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• W263389131 abstract "During Shakespeare's lifetime, a momentous change in soundscape of t early modern England was in progress. Somewhere in middle of sixteenth century, domestic timepieces that more or less reliably indicated hours and minutes became increasingly available, at least to wealthy. A new industry was about to be born from successful miniaturization of escapement, the part which controls speed at which wheels turn, when a weight or spring is applied to them. (1) This one of many revolutions in to borrow title of David S. Landes's magisterial survey Clocks and Making of Modern World, had begun less than three centuries earlier, when great town clocks of Western Europe were mechanized. By end of thirteenth century, England could boast two clock towers in London, in St. Paul's Cathedral (1286) and Westminster (1288). (2) Chaucer's Nun's Priest's praise of Chauntecleer cock marks transition from those bell-ringing towers to truer timekeepers that were just emerging at end of fourteenth century, when The Canterbury Tales were written: His vois was murier than murie orgon On messe-dayes that in chirche gon. Wel sikerer was his crowyng in his logge Than is a clokke or an abbeye orlogge. (3) The optional nomenclature captures a transitional moment. Middle Ages, 'clock' / 'horologium' was a generic term for all devices and aids of time-reckoning and time-indication, as Gerhard Dohrn-van Rossum notes in charting development of mechanical clock. (4) The horologe, as word's etymology announces, rang hours. It originally served monastic orders, as Chaucer implies and Landes explains, operating on principle of egg timer. (5) Rather than mark continuous time, early medieval bell towers measured progress of chores and obligations that organized communal life. The clock, both a noun and a verb derived from Middle Dutch word for bell, eventually moved beyond canonical hours, whose import did not depend on absolute regularity. A noun and a verb, it imposed work regimens of town populace. A clock's beat is regular and it marks its beat. (6) A close reading of--and a careful listening to--Shakespeare's references to clocks suggests a complicated fascination with new timepieces that were becoming more and more familiar in early modern era. In his superb account, Bruce R. Smith discusses politics of audition in royal spaces and in passing mentions the peculiarly English custom of strewing floor with loose straw, along with mats, tapestries, and velvet covers used for noise control. Isolating the keynote sounds ... in soundscape of court, he specifies running water, birds, striking clocks. (7) Rather than mute ambient sound as court decorators did, playwrights and poets exploit it. Water and birds have always been with us; striking clocks were new, and, to Shakespeare's ear, it seems to me, more regular their beat, more threatening their presence. Although association with bell endures in clock, as more and more individuals could afford their own small clocks, during early seventeenth century bell was being superseded by new technology. Wes Folkerth has noted that Henry VIII's desecration of monasteries reduced dominance of England's bells: Some went to civic organizations; others were scrapped to make cannon.... Bells that had for centuries provided entire populations with information about religious celebrations and events were now used for more secular purposes, or were simply bells no more. (8) Citing testimony of foreign travelers, Smith refers to lower decibels of church bells that were rung to summon people to services--but with ostentatiously Protestant restraint. (9) To be sure, great bells of English church towers continue to ring to this day. …" @default.
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• W263389131 date "2010-01-01" @default.
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• W263389131 title "Shakespeare and the Numbering Clock" @default.
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