Re: of TOASTED CHEESE and CANDLES'-ends
art
http://en.wikipedia.org/wiki/Muse
According to Pausanias in the later 2nd century AD,
there were three original Muses:
Aoidē ("song" or "voice"),
Meletē ("practice" or "occasion"),
and *MNEME* ( *MEMORY* ).
-------------------------------------------------
____ *PARE VOTIS* : *MNEME RITE*
.................................................
. TOT ___ HEONL ____ IEBE
. GET ___ TEROF ____ THES
. EIN _____- SVING [S] _ONN
- -ET_ [S] [M] RWHA _- [L] _LHA
_ -P- [P-I]-[N E] SS___ E[A] _NDT
_ -H- [A T] [E T] ER___ N[I] _TIE
_ {P} [R O] [M I] ___ [S] ED[B] _YOV
_. {R} [E V] [E R] -L___ [I]__V[I] _NGP
_ {O} ET___ WISH [E]- [T] _HTH
. EWE ___ LLWI[S.]_ [H.] _ ING
. ADV ___ ENTV[R.]_ [E.] _ RIN
. SET ____ TING[F.]_ [O.] _ RTH
--------------------------------------------------
*RITE* , n. [L. ritus; cf. Skr. r[=i]ti a STREAM, a running,
. way, manner, ri: TO FLOW: cf. F. *RIT* , RITE.] A formal
. act of religion or other solemn duty; a solemn observance;
. a ceremony; as, the RITEs of FREEMASONRY.
----------------------------------------------------------
<<In view of your prior obsession with "Don Quixote" & donning
thigh armor, I'm surprised that you haven't made the obvious
connection, Art. "Endves tibials" means "dons shin armor".
I'm sure you can make something of that.>> - Dave Webb
.......................................................
*ENDVES TIBIALS* = Dons the Order of the Garter
_____________ [H]enry [E]arl of [O]xford
.......................................................
Philip Sidney (1554-86) had gallantly refused to
'Don' thigh armour (cuisses or *Quixote* ) when an
elder knight didn't have any. Sidney was shot
in the thigh on Sept. 22, 1586 & died on October 17.
-----------------------------------------------------------
________ *CUT THE CHEESE*
-----------------------------------------------------------
. All's Well That Ends Well Act 1, Scene 1
.
[PAR]oll[E]s: Virginity breeds mites,
. much like a *CHEESE* ; consumes itself to the VERy
. *PARING*, and so dies with feeding his own stomach.
----------------------------------------------------
. King Henry IV, Part ii Act 3, Scene 2
.
FALSTAFF: Lord, Lord, how
. subject we old men are to this vice of lying!
. This same starved justice hath done nothing but prate
. to me of the wildness of his youth, and the feats
. he hath done about Turnbull Street: and EVERy
. third word a lie, duer paid to the hearer
.
. than THE TURK's tribute.
.
I do remember him at Clement's Inn like
a man made after supper of a *CHEESE-PARING*:
----------------------------------------------
Probability of 2 "PARE"s ~ 1/225
*PARE* : 1202d
*PARE* : 1609u
---------------------------------------------
P. OVIDI NASONIS FASTORVM LIBER TERTIVS
...........................................
Idibus est Annae festum geniale Perennae
non procul a ripis, advena Thybri, tuis.
plebs venit ac virides passim disiecta per herbas
potat, et accumbit cum *PARE* quisque sua.
............................................
vincitur ars vento nec iam moderator habenis
utitur, at *VOTIS* is quoque poscit opem.
iactatur tumidas exul Phoenissa per undas,
umidaque opposita lumina veste tegit.
---------------------------------------------
Sundial Formerly at Park Hill, Oswestry:
__ TEMPORI *PARE* : *OBEY* time.
---------------------------------------------
__ *The DIAL TIS NoW For BACon TO Obey*
--------------------------------------------
. Mira. More to know
[D]id *NEUER* medle with my thoughts.
Pros. *TIS TIME*
[I] should informe thee farther: Lend thy hand
[A]nd *PLUCKE my Magick Garment* from me: So,
[L]ye there my Art: wipe thou thine eyes, haue *COMFORT*,
.
[The] direfull spectacle of the *WRACKE* which touch'd
.
[T]he *VERy VERtue* of compassion in thee:
[I] haue with such prouision in mine Art
[S]o SAFEly ordered, that there is no soule
[No] not so much perdition as an hayre
. betid to any creature in the vessell
[W]hich thou heardst cry, which thou saw'st sinke: Sit
[For] thou must *NoW* know farther. [downe,
. Mira. You haue often
[B]egun to tell me what I am, but stopt
[A]nd left me to a bootelesse Inquisition,
[Con]cluding, stay: not yet.
. Pros. The howr's now come
[T]he *VERy MINUTE* byds thee *OPE THINE EARE* ,
[Obey], and be attentiue. Canst thou remember
___ A time before we came vnto this Cell?
------------------------------------------------------
CALIBAN: I must *OBEY* : his art is of such power,
. It would control my dam's god, SE(te)BOS,
. and make a vassal of him.
-----------------------------------------------------
*PARE*, v. t. [F. PAREr to PARE, as a horse's hoofs, to dress
. or curry, as, leather, to clear, as *ANCHORS or CABLES* ,
. to parry, ward off, fr. L. parare to prePARE.]
----------------------------------------------------
. All's Well That Ends Well Act 5, Scene 2
.
LAFEU: And what would you have me to do?
. 'Tis too late to *PARE her NAILS* now.
. Wherein have you played the knave with
. fortune, that she should *SCRATCH* you.
------------------------------------------------------------
An *ANCRE's* life to leade, with *NAILES to SCRATCHe* my grave,
Where earthly Wormes on me shall fede, is all the joyes I crave;
And hide my self from SHAME, sith that myne eyes doe see,
Ah, a alantida my deare dame, hath thus tormented me.
http://drk.sd23.bc.ca/DeVere/Oxford_Poems_and_Songs-18.pdf
http://www3.telus.net/oxford/oxfordspoems.html#3
----------------------------------------------------
. Twelfth Night Act 4, Scene 2
.
Clown: Like a mad lad, *PARE thy NAILS* , dad;
. Adieu, good man *DEVIL*.
-----------------------------------------------------
. King Henry V Act 4, Scene 4
.
Boy: I did nEVER know so full a voice issue from
. so empty a heart: but the saying is TRUE 'The empty
. vessel makes the greatest sound.' Bardolph and Nym
. had ten times more valour than this roaring *DEVIL*
i' the *OLD PLAY* , that EVERy one may *PARE his NAILS*
. with a wooden dagger; and they are both HANGED;
------------------------------------------------------------
Some interesting 5-letter Rollett strings
"found in arrays based on the first 144 letters
of the dedication to Shakespeare's Sonnets.":
.
*HIRAM* : 1706u (Masonic mystery man)
.
Terry Ross site: http://shakespeareauthorship.com/wds1.html
----------------------------------------------------------
From: Terry Ross (tr...@bcpl.net)
Subject: Re: Rosencraft & Guildenstone flip coins
Newsgroups: humanities.lit.authors.shakespeare
Date: 2000-11-27 03:53:28 PST
.
Odds of picking 5 letters at random out of the 144 in the dedication
and getting HIRAM are 10/144 * 14/143 * 9/142* 5/141 * 2/140
or about 1 in 4.6 million. There are 2520 5-letter slots in the
arrays, and since Rollett allowed words to appear reading either
up or down, there are in effect 5040 places to search for HIRAM.
.
. The chance of finding *HIRAM* somewhere
. in some array is thus about 1 in 909.
------------------------------------------------------
______ *HIRAM SMEE* (= *HIRAM* is my name)
_______ Probability of *HIRAM* ~ 1/500
-------------------------------------------------------
T O T H E ____o n__ l i [E] B E G E T T
E{r}O F T _{H} __- e [S|E] I N S U I N G
S{o}N N {E} T S-__ (M)R W H A L L H A
P{p}I__{N}e __S _ [S|E|A) N D T H A T E
T{e} {R}n___I_T_I_ [E P(R)o _ M I S E D
B_ {Y}o _ U R E V E R___ l(I) __ V I N G P
O.E. __T W I S H E T H T__ (H) E W E L
L |W] I S H I N G A D V E ___ n ___T U R
E |r] I N S E T T I N G_______ f o r T H
------------------------------------------------------
___________ *HI-RAM*
___________ *MAR-LO*
------------------------------------------------------
. T O T H E O N _____ L I E B E G E T T
. E R O F T H E ______S E I N S V I N G
. S O N N E T S M _ R W H A L L H A
. P P I N E S S E ___A ___N D T H A T E
. T E R N I T I E P ___R O ___M I S E D
. B Y O V R E V E R L_I____V I N G P
. O E T W I S H E T H T _ H___ E W E L
. L W I S H I N G A D V E _____ N T V R
. E R I N S E T T I N G F_______O R T H
-----------------------------------------------------------
Subject: Re: Exposing Masonry!
. From: rayb...@aol.com (Raybert)
. Date: 1998/07/25
. Newsgroups: alt.freemasonry
.
Masons have wrapped their initiation ceremony around
a legend involving an individual named HIRAM Abif.
.
According to legend, *HIRAM* Abif was slain by three 'ruffians''
at 'high twelve,' because he refused to share the secrets.
The three ruffians were named *JUBELA, JUBELO & JUBELUM* .
-------------------------------------------------------------------
_____ *INGRAM FRIZER, NICHOLAS SKERES & ROBERT POLEY*
.....................................................
. Merry Wives of Windsor > Act V, scene V
FALSTAFF: shall I have a coxcomb of *FRIZE* ?
_____ 'Tis time I were choked with
_____ a piece of *TOASTED CHEESE* .
-------------------------------------------------------------------
. At about 1 PM on May 30, 1593 (Gregorian) London experienced a
partial eclipse of the SUN while VENUS was in conjunction with SATURN.
The path of the total eclipse started in South America, passed over
the Sahara and ended in ARABIA. Barely a year later (May 20, 1594
. {Gregorian}) another total eclipse rose (PHOENIX like) out
. of ARABIA (between Mecca to Medina) and passed over the
. (former) empires of Tamerlane and Nebuchadnezzar.
---------------------------------------------------------------
. Both of these Arabian eclipses
. occurred on eve of RAMadan,
. 1001 A.H. & 1002 A.H., respectively.
---------------------------------------------------------
. http://www.marlowe-society.org/
.
The portrait believed to be of Christopher *MAR-LO*
was found at Corpus Christi College, where he studied,
. and is inscribed (in the top left hand corner)
. with his age, the date and his motto:-
.
. ANNO DNI .. AETATIS SVAE 21 .. 1585 ..
. *QVOD ME NVTRIT ME DESTRVIT*
.
Aged 21 in 1585: *That which nourishes me destroys me*
-----------------------------------------------------
Terry Ross wrote: <<The emblematic device at the head
. of the [Minerva Britanna] title page with its motto:
.
http://f01.middlebury.edu/FS010A/students/Minerva/title.jpg
.
. *VT ALIJS ME CONSVMO*
. (* as you burn I consume myself* )
. and its picture of two lighted *CANDLEs* .>>
-----------------------------------------------------------
. Pericles Prince of Tyre Act 2, Scene 2
.
THAISA: A burning *TORCH* that's turned upside down;
. The word, *QUOD ME ALIT, ME EXTINGUIT*
.................................................
_______ *TORCH PERISH*
_______ *CHRISTOPHER*
.................................................
*TORC* : (Scottish for a *BOAR* ).
-------------------------------------------------
The Leathern Bottel Somersetshire version.
http://theotherpages.org/poems/ballad09.html
.
.[N]ow, when this bottel it is worn out,
.[O]ut of its sides you may cut a clout;
.[T]his you may hang upon a pin, -
.[T]will *sERVE* to put odd trifles in;
.[I]nk & soap, and *CANDLE-ends*,
.[F]or young beginners have need of such friends.
----------------------------------------------------------
. Romeo and Juliet Act 1, Scene 4
.
ROM-EO: A *TORCH* for me: let wantons light of heart
. TICKLE the SENSELESS rushes with their heels,
. For I am proverb'd with a grandsire phrase;
. I'll be a *CANDLE-holder* , and look on.
---------------------------------------------------
_______ The Hunting of the Snark
.
He had FORTY-TWO *BOXES* , all carefully packed,
. With his name painted clearly on each:
.
But, since he OMITted to mention the fact,
. They were all left behind on the beach.
.
His intimate friends called him *CANDLE-ends* ,
. And his enemies *TOASTED-CHEESE* .
-------------------------------------------------------
_The Terrors of the Night_ Tho: Nashe. London. 1594.
. Modern spelling edition copyright Nina Green.
<<they rake some *DUNGHILL* for a few dirty *BOXES* and
*PLASTERS* , and of *TOASTED CHEESE & CANDLES'-ends*>>
---------------------------------------------------------
From M. H. Spielmann, "Shakespeare's Portraiture," in
*Studies in the First Folio* (Oxford University Press, 1924):
"A noteworthy feature is the cherub-like boys who sit up aloft.
. It is important to note that these little figures,
. unfinished at the back, are carved in one piece
. with the little mounds on which they sit -
- the one on the left holds a spade, the other an
.
. INVERTED, EXTINGUISHED *TORCH*,
. ONE HAND RESTING UPON A SKULL."
---------------------------------------------------------
________ *PUTTI*
----------------------------------------------------------
. King Henry VI, part II > Act IV, scene VII
SIR HUGH EVANS: Seese is not good to give PUTTER;
. your belly is all *PUTTER*.
DICK: Only that the laws of England may come out of your mouth.
HOLLAND: [Aside] Mass, 'twill be sore law, then; for he was
thrust in the mouth with a *SPEAR* , and 'tis not whole yet.
.
SMITH: [Aside] Nay, John, it will be stinking law
. for his breath stinks with eating *TOASTED CHEESE* .
CADE: I have thought upon it, it shall be so.
. Away, *burn all the records of the realm* :
. my mouth shall be the parliament of England.
----------------------------------------------------
. King Henry VI, Part iii Act 2, Scene 6
.
CLIFFORD: *HERE burns my CANDLE out* ; ay, *HERE it dies* ,
. Which, whiles it lasted, gave King HENRY light.
------------------------------------------------------------
. King Henry IV, Part ii Act 1, Scene 2
.
Lord Chief-Justice: you are as a *CANDLE*, the better part burnt out.
.
FALSTAFF: A wassail *CANDLE*, my lord, all tallow:
. if I did say of WAX, my growth would approve the TRUTH.
---------------------------------------------------------------
. King Lear Act 1, Scene 4
.
Fool: For, you trow, nuncle,
. The hedge-sparrow fed the CUCKOO so long,
. *That it's had it head bit off by it young* .
. So, out went the *CANDLE*, and we were left darkling.
------------------------------------------------------------
. Macbeth Act 5, Scene 5
.
MACBETH: Out, out, brief *CANDLE*!
. Life's but a walking *SHADOW* , a poor player
. That struts and frets his hour upon the stage
. And then is heard no more: it is a tale
. Told by an idiot, full of sound and fury,
. Signifying *NOTHING* .
-----------------------------------------------------
. One of MITHRAS' two COMPANIONs (*Cautopates*)
. traditionally holds an INVERTED *TORCH*!
--------------------------------------------------------
. C (o) M (e d i e s)
. H I S T (o r i e s)
. (t) R A (g e d i e s)
-------------------------------------------------------------------
<<His father was a butcher, and I have been told heretofore by some
of the neighbours that when he was a boy he exercised his father's
trade, but when he kill'd a calfe he would doe it in a high style,
and make a speech.>> - JOHN AUBREY, 1669-96, _Brief Lives_
--------------------------------------------------------
. Hamlet (Quarto 1) 5.1
.
Ham. I prethee tell me Horatio,
Is parchment made of sheep-skinnes?
.
Hor. I my Lorde, and of calues-skinnes too.
.
Ham. Ifaith they prooue themselues sheepe and calues
That deale with them, or put their trust in them.
There's another, why may not that be such a ones
Scull, that praised my Lord such a ones horse,
When he meant to beg him?
--------------------------------------------------------
. Hamlet (Quarto 2) 5.1
.
Ham. Is not Parchment made of sheepe-skinnes?
.
Hora. I my Lord, and of Calues-skinnes to.
.
Ham. They are Sheepe and Calues
. which seeke out assurance in that,
-------------------------------------------------------------------
<<The festival of MITHRAS' birth was December 25th (winter solstice)
. and the rebirth of the sun's light. He was forced out of a rock,
wearing the Phrygian cap, holding a dagger and *TORCH* in his hands.>>
. http://www.dimensional.com/%7Erandl/tarsus.htm
--------------------------------------------------------------------
. Alice SPENCER was the WIDOW
. of Ferdinando Stanley (Lord Strange)
.
. {motto anagram}
. "SANS CHANGER MA VERITE"
. "AGNES CERVANTES HIRAM"
-----------------------------------------------------------------------
1) Mithraeums (i.e., Mithras subterraean CAVERNs) were discovered
. in the vicinity of St. Paul's & in Segontium in WALES
.
2) Both "MI(t)HRA(s) " and his Zoroastrian arch enemy
. "(a)HRIMA(n)" contain the name "HIRAM"
.
3) The highest level of Mithraism was called PATER and he taught
in CAVEs (like Belarius taught Guiderius and Arviragus in WALES):
.
<<The lowest degree of initiation into the grade
. of *CORAX* symbolized the death of a new member,
. from which he would *ARISE* reborn as a new man.
. This represented the end of his life as an unbeliever, & cancelled
. previous allegiances to the other unacceptable beliefs. . .
. Frescoes at Capua, Italy, show the initates blindfolded,
. kneeling and prostrated..>>
.
4) An initiate into the mithraic mysteries was called a *CROW*
-------------------------------------------------------------------
. http://www.farvardyn.com/mithras1.htm
.
<<Two other figures are rarely absent from the bull-slaying.
. Dressed in Persian clothes similar to those of MITHRAS,
. they are placed on either side of the bull and stand
.
. *perfectly still with one leg in front of the other*
.
. http://home.attbi.com/~cjh5801/Shakespearemonument.htm
.
as if taking no part in the action. In some cases, however, one of
them holds the bull's tail, apparently in order to share its magic
power or to stimulate the growth of the corn ears sprouting from it.
Sometimes these figures are represented as shepherds who were present
at the birth of MITHRAS, but they differ in character from Attis, for
each carries a *TORCH* pointing either upward or downward, by which
they illustrate the ascending or descending path of Sol and Luna, the
rising and setting sources of light, life and death. Generally the
bearer with the uplifted *TORCH* is placed under Luna and his
COMPANION under Sol. Their names-Cautes, symbol of
the rising morning sun,
.
. and Cautopates, the setting evening sun-
.
have not yet been linguistically explained, but their symbolism
has been deduced from the various representations. At the feet
of Cautes there is sometimes a crowing cock (which the Greek
called the Persian bird), whose crowing puts evil spirits to flight.
Sometimes Cautopates is shown sitting in a highly expressive attitude
with his head resting on one hand, the very soul of sadness,
contrasting with the joyful (hilaris) Cautes.
In the Santa Prisca Mithraeum this symbolism is also expressed
in the colour of the niches in which their images were placed.
Cautes stand in an orange-coloured niche while Cautopates'
niche is painted dark blue. Some inscriptions even describe
them as 'God' (deus) and rightly so, since we know from the writings
of pseudo-Dionysius the Aeropagite (fourth century A.D.) that the
two *TORCH*-bearers form a trinity with MITHRAS. Consequently Cautes
represents the position of the sun in the morning (oriens), MITHRAS
its course at midday and Cautopates its setting (occidens). MITHRAS
may have been worshipped regularly at NOON and we know that the
sixteenth or middle day of the month was specially dedicated to him.
The figure of MITHRAS symbolises not only the rising sun
and the sun at its zenith but also the sinking orb; in this
way MITHRAS' influence and power were made manifest each day.
.
. In short, the *TORCH*-bearers were so important
that their images were to be found in almost every sanctuary.>>
-------------------------------------------------------------------
. Captain Morgan's Exposition on Freemasonry:
.
. "What time was *HIRAM* slain?"
.
Ans. "At high twelve at NOON, when the Crafts
. were from labor to refreshment."
.
Ans. "Three burning tapers, or *CANDLE*, on *CANDLE sticks* "
. "What do they represent?"
.
Ans. "The Sun, Moon, & MASTER OF THE LODGE."
-------------------------------------------------------
. The Merchant of Venice Act 2, Scene 4
LORENZO Will you prepare you for this masque tonight?
. I am provided of a *TORCH-bearer* .
LORENZO Fair Jessica shall be my *TORCH-bearer* .
............................................
. Act 1, Scene 4
.
ROMEO: Give me a *TORCH*: I am not for this ambling;
. Being but heavy, I will bear the light.
.
ROMEO A *TORCH* for me: let wantons light of heart
. Tickle the senseless rushes with their heels,
. For I am proverb'd with a grandsire phrase;
. I'll be a *CANDLE-holder* , and look on.
. The game was ne'er so fair, and I am done.
.
. Act 3, Scene 5
.
JULIET Yon light is not day-light, I know it, I:
. It is some meteor that the sun exhales,
. To be to thee this night a *TORCH-bearer*,
. And light thee on thy way to Mantua:
------------------------------------------------
Peter Farey wrote:
.
<<The first chapter of Nicholl's *The Reckoning*
. was entitled "A *TORCH* Turned Upside Down".>>
-----------------------------------------------
. King Henry VI, Part i Act 2, Scene 5
.
PLANTAGENET
[Exeunt Gaolers, bearing out the body of MORTIMER]
.
Here dies the dusky *TORCH* of Mortimer,
Choked with ambition of the meaner sort:
...................................................
. Act 3, Scene 2
.
REIGNIER By thrusting out a *TORCH* from yonder tower;
Which, once discern'd, shows that her meaning is,
No way to that, for weakness, which she enter'd.
JOAN LA PUCELLE this is the happy wedding *TORCH*
That joineth Rouen unto her countrymen,
But burning fatal to the Talbotites!
BASTARD OF ORLEANS
See, noble Charles, the beacon of our friend;
The burning *TORCH* in yonder turret stands.
-----------------------------------------------
. King Henry V Act 4, Scene 2
GRANDPRE The horsemen sit like fixed *CANDLEsticks* ,
. With *TORCH-staves* in their hand;
Troilus and Cressida Act 5, Scene 1
ULYSSES [Aside to TROILUS]
. Follow his *TORCH*; he goes to Calchas' tent:
...................................................
. Act 5, Scene 2
ULYSSES Stand where the *TORCH* may not discover us.
-----------------------------------------------
. The Tempest Act 4, Scene 1
IRIS Till Hymen's *TORCH* be lighted:
-----------------------------------------------
. Romeo and Juliet Act 5, Scene 3
PARIS Give me thy *TORCH*, boy: hence, and stand aloof:
Yet put it out, for I would not be seen.
PARIS [The Page whistles]
The boy gives warning something doth approach.
What cursed foot wanders this way to-night,
To cross my obsequies and TRUE love's rite?
What with a *TORCH*! muffle me, night, awhile.
FRIAR LAURENCE Bliss be upon you! Tell me, good my friend,
What *TORCH* is yond, that vainly lends his light
To grubs and eyeless skulls? as I discern,
It burneth in the Capel's monument.
PAGE This is the place; there, where the *TORCH* doth burn.
-----------------------------------------------
. Julius Caesar Act 5, Scene 5
CLITUS Statilius show'd the *TORCH-light* , but,
my lord, He came not back: he is or ta'en or slain.
-----------------------------------------------
. Antony and Cleopatra Act 4, Scene 14
.
I will o'ertake thee, Cleopatra, and
Weep for my pardon. So it must be, for now
All length is torture: since the *TORCH* is out,
Lie down, and stray no farther:
------------------------------------------------
. The Rape of Lucrece
.
Whereat a waxen *TORCH* forthwith he lighteth,
Which must be lode-star to his lustful eye;
And to the flame thus speaks advisedly,
'As from this cold flint I enforced this fire,
So Lucrece must I force to my desire.'
.
'Fair *TORCH*, burn out thy light, and lend it not
To darken her whose light excelleth thine:
.
Extinguishing his conduct in this case;
But his hot heart, which fond desire doth scorch,
Puffs forth another wind that fires the *TORCH*:
.
She, much amazed, breaks ope her lock'd-up eyes,
Who, peeping forth this tumult to behold,
Are by his flaming *TORCH* dimm'd and controll'd.
--------------------------------------------------------
. *KiT MAR-LO*
. *MORT-LAKi*
. *MORT-LAKe*
. *MORT-LOKi*
.
MORT, n. A SALMON in its third year. [Prov. Eng.]
----------------------------------------------------------------
<<LOKi had gone too far, and the gods, in their grief and anger,
had to punish him. Knowing that they would come after him, LOKi
fled Asgard and hid in a mountain. At its summit he built a house as
a lookout from which he could see in all directions. But he often
turned himself into A SALMON and hid in a waterfall called Franang.
Odin soon spied LOKi's hideout from his lofty tower throne,
Hlidskjalf, and the gods came after him with a fishnet. At first
LOKi was able to avoid it, but THOR, with his great strength, waded
along the middle of the river until the net almost reached the sea.
Finally LOKi, as the salmon, had no alternative but to leap up over
the top of the net, and as he did, THOR got hold of his tail.>>
---------------------------------------------------------------
. *CHRISTOPHER*
. *THOR'S CIPHER*
--------------------------------------------------------------
. www.thorshof.org/zthorstar.htm
.
<<The Scandinavians knew Polaris as the 'God's NAIL' which again
suggests the cult of THOR. THOR has a fragment of stone or
IRON IN HIS FOREHEAD representing the god's control of fire.
-------------------------------------------------------------------
<<What then agentlike brought about that tragoady THUNDERSday
this municipal sin business? Our CUBEHOUSE still rocks
as earwitness to the THUNDER of his arafatas but we hear
also through successive ages that shebby choruysh of
unkalified muzzlenimiissilehims that would BLACKGUADISE
the whitestone EVER hurtleturtled out of heaven.>> - FW 5
----------------------------------------------------------------
Bloomsday: 16 June (THURSday), 1870 Dickens buried
Bloomsday: 16 June (THURSday), 1904
.
. THURSday June 16, 1904 exactly 301 (52 week "years")
. after Oxford's death THURSday June 24, 1604
.
Henslowe's records indicate that there
was a performance of Hamlet on (THURSday) JUNE 9th, 1594.
276 years later Dickens died on (THURSday) JUNE 9th, 1870.
. Queen Elizabeth dies on THURSday, March 24.
. Queen Mary THURSday, November 17.
. King Edward VI. THURSday, July 6.
. Henry VIII THURSday, Jan. 28.
------------------------------------------------------
. www.thorshof.org/zthorstar.htm
.
<< *NAILS* were also hammered into HOUSEPILLARS dedicated
to the god which supported the CENTRE OF THE HOUSE,
so the link between the god's NAIL and the axis of the heavens
is very tempting. Furthermore in northern Scandinavia
Polaris is nearly overhead, adding to the link
between the NAIL and the world PILLAR.>>
-----------------------------------------------------
. . Dead as a *THOR-NAIL* (Polaris/door-NAIL)
-------------------------------------------------------
FALSTAFF. What, is the old king dead?
.
PISTOL.. As *NAIL in door* .
-----------------------------------------------------------
http://sunearth.gsfc.nasa.gov/eclipse/SEcat/SE1801-1900.html
.
. . Saturn/Venus conj. ~250 years apart
. . Total Solar eclipses ~250 years apart
.
. Ver: May 30, 1593 Eclipse Mag. at Mecca 0.91
. Hiems: Dec.21, 1843 Eclipse Mag. at Mecca 0.84
------------------------------------------------------------
. Old Marley was as dead as a *door-NAIL* .
. Mind! I don't mean to say that I know, of my
. own knowledge, what there is particularly dead about
. a *door-NAIL* . I might have been inclined, myself, to
. regard a coffin-NAIL as the deadest piece of ironmongery
. in the trade. But the wisdom of our ancestors
. is in the simile; and my unhallowed hands
. shall not disturb it, or the Country's done for. You
. will therefore permit me to repeat, emphatically,
. that Marley was as dead as a *door-NAIL* .
. Scrooge knew he was dead? Of course he course he did.
--------------------------------------------------------------
*DICKENS* , n. [Perh. a contr. of the dim. devilkins.]
. The *DEVIL* . [A vulgar euphemism.]
-----------------------------------------------------------------
The Names of the Principall Actors in all these Playes.
_________ 333 Letters [= 9 x 37 (plays)]
____-- WilliamShakespeareRichardBurbadgeJ [O] hn
_____---- HemmingsAugustinePhillipsWilliamKe [M] pt
- ThomasPoopeGeorgeBryanHenryCondell [W] il
___--- liamSlyeRichardCowlyJohnLowineSamu [e] ll
___--- CrosseAlexanderCookeSamuelGilburne [R] ob
________ ertArminWilliamOstlerNathanFieldJo [h] nU
______----- nderwoodNicholasTooleyWilliamEccle [s] to
___------------ neJosephTaylorRobertBenfieldRobert [G] ou
----------- gheRichardRobinsonJohnShanckeJohnR [i] ce
_______________________________________________
------------------------------- 'The Deceived' = [G][i]
.
. probability of *SHREW* in 9 x 37 array ~ 1 / 5,000
--------------------------------------------------------------
. The Sufi Basis of The Taming of The SHREW
. http://www.sirbacon.org/mshrew.htm
. by Mather Walker
.
<< The word *SHREW* has an interesting orgin.
.
. In old english it was *SHREWe* ,-a maliciousperson;
. but its ultimate origin was from the even older
. german word schrouwel which meant *DEVIL* .>>
------------------------------------------------------------
. The Merry Wives of Windsor Act 3, Scene 2
.
MISTRESS PAGE:
. I cannot tell what the *DICKENS* his name is my husband had
. him of. What do you call your knight's name, sirrah?
--------------------------------------------------------------
. King Lear Act 1, Scene 4
.
KING LEAR: Darkness and *DEVILS* !
. Saddle my horses; call my *TRAIN* together:
--------------------------------------------------------------
. *DICKENS* was in a *TRAIN* accident on JUNE 9, 1865
. but he didn't die until (THURSday): JUNE 9, 1870 aged 58.
.
. http://www.rldavids.force9.co.uk/dickens2.htm
.
<<'Dickens was so full of life that it did not seem possible he could
die', Longfellow wrote to Forster. 'I nEVER knew an author's death to
cause such general mourning. It is no exaggeration to say that this
whole country is stricken with grief.' Mary Cowden Clarke read the
telegraphed four words in an Italian newspaper
"Carlo Dickens e morto" and the 'SUN seemed suddenly blotted out.'
'It is an event world-wide', Carlyle wrote to Forster,
'a unique of Talents suddenly extinct;
. and has "ECLIPSED"...the harmless gaiety of Nations.'
.
The Times took the lead in demanding that he be buried in Westminster
Abbey rather than Rochester Cathedral where a grave had been prepared.
After Dean Stanley accepted the terms of Dickens's will for an
ABSOLUTELY PRIVATE & unannounced funeral the family yielded. The
funeral took place on the morning of 14 June; ONLY TWELVE(!) of his
family & closest friends attended, including Wilkie & Charles COLLINS,
Frank Beard, John Forster & Dickens's solicitor, Frederic Ouvry.
.
In his will Dickens had directed 'that my name be inscribed in plain
English letters on my tomb. I rest my claims to the remembrance of my
country upon my published works and to the remembrance of my friends
upon their experience of me.' Towards evening, Percy Fitzgerald joined
the growing throng and recorded 'There was a wreath of WHITE ROSES
lying on the flags at his feet, a great bank of ferns at his head,
rows of white and red roses down the sides.' With Forster's
permission, Dean Stanley allowed the grave to remain open for two more
days. At dusk on 16 June (Bloomsday), after the Abbey closed to the
public, Lord Houghton heard that the grave would not be closed until
MIDNIGHT. He was the last to look on the coffin.>>
----------------------------------------------------------------
Art Neuendorffer