,590 But it was also an editors nightmare. 138 00:15:54,650 --> 00:16:02,930 They consisted the manuscripts of three separate bundles of pages in disparate sizes, from folio to little slips and scraps, 139 00:16:03,590 --> 00:16:09,740 both stitched together and interleaved, mainly written, often scribbled, but also sketched. 140 00:16:09,770 --> 00:16:14,210 There are drawings of our memorial crests, horoscopes, tombs, gardens and coloureds. 141 00:16:15,170 --> 00:16:24,590 Mainly they are not. They seem to be coloured by Aubrey, but there is much of what the manuscripts contain are from other authors, 142 00:16:24,590 --> 00:16:30,410 especially correspondence, collections of letters of autographs, epitaphs and so on. 143 00:16:31,010 --> 00:16:36,920 Marginal scribbling encroaches going every which way in the text proper on most pages. 144 00:16:37,580 --> 00:16:44,450 Sometimes the marginal notes are intended for incorporation into the text, sometimes cross-referencing other works. 145 00:16:45,140 --> 00:16:48,680 Here you also have a great deal of into linear writing deleted lines, 146 00:16:48,920 --> 00:16:54,830 blank spaces intended to be filled in the future by a future reader, by Aubrey himself. 147 00:16:55,040 --> 00:17:01,850 We don't know and notes to also seek out another source, another informant in his project. 148 00:17:02,540 --> 00:17:08,270 The heterogeneity of the whole seems too designed to resist reproduction in uniform print. 149 00:17:08,840 --> 00:17:16,730 Kate Bennett suggests that the manuscripts might better be classified not as a book, but as paper museum. 150 00:17:17,420 --> 00:17:24,499 Before Malone, nine of the lives appeared in a lavishly printed volume called the Oxford Cabinet, 151 00:17:24,500 --> 00:17:30,320 which seems like a nice reflection of what's contained in the manuscripts. 152 00:17:30,500 --> 00:17:37,790 And in fact, the manuscript was housed in a cabinet in the ashmolean before Malone took it home with him, 153 00:17:38,600 --> 00:17:46,309 Aubrey maintained that the fact he had not made a fair copy of the lives meant that the manuscript survived in Paris, 154 00:17:46,310 --> 00:17:53,330 not turbulence in their true colours, he translates, which he said pleases an antiquarian. 155 00:17:54,290 --> 00:18:02,059 Safekeeping is important to him, rather than circulation authored by many put to paper over a protracted period of time, 156 00:18:02,060 --> 00:18:05,240 about 40 years, generically miscellaneous and never finished. 157 00:18:05,600 --> 00:18:13,370 It posed a daunting editorial challenge how to marshal so much disparate and undigested stuff into a printed book. 158 00:18:13,760 --> 00:18:17,270 And hats off to Malone for attempting it. 159 00:18:17,720 --> 00:18:24,470 It's an extraordinary dare to the editor to editorial, imagination and Skills. 160 00:18:25,430 --> 00:18:27,470 Though he never publishes his edition. 161 00:18:27,710 --> 00:18:39,380 Malone does transcribe a total of 130 lives in his mainly steadily uniform script, and he annotated them on the opposite page. 162 00:18:41,830 --> 00:18:45,130 Keying his notes with the ciphers with which I began. 163 00:18:46,270 --> 00:18:53,389 He titles the addition and apparatus for the lives of the most eminent English poets and other celebrated persons. 164 00:18:53,390 --> 00:18:58,300 So poets primarily, but other celebrated persons get cast into the second volume. 165 00:18:58,600 --> 00:19:01,210 That's his ordering and not Aubrey's. 166 00:19:01,540 --> 00:19:08,120 The first part contains the lives of the poets, and the second the lives of prose writers and other celebrated persons. 167 00:19:08,380 --> 00:19:15,130 He began, as we would expect with a chronological line-up for each part of Aubrey's manuscript, 168 00:19:16,540 --> 00:19:20,709 and his transcript of Aubrey is in chronological order. 169 00:19:20,710 --> 00:19:27,220 And one thing you can say for sure about that manuscript is that it is in nothing remotely resembling chronological order. 170 00:19:27,820 --> 00:19:33,850 He introduces a table of contents for each of the two sections, listing the lives in chronological order, 171 00:19:34,510 --> 00:19:37,780 and it is that order in which he transcribed them in his notebooks. 172 00:19:38,230 --> 00:19:41,830 So a rational through line runs through each of the two parts. 173 00:19:42,400 --> 00:19:46,120 The poets. Here's the first one. The first table of contents. 174 00:19:46,360 --> 00:19:50,829 And you can see that the poets range from Chaucer. Well, you'll have to take my word for it. 175 00:19:50,830 --> 00:20:01,090 I'm sorry. We're not in the other room. From Chaucer and Gower to Milton and Waller and all of the others are properly ordered in time. 176 00:20:01,360 --> 00:20:05,500 And then we have the second part of his transcription. 177 00:20:06,310 --> 00:20:11,350 And these are all of the other celebrated persons who were not poets. 178 00:20:12,010 --> 00:20:18,129 And these ranged from Roger Bacon and Erasmus to John Wilkins and Isaac Barrow, 179 00:20:18,130 --> 00:20:21,670 who were contemporaries of all Greeks and members of the Royal Society. 180 00:20:22,960 --> 00:20:32,860 There is a bit of an anomaly, which I do not understand, but I will admit to this continues the table of contents, as you can see by the page numbers. 181 00:20:33,310 --> 00:20:39,640 But these are all 16th century figures and I don't know if he intended to put them in and didn't, 182 00:20:39,970 --> 00:20:44,740 but in any case, they're isolated from the otherwise perfect chronological tables. 183 00:20:44,950 --> 00:20:51,820 You also see his tally there. So he's done 68 poets, 62 others. 184 00:20:52,060 --> 00:21:02,770 And then that 44 for a grand total of 74 refers to another volume of Aubrey that Malan worked on but did not transcribe. 185 00:21:02,770 --> 00:21:12,250 And this was a volume. This is another one of these antagonisms among textualist between Aubrey and Anthony Wood. 186 00:21:12,820 --> 00:21:19,960 But they collaborated very, very thickly for many years, had a great falling out toward the end at its basis. 187 00:21:20,350 --> 00:21:27,260 Is that. Aubry lent wood or gave him a mirror exchanging materials all the time. 188 00:21:27,620 --> 00:21:34,459 His volumes. And there was one that he didn't return. And when he finally returned, 44 pages were missing. 189 00:21:34,460 --> 00:21:38,420 And I think Malone is assuming that they're 45, 44 lives there. 190 00:21:39,590 --> 00:21:45,530 In any case, that's a long explanation, but it refers to matter later, so not irrelevant. 191 00:21:45,770 --> 00:21:53,239 Hmm. We do not know much about the order in which Aubrey had dispositive the manuscript. 192 00:21:53,240 --> 00:21:57,770 And as in the ashmolean in 1693, a century before Malone. 193 00:21:58,310 --> 00:22:05,390 The manuscript was in three parts. All three, it seems, were once stitched up, though also interleaved with loose sheets. 194 00:22:05,780 --> 00:22:14,089 Aubrey, however, explains that one part had been un stitched before being deposited in the ashmolean by his sometime fellow, 195 00:22:14,090 --> 00:22:19,970 an antiquarian and collaborator, Antony Wood. It was stitched up when I sent it to him. 196 00:22:20,450 --> 00:22:28,430 Wood had removed 44 pages as Aubrey charged and Malone repeated at least three times in the course of his transcript. 197 00:22:29,600 --> 00:22:33,530 And this is a quality of Malone's that he is redressing wrong. 198 00:22:33,530 --> 00:22:41,629 He is correcting error. It's a great stimulant to him and a great generator of additional information. 199 00:22:41,630 --> 00:22:52,790 But it so often is announced in the form of making right correcting, and he seems to excel at that. 200 00:22:54,020 --> 00:22:58,310 He also would remove the index for the second volume, 201 00:22:58,580 --> 00:23:06,410 though its survival would not have helped much either about the contents of the volume or the order of the contents, 202 00:23:06,740 --> 00:23:10,340 at least if Aubrey's remaining indices are any indication. 203 00:23:10,580 --> 00:23:17,210 Not all lives in the manuscript are in the indices, and many that are in the indices are not in the manuscript. 204 00:23:17,480 --> 00:23:24,230 Either they were written elsewhere or they're yet to be written either by Aubrey or by somebody else. 205 00:23:25,130 --> 00:23:32,540 Presently in the paper there, presently in the order in which they were bound and Paginated by the Bodleian around 1860. 206 00:23:33,290 --> 00:23:39,170 This is not to say, though, that Aubrey does, though Aubrey does say this, 207 00:23:39,380 --> 00:23:48,260 that his lives have been put in writing tumultuous early as they occurred to my thoughts or as occasionally I had information of them. 208 00:23:48,770 --> 00:23:55,910 There are hints of some organisational principle or principles, I should say, in the making. 209 00:23:56,420 --> 00:24:00,860 There is a cluster of poets that is more or less regular, 210 00:24:00,860 --> 00:24:09,679 although there are also outliers and most of them are noted with Laurel reads in the margin and they're never in chronological order. 211 00:24:09,680 --> 00:24:13,760 So the most famous run is Dryden's Shakespeare, Jonson. 212 00:24:14,510 --> 00:24:23,360 There are also a few genealogical clusters and some ordering principle, and this is just sheer guess on my part. 213 00:24:23,660 --> 00:24:30,580 Or memorial crests are given for most of the subjects of brief lives, but only some of them are coloured. 214 00:24:31,940 --> 00:24:36,950 In the manuscript, the others are just love sketches. But some Aubrey colours in. 215 00:24:37,190 --> 00:24:41,270 And of the ten, at least the ten that I counted that are coloured. 216 00:24:41,480 --> 00:24:43,520 Eight of them are mathematicians. 217 00:24:44,090 --> 00:24:55,430 And one of this many things that Kate Bennett's edition does is stress Aubrey's interest in and mathematicians and in mathematics more generally, 218 00:24:56,090 --> 00:25:05,870 in mathematics being that discipline that reaches out into so many areas in this period of the in the middle of the 17th century in the Royal Society. 219 00:25:07,110 --> 00:25:13,290 All right. Malone, though, has no interest in seeking out such groupings or proto groupings. 220 00:25:13,530 --> 00:25:19,980 Indeed, he overrides Aubrey's most explicit instruction for the ordering of the lives, 221 00:25:20,250 --> 00:25:24,270 noting in the margin of his life of the mathematician John Pell. 222 00:25:24,660 --> 00:25:26,660 And this is an instance of Malone, 223 00:25:26,670 --> 00:25:36,299 I guess it was it was you who said something about how Malone always signals any kind of a any kind of a modification that he's making in the text. 224 00:25:36,300 --> 00:25:45,030 And he does do that here. He says that John Pell, the mathematician, had written excuse me, that in the life of John Pell, 225 00:25:45,060 --> 00:25:49,410 Aubrey had written, I would have the lives of John D, Sir Henry Billingsley. 226 00:25:49,410 --> 00:25:59,970 The two digs, father and son, Mr. Briggs and Dr. Pell be put together, but Malone sticks fast to what for him is a higher rule. 227 00:26:00,900 --> 00:26:12,840 Writing this division I could not comply with, as it would have interfered with the Chrono chronological arrangement I have endeavoured to preserve, 228 00:26:13,590 --> 00:26:19,649 and I think that would preserve is rather interesting because I think he meant observe instead of preserved. 229 00:26:19,650 --> 00:26:22,590 There's no chronological order in the brief lives to preserve. 230 00:26:23,190 --> 00:26:29,370 Impose in this instance would have been more accurate before that order could be imposed. 231 00:26:29,370 --> 00:26:36,509 Malone had to have established the termini of the lives many of Malone's annotations supply or correct Aubrey's dates, 232 00:26:36,510 --> 00:26:41,969 particularly birth dates and death dates. He supplies dates Malone does for Francis Beaumont. 233 00:26:41,970 --> 00:26:44,550 These are dates missing in Aubrey and his accounts. 234 00:26:44,880 --> 00:26:49,740 Mary, Countess of Pembroke, Sir Thomas Overbury, John Sackville, Catherine Phillips and numerous others. 235 00:26:50,220 --> 00:26:59,780 In a few cases, when Aubrey had left a blank or dotted line, Malone inserts the date into the text proper in John's settings entry. 236 00:26:59,790 --> 00:27:08,400 Aubrey writes, He was born. TalkTalk malone fills it in first with 1613, then he crosses it out and inserts in the year 1609. 237 00:27:08,670 --> 00:27:12,990 This date I have supplied from the register of the Parish of Twickenham. 238 00:27:13,500 --> 00:27:17,720 Aubrey had calculated that Suckling was 28 when he died. 239 00:27:17,730 --> 00:27:24,389 This, however, was a mistake. Aubrey had calculated this, however, was a mistake. 240 00:27:24,390 --> 00:27:32,460 And Malone Corexit from the same registry. In the Erasmus entry, Malone lists the birth date out of his manuscript horoscope. 241 00:27:33,000 --> 00:27:38,130 There it is. So he takes it out of the horoscope and puts it into into the page itself. 242 00:27:38,490 --> 00:27:51,750 He was born at Rotterdam and 14 October 27th, 1467, in William Uptrends account, he again corrects Aubrey, who records his age at death at 88 years. 243 00:27:51,750 --> 00:27:55,020 In our days, this is a mistake of computation. 244 00:27:55,230 --> 00:28:03,150 And he does the math and decides that he couldn't have he couldn't have been more than 85 complete and consequently into his 86th year. 245 00:28:03,840 --> 00:28:07,530 Aubrey leaves blank the final digit of John Cleaves on Death Day. 246 00:28:08,640 --> 00:28:14,460 Malone fills it in and also corrects what Aubrey said was the day of his death. 247 00:28:14,790 --> 00:28:19,170 This is a mistake. He didn't die of palsy, but of intermittent fever. 248 00:28:19,860 --> 00:28:25,620 Malone is particularly proud of having ascertained the previously undiscovered date of Aubrey's own death. 249 00:28:25,890 --> 00:28:36,450 Again, a correction since he was supposed to have. Deva is supposed to have died in 1700, but Malone determines otherwise. 250 00:28:36,450 --> 00:28:45,179 She records. I on this day, however, found that he was buried in St Martin's church or churchyard on June seven, 1697. 251 00:28:45,180 --> 00:28:50,760 He also dates the date of his discovery of that fact July 18, 1792. 252 00:28:51,330 --> 00:29:00,180 Now this is rather speculative, and I do dare anyone not dare invite really anyone to disprove what I'm about to say. 253 00:29:00,180 --> 00:29:08,370 In this next paragraph. We are accustomed to seeing birthdates and death dates after a name so accustomed that we tend not to appreciate 254 00:29:08,370 --> 00:29:16,769 the difficulty of establishing those Germany in earlier periods only after Thomas Cromwell's edict of 1538. 255 00:29:16,770 --> 00:29:21,420 And I owe this knowledge to Adam Smith's wonderful book, An Autobiography. 256 00:29:21,690 --> 00:29:30,810 Only after that were parish registers required to record the dates of baptism and burial and not undoable paper until 1558. 257 00:29:31,050 --> 00:29:36,690 Even with access to a registry, a subject may have not died in the same parish in which he was born, 258 00:29:37,080 --> 00:29:41,310 or if they had, the two dates would have been separated by many pages. 259 00:29:41,790 --> 00:29:49,890 Funeral monuments and epitaphs give only the date of the deceased death or burial hic yaka obit and so on. 260 00:29:50,280 --> 00:29:53,490 Or the age or a tortoise at the time of death. 261 00:29:54,030 --> 00:30:02,519 Obviously, I don't even know what it would mean to do the research it would take to establish this that it's hard to determine date of birth, 262 00:30:02,520 --> 00:30:06,600 date of death in this early period. I will say that I did look. 263 00:30:06,700 --> 00:30:13,900 John Weaver's 1000 inscriptions, and there were none on them that had the date of birth and the date of death. 264 00:30:14,230 --> 00:30:18,220 It's the burial and the death that counts, and the birth date is not there. 265 00:30:18,940 --> 00:30:27,370 Even in Malone's time, the biographical abridgement of two endpoints spanned by a dash is something of a novelty. 266 00:30:28,620 --> 00:30:32,370 Now this you won't be able to see very well. But I'll tell you what it is. 267 00:30:33,150 --> 00:30:39,620 This is called a chart of biography, and it was published in England, in London in 1765. 268 00:30:39,630 --> 00:30:45,210 It's a coloured etching on two broadsheets that are about that size, in fact. 269 00:30:46,830 --> 00:30:49,979 The chart consists of. You have to take my word for it. 270 00:30:49,980 --> 00:30:54,660 Although the device's word for it it consists of 2000 lines, 271 00:30:54,960 --> 00:31:03,230 one for each eminent person from 12,000 B.C. to the time of the charts making in A.D. 1765. 272 00:31:03,240 --> 00:31:11,639 So those little lines, brief lives, indeed, of eminent persons in that extraordinary range of time, according to Antony. 273 00:31:11,640 --> 00:31:15,750 Graphed in the timelines on this chart are the first to be printed in England. 274 00:31:16,320 --> 00:31:20,459 This, I would like to emphasise, is not a technical innovation. 275 00:31:20,460 --> 00:31:25,080 Nothing new about etching straight lines, but it's a conceptual one. 276 00:31:25,320 --> 00:31:35,610 An accompanying pamphlet to this chart explains how duration and time can be represented by extension in space. 277 00:31:36,210 --> 00:31:46,080 Malone might have seen this chart, he and the charts divisor Joseph Priestley moved in similar intellectual circles that included Jonson, 278 00:31:46,080 --> 00:31:51,719 Edward Gibbon and especially Edmund Burke. But it doesn't matter if he didn't see it. 279 00:31:51,720 --> 00:32:01,260 He's clearly thinking along the same lines. The lives along the side there are grouped in six different categories. 280 00:32:03,240 --> 00:32:09,719 This is the one that is of most interest to us and to Aubrey are artists and poets. 281 00:32:09,720 --> 00:32:17,820 I shouldn't say to Aubrey because actually Aubrey would be more interested in the classification of mathematicians and physicians. 282 00:32:17,820 --> 00:32:23,460 They're paired together in this chart. And then there's another one, Antiquarians and historians. 283 00:32:24,090 --> 00:32:34,860 There is a bit of overlap between the charts eminent persons in 1765 and Aubrey's, and I'll have examples of those momentarily. 284 00:32:35,190 --> 00:32:43,200 Now on this chart, each line is a little a literal biograph, a graph or drawing of a bios or life, 285 00:32:43,560 --> 00:32:52,379 and each Biograph requires dated termini to be set when you see the dots as you do before dead centre. 286 00:32:52,380 --> 00:33:00,450 Inigo Jones and also Spenser those dots they come before or after the line indicate that the date is not unknown. 287 00:33:02,070 --> 00:33:09,840 Okay. So the time and duration of a lifetime can be determined by aligning. 288 00:33:09,840 --> 00:33:17,010 And you need some rules for this by aligning a bio graphs to endpoints with the dated gradient. 289 00:33:18,370 --> 00:33:25,150 That is at the top of the chart. And what you have at the top of the chart are years, decades and centuries notched in. 290 00:33:25,690 --> 00:33:32,380 So you can tell any given lines span of lifetime with just this chart. 291 00:33:35,080 --> 00:33:39,250 Each of the 2000 lifelines runs parallel to the universal one. 292 00:33:39,280 --> 00:33:42,910 Personal biography follows the course of world history, 293 00:33:43,180 --> 00:33:49,060 advancing chronologically in the same forward direction, from left to right, from earliest to latest. 294 00:33:49,420 --> 00:33:54,190 And this is the beautiful simplicity and economy of the rectilinear. 295 00:33:55,000 --> 00:34:03,850 By the end of the next century, abbreviating a lifetime as a dash between two end points becomes absolutely formulaic. 296 00:34:04,330 --> 00:34:11,740 In the monumental Dictionary of National Biography, published 1882 to 1900. 297 00:34:11,980 --> 00:34:19,120 Every name is followed in the form. We're used to seeing it everywhere by inclusive dates within parentheses. 298 00:34:19,660 --> 00:34:29,770 For easy reference, it arranges the entries alphabetically as in a dictionary, but as the inn keeper of each of its 30,000 individual life, 299 00:34:30,130 --> 00:34:35,680 it at the Intrepid is the linking of the dates by a dash which epitomises the life 300 00:34:36,010 --> 00:34:41,620 that is then narrated in the entry from cradle to grave in chronological order. 301 00:34:42,130 --> 00:34:44,170 Also around the turn of the century, 302 00:34:44,320 --> 00:34:52,810 Clarendon published the first scholarly edition of Beef Lives with the same biographical formula following in parentheses after each subject. 303 00:34:53,290 --> 00:34:59,260 This is the briefest possible representation of a full life, a line between two end points. 304 00:34:59,620 --> 00:35:09,310 It has been the traditional biographer's task to narrative ize the interval, calibrating it with sequential events between births and deaths. 305 00:35:09,790 --> 00:35:14,980 If you have the chronology of the works as well as the chronology of a life, 306 00:35:15,280 --> 00:35:22,030 and those were Malone's twinned imperatives for all of his authors then the two can be coordinated 307 00:35:22,330 --> 00:35:29,530 what an author did at the same time that he wrote the basis of man and his works criticism. 308 00:35:29,770 --> 00:35:39,430 And of course the to the works and the life can be coordinated with events in history and that is the basis of all historicism as well. 309 00:35:40,240 --> 00:35:44,830 Like Malone and Priestley, Aubrey is a date monger. 310 00:35:45,930 --> 00:35:51,870 But for one date in particular, that of a person's nativity or janitor. 311 00:35:52,560 --> 00:35:59,210 He had been collecting nativity or genitalia since 1679, and he completed a manuscript of them, 312 00:35:59,370 --> 00:36:04,109 a collection of genitalia as well attested that I have so luckily made. 313 00:36:04,110 --> 00:36:15,329 No, he didn't make up these horoscopes. They come from authority, authoritative astrologers, and he often names them before falling out with Anthony. 314 00:36:15,330 --> 00:36:21,480 Would he stressed to him their importance? I would have all that is all the subjects, all the eminent persons. 315 00:36:21,780 --> 00:36:27,780 I would have all the eminent persons and activities religiously set down if attainable, 316 00:36:28,200 --> 00:36:34,170 and also their orbits for the sake and improvement of astrology. 317 00:36:34,830 --> 00:36:42,450 As he makes clear in his prefatory letter to the manuscript, his biographical project is impelled by a desire. 318 00:36:42,480 --> 00:36:48,060 Malone could never well could not have shared the promotion of astrology. 319 00:36:48,330 --> 00:36:52,230 For, says Aubrey, it is a science not yet perfect. 320 00:36:52,590 --> 00:36:59,190 To be perfect, it must get a suplex. And that's just a mass supply of two janitors. 321 00:36:59,460 --> 00:37:05,280 To that end, he explains, I have, with much care, collected these ensuing janitors, 322 00:37:05,490 --> 00:37:10,620 which the astrologers may rely on, for I have set them down from their own mouths. 323 00:37:11,400 --> 00:37:21,090 Such a compilation of nativity would be, he says, for the great advancement of astrology and the advancement of astrology is his phrase, 324 00:37:21,090 --> 00:37:26,610 echoing the beckoning ideal by which knowledge advances by the accumulation of data. 325 00:37:26,730 --> 00:37:31,590 The more, the better. In this instance, by collecting horoscopes when possible. 326 00:37:32,510 --> 00:37:42,320 And gathering biographical details to determine the degree of planetary influence on individual lives. 327 00:37:43,330 --> 00:37:49,210 And one of the things that there was so much discussion earlier today about loss 328 00:37:49,690 --> 00:37:56,830 and the antiquarian and editorial impulse to save and preserve and transmit. 329 00:37:57,100 --> 00:38:02,230 But what's so interesting about Aubrey, who is in so many ways as an exemplary antiquarian, 330 00:38:02,440 --> 00:38:10,930 is that there's this great interest in the future in the form of mathematics and science and inventions, 331 00:38:11,500 --> 00:38:17,560 all of this much encouraged by the world society to which he too contributed so many. 332 00:38:17,590 --> 00:38:21,490 Much of his thinking is progressive rather than antiquarian. 333 00:38:22,510 --> 00:38:28,900 The Brief Lives manuscript includes about 20 horoscopes, with one exception. 334 00:38:30,970 --> 00:38:34,090 This is one of the ones he draws but never fills out. 335 00:38:34,330 --> 00:38:41,020 This is the one exception that is actually a printed from taken from a printed form and filled in. 336 00:38:41,260 --> 00:38:48,010 The others are all drawn by Aubrey, we think, and with the information of others. 337 00:38:52,150 --> 00:39:06,520 He, as Kate Bennett suggests, he often drew the horoscope onto the folio page itself and put it either in the centre or flush with one of the margins. 338 00:39:06,520 --> 00:39:13,540 And then he wrote. So the horoscope is physically primary and fundamental to the whole project. 339 00:39:14,050 --> 00:39:22,300 Now no trace of them remains in Malone or indeed in subsequent editions until Kate Bennett's edition. 340 00:39:22,300 --> 00:39:32,420 Who does include them all? No, I think it was Tess who asked the question about omission and is there a principle of omission? 341 00:39:32,620 --> 00:39:36,180 And isn't that an interesting category? What is? 342 00:39:36,190 --> 00:39:41,390 Well, I don't want to say purposefully omitted, but it's not admitted by accident either. 343 00:39:41,410 --> 00:39:44,440 In any case, none of these horoscopes appear. 344 00:39:44,950 --> 00:39:50,250 Malone does, however, take opportunity to ridicule the start of astrology in his life of RD. 345 00:39:50,510 --> 00:39:57,070 Aubrey mentions matter of factly that D showed the eclipse with a dark room and kept it many stills going. 346 00:39:57,370 --> 00:40:04,720 And Malone regrets that Aubrey should mention the vagaries of these supernatural assertions without reputation. 347 00:40:05,140 --> 00:40:15,010 These are the notes on the side of his transcript of his description of John Cleveland as a comely plump man, good curled hair, dark brown pumps, 348 00:40:15,010 --> 00:40:22,930 Malone's jibe, softer, flaccid hair with sudden unfavourable denotation by those idle enough to put any confidence in astrology. 349 00:40:23,620 --> 00:40:31,090 So, too, does Aubrey's description of John Paul's melancholic, sanguine, dark brown hair with an excellent moist curl. 350 00:40:31,600 --> 00:40:35,960 Here is here. Our author is at his old wounds. 351 00:40:37,700 --> 00:40:43,600 Though I haven't shown too many of these manuscripts, that's Thomas Hobbs. 352 00:40:43,870 --> 00:40:47,100 And there's these and this is an interesting one. 353 00:40:47,110 --> 00:40:55,030 This is the only one that Malone does transcribe and he explains why he made well, he doesn't explain that. 354 00:40:55,030 --> 00:41:04,269 He made an exception. He explains why he included it. Mr. Aubrey has inserted here it's not really an insertion, but anyway, 355 00:41:04,270 --> 00:41:09,370 Mr. Aubrey has inserted here the Nativity of Waller in the handwriting of his son in law, 356 00:41:09,580 --> 00:41:14,290 which I insert for the purpose of showing he means he scribes in his own copy. 357 00:41:14,470 --> 00:41:21,880 He copies it for the purpose of showing that a confidence in judicial astrology was not peculiar to the writer of these lives. 358 00:41:22,510 --> 00:41:30,740 Astrology is a quirk of the times rather than Aubrey, however wild or incredulous on the subject of astrology, says Malone. 359 00:41:30,760 --> 00:41:40,600 Aubrey had many celebrated men of the same time to keep him in countenance, who are yet not thought lightly of for their eccentricity. 360 00:41:40,600 --> 00:41:45,670 As poor Aubrey has been. That's one of the most convoluted melodeon sentences I think there is. 361 00:41:46,510 --> 00:41:54,390 But in any case, it's an eccentricity that shouldn't be allowed to discredit Aubrey altogether. 362 00:41:55,210 --> 00:42:02,170 And yet, astrology is foundational to brief lives, nowhere more salient than in the life. 363 00:42:02,170 --> 00:42:10,890 Aubrey writes of himself what he calls remarkable in an astrological respect I'm quoting from his birth, 364 00:42:10,900 --> 00:42:19,540 and he begins by referring to himself in the third person from his birth to late years, labouring under a crowd of ill directions. 365 00:42:19,800 --> 00:42:28,900 Of course, referring to the influence of evil planets and his and his own birth as he continues to narrate his own 366 00:42:28,900 --> 00:42:36,940 life after this birth registers his inability to steer clear of those reigning malign stars at his birth. 367 00:42:37,300 --> 00:42:46,840 And here I'm just calling examples. Born 12 March about sun rising and he has a chart in which the date is actually more exact, is entirely exact. 368 00:42:47,200 --> 00:42:50,739 And he was born very weak and like to die until the age of 12. 369 00:42:50,740 --> 00:42:54,580 Sickness of vomiting, bellyache, pain in the side eyes. 370 00:42:54,580 --> 00:43:02,950 Education at Oxford was cut short by civil wars and his father summoning him home life in the country with none but servants and sticks. 371 00:43:03,190 --> 00:43:10,990 It was the most sad life to me then in my prime of my youth, not to have the benefit of an ingenious conversation and scarce any good books. 372 00:43:11,320 --> 00:43:16,030 Death of his father that left him massively in debt, followed by more debts and lawsuits. 373 00:43:16,300 --> 00:43:20,470 His mother prevented him from seeing the antiquities of Rome and Italy. 374 00:43:20,470 --> 00:43:24,930 His dream as as he says, to my inexpressible grief and ruin. 375 00:43:25,570 --> 00:43:30,520 She hindered his design, which was pro proper triptych. 376 00:43:30,760 --> 00:43:34,060 It was the protracted cause of my ruin. 377 00:43:34,480 --> 00:43:41,709 I meant to check down that particular adjective, but I have a feeling it's astrological. 378 00:43:41,710 --> 00:43:44,720 But I don't know for sure. In any case, these busy. 379 00:43:44,740 --> 00:43:51,730 These are all of the consequences of the particular astrological conjunction under which she was born. 380 00:43:52,810 --> 00:43:58,240 Lawsuits sale of property in as much as mortal could be, he says. 381 00:43:58,240 --> 00:44:02,080 And he regrets, very movingly the loss of monasteries. 382 00:44:02,080 --> 00:44:05,080 And, he says, even the Turks and Lutherans of monasteries. 383 00:44:05,260 --> 00:44:08,639 Why should our reformers be so severe? What a pleasure. 384 00:44:08,640 --> 00:44:12,070 Which would have been to have travelled from monastery to monastery. 385 00:44:13,120 --> 00:44:18,970 So even history is a misfortune for him. A strange fate that he has laboured under. 386 00:44:19,030 --> 00:44:22,330 Never in my life to enjoy one entire month. 387 00:44:22,540 --> 00:44:24,700 Odium or contemplation. 388 00:44:25,750 --> 00:44:36,010 And this relentless misfortune is alleviated here and there by his passion for books, for bacon, for all the now, for Brown and for antiquities. 389 00:44:36,970 --> 00:44:43,420 He says, notwithstanding all these embarrassments, I did piano, piano take notes on antiquity. 390 00:44:43,690 --> 00:44:46,780 And of course, the brief lives. Some of them are gone. 391 00:44:47,830 --> 00:44:52,510 He also celebrates his good friends and he gives the list of them. 392 00:44:52,720 --> 00:45:00,880 Among them is one singular friend, as he calls him, Sir William Perry and I. 393 00:45:01,090 --> 00:45:04,360 I had this manuscript page on display. 394 00:45:05,050 --> 00:45:18,100 And here is Sir William Petty, the mathematician, primarily, although had many interests and he foregrounds, gives primacy to this particular life, 395 00:45:18,730 --> 00:45:27,580 there are many indications that he intended this particular life of Sir William Petty to head the entire collection. 396 00:45:28,300 --> 00:45:37,060 Kate Bett Bennett has written beautifully about how William Petty's auspicious rather than unfortunate birth was borne out by his life, 397 00:45:37,180 --> 00:45:42,820 which is really a stellar success story based on his education, ingenuity, entrepreneurship. 398 00:45:43,060 --> 00:45:48,130 He's a self-made man who fully realised his astrological advantage. 399 00:45:48,610 --> 00:45:53,380 Now Aubrey Accords, petty pride of place in the celebration. 400 00:45:54,400 --> 00:45:57,880 And in addition to that, he gives him his best artistic effort. 401 00:45:58,240 --> 00:46:01,510 This is the most beautiful and detailed of them all. 402 00:46:01,510 --> 00:46:04,930 And he was a good draughtsman, which Malone was not. 403 00:46:05,400 --> 00:46:16,000 He was. Malone also committed the memorial cress, although in one life that he transcribed, he tried to do Dryden's crest rather incompetently. 404 00:46:16,930 --> 00:46:20,350 Okay, so he gives Petty his best artistic effort. 405 00:46:21,100 --> 00:46:24,730 But in Malone's addition. 406 00:46:27,120 --> 00:46:32,720 Which is here. Petit's life loses his pre-eminence among the eminent. 407 00:46:32,960 --> 00:46:41,000 When, without illustration, it takes its dull place in the chronological line-up of his collection. 408 00:46:45,610 --> 00:46:56,050 Okay. So what I'd like to return to is the Biograph and its relation to the horoscope. 409 00:46:56,590 --> 00:47:01,990 So you have the chronological rectilinear and the multifaceted diagram. 410 00:47:02,320 --> 00:47:09,820 And I would like to propose that these are really two different templates for representing human life in its temporality. 411 00:47:10,720 --> 00:47:19,720 I would call the horoscope diagram integrative in contrast to the chronological throughline. 412 00:47:19,930 --> 00:47:29,140 And one the through line is designed to put. No, the horoscope is designed to put an individual life in sync with cosmological phenomena. 413 00:47:29,560 --> 00:47:38,820 And the other the through line is in order to have it parallel a historical time, universal time, uniform and absolute. 414 00:47:42,100 --> 00:47:51,430 Okay. Both the horoscope and also Malone's outlines as chronological outlines were meant to be preliminary. 415 00:47:51,670 --> 00:47:54,220 They were meant to be preliminary for some things to come. 416 00:47:54,460 --> 00:48:04,500 And that's why both can be referred to as an apparatus or in Malone, he calls the materials preliminary to his addition of the garment on. 417 00:48:05,330 --> 00:48:14,290 But there are materials there are there devices for preparing the reader for the reception of what's to come. 418 00:48:14,530 --> 00:48:19,480 And these are very different kinds of vehicles for that receipt. 419 00:48:21,400 --> 00:48:25,770 Here. As in Aubrey, I can only. 420 00:48:25,780 --> 00:48:33,190 Well, Aubrey very often leaves blank spaces in his texts and has a note to himself or others to seek out another source, 421 00:48:33,400 --> 00:48:44,380 another informant, more information. And what this particular talk lacks is an account of almanacs that, as I'm sure many of you know, 422 00:48:45,130 --> 00:48:51,460 are printed more frequently than any other form in the period of Aubrey's life. 423 00:48:52,060 --> 00:49:00,130 Aubrey refers numerous times to the various almanacs that are important to him, Malone mentions. 424 00:49:00,460 --> 00:49:05,800 And it's none of them. They're present in his transcription, but he won't give you any help with them. 425 00:49:06,520 --> 00:49:14,650 So there is a rather full scale elimination of the astrological component in Malone's transcription, 426 00:49:15,370 --> 00:49:25,839 and that's Hobbs and that's well, I kind of wanted to go from Hobbs back to the before I return to where I began. 427 00:49:25,840 --> 00:49:31,120 And maybe some of you have anticipated this. And. 428 00:49:35,830 --> 00:49:45,280 This is what I would like to see in these bizarre cipher ciphers that I've culled from Malone's transcription of Aubrey. 429 00:49:46,820 --> 00:49:56,000 And that is that in the context of his horoscopes and the scattered astrological symbols that are also in Aubrey's manuscripts, 430 00:49:56,390 --> 00:50:02,930 Malone is repurposing astrological ciphers to signal his own footnotes. 431 00:50:03,410 --> 00:50:13,400 The ciphers have been emptied out of their cosmic signification in order to flood points in Malone's own explanatory system. 432 00:50:14,300 --> 00:50:18,920 Astrologically charged symbols are rendered neutral like numbers, 433 00:50:18,920 --> 00:50:30,380 but without their serialising function for pure index a calorie a cosmic scheme gives way to the rationalising demands of the textual apparatus. 434 00:50:31,560 --> 00:50:35,820 That's a very highfalutin construal of what. 435 00:50:36,390 --> 00:50:42,930 These may or may not be about, but at least I think my reading of them has some kind of a logic. 436 00:50:43,200 --> 00:50:53,100 I have looked through Malone's markings, and even today I saw the simple sword that he used quite frequently in Johnson's dictionary. 437 00:50:53,340 --> 00:51:00,060 And I saw the two triangles, which indicates that usually I think that texts are meant to be brought together. 438 00:51:00,900 --> 00:51:08,670 But I have never seen anything. And I shouldn't say that because it sounds like my experience of his manuscripts is extensive. 439 00:51:09,510 --> 00:51:17,459 But I do think that there is something unusual about the way he's annotating Aubrey in the context of 440 00:51:17,460 --> 00:51:29,430 Malone's own antipathy to something that he doesn't understand and feels antagonistic toward in transcribing. 441 00:51:29,670 --> 00:51:35,820 And here I am concluding in transcribing the life of the translator and cartographer John Oglesby, 442 00:51:36,120 --> 00:51:42,870 Malone explains that he has transferred a paragraph and Aubrey from the end of the entry to the middle. 443 00:51:43,440 --> 00:51:54,630 He then justifies the move. Mr. Aubrey put down his information as he could obtain it and did not live to methods his papers. 444 00:51:55,410 --> 00:52:04,980 If only Aubrey had had more time alone assumes had he lived into his seventh or eighth year, rather than only into his 70 seconds, 445 00:52:05,400 --> 00:52:10,080 his brief lives might have been in better order, but had he lived longer, 446 00:52:10,080 --> 00:52:16,350 I would suppose it is more likely that he would have collected more janitors, more and activities. 447 00:52:17,160 --> 00:52:21,230 Malone Transcribing and annotating. Malone Excuse me? 448 00:52:21,240 --> 00:52:23,160 Malone Transcribing and annotating. 449 00:52:23,170 --> 00:52:33,030 Aubrey is to me a stunning example of what can happen inevitably when a modern editor working to make a text accessible, 450 00:52:33,030 --> 00:52:40,980 intelligible and useful loses sight of what might have been key to the author in the past. 451 00:52:41,460 --> 00:52:49,090 In this instance, the relation of the details of individual everyday life to astronomical phenomena. 452 00:52:49,110 --> 00:52:52,330 That's what gets lost. What Shakespeare referred to. 453 00:52:52,380 --> 00:52:57,660 My one mention of Shakespeare. I didn't even point him out to you in the Biograph, but he was there. 454 00:52:57,970 --> 00:53:05,880 Okay. This is what Shakespeare referred to as the cheering and checking of the selfsame sky, always and again, necessarily. 455 00:53:06,180 --> 00:53:15,390 Much slips through the editorial cracks, which is why Aubrey might have preferred that his manuscript not be printed, but kept in a cabinet. 456 00:53:15,900 --> 00:53:16,320 Thank you.