Question: What was the address of the public house where a group of London-based male poets, founded in 1890 met?

Context articles: Rekhti
Confederation Poets
Rhymers' Club
The Flask, Highgate
Mutsuo Takahashi
Shakespeare Public House, Bristol
Alembic (magazine)
Ye Olde Cheshire Cheese
Nazhun al-Garnatiya bint al-Qulai’iya
Matilda Betham-Edwards

Rekhti is a form of Urdu feminist poetry.
 A genre developed by male poets, it uses women's voices to talk about themselves.
 It was formed in 19th-century Lucknow, then part of the State of Awadh (now in Uttar Pradesh, India).
 The poet, Saadat Yaar Khan Rangin is credited with its creation.
"Confederation Poets" is the name given to a group of Canadian poets born in the decade of Canada's Confederation (the 1860s) who rose to prominence in Canada in the late 1880s and 1890s.
 The term was coined by Canadian professor and literary critic Malcolm Ross, who applied it to four poets – Charles G.D. Roberts (1860–1943), Bliss Carman (1861–1929), Archibald Lampman (1861–1899), and Duncan Campbell Scott (1862–1947) – in the Introduction to his 1960 anthology, "Poets of the Confederation", which began: "It is fair enough, I think, to call Roberts, Carman, Lampman, and Scott our 'Confederation poets.'"
The Rhymers' Club was a group of London-based male poets, founded in 1890 by W. B. Yeats and Ernest Rhys.
 Originally not much more than a dining club, it produced anthologies of poetry in 1892 and 1894.
 They met at the London pub ‘Ye Olde Cheshire Cheese’ in Fleet Street and in the 'Domino Room' of the "Café Royal".
The Flask is a Grade II listed public house at 74–76 Highgate West Hill, Highgate, London.
 According to the 1936 "Survey of London", a pub known as The Flask has stood on this spot since "at least as early as 1663".
 The present buildings probably date from the early 18th century, and were partially rebuilt in about 1767 by William Carpenter.
 A Manorial court met there in the eighteenth century.
 The Flask is currently owned and operated by the London-based Fuller's Brewery.
Mutsuo Takahashi (高橋 睦郎 , Takahashi Mutsuo , born December 15, 1937) is one of the most prominent and prolific male poets, essayists, and writers of contemporary Japan, with more than three dozen collections of poetry, several works of prose, dozens books of essays, and several major literary prizes to his name.
 He is especially well known for his open writing about male homoeroticism.
 He currently lives in the seaside town of Zushi, several kilometers south of Yokohama, Japan.
The Shakespeare Public House (grid reference [ ST586725] ) is a historic public house situated at 66-70 Prince Street in Bristol, England.
 Originally built in 1725 by the Bristol builder John Strahan as a pair of attached Georgian-style houses, it was converted into a public house in 1777 at which time it supplied refreshment to dock workers at the adjoining port.
 It has been a grade II* listed building since 1959.
Alembic was a poetry magazine established by Peter Barry, Ken Edwards, and Robert Gavin Hampson, which appeared eight times during the 1970s.
 The first issue appeared in 1973: it was a collection of poems by Barry, Edwards, Hampson and Jim Stewart with graphic work by John Simpson, Robert Snell and Sibani Raychaudhuri.
 The work was printed on different colours and sizes of paper - and contained in a plastic bag.
 It was sold at the Edinburgh Festival of 1973, where Hampson was working with the Liverpool-based multimedia group Zoom Cortex.
 (See Adrian Henri, "Events and Happenings", Thames and Hudson, for Zoom Cortex.)
The second issue maintained the same format (a collection of loose pages in a plastic bag) but with an increased number of poets.
 Richard Kostelanetz's assemblages have been described by the editors as their model for this mode of publication.
 With the third issue, the magazine adopted the standard little-magazine format of the time: A4 pages, card cover, stapled.
 Alembic 3, 4 and 5 also marked a more self-conscious engagement with contemporary London-based experimental poetry.
 "Alembic" 3 (Spring 1975) announced the intention to engage with "one area of contemporary creative practice' in each issue in order to represent the range of poetry being written in the UK.
 This issue focused on contemporary work that had its roots in surrealism.
 It included Lee Harwood's essay 'Surrealist Poetry Today', which had been a talk given at the Poetry Society, and it included work by Harwood, Paul Matthews, Jeff Nuttall, Heathcote Williams and others.
 "Alembic" 4 was edited solely by Hampson and was dedicated to open field poetry and the idea of place.
 Allen Fisher was the featured poet: in addition to work by him, there was also an interview with him conducted by Barry and Edwards.
 This issue also included work by Roy Fisher, Eric Mottram, and a small number of American poets, including Alan Davies, who was to be associated with LANGUAGE poetry.
 "Alembic" 5 (Autumn 1976)was edited solely by Edwards and focused on experimental prose, including work by Paul Buck, Opal Nations, Jeff Nuttall, Maxim Jakubowski, David Miller, the Canadian writer Greg Hollingshead and James Sherry, who was also associated with LANGUAGE poetry.
 This issue was also the first to be offset.
 (Like "Alembic" 4.
 it had a wrap around cover rather than card.)
 "Alembic" 6 (Summer 1977)was again solely edited by Hampson.
 It included further work by contributors to earlier issues.
 The featured poet was the Australian poet David Miller: as well as poems and essays by Miller, there was also poetry by Robert Lax and a reprint of work by Charles Madge, on both of whom Miller had written.
 In addition, there was also work by Rosmarie Waldrop, Tom Leonard, Elaine Randell and Barry MacSweeney.
 "Alembic" 7 (Spring 1978), edited by Edwards and Hampson out of Lower Green Farm, was the 'Assemblage Issue', assembled by inviting a range of poets and visual artists to provide the contents.
 It included work by Jeremy Adler, Paul Buck, Herbert Burke, Paula Claire, cris cheek, Bob Cobbing, Glenda George, Robert Sheppard, E. E. Vonna-Michel, Lawrence Upton and others.
 A particular feature of this issue was that every cover was different: they were hand-printed by Vonna-Michel with a rubber-stamp used for the title.
 "Alembic" 9 (to be edited by Hampson) was promised, but never appeared: Edwards had begun to publish "Reality Studios" as a slimmer, faster and more frequent publication.
 This eventually metamorphosed (through an amalgamation with Wendy Mulford's Street Editions) into Reality Street, which has been a major publisher of experimental poetry and prose since the 1980s.
Ye Olde Cheshire Cheese is a Grade II listed public house at 145 Fleet Street, on Wine Office Court, City of London.
Nazhun al-Garnatiya bint al-Qulai’iya (eleventh-century) was a Granadan courtesan and poet, noted for her outrageous verse, her learning, and her low-status origins (possibly as a slave).
 Although little of her work survives, she is, among medieval Andalusian women poets, second only to her contemporary Hafsa Bint al-Hajj al-Rukuniyya in the quantity of her work preserved; she usually appears getting the better of male poets and aristocrats around her with her witty invective.
 In Marla Segol's words, "as a rule, Nazhun represents her body in ways that disrupt conventional strategies for control of women’s speech and sexuality, and protests the merchandising of women’s bodies."
Matilda Betham-Edwards (4 March 1836, Westerfield, Ipswich – 4 January 1919, Hastings) was an English novelist, travel writer and Francophile, and also a prolific poet.
 In addition she wrote several children's books and corresponded with well-known English male poets of the day.