becomes a BANYAN
art
Les Miserables:
"Royal houses resemble those banyan trees of India,
each branch of which, by bending to the ground,
takes root there and becomes a BANYAN"
---------------------------------------------
Les Miserables:
But of all these occasions, it must be said, none had
EVER been anything like that which was now presented
----------------------------------------
Benjamin Franklin: No nation was EVER ruined by trade.
George Herbert: Was EVER grief like mine?
Horace: The covetous man is EVER in WANT.
Goethe: The world remains EVER the same.
Samuel Johnson No man was EVER great by imitation.
Solon: I grow old EVER learning many things.
Sterne: The best hearts are EVER the bravest.
Winnie the Pooh: PROMISE me, Pooh, that you won't forget me EVER,
because if I thought you would, I wouldn't leave
Emma: Had you witnessed my behaviour there, I can hardly suppose
you would EVER have thought well of me again
C.S. Lewis: No one EVER told me that grief felt so like FEAR
Sylvie and Bruno Concluded:
The whole skein of thought was tangled worse than EVER.
A Christmas Carol: And in the VERy WONDER of this,
it would be itself again, distinct and clear as EVER.
Scarlet Letter: If sages were EVER wise in their own behoof,
I might have foreseen all this
Alexander's Feast (John Dryden) Bacchus, EVER fair and EVER young
Portrait of the Artist as a Young Man: The torment of fire
is the greatest torment to which the tyrant has EVER
subjected his fellowcreatures
-------------------------------------------------------
Words containing the letters "v-e-r-e"
. . . . . . . . . . . . . . . . .
+1 letter: bREVE, elver, EVERt, EVERy, fEVER, lEVER, nERVE,
nEVER, reave, REEVE, reive, REVEl, REVEt, revue,
(s)ERVE, sEVER, VEERy, verge, verse, vERVE, vexer.
+2 letters: averse, beaver, bREVEt, chEVRE, clEVER, corvee, delver,
derive, envier, evader, evener, eviler, evoker, greave, grieve, heaver,
laVEER, leaver, levier, liEVER, oeuvre, oVEREd, paREVE, prevue, reaved,
reaver, reaves, REEVED, regave, regive, reived, reiver, reives, releve,
relive, remove, repave, REVEal, REVElS, REVERb, REVERE, REVERt, REVERy,
REVEst, review, revile, revise, revive, revoke, revote, revved, rewove,
riEVER, sEVERE, sEVERs, soEVER, swERVE, tREVEt, vealer, VEERed, veiler,
veiner, velure, vender, veneer, venery, venire, venter, verged, verier,
verite, vermes, versed, verser, verset, verste, vertex, vERVEt, vesper,
vetoer, vexers, viewer, weaver, weEVER, whERVE.
--------------------------------------------------------------------
"the REVEls"
--------------------------------------------------------------------
§ 5. Ben Jonson's Masques.
http://www.bartleby.com/216/1305.html
<<We can gather what the masque was in its outward features.
A band of masquers assume an impressive and magnificent disguise.
Some sort of explanation must be given of the nature and meaning
of the disguise culminating in the entry of the masquers, which
should be as sudden and impressive as possible. After the entry,
the main or chief dance is performed by the masquers alone.
Then, the masquers "take out" partners from among the spectators
-lords if the masquers are ladies, but, more usually, ladies,
the masquers being lords. With these partners, slow dances,
called by Daniel "certain measures," are performed; and then quick
dances - "galliards & corantos." It is to these quick dances that
the title "the revels" is properly and strictly given.
{The derivation of the word, according to Skeat,
is neither from REVEiller, to awaken, nor from REVE,
to dream, but from O.F. REVEl, meaning rebellion, disorder,
sport, and coming from Latin rebellare, to rebel.}
--------------------------------------------------------------------
Words containing the letters "d-e-v-e-r-e"
. . . . . . . . . . . . . . . . .
+1 letter: de(s)ERVE, EVERted, fEVERED, lEVERED,
reveled, rEVERED, sEVERED.
+2 letters: beavered, bereaved, breveted, deceiver, laVEERED,
overfeed, overseed, received, reevoked, relieved, resERVEd, revealed,
revelled, revenged, revenued, rEVERbed, rEVERend, rEVERsed, rEVERted,
revested, revetted, reviewed, reweaved, unREEVED, veneered, verderer.
LAVEER, v. i. [D. laveren.]
(Naut.) To beat against the wind; to tack. [Obs.] --Dryden.
Dryden's Virgil. Page 18. "Laveer with EVERy wind."
Laveer is an old sea term for working the ship against the wind.
------------------------------------------------------------------
King Henry IV, Part ii Act 1, Scene 2
Lord Chief-Justice:
Well, the king hath (s)EVERED you and Prince Harry:
I hear you are going with Lord John of Lancaster
against the Archbishop and the Earl of Northumberland.
------------------------------------------------------------------
All's Well That Ends Well Act 1, Scene 3
Clown: You're shallow, madam, in great friends; for the
knaves come to do that for me which I am aWEARy of.
He that EARS my land spares my team and gives me
leave to in the crop; if I be his cuckold, he's my
drudge: he that comforts my wife is the cherisher
of my flesh and blood; he that cherishes my flesh
and blood loves my flesh and blood; he that loves my
flesh and blood is my friend: ergo, he that kisses
my wife is my friend. If men could be contented to
be what they are, there were no FEAR in marriage;
for young C(h)A(r)BON the Puritan and old Poysam
the Papist, howsome'er their hearts are (s)EVERED in
religion, their heads are both one; they may jowl
horns together, like any DEER i' the herd.
----------------------------------------------------
BANCO, n. [It.] A bank, especially that of Venice.
---------------------------------------------------
Words containing the letters "b-a-c-o-n"
+1 letter: beacon, bonaci, carbon, confab, corban.
+2 letters: abscond, balcony, bannock, botanic, cabezon,
coalbin, corbina, cowbane, jacobin.
-------------------------------------------------------------
The Merry Wives of Windsor Act 2, Scene 2
FALSTAFF: Sir, I know not how I may DE(s)ERVE to be your PORTER.
Act 3, Scene 3
FALSTAFF: Keep in that mind; I'll DE(s)ERVE it.
FORD: ...then let me be your JEST; I DE(s)ERVE it.
--------------------------------------------------------
King Henry VI, Part iii Act 5, Scene 1
CLARENCE: I am so sorry for my trespass made
That, to DE(s)ERVE well at my brother's hands,
I here proclaim myself thy mortal foe,
With resolution, wheresoe'er I meet thee--
------------------------------------------------------
King Henry VI, Part i Act 3, Scene 3
ALENCON: Pucelle hath bravely play'd her part in this,
And doth DE(s)ERVE a coronet of gold.
------------------------------------------------------
King Richard III Act 1, Scene 2
LADY ANNE: 'Tis more than you DE(s)ERVE;
Act 2, Scene 1
GLOUCESTER: God grant that some, less noble and less loyal,
Nearer in bloody thoughts, but not in blood,
DE(s)ERVE not worse than wretched Clarence did,
And yet go current from suspicion!
Act 2, Scene 3
Third Citizen: All may be well; but, if God sort it so,
'Tis more than we DE(s)ERVE, or I expect.
Act 3, Scene 4
GLOUCESTER: I pray you all, tell me what they DE(s)ERVE
That do conspire my death with devilish plots
Of damned witchcraft, and that have prevail'd
Upon my body with their hellish charms?
Act 4, Scene 4
KING RICHARD III:
Plead what I will be, not what I have been;
Not my deserts, but what I will DE(s)ERVE:
------------------------------------------------------
King Richard II Act 2, Scene 1
DUKE OF YORK: Was not Gaunt just, and is not Harry TRUE?
Did not the one DE(s)ERVE to have an heir?
Is not his heir a well-DE(s)ERVing son?
Act 3, Scene 3
HENRY BOLINGBROKE: So far be mine, my most redoubted lord,
As my TRUE sERVicE shall DE(s)ERVE your love.
KING RICHARD II:
Well you DE(s)ERVE: they well DE(s)ERVE to have,
That know the strong'st and surest way to get.
------------------------------------------------------
King John Act 3, Scene 1
CONSTANCE: For then I should not love thee, no, nor thou
Become thy great birth nor DE(s)ERVE a crown.
------------------------------------------------------
King Henry IV, Part ii Act 4, Scene 3
LANCASTER: Fare you well, Falstaff: I, in my condition,
Shall better speak of you than you DE(s)ERVE.
------------------------------------------------------
King Henry VIII Prologue
Chorus Such noble scenes as draw the eye to flow,
We now present. Those that can pity, here
May, if they think it well, let fall a tear;
The subject will DE(s)ERVE it. Such as give
Their money out of hope they may believe,
May here find TRUTH too.
Act 2, Scene 2
CARDINAL CAMPEIUS:
Your grace must needs DE(s)ERVE all strangers' loves,
You are so noble.
Act 4, Scene 1
Second Gentleman: He will DE(s)ERVE more.
Act 4, Scene 2
KATHARINE: You are a saucy fellow:
DE(s)ERVE we no more rEVEREnce?
KATHARINE: She is young, and of a noble modest nature,
I hope she will DE(s)ERVE well,--and a little
To love her for her mother's sake, that loved him,
Heaven knows how dearly. My next poor petition
Is, that his noble grace would have some pity
Upon my wretched women, that so long
Have follow'd both my fortunes faithfully:
Of which there is not one, I dare avow,
And now I should not lie, but will DE(s)ERVE
For virtue and TRUE beauty of the soul,
For honesty and decent carriage,
A right good husband, let him be a noble
Act 5, Scene 1
LOVELL: my conscience says
She's a good creature, and, sweet lady, does
DE(s)ERVE our better wishes.
Act 5, Scene 3
KING HENRY VIII:
This good man,--few of you DE(s)ERVE that title,
CRANMER: how may I DE(s)ERVE it
That am a poor and humble subject to you?
------------------------------------------------------
The Two Gentlemen of Verona Act 2, Scene 7
JULIA: Now, as thou lovest me, do him not that wrong
To bear a hard opinion of his TRUTH:
Only DE(s)ERVE my love by loving him;
------------------------------------------------------
Love's Labour's Lost Act 4, Scene 3
LONGAVILLE: Vows for thee broke DE(s)ERVE not punishment.
BIRON: That you three FOOLs lack'd me FOOL to make up the mess:
He, he, and you, and you, my liege, and I,
Are pick-purses in love, and we DE(s)ERVE to die.
O, dismiss this audience, and I shall tell you more.
------------------------------------------------------
A Midsummer Night's Dream Act 2, Scene 2
HELENA: When at your hands did I DE(s)ERVE this scorn?
Is't not enough, is't not enough, young man,
That I did nEVER, no, nor nEVER can,
DE(s)ERVE a sweet look from Demetrius' eye,
But you must flout my insufficiency?
Good TROTH, you do me wrong, good SOOTH, you do,
In such disdainful manner me to woo.
But fare you well: perforce I must confess
I thought you lord of more TRUE gentleness.
------------------------------------------------------
The Merchant of Venice Act 2, Scene 7
MOROCCO: What says this leaden casket?
'Who chooseth me must give and HAZARD all he hath.'
Must give: for what? for lead? HAZARD for lead?
This casket threatens. Men that HAZARD all
Do it in hope of fair advantages:
A golden mind stoops not to shows of dross;
I'll then nor give nor HAZARD aught for lead.
What says the silver with her virgin hue?
'Who chooseth me shall get as much as he DE(s)ERVEs.'
As much as he DE(s)ERVEs! Pause there, Morocco,
And weigh thy value with an even hand:
If thou be'st rated by thy estimation,
Thou dost DE(s)ERVE enough; and yet enough
May not extend so far as to the lady:
And yet to be aFEARd of my deserving
Were but a weak disabling of myself.
As much as I DE(s)ERVE! Why, that's the lady:
I do in birth DE(s)ERVE her, and in fortunes,
In graces and in qualities of breeding;
But more than these, in love I do DE(s)ERVE.
Act 2, Scene 9
ARRAGON: What's here? the portrait of a BLINKING IDIOT,
Presenting me a schedule! I will read it.
How much unlike art thou to Portia!
How much unlike my hopes and my DE(s)ERVings!
'Who chooseth me shall have as much as he DE(s)ERVEs.'
Did I DE(s)ERVE no more than a FOOL's head?
Is that my prize? are my deserts no better?
------------------------------------------------------
Much Ado About Nothing Act 3, Scene 1
URSULA: Why did you so? Doth not the gentleman
DE(s)ERVE as full as fortunate a bed
As EVER Beatrice shall couch upon?
HERO O god of love! I know he doth DE(s)ERVE
As much as may be yielded to a man:
But Nature nEVER framed a woman's heart
Of prouder stuff than that of Beatrice;
------------------------------------------------------
What fire is in mine ears? Can this be TRUE?
Stand I condemn'd for pride and scorn so much?
Contempt, farewell! and maiden pride, adieu!
No glory lives behind the back of such.
And, Benedick, love on; I will requite thee,
Taming my wild heart to thy loving hand:
If thou dost love, my kindness shall incite thee
To bind our loves up in a holy band;
For others say thou dost DE(s)ERVE, and I
Believe it better than reportingly.
Act 4, Scene 1
BEATRICE: Ah, how much might the man DE(s)ERVE of me
that would right her!
Act 5, Scene 2
BENEDICK: ...sweet Mistress Margaret, DE(s)ERVE well at
my hands by helping me to the speech of Beatrice.
BENEDICK: [Sings]
The god of love,
That sits above,
And knows me, and knows me,
How pitiful I DE(s)ERVE,--
I mean in singing; but in loving, Leander the good
swimmer, Troilus the first employer of panders, and
a whole bookful of these quondam carpet-mangers,
whose names yet run smoothly in the even road of a
blank verse, why, they were nEVER so truly turned
over and over as my poor self in love. Marry, I
cannot show it in rhyme; I have tried: I can find
out no rhyme to 'lady' but 'baby,' an innocent
rhyme; for 'scorn,' 'horn,' a hard rhyme; for,
'school,' 'FOOL,' a babbling rhyme; very ominous
endings: no, I was not born under a rhyming planet,
nor I cannot woo in festival terms.
------------------------------------------------------
As You Like It Act 1, Scene 3
CELIA: Why should I not? doth he not DE(s)ERVE well?
------------------------------------------------------
Twelfth Night Act 4, Scene 2
MALVOLIO: Good FOOL, as EVER thou wilt DE(s)ERVE well at my
hand, help me to a candle, and pen, ink and paper:
as I am a gentleman, I will live to be thankful to thee for't.
------------------------------------------------------
All's Well That Ends Well Act 1, Scene 3
HELENA: Nor would I have him till I do DE(s)ERVE him;
Yet nEVER know how that desert should be.
I know I love in vain, strive against hope;
Yet in this captious and intenible sieve
I still pour in the waters of my love
And lack not to lose still: thus, Indian-like,
Religious in mine error, I adore
The sun, that looks upon his worshipper,
But knows of him no more. My dearest madam,
Let not your hate encounter with my love
For loving where you do: but if yourself,
Whose aged honour cites a virtuous youth,
Did EVER in so TRUE a flame of liking
Wish chastely and love dearly, that your Dian
Was both herself and love: O, then, give pity
To her, whose state is such that cannot choose
But lend and give where she is sure to lose;
That seeks not to find that her search implies,
But riddle-like lives sweetly where she dies!
Act 2, Scene 5
LAFEU: I have spoken better of you than you have or will to
DE(s)ERVE at my hand; but we must do good against evil.
Act 4, Scene 3
PAROLLES: [Aside] I'll no more drumming; a plague of all
drums! Only to seem to DE(s)ERVE well, and to
beguile the supposition of that lascivious young boy
the count, have I run into this danger. Yet who
would have suspected an ambush where I was taken?
------------------------------------------------------
Pericles Prince of Tyre Act 2, Scene 3
SIMONIDES: Call it by what you WILL, the day is yours;
And here, I hope, is none that ENVIES it.
In framing an artist, art hath thus decreed,
To make some good, but others to exceed;
And you are her labour'd scholar. Come, queen o'
the feast,--
For, daughter, so you are,--here take your place:
Marshal the rest, as they DE(s)ERVE their grace.
------------------------------------------------------
Cymbeline Act 1, Scene 4
POSTHUMUS LEONATUS: A repulse: though your attempt,
as you call it, DE(s)ERVE more; a punishment too.
Act 3, Scene 3
BELARIUS: The FEAR's as bad as falling; the toil o' the war,
A pain that only seems to seek out danger
I' the name of fame and honour; which dies i'
the search, And hath as oft a slanderous epitaph
As record of fair act; nay, many times,
Doth ill DE(s)ERVE by doing well; what's worse,
Must court'sy at the censure:--O boys, this story
The world may read in me: my body's mark'd
With Roman swords, and my report was once
First with the best of note: Cymbeline loved me,
And when a soldier was the theme, my name
Was not far off: then was I as a tree
Whose boughs did bend with fruit: but in one night,
A storm or robbery, call it WHAT YOU WILL,
Shook down my mellow hangings, nay, my leaves,
And left me bare to weather.
Act 5, Scene 4
Posthumus Leonatus: But, alas, I swERVE:
Many dream not to find, neither DE(s)ERVE,
And yet are steep'd in favours: so am I,
That have this golden chance and know not why.
What fairies haunt this ground? A book? O RARE one!
Be not, as is our fangled world, a garment
Nobler than that it covers: let thy effects
So follow, to be most unlike our courtiers,
As good as PROMISE.
------------------------------------------------------
Titus Andronicus Act 2, Scene 1
CHIRON: To (s)ERVE, and to DE(s)ERVE my mistress' grace;
And that my sword upon thee shall approve,
And plead my passions for Lavinia's love.
------------------------------------------------------
Hamlet, Prince of Denmark Act 2, Scene 2
HAMLET God's bodykins, man, much better: use EVERy man
after his desert, and who should 'scape whipping?
Use them after your own honour and dignity: the less
they DE(s)ERVE, the more merit is in your bounty.
------------------------------------------------------
Othello, The Moor of Venice Act 1, Scene 1
BRABANTIO: Pray you, lead on. At EVERy house I'll call;
I may command at most. Get weapons, ho!
And raise some special officers of night.
On, good Roderigo: I'll DE(s)ERVE your pains.
------------------------------------------------------
Timon of Athens Act 5, Scene 4
Second Senator: So did we woo
Transformed Timon to our city's love
By humble message and by PROMISEd means:
We were not all unkind, nor all DE(s)ERVE
The common stroke of war.
------------------------------------------------------
King Lear Act 2, Scene 1
GLOUCESTER: he which finds him shall DE(s)ERVE our thanks,
Bringing the murderous coward to the stake;
He that conceals him, death.
Act 2, Scene 4
KING LEAR: Resolve me, with all modest haste, which way
Thou mightst DE(s)ERVE, or they impose, this usage,
------------------------------------------------------
Macbeth Act 4, Scene 3
MALCOLM: I am young; but something
You may DE(s)ERVE of him through me, and wisdom
To offer up a weak poor innocent lamb
To appease an angry god.
------------------------------------------------------
Antony and Cleopatra Act 3, Scene 6
OCTAVIUS CAESAR: That he his high authority abused,
And did DE(s)ERVE his change:
------------------------------------------------------
Coriolanus Act 2, Scene 3
CORIOLANUS: Most sweet voices!
Better it is to die, better to starve,
Than crave the hire which first we do DE(s)ERVE.
Why in this woolvish toge should I stand here,
To beg of Hob and Dick, that do appear,
Their needless vouches? Custom calls me to't:
What custom wills, in all things should we do't,
The dust on antique time would lie unswept,
And mountainous error be too highly heapt
For TRUTH to o'er-peer. Rather than FOOL it so,
Let the high office and the honour go
To one that would do thus.
BRUTUS: We pray the gods he may DE(s)ERVE your loves.
Act 3, Scene 1
CORIOLANUS: By yond clouds, Let me DE(s)ERVE so ill
as you, and make me Your fellow tribune.
CORIOLANUS: This kind of sERVicE
Did not DE(s)ERVE corn gratis...
We are the greater poll, and in TRUE FEAR
They gave us our demands.' Thus we debase
The nature of our seats and make the rabble
Call our cares FEARs; which will in time
Break ope the locks o' the senate and bring in
The crows to peck the eagles.
Act 4, Scene 6
COMINIUS: the people DE(s)ERVE such pity of him as the wolf
Does of the shepherds: for his best friends, if they
Should say 'Be good to Rome,' they charged him even
As those should do that had DE(s)ERVEd his hate,
And therein show'd like enemies.
Act 5, Scene 3
CORIOLANUS: Come, enter with us. Ladies, you DE(s)ERVE
To have a temple built you: all the swords
In Italy, and her confederate arms,
Could not have made this peace.
------------------------------------------------------
Sonnet 142
Root pity in thy heart, that when it grows
Thy pity may DE(s)ERVE to pitied be.
If thou dost seek to have what thou dost hide,
By self-example mayst thou be denied!
------------------------------------------------------
The Passionate Pilgrim Sonnet 3
Vows for thee broke DE(s)ERVE not punishment.
------------------------------------------------------
Art Neuendorffer
David L. Webb
"art" <aneuendor...@comcast.net>
(amorondaf...@comicass.nut) wrote:
[...]
> Les Miserables:
>
> But of all these occasions, it must be said, none had
> EVER been anything like that which was now presented
You do realize that _Les Miserables_ was written in French, don't
you, Art? And that therefore the word "ever" is scarcely likely to
appear? Well, perhaps you don't; perhaps you thought that Hugo was
referring to Paris, Tennessee.
[...]
> Horace: The covetous man is EVER in WANT.
You do realize that Horace wrote in Latin, don't you, Art? And that
therefore the word "ever" is scarcely likely to appear? Well, perhaps
you don't; perhaps you strive to emulate Horace's _Ars Poetica_ with
your own VERsion, _Arse Pathetica_.
> Goethe: The world remains EVER the same.
You do realize that Goethe wrote in German, don't you, Art? And that
therefore the word "ever" is scarcely likely to appear? Well, perhaps
you don't; perhaps you surmise that Goethe, born in Frankfurt, was a
native of Kentucky.
[...]
> Solon: I grow old EVER learning many things.
You do realize that Solon wrote in the Greek of antiquity, don't you,
Art? And that therefore the word "ever" is scarcely likely to appear?
Indeed, are you even aware that Greek even uses a different alphabet,
Art? Well, perhaps you aren't; anyone who believes that Virgil predated
Herodotus might well believe that the Greek of 600 BCE was written using
the Latin alphabet.
[Lunatic logorrhea snipped]
> -------------------------------------------------------
> Words containing the letters "v-e-r-e"
> . . . . . . . . . . . . . . . . .
> +1 letter: bREVE, elver, EVERt, EVERy, fEVER, lEVER, nERVE,
> nEVER, reave, REEVE, reive, REVEl, REVEt, revue,
> (s)ERVE, sEVER, VEERy, verge, verse, vERVE, vexer.
>
> +2 letters: averse, beaver, bREVEt, chEVRE, clEVER, corvee, delver,
> derive, envier, evader, evener, eviler, evoker, greave, grieve, heaver,
> laVEER, leaver, levier, liEVER, oeuvre, oVEREd, paREVE, prevue, reaved,
> reaver, reaves, REEVED, regave, regive, reived, reiver, reives, releve,
> relive, remove, repave, REVEal, REVElS, REVERb, REVERE, REVERt, REVERy,
> REVEst, review, revile, revise, revive, revoke, revote, revved, rewove,
> riEVER, sEVERE, sEVERs, soEVER, swERVE, tREVEt, vealer, VEERed, veiler,
> veiner, velure, vender, veneer, venery, venire, venter, verged, verier,
> verite, vermes, versed, verser, verset, verste, vertex, vERVEt, vesper,
> vetoer, vexers, viewer, weaver, weEVER, whERVE.
Plainly, such words are so numerous and so utterly commonplace that
nobody with an I.Q. requiring at least two digits to express in decimal
notation would entertain the insane notion that their appearance
constitutes some sort of incompetent secret code.
[Lunatic logorrhea snipped]
Art Neuendorffer
> > -------------------------------------------------------
> > Words containing the letters "v-e-r-e"
> > . . . . . . . . . . . . . . . . .
> > +1 letter: bREVE, elver, EVERt, EVERy, fEVER, lEVER, nERVE,
> > nEVER, reave, REEVE, reive, REVEl, REVEt, revue,
> > (s)ERVE, sEVER, VEERy, verge, verse, vERVE, vexer.
> >
> > +2 letters: averse, beaver, bREVEt, chEVRE, clEVER, corvee, delver,
> > derive, envier, evader, evener, eviler, evoker, greave, grieve, heaver,
> > laVEER, leaver, levier, liEVER, oeuvre, oVEREd, paREVE, prevue, reaved,
> > reaver, reaves, REEVED, regave, regive, reived, reiver, reives, releve,
> > relive, remove, repave, REVEal, REVElS, REVERb, REVERE, REVERt, REVERy,
> > REVEst, review, revile, revise, revive, revoke, revote, revved, rewove,
> > riEVER, sEVERE, sEVERs, soEVER, swERVE, tREVEt, vealer, VEERed, veiler,
> > veiner, velure, vender, veneer, venery, venire, venter, verged, verier,
> > verite, vermes, versed, verser, verset, verste, vertex, vERVEt, vesper,
> > vetoer, vexers, viewer, weaver, weEVER, whERVE.
"David L. Webb" <David....@Dartmouth.edu> wrote
> Plainly, such words are so numerous and so utterly commonplace that
> nobody with an I.Q. requiring at least two digits to express in decimal
> notation would entertain the insane notion that their appearance
> constitutes some sort of incompetent secret code.
Well, we know at least two persons who used such a "secret code."
--------------------------------------------------------------
Oh heavens! who was the first that bred in me this fever? VERE (Ver.)
Who was the first that gave the wound whose FEAR I WEAR for ever? VERE.
What tyrant, Cupid, to my harm usurps thy golden quiver? VERE.
What sight first caught this heart and can from bondage it deliver?
VERE. -- The Earle of Oxforde.
-------------------------------------------------------------
_Ulysses_ by Joyce : <<BLOOM...
swear that I will always hail, EVER conceal, nEVER REVEal,
any part or parts, art or arts...(He murmurs .) in the rough sands of
the sea. a CABLETOW's length from the shore... where the tide ebbs ...
and flows...( Silent, thoughtful, alert, he stands on guard, his fingers
at his LIPS IN THE ATTITUDE OF SECRET MASTER.....) >>
------------------------------------------------------------
Captain Morgan's Exposition on Freemasonry
The candidate during the time is divested of all his apparel (shirt
excepted) and furnished with a pair of drawers kept in the lodge for
the use of candidates. The candidate is then blindfolded, his left foot
bare, his right in a slipper, his left breast and arm naked, and a rope
called a CABLE-TOW round his neck and left arm, [the rope is not put
round the arm in all lodges] in which posture the candidate is conducted
to the door where he is caused to give, or the conductor gives
THREE DISTINCT KNOCKS, which are answered by three from within;
the conductor gives one more, which is also answered by one from within.
The door is then partly opened
and the Senior Deacon generally asks,
'Who comes there? Who comes there? Who comes there?"
------------------------------------------------------------
MACBETH Act 2, Scene 3
Knocking WITHIN
Knock, knock, knock!
Who's there, i' the name of
Beelzebub? Here's a farmer, that hanged
himself on the expectation of plenty: come in
time; have napkins enow about you; here
you'll sweat for't.
Knocking WITHIN
Knock, knock!
Who's there, in the other devil's
name? Faith, here's an equivocator, that could
swear in both the scales against either scale;
who committed treason enough for God's sake,
yet could not equivocate to heaven: O, come
in, equivocator.
Knocking WITHIN
Knock, knock, knock!
Who's there? Faith, here's an
English tailor come hither, for stealing out of
a French hose: come in, tailor; here you may
roast your goose.
Knocking WITHIN
Knock, knock;
never at quiet! What are you? But
this place is too cold for hell. I'll devil-PORTER
it no further: I had thought to have let in
some of all professions that go the primrose
way to the EVERLASTING bonfire.
---------------------------------------------------------------
The Merry Wives of Windsor Act 2, Scene 2
FALSTAFF: Sir, I know not how I may DEsERVE to be your PORTER.
---------------------------------------------------------------
Troilus and Cressida Act 1, Scene 2
PANDARUS: Achilles! a drayman, a PORTER, a VERy camel.
----------------------------------------------------------------
Art (or Arts) Neuendorffer
David L. Webb
"Art Neuendorffer" <aneuendor...@comcast.net>
(amorondaf...@comicass.nut) wrote:
> > "art" <aneuendor...@comcast.net>
> > > -------------------------------------------------------
> > > Words containing the letters "v-e-r-e"
> > > . . . . . . . . . . . . . . . . .
> > > +1 letter: bREVE, elver, EVERt, EVERy, fEVER, lEVER, nERVE,
> > > nEVER, reave, REEVE, reive, REVEl, REVEt, revue,
> > > (s)ERVE, sEVER, VEERy, verge, verse, vERVE, vexer.
> > >
> > > +2 letters: averse, beaver, bREVEt, chEVRE, clEVER, corvee, delver,
> > > derive, envier, evader, evener, eviler, evoker, greave, grieve, heaver,
> > > laVEER, leaver, levier, liEVER, oeuvre, oVEREd, paREVE, prevue, reaved,
> > > reaver, reaves, REEVED, regave, regive, reived, reiver, reives, releve,
> > > relive, remove, repave, REVEal, REVElS, REVERb, REVERE, REVERt, REVERy,
> > > REVEst, review, revile, revise, revive, revoke, revote, revved, rewove,
> > > riEVER, sEVERE, sEVERs, soEVER, swERVE, tREVEt, vealer, VEERed, veiler,
> > > veiner, velure, vender, veneer, venery, venire, venter, verged, verier,
> > > verite, vermes, versed, verser, verset, verste, vertex, vERVEt, vesper,
> > > vetoer, vexers, viewer, weaver, weEVER, whERVE.
> "David L. Webb" <David....@Dartmouth.edu> wrote
>
> > Plainly, such words are so numerous and so utterly commonplace that
> > nobody with an I.Q. requiring at least two digits to express in decimal
> > notation would entertain the insane notion that their appearance
> > constitutes some sort of incompetent secret code.
> Well, we know at least two persons who used such a "secret code."
[...]
So, eVERy "knock knock" joke is a Masonic secret ritual, Art?
Fascinating!
[Lunatic logorrhea snipped]
Art Neuendorffer
> "Art Neuendorffer" <aneuendor...@comcast.net>
> > Well, we know at least two persons who used such a "secret code."
--------------------------------------------------------------
Oh heavens! who was the first that bred in me this fever? VERE (Ver.)
Who was the first that gave the wound whose FEAR I WEAR for ever? VERE.
What tyrant, Cupid, to my harm usurps thy golden quiver? VERE.
What sight first caught this heart and can from bondage it deliver?
VERE. -- The Earle of Oxforde.
-------------------------------------------------------------
_Ulysses_ by Joyce : <<BLOOM...
sWEAR that I will always hail, EVER conceal, nEVER REVEal,
any part or parts, art or arts...(He murmurs .) in the rough sands of
the sea. a CABLETOW's length from the shore... where the tide ebbs ...
and flows...( Silent, thoughtful, alert, he stands on guard, his fingers
at his LIPS IN THE ATTITUDE OF SECRET MASTER.....) >>
------------------------------------------------------------
"David L. Webb" <David....@Dartmouth.edu> wrote
> So, eVERy "knock knock" joke is a Masonic secret ritual, Art?
EVERy "knock knock knock" joke, at least.
----------------------------------------------------------------
Symphony No. 5 (Beethoven) From Wikipedia,
<<Ludwig van Beethoven's Symphony No. 5 in C Minor was written in 1804-1807.
In the catalog of Beethoven's works it is Opus 67. The work was dedicated to
Prince Lobkowitz and Count Rasumovsky, a Russian diplomat who had
commissioned three of Beethoven's string quartets. The symphony achieved its
reputation soon after its first performance in 1808; it was described at the
time by E.T.A. Hoffmann as "one of the most important works of the age." The
symphony is immediately recognizable by its four-note opening motif. Because
of the motif's resemblance to the Morse code for the letter V (dot dot dot
dash), it was used as a shorthand for the word "victory" to open the BBC's
radio broadcasts during World War II, an idea of William Stephenson's.
The Fifth Symphony premiered December 22, 1808 during a mammoth concert,
consisting entirely of Beethoven premieres, at the Theater an der Wien in
Vienna. Other highlights were the Choral Fantasy, the Sixth Symphony, and
the Fourth Piano Concerto. (The names of the Fifth and Sixth symphonies were
mistakenly reversed on the program, due to the order of their performances).
There was little critical response of any sort to the symphony's first
appearance, perhaps due to the poor playing of the orchestra (they had only
one rehearsal before the concert) and the exhaustion of the audience from
the long program. However, a year and a half later another performance
resulted in a rapturous review by E.T.A. Hoffmann in the Allgemeine
musikalische Zeitung. He described the music by writing, "Radiant beams
shoot through the deep night of this region, and we become aware of gigantic
shadows which, rocking back and forth, close in on us and destroy all within
us except the pain of endless longing -- a longing in which every pleasure
that rose up amid jubilant tones sinks and succumbs. Only through this pain,
which, while consuming but not destroying love, hope, and joy, tries to
burst our breasts with a full-voiced general cry from all the passions, do
we live on and are captivated beholders of the spirits."
An episode of The Simpsons see the residents of Springfield build a concert
hall to make their town more cultural. Beethoven's 5th Symphony is played on
the opening night, but after the first four notes have been played the
audience gets bored and leaves. When the conducter asks where everyone is
going, Clancy Wiggum sneers "Hey, we heard the 'Duh-duh-duh-dum' bit
already, the rest is just filler."
In Douglas Adams' 1979 novel "The Hitch-Hiker's Guide to the Galaxy", Ford
Prefect hums the symphony's first bar to a Vogon guard, in a last-ditch
effort to persuade the guard to abandon his brutal ways; the attempt is
unsuccessful, although Prefect evades imminent death by other means.
On a mid 1980s mix tape of humorous answering machine messages there is a
version which goes: "Nobody's home. Why did you phone? Please leave your
message here when you have heard the tone, And we will call you back as soon
as we get home. Your message here, After the tone, Here is the tone... tone"
>>
-------------------------------------------------
http://www.classicalnotes.net/classics/fifth.html
Copyright 2001 by Peter Gutmann: <<Dit-dit-dit-daaaah.
Talk about a great hook! Three quick G's and a long E-flat - the opening of
Ludwig van Beethoven's Fifth Symphony just could be the most memorable
musical phrase of all time. During World War II its suggestion of Morse Code
became the powerful symbol of "V For Victory." GI's who didn't know
Schumann from shinola knew this was Beethoven and relished the irony of a
German's music galvanizing the Allied effort to defeat the horrific murder
machine that country had become. But that's just the first five seconds. As
for the rest, in nearly every poll, even of classical sophisticates, the
Beethoven Fifth tops the list of favorites. Clearly, Beethoven crafted
something powerful and universal that reverberates with ageless significance
in every listener regardless of their depth of musical culture.
While the Fifth isn't Beethoven's most innovative or influential symphony
(the Third and Ninth compete for that honor) it did have a wealth of
ground-breaking features: the first use of a trombone in symphonic music,
variations built upon dual themes, two movements joined together, the
reprise of an earlier passage in the finale and, most impressive of all, a
single motif that unifies the entire work.
Beethoven reportedly called his opening "Fate knocking at the door," but
nowadays that's largely discredited as unreliable hearsay; as Beethoven's
posthumous fame grew, many associates tried to magnify their own
significance by claiming special insights. But, as befits one whose genius
lay in the abstract realm of music rather than a more specific art,
Beethoven didn't trivialize his creations with a single connotation. Even
so, the entire work exemplifies the Romantic ideal of an expressive journey,
not in the sense of telling a story but rather as an emotional catharsis.
"Fate" or not, the commanding opening figure pervades the entire work. The
first movement is grim and resolute yet charged with constant conflict and
energy as glimmers of hope swirl through a relentless storm. It's a miracle
of construction, with all the ideas firmly grounded in that first four-note
phrase - even a lyric second theme rides atop and ultimately devolves into
it. The focused intensity is relieved by a flowing set of variations,
leisurely but with controlled surges of power. Next comes a resolute march
built largely upon the insistent rhythm of the opening motif which descends
into a hushed section of coiled tension and then explodes into the finale,
an exhilarating shout of C-major triumph. In a masterstroke, Beethoven
magnifies the effect by summoning again the tense portion of the third
movement march and then repeating the triumphant explosion all over again.
The work ends in a breathless coda built upon variants of the opening motif
to pound home the permanence of the joyous destination.
While Mozart may have written out masterpieces in final form right off the
top of his head, Beethoven struggled over the Fifth for nearly a decade.
Many early ideas and sketches found in his notebooks started out
conventionally, with lengthy repetitions and standard harmonic progressions.
As a great composer, Beethoven delved deeply into his material to explore
and develop its full potential, and as an equally great editor, he
constantly simplified and tightened it. In final form, the Fifth is a
masterpiece not only of invention but of concision; unlike movies and novels
we consider great but in which minor changes would be inconsequential, not a
single note of the Fifth could be improved.
But please don't think of the composer who lavished so much devout care on
perfecting his work as a pure soul whose rarified spirit had risen far above
the venality of the rest of us mere mortals. Beethoven was all too human -
he contracted to sell the Fifth to a wealthy patron for 500 florins (a
considerable sum), but after collecting the first 350 turned around without
apology or refund and sold the very same score to a publisher. But perhaps
it was Beethoven's intense humanity that enabled him to write in a style
that appealed to real people, NOT JUST ARISTOCRATS.
That, in itself, is an essential key to understanding Beethoven's lasting
appeal. Two centuries ago classical music was wholly dependent upon the
patronage of nobility. Public concerts were rare and established
professional orchestras unknown. The Fifth was given its world premiere in a
massive four-hour concert on December 28, 1808 that consisted entirely of
new major Beethoven works, including his Sixth Symphony, Mass in C, Fourth
Piano Concerto and Choral Fantasia. By the time the Fifth rolled around that
night, the audience was not only too exhausted to have paid much notice but
also nearly frozen, as the hall was unheated and the winter bitterly cold.
With only a single rehearsal by a pick-up ensemble for the entire program of
unfamiliar and difficult music, the execution was a mess; at one point,
things got so tangled that Beethoven had to stop and restart, a humiliation
that the shivering players repaid.
Not surprisingly, the world was hardly transformed by first hearing this
glorious creation - the premiere was essentially an exercise in
sight-reading, and so notions of sensitivity and interpretive feeling were
well beside the point. Nowadays, we've made up for that with a huge variety
of distinctive, highly-polished and deeply expressive recordings that plumb
the considerable depths of this amazingly rich work. Here are my favorites:
Although Arturo Toscanini's reputation as a classical speed demon is largely
unwarranted, he does claim the fastest Fifth on records - a stunning concert
of May 8, 1945 celebrating VE Day (on Music & Arts CD 753). Toscanini was a
fervent anti-fascist and the overthrow of Mussolini and Hitler overpowered
his usual sense of proportion to produce a hair-raising distillation of his
political emotions that clocks in at a breathless 26 minutes, 45 seconds..>>
-----------------------------------------
Arturo Neuendorffer
David L. Webb
"Art Neuendorffer" <aneuendor...@comcast.net>
(amorondaf...@comicass.nut) wrote:
[Lunatic logorrhea snipped]
Excellent, Art -- note that date carefully.
> In the catalog of Beethoven's works it is Opus 67. The work was dedicated to
> Prince Lobkowitz and Count Rasumovsky, a Russian diplomat who had
> commissioned three of Beethoven's string quartets. The symphony achieved its
> reputation soon after its first performance in 1808; it was described at the
> time by E.T.A. Hoffmann as "one of the most important works of the age." The
> symphony is immediately recognizable by its four-note opening motif. Because
> of the motif's resemblance to the Morse code for the letter V (dot dot dot
> dash), it was used as a shorthand for the word "victory" to open the BBC's
> radio broadcasts during World War II, an idea of William Stephenson's.
I hate to be the one to break the news to you, Art, but Morse did not
develop the telegraph (and Morse code) until the mid 1830s, oVER a
quarter century later than Beethoven's fifth symphony. Indeed, it was
not until 1830 that Joseph Henry sent an electric current over a span of
roughly a mile and caused an electromagnet to ring a bell; in fact, it
was not until 1825 that William Sturgeon developed and demonstrated a
practical electromagnet. Therefore the notion that the opening motif of
Beethoven's fifth symphony constitutes a Masonic REVelation -- Morse
code for "V" (for "Vere," no doubt) -- is a remarkably moronic idea,
even for a clueless cretin like yourself. I realize that you are
engaged in an amusing Stephanie Caruana parody in the avatar of your
Chronologically Clueless Cretin persona, so I should probably expect
almost any sort of insane crap from someone who thinks that Virgil
predated Herodotus and that Aleksandr Nevskii was "tsar" -- despite the
fact that the title was neVER applied to *any* Grand Prince (Velikii
Knyaz') until some two centuries later, and despite the inconvenient
fact that only the Grand Prince of *Moscow*, neVER the Grand Price of
Novgorod, was so called.
> The Fifth Symphony premiered December 22, 1808 during a mammoth concert,
> consisting entirely of Beethoven premieres, at the Theater an der Wien in
> Vienna. Other highlights were the Choral Fantasy, the Sixth Symphony, and
> the Fourth Piano Concerto. (The names of the Fifth and Sixth symphonies were
> mistakenly reversed on the program, due to the order of their performances).
> There was little critical response of any sort to the symphony's first
> appearance, perhaps due to the poor playing of the orchestra (they had only
> one rehearsal before the concert) and the exhaustion of the audience from
> the long program. However, a year and a half later another performance
> resulted in a rapturous review by E.T.A. Hoffmann in the Allgemeine
> musikalische Zeitung. He described the music by writing, "Radiant beams
> shoot through the deep night of this region, and we become aware of gigantic
> shadows which, rocking back and forth, close in on us and destroy all within
> us except the pain of endless longing -- a longing in which every pleasure
> that rose up amid jubilant tones sinks and succumbs. Only through this pain,
> which, while consuming but not destroying love, hope, and joy, tries to
> burst our breasts with a full-voiced general cry from all the passions, do
> we live on and are captivated beholders of the spirits."
>
> An episode of The Simpsons see the residents of Springfield build a concert
> hall to make their town more cultural. Beethoven's 5th Symphony is played on
> the opening night, but after the first four notes have been played the
> audience gets bored and leaves. When the conducter asks where everyone is
> going, Clancy Wiggum sneers "Hey, we heard the 'Duh-duh-duh-dum' bit
> already, the rest is just filler."
Quite right -- we have seen your "duh-duh-duh-dumb" bit above, Art.
[...]
> -------------------------------------------------
> http://www.classicalnotes.net/classics/fifth.html
>
> Copyright 2001 by Peter Gutmann: <<Dit-dit-dit-daaaah.
>
> Talk about a great hook! Three quick G's
Masonic, no doubt!
> and a long E-flat - the opening of
> Ludwig van Beethoven's Fifth Symphony just could be the most memorable
> musical phrase of all time.
[...]
> While the Fifth isn't Beethoven's most innovative or influential symphony
> (the Third and Ninth compete for that honor)
As does the seventh, whose second movement (Alegretto) is one of the
most sublime Beethoven (or anyone else) eVER wrote. Note those numbers
-- three, five, seven, and nine. No doubt you will make much of the
fact that each number is both the sum of two consecutive integers and
the difference of their squares, Art.
[...]
> Beethoven reportedly called his opening "Fate knocking at the door," but
> nowadays that's largely discredited as unreliable hearsay;
So, of course, it makes a *great* source for anti-Stratfordian
nutcases.
[Lunatic logorrhea snipped]
Art Neuendorffer
>>>>> -------------------------------------------------------
>>>>> Words containing the letters "v-e-r-e"
>>>>> . . . . . . . . . . . . . . . . .
>>>>> +1 letter: bREVE, elver, EVERt, EVERy, fEVER, lEVER, nERVE,
>>>>> nEVER, reave, REEVE, reive, REVEl, REVEt, revue,
>>>>> (s)ERVE, sEVER, VEERy, verge, verse, vERVE, vexer.
>>>>>
>>>>> +2 letters: averse, beaver, bREVEt, chEVRE, clEVER, corvee,delver,
>>>>> derive, envier, evader, evener, eviler, evoker, greave,
>>>>> laVEER, leaver, levier, liEVER, oeuvre, oVEREd, paREVE,
>>>>> veiner, velure, vender, veneer, venery, venire, venter,
>>>>> riEVER, sEVERE, sEVERs, soEVER, swERVE, tREVEt, vealer,
>>> "David L. Webb" <David.L.W...@Dartmouth.edu> wrote
>>>
>>>> Plainly, such words are so numerous & so utterly commonplace
>>>> that nobody with an I.Q. requiring at least two digits
>>>> would entertain the insane notion that their appearance
>>>> constitutes some sort of incompetent secret code.
>> "Art Neuendorffer" <aneuendorffer114...@comcast.net>
>
>>> Well, we know at least two persons who used such a "secret code."
--------------------------------------------------------------
Oh heavens! who was the first that bred in me this fever? VERE (Ver.)
Who was the first that gave the wound whose FEAR I WEAR for ever? VERE.
What tyrant, Cupid, to my harm usurps thy golden quiver? VERE.
What sight first caught this heart and can from bondage it deliver?
VERE. -- The Earle of Oxforde.
-------------------------------------------------------------
_Ulysses_ by Joyce : <<BLOOM... sWEAR
that I will always HAIL, EVER conceal, nEVER REVEal, any part or
parts, art or arts...(He murmurs .) in the rough sands of the sea.
a CABLETOW's length from the shore... where the tide ebbs ...
and flows...( Silent, thoughtful, alert, he stands on guard,
his fingers at his LIPS IN THE ATTITUDE OF SECRET MASTER.....) >>
------------------------------------------------------------
Captain Morgan's Exposition on Freemasonry
<<The candidate during the time is divested of all his apparel (shirt
excepted) and furnished with a pair of drawers kept in the lodge for
the use of candidates. The candidate is then blindfolded, his left foot
bare, his right in a slipper, his left breast and arm naked, and a rope
called a CABLE-TOW round his neck and left arm, [the rope is not put
round the arm in all lodges] in which posture the candidate is conducted
to the door where he is caused to give, or the conductor gives
THREE DISTINCT KNOCKS, which are answered by three from within;
the conductor gives one more, which is also answered by one from within.
The door is then partly opened
and the Senior Deacon generally asks,
'Who comes there? Who comes there? Who comes there?">>
------------------------------------------------------------
>> "Art Neuendorffer" <aneuendorffer114...@comcast.net>
> "David L. Webb" <David.L.W...@Dartmouth.edu> wrote
>
>> So, eVERy "knock knock" joke is a Masonic secret ritual, Art?
> "Art Neuendorffer" <aneuendorffer114...@comcast.net>
>> EVERy "knock knock knock" joke, at least.
>> ----------------------------------------------------------------
Symphony No. 5 (Beethoven) From Wikipedia,
<<Ludwig van Beethoven's Symphony No. 5 in C Minor was written in
1804-1807. In the catalog of Beethoven's works it is Opus 67. The work
was dedicated to Prince Lobkowitz and Count Rasumovsky, a Russian
diplomat who had commissioned three of Beethoven's string quartets. The
symphony achieved its reputation soon after its first performance in
1808; it was described at the time by E.T.A. Hoffmann as "one of the
most important works of the age." The symphony is immediately
recognizable by its four-note opening motif. Because of the motif's
resemblance to the Morse code for the letter V (dot dot dot dash),
it was used as a shorthand for the word "victory" to open the BBC's
radio broadcasts during World War II, an idea of William Stephenson's.>>
"David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> I hate to be the one to break the news to you, Art, but Morse did
> not develop the telegraph (and Morse code) until the mid 1830s,
> oVER a quarter century later than Beethoven's fifth symphony.
--------------------------------------------------------------
You can lead a Morse to Vassar but you can't make him think.
[1865 Morse becomes a charter trustee of Vassar College]
--------------------------------------------------------------
I hate to be the one to break the news to you, Dave, but
Yale artist Morse did not develop the telegraph (or Morse code):
<<Although Morse invented the telegraph, he lacked technical expertise.
He entered an agreement with Alfred VAIL who built more practical
equipment. A. VAIL developed a system in which each letter or
symbol is sent individually, using combinations of dits, dahs, & pauses.
Morse & VAIL agreed that VAIL's method of representing individual
symbols would be included in Morse's patent. This system, known
as American Morse code, was the version that was used to transmit
the first telegraph message. A line was constructed between
Baltimore, Maryland, and Washington, DC, and the first
message, sent on May 24, 1844, was "What hath God wrought!">>
-------------------------------------------------------------------
EMMA:
At her age she can have no experience, and with her little wit,
is not VERy likely EVER to have any that can AVAIL her.
EMERson:
For what AVAIL the PLOUGH or sail, Or land or life, if freedom fail?
One of the benefits of a college education is to show the boy its little
AVAIL.
James Madison (1809-1817):
This unexceptionable course could not AVAIL against
the injustice and violence of the belligerent powers.
-------------------------------------------------------------------
"Clad all in color of a Nun and coVERED with A. VAIL"
-------------------------------------------------------------------
<<Halliwell-Phillips found an ancient manuscript which appears to be
the collaborative work of Edward de VERE & his dark-haired mistress.
The rhymes were evidently composed prior to 1581:
Verses made by the earle of Oxforde and Mrs Ann Vavesor
Sitting alone upon my thought in melancholy mood.
In sight of sea and at my back an ancient hoary wood,
I saw a fair young lady come, her secret fear to wail,
Clad all in color of a Nun and coVERED with a VAIL;
Yet (for the day was calm and clear) I might discern her face,
As one might see a damask rose hid under chrystal glass.
Three times with her soft hand full hard on her left side she knocks,
And sighed so sore as might have moved some pity in the rocks.
From sighs and shedding amber tears, into sweet song she broke.
When thus the Echo answered her to every word she spoke.>>
http://www.sourcetext.com/sourcebook/library/barrell/05Sonnets4.htm
------------------------------------------------------
Vnder a shady VELE is therein writ,
And eke thine owne LONG LIVING memory,
Succeeding them in True nobility:
And also for the loue, which thou doest beare
To th'HELICONian Ymps, and they to thee,
They vnto thee, and thou to them most deare:
Fairie Queene (1590) dedication by Spenser
To the right Honourable the Earle of Oxenford,
------------------------------------------------------
"David L. Webb" <David.L.W...@Dartmouth.edu> wrote
>
> Indeed, it was
>not until 1830 that Joseph Henry sent an electric current over a span of
>roughly a mile and caused an electromagnet to ring a bell; in fact, it
>was not until 1825 that William Sturgeon developed and demonstrated a
>practical electromagnet. Therefore the notion that the opening motif of
>Beethoven's fifth symphony constitutes a Masonic REVelation -- Morse
>code for "V" (for "Vere," no doubt) -- is a remarkably moronic idea,
>even for a clueless cretin like yourself.
The usefulness of a secret Morse code [especially for Masonic
prisoners such as the Count of MOntE cRiSto] long preceeded
it's revelation to S. Morse by A. VAIL. It was a simple (and
obvious) extension of Francis Bacon's binary 5 bit cipher:
a AAAAA g AABBA n ABBAA t BAABA
b AAAAB h AABBB o ABBAB u-v BAABB
c AAABA i-j ABAAA p ABBBA w BABAA
d AAABB k ABAAB q ABBBB x BABAB
e AABAA l ABABA r BAAAA y BABBA
f AABAB m ABABB s BAAAB z BABBB
<<The Fifth Symphony premiered December 22, 1808 during a mammoth
concert, consisting entirely of Beethoven premieres, at the Theater an
der Wien in Vienna. Other highlights were the Choral Fantasy, the Sixth
Symphony, and the Fourth Piano Concerto. (The names of the Fifth and
Sixth symphonies were mistakenly reversed on the program, due to the
order of their performances). There was little critical response of any
sort to the symphony's first appearance, perhaps due to the poor playing
of the orchestra (they had only one rehearsal before the concert) and
the exhaustion of the audience from the long program. However, a year
and a half later another performance resulted in a rapturous review by
E.T.A. Hoffmann in the Allgemeine musikalische Zeitung. He described the
music by writing, "Radiant beams shoot through the deep night of this
region, and we become aware of gigantic shadows which, rocking back
& forth, close in on us and destroy all within us except the pain of
endless longing -- a longing in which every pleasure that rose up amid
jubilant tones sinks and succumbs. Only through this pain, which, while
consuming but not destroying love, hope, and joy, tries to burst our
breasts with a full-voiced general cry from all the passions, do
we live on and are captivated beholders of the spirits."
An episode of The Simpsons see the residents of Springfield build a
concert hall to make their town more cultural. Beethoven's 5th Symphony
is played on the opening night, but after the first four notes have
been played the audience gets bored and leaves. When the conducter
asks where everyone is going, Clancy Wiggum sneers "Hey, we heard
the 'Duh-duh-duh-dum' bit already, the rest is just filler.">>
-------------------------------------------------------
"David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> Quite right -- we have seen your "duh-duh-duh-dumb" bit above, Art.
-------------------------------------------------------
Chief Wiggum:
"Let me just type it up on my invisible typewriter."
First novel ever written on a TYPEWRITER: _Tom Sawyer_
{anagram}
TOM SAWYER PRINTER
MASON 'R' TYPEWRITER
-----------------------------------------------------------------
http://w1.909.telia.com/~u90902055/holmes/bsi.html
<<The Baker Street Irregulars was a group of street urchins
recruited by Holmes to perform various missions, generally
to search London following clues and to go to places
where the detective himself could not.
Watson first encountered the Irregulars in A study in Scarlet,
describing them as "six dirty little scoundrels [who]
stood in line like so many disreptuable statuettes."
Their chief was the energetic and inventive WIGGINS."
----------------------------------------------------------------
Friar WIGgum's Fantastical Beastarium:
"Behold the legendary Esquilax,
the horse with the head of a rabbit,
and the body of a rabbit. Oh, look!
It's galloping away!"
-------------------------------------------------------
> "Art Neuendorffer" <aneuendorffer114...@comcast.net>
> -------------------------------------------------
>> http://www.classicalnotes.net/classics/fifth.html
>>
>> Copyright 2001 by Peter Gutmann: <<Dit-dit-dit-daaaah.
>>
>> Talk about a great hook! Three quick G's
"David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> Masonic, no doubt!
No doubt!
>> and a long E-flat - the opening of
>> Ludwig van Beethoven's Fifth Symphony just could be
>> the most memorable musical phrase of all time.
[...]
>> While the Fifth isn't Beethoven's most innovative or influential symphony
>> (the Third and Ninth compete for that honor)
"David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> As does the seventh, whose second movement (Alegretto) is
> one of the most sublime Beethoven (or anyone else) eVER wrote.
In Spanish? "Alegretto?" [Yale Grotto?]
>> Beethoven reportedly called his opening "Fate knocking at the door,"
>> but nowadays that's largely discredited as unreliable hearsay;
> So, of course,
> it makes a *great* source for anti-Stratfordian nutcases.
For me too!
-------------------------------------------------------------
"What hath God wrought?" Message, 24 May 1844
King George III - 106th birthday
Queen Victoria's - 25th birthday
1858 August 16 The first transatlantic cable message is sent from
Queen Victoria to President Buchanan. However, while this
fourth attempt to establish an Atlantic cable is successful,
it stops working less than a month after its completion.
---------------------------------------------------------------
The Papers of Samuel Finley Breese Morse
http://memory.loc.gov/ammem/atthtml/morse2.html
<<This paper tape recording of the historic message transmitted
by Samuel F. B. Morse reads, "What hath God wrought?" It was sent
by him from the Supreme Court room in the Capitol to his assistant,
Alfred Vail, in Baltimore. Morse gave credit to Annie Ellsworth,
the young daughter of a friend, for suggesting Numbers 23:23.>>
NUMBERS 23:23 What HATH God wrought!
(Quote from the last oracle of the non-Israelite prophet Balaam)
----------------------------------------------------------
_Ulysses_ by James Joyce
<<If others have their WILL Ann HATH a way. By cock, she was to blame.
She put the comether on him, SWEET and twentysix. The greyeyed
goddess who BENDs over the boy Adonis, stooping to conquer,>>
------------------------------------------------------------------
"Gold on a BEND sable, a spear of the first, and for his crest or
cognizance a FALCON, his wings displayed argent, standing on a
wreathe of his colors, supporting a spear gold steeled as aforesaid."
Shakspere Blazon & Coat of Arms [ NUMBER 23]
-----------------------------------------------------------------
NUMBERS 23:23 Surely there is no enchantment against Jacob,
neither is there divination against Israel:
according to this time it shall be said of Jacob
and of Israel, What hath God wrought!
(A quote from the last oracle
of the non-Israelite prophet Balaam)
----------------------------------------------------------
http://www.icg.fas.harvard.edu/~chaucer/special/authors/gower/gow-flo...
John Gower, Confessio Amantis
Tale of Florent, Book I
Florent this thing HATH undertake,
The day was set, the time take,
Under his seal he WROT his oth,
In such a wise and forth he goth
----------------------------------------------------------
<= 33 =>
[T] OT__ [H] EONLIEBEGETTEROFTHESEINSVINGS
[O] NN [E T] SMRWHALLHAPPINESSEANDTHATETE
[R] NI__[T(I)E] PROMISEDBYOVREVERLIVINGPOET
[W] IS [H E T H] THEWELLWISHINGADVENTVRERIN
--------------------------------------------------------------------
http://chem.ch.huji.ac.il/~eugeniik/history/morse.html
<<Samuel Finley Breese Morse, born in Charlestown, Mass., 27 April,
1791, was the oldest son of ReVEREnD JEDIdiah Morse & Elizabeth Ann
Breese Morse. His dad, JEDIdiah Morse, (1761-1826) was an American
Congregational pastor and wrote a series of widely used geography
textbooks. At the age of eight Morse was taken to Phillips Academy,
where his father was a trustee. He was unhappy under their rule, and
twice as homesick, so he fled back to Charleston. He entered Yale
College at 1805 where he majored in chemistry and natural philosophy.
Strictly as an artist Morse did not exert a major impact on the
stylistic development of nineteenth century American art, and his ideas
and art appealed exclusively to the cultural elite. With the exception
of the romantic Lafayette portrait, his most ambitious works failed
before an unreceptive public. Unable to earn a living through painting
historical subjects he was forced into portraiture, and many of these
paintings are of negligible quality. Morse was further humiliated in 1837
when the Congressional Committee on Public Buildings decided not to
commission him to paint a mural for the Capitol Rotunda. This rejection
may in part have been brought about by Morse's reputation for radical
politics; in the middle 1830s he became associated with the Native
American party and wrote several widely-read and vitriolic anti-Catholic
diatribes whose xenophobic tone bordered on paranoia. Disillusioned
by failure, Morse ceased painting in 1837 at the age of forty-six,
and devoted the last 35 years of his life to perfecting the telegraph.
During 1826-'7 Prof. James F. Dana lectured on electromagnetism and
electricity before the New York athenaeum. Mr. Morse was a regular
attendant, and, being a friend of Prof. Dana, had frequent discussions
with him on the subject of his lectures. But the first ideas of a
practical application of electricity seem to have come to him while he
was in Paris. James Fenimore Cooper refers to the event thus: "Our
worthy friend first communicated to us his ideas on the subject of using
the electric spark by way of a telegraph. It was in Paris, and during
the winter of 1831-'2." On 1 Oct., 1832, he sailed from Havre on the
packet-ship "Sully " for New York, and among his fellow-passengers was
Charles T. Jackson, then lately from the laboratories of the great
French physicists, where he had made special studies in electricity and
magnetism. A conversation in the early part of the voyage turned on the
recent experiments of Ampere with the electromagnet. When the question
whether the velocity of electricity is retarded by the length of tile
wire was asked, Dr. Jackson replied, referring to Benjamin Franklin's
experiments, that "electricity passes instantaneously over any known
length of wire." Morse then said : "If the presence of electricity can
be made visible in any part of the circuit, I see no reason why
intelligence may not be transmitted instantaneously by electricity."
The last public service that he performed was the unveiling of the
statue of Benjamin Franklin in Printing house square, on 17 Jan., 1872,
in the presence of a vast number of citizens, he had cheerfully acceded
to the request that he would perform this act, remarking that it would
be his last. It was eminently appropriate that he should do this, for,
as was said : "The one conducted the lightning safely from the sky; the
other conducts it beneath the ocean, from continent to continent. The
one tamed the lightning, the other makes it minister to human wants and
human progress." Shortly after his return to his home he was seized with
neuralgia in his head, and after a few months of suffering he died of
pneumonia on 2 April, 1872, in New York City, at the age of 81. He died
peacefully in a home he and Sarah maintained in New York as their winter
house. Memorial sessions of congress and of various state legislatures
were held in his honor. He's buried in Brooklyn's Greenwood Cemetery.>>
------------------------------------------------------------------
http://memory.loc.gov/ammem/sfbmhtml/timeline02.html
1791 April 27 Samuel Finley Breese Morse is born in Charlestown,
Massachusetts, the first child of JEDIdiah Morse, a Congregational
minister and geographer, and Elizabeth Ann Finley Breese.
1805 Morse enters Yale College at age fourteen. He hears lectures
on electricity from Benjamin Silliman and Jeremiah Day. While at Yale,
he earns money by painting small portraits of friends, classmates,
and teachers. A profile goes for one dollar; and a miniature portrait
on ivory sells for five dollars.
1810 Morse graduates from Yale College and returns to Charlestown,
Massachusetts. Despite his wishes to be a painter and encouragement from
the famed American painter Washington Allston, Morse's parents plan for
him to be a bookseller's apprentice. He becomes a clerk for Daniel
Mallory, his father's Boston book publisher.
1811 July Morse's parents let him set sail for England with Washington
Allston. He attends the Royal Academy of Arts in London and receives
instruction from the famed Pennsylvania-born painter Benjamin West.
December Morse rooms with Charles Leslie of Philadelphia,
who is also studying painting. They become friends with
the poet SAMUEL TAYLOR COLERIDGE.
1812 Morse models a plaster statuette of The Dying Hercules, which
wins a gold medal at the Adelphi Society of Arts exhibition in London.
His subsequent 6' x 8' painting of The Dying Hercules is exhibited
at the Royal Academy and receives critical acclaim.
1815 October Morse returns to the United States.
Morse opens an art studio in Boston.
1816 In Concord, he meets Lucretia Pickering Walker,
aged sixteen, and are soon engaged to be married.
1817 While in Charlestown, Morse and his brother Sidney patent
a flexible-piston man-powered water pump for fire engines.
They demonstrate it successfully, but it is a commercial failure.
1818 September 29 Lucretia Pickering Walker and Morse are
married in Concord, New Hampshire. Morse spends the winter
in Charleston, South Carolina, where he receives many portrait
commissions. This is the first of four annual trips to Charleston.
1819 September 2 Morse's first child, Susan Walker Morse, is born.
The city of Charleston commissions Morse
to paint a portrait of President James Monroe.
1820 The Danish physicist Hans Christian Oersted discovers that
electric current in a wire generates a magnetic field that can deflect a
compass needle. This property will eventually be used in the design of
some electromagnetic telegraph systems.
1821 While living with his family in New Haven, Morse paints
such distinguished individuals as Eli Whitney, Yale president
Jeremiah Day, and his neighbor Noah Webster.
1822 Morse invents a marble-cutting machine that can carve three
dimensional sculpture in marble or stone. He discovers that it is not
patentable because it infringes on an 1820 design by Thomas Blanchard.
Morse finishes an eighteen-month project to paint The House of
Representatives, an oversize scene of the Rotunda of the Capitol in
Washington, D.C. It contains more than eighty portraits of members
of Congress and justices of the Supreme Court, but loses money
during its public exhibition.
1823 Morse opens an art studio in New York City.
1825 The City of New York commissions Morse to paint a portrait
of LAFAYette for $1,000 during his last visit to the U.S.
February 7 Morse's wife, Lucretia, dies suddenly at age 25.
November Artists in New York City form a drawing cooperative, the
New York Drawing Association, and elect Morse president. It is run
by and for artists, and its goals include art instruction.
William Sturgeon invents the electromagnet,
which will be a key component of the telegraph.
1826 January In New York, Morse becomes a founder and first president of
the National Academy of Design, which has been established in reaction
to the conservative American Academy of Fine Arts.
June 9 Father, JEDIdiah Morse, dies.
1827 Professor James Freeman Dana of Columbia College gives a series
of lectures on electricity & electromagnetism at the New York Athenaeum,
where Morse also lectures.
1828 May 28 Mother, Elizabeth Ann Finley Breese Morse, dies.
1829 November Leaving his children in the care of other family members,
Morse sets sail for Europe. He visits LAFAYette in Paris and paints in
the Vatican galleries in Rome. During the next three years, he visits
numerous art collections to study the work of the Old Masters and
other painters. He also paints landscapes. Morse spends much time
with his novelist friend JAMES FENIMORE COOPER.
Sketch by Morse, Diaries---22 December 1829-3
May 1830 (Series: Diaries and Notebooks)
1831 The American scientist Joseph Henry announces his discovery
of a powerful electromagnet made from many layers of insulated wire.
Demonstrating how such a magnet can send electric signals over
long distances, he suggests the possibility of the telegraph.
1832 Autumn During his voyage home to New York on the Sully, Morse
first conceives the idea of the electromagnetic telegraph during his
conversations with another passenger, Dr. Charles T. Jackson of Boston.
Jackson describes to him European experiments with electromagnetism.
Inspired, Morse writes ideas for a prototype of an electromagnetic
recording telegraph and dot-and-dash code system in his sketchbook.
1833 Morse completes work on the 6' x 9' painting Gallery of the
Louvre. The canvas contains forty-one Old Masters paintings in
miniature. The painting loses money during its public exhibition.
1835 Morse is appointed professor of Literature of the Arts & Design
at the University of the City of New York (now New York University).
Morse publishes Foreign Conspiracy Against
the Liberties of the United States. It is a treatise
against the political influence of Catholicism.
Autumn Morse constructs a recording telegraph
with a moving paper ribbon.
1836 January Morse demonstrates his recording telegraph to
Dr. Leonard Gale, a professor of science at New York University.
Spring Morse runs unsuccessfully for mayor of New York for
a nativist (anti-immigration) party. He receives 1,496 votes.
1837 Spring Morse shows Dr. Gale his plans for "relays," where one
electric circuit is used to open and close a switch on another electric
circuit further away. For his assistance, the science professor becomes
part owner of the telegraph rights. By November, a message can
be sent through ten miles of wire arranged on reels
in Dr. Gale's university lecture room.
September Alfred Vail, an acquaintance of Morse, witnesses a
demonstration of the telegraph. He is soon taken on as a partner with
Morse & Gale because of his financial resources, mechanical skills,
and access to his family's iron works for building telegraph models.
Dr. Charles T. Jackson, Morse's acquaintance from the 1832 Sully
voyage, now claims to be the inventor of the telegraph. Morse obtains
statements from those present on the ship at the time, and they credit
Morse with the invention.
Morse completes his last paintings in December.
The Englishmen William Fothergill Cooke & Charles Wheatstone
patent their own five-needle telegraph system inspired by a
Russian design of an experimental galvanometer telegraph.
1838 January Morse changes from using a telegraphic dictionary, where
words are represented by number codes, to using a code for each letter.
Telegraph agreement between Morse, Smith, Vail, & Gale, 1838,
February 8 Morse demonstrates the telegraph at the Franklin Institute.
Morse exhibits the telegraph before the House Committee on
Commerce, chaired by Representative F. O. J. Smith of Maine.
February 21 Morse demonstrates the telegraph
to President Martin Van Buren and his cabinet.
March Congressman Smith becomes a partner in the telegraph,
along withMorse, Alfred Vail, & Leonard Gale.
April 6 Smith sponsors a bill in Congress to appropriate $30,000
to build a fifty-mile telegraph line, but the bill is not acted upon.
In England, Cooke puts his needle telegraph into operation on the
London and Blackwall Railway.
1839 In Paris, Morse meets Louis Daguerre.
1840 Morse is granted a United States patent for his telegraph.
Morse opens a daguerreotype portrait studio in New York with
John Draper. Morse teaches the process to Mathew Brady.
1841 Spring Morse runs again as a nativist candidate for mayor of
New York City. A forged letter appears in a newspaper announcing
that Morse has withdrawn from the election. In the confusion,
he receives fewer than one hundred votes.
1842 October: Two miles of cable is submerged between the Battery
and Governor's Island in New York Harbor and signals are sent.
1844 May 24 Morse sends the message "What hath God wrought?"
from the Supreme Court chamber in the Capitol in Washington, D.C.,
to the B & O Railroad Depot in Baltimore, Maryland.
1845 Spring: Morse selects Amos Kendall, former Postmaster-General,
to be his agent. Vail & Gale take on Kendall as their agent as well.
In May, Kendall and F. O. J. Smith create the Magnetic
Telegraph Company to extend the telegraph
from Baltimore to Philadelphia and New York..
1846 Summer The telegraph line is extended from Baltimore
to Philadelphia. New York is now connected to Washington,
D.C., Boston, and Buffalo.
1847 Morse buys Locust Grove, an estate overlooking the Hudson.
1848 August 10 Morse marries Sarah Elizabeth Griswold,
a second cousin twenty-six years his junior.
The Associated Press is formed by six New York City daily papers
in order to pool the expense of telegraphing foreign news.
1852 A submarine telegraph cable is successfully laid across the
English Channel; direct London to Paris communications begin.
1854 The U.S. Supreme Court upholds Morse's patent claims for
the telegraph. All U.S. companies begin to pay Morse royalties.
The British & French build telegraph lines to use in the Crimean
War. The governments are now able to communicate directly with
commanders in the field, and newspaper correspondents are able
to wire reports from the front.
1856 The New York and Mississippi Printing Telegraph Company unites
with a number of other smallercompanies to form the Western Union
1861 The telegraph is used by both Union & Confederate forces.
October 24 Western Union completes the first
transcontinental telegraph line to California.
1865 Morse becomes a charter trustee of Vassar College
1871 June 10 A statue of Morse is unveiled in Central Park in
New York City. With much fanfare, Morse sends a "farewell"
telegraph message around the world from New York.
1872 April 2 Morse dies in New York City at eighty years of age.
-------------------------------------------------------------
Art Neuendorffer
David L. Webb
"Art Neuendorffer" <aneuendor...@comcast.net>
(aneuendor...@comicass.nut) wrote:
[...]
I've said that about you seVERal times already, Art -- you can lead a
horse -- or the hindquarters thereof -- to water, but you can't make him
think. (HoweVER, since the aforementioned horse's hindquarters didn't
make it into Lehigh, Vassar would have been quite a stretch.)
> [1865 Morse becomes a charter trustee of Vassar College]
> --------------------------------------------------------------
> I hate to be the one to break the news to you, Dave, but
> Yale artist Morse did not develop the telegraph (or Morse code):
>
> <<Although Morse invented the telegraph, he lacked technical expertise.
> He entered an agreement with Alfred VAIL who built more practical
> equipment. A. VAIL developed a system in which each letter or
> symbol is sent individually, using combinations of dits, dahs, & pauses.
> Morse & VAIL agreed that VAIL's method of representing individual
> symbols would be included in Morse's patent. This system, known
> as American Morse code, was the version that was used to transmit
> the first telegraph message. A line was constructed between
> Baltimore, Maryland, and Washington, DC, and the first
> message, sent on May 24, 1844, was "What hath God wrought!">>
Note that date, Art: 1844. That's nearly forty years *later* than
Beethoven's fifth symphony. Matters being so, Beethoven's fifth
symphony is unlikely to contain a coded Masonic message of "V" -- for
"Vere," no doubt -- in Morse code.
[Lunatic logorrhea snipped]
> "David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> >
> > Indeed, it was
> >not until 1830 that Joseph Henry sent an electric current over a span of
> >roughly a mile and caused an electromagnet to ring a bell; in fact, it
> >was not until 1825 that William Sturgeon developed and demonstrated a
> >practical electromagnet. Therefore the notion that the opening motif of
> >Beethoven's fifth symphony constitutes a Masonic REVelation -- Morse
> >code for "V" (for "Vere," no doubt) -- is a remarkably moronic idea,
> >even for a clueless cretin like yourself.
> The usefulness of a secret Morse code [especially for Masonic
> prisoners such as the Count of MOntE cRiSto]
The Count of Monte Cristo is a fictional character, Art. He appears
in a novel by Dumas; are you trying to emulate the master, perhaps as a
sort of Dumbass fils SEVeral generations later?
Incidentally, Art, what do you make of the fact that the Count of
Monte Cristo's surname is Dantès, the *same* as that of the man who
killed Freemason Aleksandr Pushkin in a famous duel because of the
attentions Dantes was paying Pushkin's wife Natalia Goncharova?
> long preceeded
> it's revelation to S. Morse by A. VAIL. It was a simple (and
> obvious) extension of Francis Bacon's binary 5 bit cipher:
>
> a AAAAA g AABBA n ABBAA t BAABA
> b AAAAB h AABBB o ABBAB u-v BAABB
> c AAABA i-j ABAAA p ABBBA w BABAA
> d AAABB k ABAAB q ABBBB x BABAB
> e AABAA l ABABA r BAAAA y BABBA
> f AABAB m ABABB s BAAAB z BABBB
Huh?! The characters in Morse code are not groups of five of the two
binary elements. Indeed, the Morse code characters are:
a ._ h .... o _ _ _ v ..._
b _... i .. p ._ _. w ._ _
c _._. j ._ _ _ q _ _._ x _.._
d _.. k _._ r ._. y _._ _
e . l ._.. s ... z _ _..
f .._. m _ _ t _
g _ _. n _. u .._
This bears no relation to Bacon's biliteral cipher above.
[...]
> An episode of The Simpsons see the residents of Springfield build a
> concert hall to make their town more cultural. Beethoven's 5th Symphony
> is played on the opening night, but after the first four notes have
> been played the audience gets bored and leaves. When the conducter
> asks where everyone is going, Clancy Wiggum sneers "Hey, we heard
> the 'Duh-duh-duh-dum' bit already, the rest is just filler.">>
> -------------------------------------------------------
> "David L. Webb" <David.L.W...@Dartmouth.edu> wrote
>
> > Quite right -- we have seen your "duh-duh-duh-dumb" bit above, Art.
> -------------------------------------------------------
> Chief Wiggum:
> "Let me just type it up on my invisible typewriter."
>
> First novel ever written on a TYPEWRITER: _Tom Sawyer_
>
> {anagram}
> TOM SAWYER PRINTER
> MASON 'R' TYPEWRITER
INPNC score 5/16, less than 1/3 -- not to mention that "Mason 'r'
typewriter" is moronic nonsense. A better anagram is the following:
"On 'Tom Savvyer' printer" is an anagram of
Art N., tipsy VVere moron.
This has a superior INPNC score, and not only makes sense in English,
but even communicates a probable truth.
[Lunatic logorrhea snipped]
> >> http://www.classicalnotes.net/classics/fifth.html
> >>
> >> Copyright 2001 by Peter Gutmann: <<Dit-dit-dit-daaaah.
> >>
> >> Talk about a great hook! Three quick G's
> "David L. Webb" <David.L.W...@Dartmouth.edu> wrote
>
> > Masonic, no doubt!
> No doubt!
You're priceless, Art!
> >> and a long E-flat
No doubt the "E" refers to "east," the position of the Master
Councilor in the Order of DeMolay.
> >> - the opening of
> >> Ludwig van Beethoven's Fifth Symphony just could be
> >> the most memorable musical phrase of all time.
> [...]
> >> While the Fifth isn't Beethoven's most innovative or influential symphony
> >> (the Third and Ninth compete for that honor)
> "David L. Webb" <David.L.W...@Dartmouth.edu> wrote
>
> > As does the seventh, whose second movement (Alegretto) is
> > one of the most sublime Beethoven (or anyone else) eVER wrote.
> In Spanish? "Alegretto?" [Yale Grotto?]
No, Art; musical terminology is almost invariably Italian.
> >> Beethoven reportedly called his opening "Fate knocking at the door,"
> >> but nowadays that's largely discredited as unreliable hearsay;
> > So, of course,
> > it makes a *great* source for anti-Stratfordian nutcases.
> For me too!
That's what I said, Art.
> -------------------------------------------------------------
> "What hath God wrought?" Message, 24 May 1844
>
> King George III - 106th birthday
> Queen Victoria's - 25th birthday
>
> 1858 August 16 The first transatlantic cable message is sent from
> Queen Victoria to President Buchanan. However, while this
> fourth attempt to establish an Atlantic cable is successful,
> it stops working less than a month after its completion.
> ---------------------------------------------------------------
> The Papers of Samuel Finley Breese Morse
> http://memory.loc.gov/ammem/atthtml/morse2.html
>
> <<This paper tape recording of the historic message transmitted
> by Samuel F. B. Morse reads, "What hath God wrought?" It was sent
> by him from the Supreme Court room in the Capitol to his assistant,
> Alfred Vail, in Baltimore. Morse gave credit to Annie Ellsworth,
> the young daughter of a friend, for suggesting Numbers 23:23.>>
>
> NUMBERS 23:23 What HATH God wrought!
But Art -- 23 is the first prime whose cyclotomic field has
nontrivial ideal class group! It must be a Masonic conspiracy.
> (Quote from the last oracle of the non-Israelite prophet Balaam)
You bear a closer resemblance to Balaam's mount, Art.
[Lunatic logorrhea snipped]
> http://chem.ch.huji.ac.il/~eugeniik/history/morse.html
>
> <<Samuel Finley Breese Morse, born in Charlestown, Mass., 27 April,
> 1791, was the oldest son of ReVEREnD JEDIdiah [sic] Morse
That's *Jedediah* Morse, not "Jedidiah [sic] Morse," Art. The Jedi
have no connection whateVER with our Order, Art -- but as I said above,
you always were a Morse's hindquarters.
[Lunatic logorrhea snipped]
Art Neuendorffer
> >
> > > I hate to be the one to break the news to you, Art, but Morse did
> > > not develop the telegraph (and Morse code) until the mid 1830s,
> > > oVER a quarter century later than Beethoven's fifth symphony.
> "Art Neuendorffer" wrote:
> > You can lead a Morse to Vassar but you can't make him think.
"David L. Webb" <David....@Dartmouth.edu> wrote
> I've said that about you seVERal times already, Art -- you can lead a
> horse -- or the hindquarters thereof -- to water, but you can't make him
> think. (HoweVER, since the aforementioned horse's hindquarters
>didn't make it into Lehigh, Vassar would have been quite a stretch.)
GEnuFLexion?
-------------------------------------------------------------------
"Clad all in color of a Nun and coVERED with A. VAIL"
-------------------------------------------------------------------
> "Art Neuendorffer" wrote:
> > [1865 Morse becomes a charter trustee of Vassar College]
> > --------------------------------------------------------------
> > I hate to be the one to break the news to you, Dave, but
> > Yale artist Morse did not develop the telegraph (or Morse code):
> >
> > <<Although Morse invented the telegraph, he lacked technical expertise.
> > He entered an agreement with Alfred VAIL who built more practical
> > equipment. A. VAIL developed a system in which each letter or
> > symbol is sent individually, using combinations of dits, dahs, & pauses.
> > Morse & VAIL agreed that VAIL's method of representing individual
> > symbols would be included in Morse's patent. This system, known
> > as American Morse code, was the version that was used to transmit
> > the first telegraph message. A line was constructed between
> > Baltimore, Maryland, and Washington, DC, and the first
> > message, sent on May 24, 1844, was "What hath God wrought!">>
"David L. Webb" <David....@Dartmouth.edu> wrote
> Note that date, Art: 1844. That's nearly forty years *later* than
> Beethoven's fifth symphony. Matters being so, Beethoven's fifth
> symphony is unlikely to contain a coded Masonic message of "V"
> -- for "Vere," no doubt -- in Morse code.
> > "David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> > >
> > > Indeed, it was
> > >not until 1830 that Joseph Henry sent an electric current over a span
of
> > >roughly a mile and caused an electromagnet to ring a bell; in fact, it
> > >was not until 1825 that William Sturgeon developed and demonstrated a
> > >practical electromagnet. Therefore the notion that the opening motif
of
> > >Beethoven's fifth symphony constitutes a Masonic REVelation -- Morse
> > >code for "V" (for "Vere," no doubt) -- is a remarkably moronic idea,
> > >even for a clueless cretin like yourself.
> "Art Neuendorffer" wrote:
> > The usefulness of a secret Morse code [especially for
> > Masonic prisoners such as the Count of MOntE cRiSto]
"David L. Webb" <David....@Dartmouth.edu> wrote
> The Count of Monte Cristo is a fictional character, Art.
Shakspere of Stratford-upon-Avon is a fictional character, Dave.
"David L. Webb" <David....@Dartmouth.edu> wrote
> Incidentally, Art, what do you make of the fact that the Count of
> Monte Cristo's surname is Dantès, the *same* as that of the man who
> killed Freemason Aleksandr Pushkin in a famous duel because of the
> attentions Dantes was paying Pushkin's wife Natalia Goncharova?
------------------------------------------------------------------
It was "all predicted by the German woman."
------------------------------------------------------------------
DANTES, G. S. (1812-1895), Pushkin's adversary, fatally wounded him
in a duel on January 27, 1837. Dantes left France and came to Russia in
1833, becoming an officer in a prestigious division of the Russian Army.
He married Catherine, Pushkin's sister-in-law, on January 10, 1837.
----------------------------------------------------------------
(translated into English from Russian) 1987,
http://www.mipco.com/english/pushtengl.html
<<The prediction is coming TRUE
- I challenged DANTES to a duel.
Was not a violent death at the hands of a blond man
predicted by the German woman?
But future generations will not be able to do anything to me or to my
great-grandchildren, because remoteness in time will turn the most
blameworthy of deeds into mere history. Unlike to the present, history
is not dangerous or offensive, but merely amusing and didactic. I do
not want to take my sins, mistakes and torments to the grave with me;
they are too substantial not to become a part of my monument.>>
--------------------------------------------------------------------
The _Count of Monte *Cristo*_ opens with the arrival of DANTES
in a 'death ship' named *Pharaon* (i.e., *Pharaoh*);
Dantes carries a letter from *Napoleon* to:
"M. NOIRTIER, Rue Coq-HERON, No. 13"
----------------------------------------------------------------------
<<Charles NODIER (1801-44) - the flamboyant mentor
for an entire generation including:
young Victor Hugo, Balzac, Dalcroix, DUMAS PERE, . . .
- all who drew upon esoteric and Hermetic tradition. "Around 1793
he created another group - or perhaps an inner circle of the
first [the Philadephes]- which included one of the subsequent
plotters against *Napoleon* .">> - William Still, New World Order
-----------------------------------------------------------
> "Art Neuendorffer" wrote:
> > long preceeded it's revelation
> > to S. Morse by A. VAIL. It was a simple (and obvious)
> > extension of Francis Bacon's binary 5 bit cipher:
> >
> > a AAAAA g AABBA n ABBAA t BAABA
> > b AAAAB h AABBB o ABBAB u-v BAABB
> > c AAABA i-j ABAAA p ABBBA w BABAA
> > d AAABB k ABAAB q ABBBB x BABAB
> > e AABAA l ABABA r BAAAA y BABBA
> > f AABAB m ABABB s BAAAB z BABBB
"David L. Webb" <David....@Dartmouth.edu> wrote
> Huh?! The characters in Morse code are not groups of five of
>the two binary elements. Indeed, the Morse code characters are:
>
> a ._ h .... o _ _ _ v ..._
> b _... i .. p ._ _. w ._ _
> c _._. j ._ _ _ q _ _._ x _.._
> d _.. k _._ r ._. y _._ _
> e . l ._.. s ... z _ _..
> f .._. m _ _ t _
> g _ _. n _. u .._
> This bears no relation to Bacon's biliteral cipher above.
Of course it does, Dave!
Even more so, VAIL's 5 bit code does:
----------------------------------------------------------------
a ._ h .... o . . v ..._
b _... i .. p ..... w ._ _
c .. . j ._._ q .._. x ._..
d _.. k _._ r . .. y .. ..
e . l _ _ s ... z ... .
f ._. m _ _ t _
g _ _. n _. u .._
----------------------------------------------------------------
But ..._ is "V" in both
http://www.du.edu/~jcalvert/tel/heartele.htm
<<The sound of the first message, as received on the Vail sounder at
a normal speed of 20 words per minute, can be heard by clicking on
http://www.du.edu/~jcalvert/tel/whgwrot.wav
The message uses the American Morse Code, as invented by Vail,
and used on all American land lines, especially railway telegraphs,
until the end of the manual telegraph, which did not finally
completely disappear from railway dispatching until the 1950's,
since its accuracy was very desirable for this service.
The International Morse Code, the more familiar code used on radio, was
developed from the code created for the Austro-German telegraph service
in 1851, based on Vail's code. It was more suitable for radio since it
did not have spaced letters. Radio Morse is read by tones, not by
sounder clicks. Tables of the codes can be found in History of the
Telegraph, together with a much fuller historical account.
------------------------------------------------------------------
> "Art Neuendorffer" wrote:
> > An episode of The Simpsons see the residents of Springfield build a
> > concert hall to make their town more cultural. Beethoven's 5th Symphony
> > is played on the opening night, but after the first four notes have
> > been played the audience gets bored and leaves. When the conducter
> > asks where everyone is going, Clancy Wiggum sneers "Hey, we heard
> > the 'Duh-duh-duh-dum' bit already, the rest is just filler.">>
> > -------------------------------------------------------
> > "David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> >
> > > Quite right -- we have seen your "duh-duh-duh-dumb" bit above, Art.
> > -------------------------------------------------------
> > Chief Wiggum:
> > "Let me just type it up on my invisible TYPEWRITER."
> >
> > First novel ever written on a TYPEWRITER: _Tom Sawyer_
> >
> > {anagram}
> > TOM SAWYER PRINTER
> > MASON 'R' TYPEWRITER
"David L. Webb" <David....@Dartmouth.edu> wrote
> INPNC score 5/16, less than 1/3 -- not to mention that "Mason 'r'
> typewriter" is moronic nonsense. A better anagram is the following:
> "On 'Tom Savvyer' printer" is an anagram of
>
> Art N., tipsy VVere moron.
>
> This has a superior INPNC score, and not only makes sense
> in English, but even communicates a probable truth.
But the first novel ever written on a TYPEWRITER:
was _Tom Sawyer_!
Freemason Benjamin Franklin: "PRINTER"
http://www.kittytours.org/thatman2/search.asp?subject=65
"David L. Webb" <David....@Dartmouth.edu> wrote
> > >> http://www.classicalnotes.net/classics/fifth.html
> > >>
> > >> Copyright 2001 by Peter Gutmann: <<Dit-dit-dit-daaaah.
> > >>
> > >> Talk about a great hook! Three quick G's
>
> > "David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> >
> > > Masonic, no doubt!
> "Art Neuendorffer" <aneuendor...@comcast.net>
> > No doubt!
"David L. Webb" <David....@Dartmouth.edu> wrote
> You're priceless, Art!
>
> > >> and a long E-flat
"David L. Webb" <David....@Dartmouth.edu> wrote
> No doubt the "E" refers to "east," the position
> of the Master Councilor in the Order of DeMolay.
A long E-flat = GEnuFLexion?
> > >> - the opening of
> > >> Ludwig van Beethoven's Fifth Symphony just could be
> > >> the most memorable musical phrase of all time.
> > [...]
> > >> While the Fifth isn't Beethoven's most innovative or influential
symphony
> > >> (the Third and Ninth compete for that honor)
>
> > "David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> >
> > > As does the seventh, whose second movement (Alegretto) is
> > > one of the most sublime Beethoven (or anyone else) eVER wrote.
> "Art Neuendorffer" <aneuendor...@comcast.net>
> > In Spanish? "Alegretto?" [Yale Grotto?]
"David L. Webb" <David....@Dartmouth.edu> wrote
> No, Art; musical terminology is almost invariably Italian.
Then why not Allegretto?
> > >> Beethoven reportedly called his opening "Fate knocking at the door,"
> > >> but nowadays that's largely discredited as unreliable hearsay;
>
> > > So, of course,
> > > it makes a *great* source for anti-Stratfordian nutcases.
> "Art Neuendorffer" wrote:
> > For me too!
"David L. Webb" <David....@Dartmouth.edu> wrote
> That's what I said, Art.
Huh?
> "Art Neuendorffer" <aneuendor...@comcast.net>
> > -------------------------------------------------------------
> > "What hath God wrought?" Message, 24 May 1844
> >
> > King George III - 106th birthday
> > Queen Victoria's - 25th birthday
> >
> > 1858 August 16 The first transatlantic cable message is sent from
> > Queen Victoria to President Buchanan. However, while this
> > fourth attempt to establish an Atlantic cable is successful,
> > it stops working less than a month after its completion.
> > ---------------------------------------------------------------
> > The Papers of Samuel Finley Breese Morse
> > http://memory.loc.gov/ammem/atthtml/morse2.html
> >
> > <<This paper tape recording of the historic message transmitted
> > by Samuel F. B. Morse reads, "What hath God wrought?" It was sent
> > by him from the Supreme Court room in the Capitol to his assistant,
> > Alfred Vail, in Baltimore. Morse gave credit to Annie Ellsworth,
> > the young daughter of a friend, for suggesting Numbers 23:23.>>
> >
> > NUMBERS 23:23 What HATH God wrought!
"David L. Webb" <David....@Dartmouth.edu> wrote
> But Art -- 23 is the first prime whose cyclotomic field has
> nontrivial ideal class group! It must be a Masonic conspiracy.
What HATH God wrought!
> "Art Neuendorffer" wrote:
> > (Quote from the last oracle of the non-Israelite prophet Balaam)
"David L. Webb" <David....@Dartmouth.edu> wrote
> You bear a closer resemblance to Balaam's mount, Art.
-----------------------------------------------------------
Mount Pisgah or Mount Peor?
<<Balaam went apart to receive a message from the Lord for Balak (ch
23:1-6). Balaam's first message consisted of a declaration that Israel
was different from all other nations and that God had blessed them.
Balak took Balaam next to Mount Pisgah, where the sacrificial procedure
was repeated (vs 14-17), but the second message reaffirmed the first.
Balak nevertheless made a third attempt, offering the same sacrifices
on the top of Mount Peor (vs 27-30), but the results were the same.>>
-----------------------------------------------------------
> "Art Neuendorffer" wrote:
> > http://chem.ch.huji.ac.il/~eugeniik/history/morse.html
> >
> > <<Samuel Finley Breese Morse, born in Charlestown, Mass., 27 April,
> > 1791, was the oldest son of ReVEREnD JEDIdiah [sic] Morse
"David L. Webb" <David....@Dartmouth.edu> wrote
> That's *Jedediah* Morse, not "Jedidiah [sic] Morse," Art.
> The Jedi have no connection whateVER with our Order, Art --
> but as I said above, you always were a Morse's hindquarters.
-----------------------------------------------------------
Not according to the Encyclopaedia Britannica:
<<MORSE, SAMUEL FINLEY BREESE (1791-1872),
American artist and inventor, was born at Charlestown,
Massachusetts, on the 27th of April 1791, son of Jedidiah Morse
(1761-1826), Congregational minister there and a writer on geography,
and a grandson of Samuel Finley, president of the college of New Jersey.>>
-----------------------------------------------------------
Art Neuendorffer
Art Neuendorffer
Jedediah Leland (i.e., Joseph Cotten):
"[Kane (i.e., Welles)] nEVER gave himself away.
He nEVER gave anything away.
He just...left you a tip, hmm?"
------------------------------ｭｭｭ----------------------------ｭ-ｭ-ｭ--
Oh heavens! who was the first that bred in me this fever? VERE (Ver.)
Who was the first that gave the wound whose FEAR I WEAR for ever? VERE.
What tyrant, Cupid, to my harm usurps thy golden quiver? VERE.
What sight first caught this heart and can from bondage it deliver?
VERE. -- The Earle of Oxforde.
------------------------------ｭｭｭ----------------------------ｭ-ｭ-ｭ-
_Ulysses_ by Joyce : <<BLOOM... sWEAR
that I will always HAIL, EVER conceal, nEVER REVEal, any part or
parts, art or arts...(He murmurs .) in the rough sands of the sea.
a CABLETOW's length from the shore... where the tide ebbs ...
and flows...( Silent, thoughtful, alert, he stands on guard,
his fingers at his LIPS IN THE ATTITUDE OF SECRET MASTER.....)>>
------------------------------------ｭｭｭ----------------------------ｭ-ｭ-
Captain Morgan's Exposition on Freemasonry
<<The candidate during the time is divested of all his apparel (shirt
excepted) and furnished with a pair of drawers kept in the lodge for
the use of candidates. The candidate is then blindfolded, his left foot
bare, his right in a slipper, his left breast and arm naked, and a rope
called a CABLE-TOW round his neck and left arm, [the rope is not put
round the arm in all lodges] in which posture the candidate is conducted
to the door where he is caused to give, or the conductor gives
THREE DISTINCT KNOCKS, which are answered by three from WITHIN;
the conductor gives one more, which is also answered by one from within.
The door is then partly opened
and the Senior Deacon generally asks,
'Who comes there? Who comes there? Who comes there?">>
------------------------------ｭｭ-----------------------------ｭ-ｭ---
The Merry Wives of Windsor Act 2, Scene 2
FALSTAFF: I know not how I may DEsERVE to be your PORTER.
------------------------------ｭｭ-----------------------------ｭ-ｭ---
Troilus and Cressida Act 1, Scene 2
PANDARUS: Achilles! a drayman, a PORTER, a VERy camel.
------------------------------ｭ------------------------ｭ-
MACBETH Act 2, Scene 3
KNOCKing WITHIN
KNOCK, KNOCK, KNOCK!
Who's there? Faith, here's an
English TAILOR come hither, for stealing out of
a French hose: come in, TAILOR; here you may
roast your goose.
KNOCKing WITHIN
KNOCK, KNOCK;
nEVER at quiet! What are you? But
this place is too cold for hell. I'll devil-PORTER
it no further: I had thought to have let in
some of all professions that go the primrose
way to the EVERLASTING bonfire.
------------------------------ｭ------------------------------ｭ---
<<Halliwell-Phillips found an ancient manuscript which appears to be
the collaborative work of Edward de VERE & his dark-haired mistress.
The rhymes were evidently composed prior to 1581:
Verses made by the earle of Oxforde and Mrs Ann Vavesor
THREE TIMES with her soft hand full hard on her left side SHE KNOCKS,
and SIGHED SO SORE as might have moved some pity in the rocks.>>
http://www.sourcetext.com/sourcebook/library/barrell/05Sonnets4.htm
------------------------------ｭｭ-----------------------------ｭ-ｭ---
>> "David L. Webb" <David.L.W...@Dartmouth.edu> wrote
>>
>>> I hate to be the one to break the news to you, Art, but Morse did
>>> not develop the telegraph (and Morse code) until the mid 1830s,
>>> oVER a quarter century later than Beethoven's fifth symphony.
> "Art Neuendorffer" wrote:
>> You can lead a Morse to Vassar but you can't make him think.
>> [1865 Morse becomes a charter trustee of Vassar College]
"David L. Webb" <David.L.W...@Dartmouth.edu> wrote
>I've said that about you seVERal times already, Art -- you can lead a
> horse -- or the hindquarters thereof -- to water, but you can't make
> him think. (HoweVER, since the aforementioned horse's hindquarters
>didn't make it into Lehigh, Vassar would have been quite a stretch.)
GEnuFLexion?
------------------------ｭ------------------------------ｭ-------
"Clad all in color of a Nun and coVERED with A. VAIL"
------------------------------ｭｭｭ----------------------------
>> "David L. Webb" <David.L.W...@Dartmouth.edu> wrote
>>
>>> I hate to be the one to break the news to you, Art, but Morse did
>>> not develop the telegraph (and Morse code) until the mid 1830s,
>>> oVER a quarter century later than Beethoven's fifth symphony.
> "Art Neuendorffer" wrote:
>> ------------------------------ｭ--------------------------------
>> I hate to be the one to break the news to you, Dave, but
>> Yale artist Morse did not develop the telegraph (or Morse code):
------------------------------ｭ------------------------------ｭ------
<<Although Morse invented the telegraph, he lacked technical expertise.
He entered an agreement with Alfred VAIL who built more practical
equipment. A. VAIL developed a system in which each letter is
sent individually, using combinations of dits, dahs, & pauses.
Morse & VAIL agreed that VAIL's method of representing individual
symbols would be included in Morse's patent. This system, known
as American Morse code, was the version that was used to
transmit the first telegraph message. A line was constructed
between Baltimore, Maryland, & Washington, DC, and the first
message, sent on May 24, 1844, was "What hath God wrought!">>
------------------------------ｭ------------------------------ｭ------
"David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> Note that date, Art: 1844. That's nearly forty years *later* than
> Beethoven's fifth symphony. Matters being so, Beethoven's fifth
> symphony is unlikely to contain a coded Masonic message
> of "V" -- for "Vere," no doubt -- in Morse code.
------------------------------ｭ----------------------------ｭ-----
"Vere," "Vassar," "Vail,"... ; take your pick
------------------------------ｭ------------------------------ｭ---
<<Halliwell-Phillips found an ancient manuscript which appears to be
the collaborative work of Edward de VERE & his dark-haired mistress.
The rhymes were evidently composed prior to 1581:
Verses made by the earle of Oxforde and Mrs Ann Vavesor
I saw a fair young lady come, her SECRET FEAR to wail,
Clad all in color of a Nun and coVERED with a VAIL;
Yet (for the day was calm and clear) I might discern her face,
As one might see a damask rose hid under chrystal GLASS.
THREE TIMES with her soft hand full hard on her left side SHE KNOCKS,
and SIGHED SO SORE (E-flat) as might have moved some pity in the rocks.
From sighs and shedding amber tears, into sweet song she broke.
When thus the Echo answered her to every word she spoke.>>
http://www.sourcetext.com/sourcebook/library/barrell/05Sonnets4.htm
------------------------------ｭ------------------------
Vnder a shady VELE is therein writ,
And eke thine owne LONG LIVING memory,
Succeeding them in TRUE nobility:
And also for the loue, which thou doest beare
To th'HELICONian Ymps, and they to thee,
They vnto thee, and thou to them most deare:
Fairie Queene (1590) dedication by Spenser
To the right Honourable the Earle of Oxenford,
------------------------------ｭ------------------------
>> "David L. Webb" <David.L.W...@Dartmouth.edu> wrote
>>>
>>> Indeed, it was not until 1830 that
>>> Joseph Henry sent an electric current over a span of roughly
>>> a mile and caused an electromagnet to ring a bell; in fact, it
>>>was not until 1825 that William Sturgeon developed and demonstrated a
>>>practical electromagnet. Therefore the notion that the opening motif
>>>of Beethoven's fifth symphony constitutes a Masonic REVelation --
>>>Morse code for "V" (for "Vere," no doubt) -- is a remarkably
>>> moronic idea, even for a clueless cretin like yourself.
> "Art Neuendorffer" wrote:
> > The usefulness of a secret Morse code [especially for
> > Masonic prisoners such as the Count of MOntE cRiSto]
"David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> The Count of Monte Cristo is a fictional character, Art.
Shakspere of Stratford-upon-Avon is a fictional character, Dave.
"David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> Incidentally, Art, what do you make of the fact that the Count of
> Monte Cristo's surname is Dant鑚, the *same* as that of the man who
> killed Freemason Aleksandr Pushkin in a famous duel because of the
> attentions Dantes was paying Pushkin's wife Natalia Goncharova?
------------------------------ｭ------------------------------ｭ------
It was "all predicted by the German woman."
------------------------------ｭ------------------------------ｭ------
DANTES, G. S. (1812-1895), Pushkin's adversary, fatally wounded him
in a duel on January 27, 1837. Dantes left France and came to Russia
in 1833, becoming an officer in a prestigious division of the Russian
Army. He married Catherine, Pushkin's sister-in-law, on Jan. 10, 1837.
------------------------------ｭ------------------------------ｭ----
(translated into English from Russian) 1987,
http://www.mipco.com/english/pushtengl.html
<<The prediction is coming TRUE - I challenged DANTES to a duel.
Was not a violent death at the hands of a blond man
predicted by the German woman?
But future generations will not be able to do anything to me or to
my great-grandchildren, because remoteness in time will turn the most
blameworthy of deeds into mere history. Unlike to the present, history
is not dangerous or offensive, but merely amusing and didactic. I do
not want to take my sins, mistakes and torments to the grave with me;
they are too substantial not to become a part of my monument.>>
------------------------------ｭ------------------------------ｭ--------
The _Count of Monte *Cristo*_ opens with the arrival of DANTES
in a 'death ship' named *Pharaon* (i.e., *Pharaoh*);
Dantes carries a letter from *Napoleon* to:
"M. NOIRTIER, Rue Coq-HERON, No. 13"
------------------------------ｭ------------------------------ｭ----------
<<Charles NODIER (1801-44) - the flamboyant mentor
for an entire generation including:
young Victor Hugo, Balzac, Dalcroix, DUMAS PERE, . . .
- all who drew upon esoteric & Hermetic tradition. "Around 1793
he created another group - or perhaps an inner circle of the
first [the Philadephes]- which included one of the subsequent
plotters against *Napoleon* .">> - Will Still, New World Order
------------------------------ｭ-----------------------------
> "Art Neuendorffer" wrote:
> > long preceeded it's revelation
> > to S. Morse by A. VAIL. It was a simple (and obvious)
> > extension of Francis Bacon's binary 5 bit cipher:
> >
> > a AAAAA g AABBA n ABBAA t BAABA
> > b AAAAB h AABBB o ABBAB u-v BAABB
> > c AAABA i-j ABAAA p ABBBA w BABAA
> > d AAABB k ABAAB q ABBBB x BABAB
> > e AABAA l ABABA r BAAAA y BABBA
> > f AABAB m ABABB s BAAAB z BABBB
"David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> Huh?! The characters in Morse code are not groups of five of
>the two binary elements. Indeed, the Morse code characters are:
>
> a ._ h .... o _ _ _ v ..._
> b _... i .. p ._ _. w ._ _
> c _._. j ._ _ _ q _ _._ x _.._
> d _.. k _._ r ._. y _._ _
> e . l ._.. s ... z _ _..
> f .._. m _ _ t _
> g _ _. n _. u .._
> This bears no relation to Bacon's biliteral cipher above.
Of course it does, Dave!
VAIL's actual 5 bit code certainly does:
----------------------------------------------------------
a ._ h .... o ._. v ..._
b _... i .. p ..... w ._ _
c .._. j ._._ q .._. x ._..
d _.. k _._ r ._.. y .._..
e . l __ s ... z ..._.
f ._. m _ _ t _
g _ _. n _. u .._
------------------------------------------------------------
But "..._" is "V" in both
http://www.du.edu/~jcalvert/tel/heartele.htm
<<The sound of the first message, as received on the Vail sounder at
a normal speed of 20 words per minute, can be heard by clicking on
http://www.du.edu/~jcalvert/tel/whgwrot.wav
The message uses the American Morse Code, as invented by Vail,
and used on all American land lines, especially railway telegraphs,
until the end of the manual telegraph, which did not finally
completely disappear from railway dispatching until the 1950's,
since its accuracy was very desirable for this service.
The International Morse Code, the more familiar code used on radio,
was developed from the code created for the Austro-German telegraph
service in 1851, based on Vail's code. It was more suitable for radio
since it did not have spaced letters. Radio Morse is read by tones,
not by sounder clicks. Tables of the codes can be found in History
of the Telegraph, together with a much fuller historical account.>>
------------------------------------------------------------------
"A noble spirit embiggens the smallest man."
- Jebediah Obediah Zacharia Jedediah Springfield.
> "Art Neuendorffer" wrote:
> > The residents of Springfield build a concert hall
> > to make their town more cultural. Beethoven's 5th Symphony
> > is played on the opening night, but after the first four notes have
> > been played the audience gets bored and leaves. When the conducter
> > asks where everyone is going, Clancy Wiggum sneers "Hey, we heard
> > the 'Duh-duh-duh-dum' bit already, the rest is just filler.">>
> > ------------------------------ｭ-------------------------
> > "David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> >
>>> Quite right --
>>> we have seen your "duh-duh-duh-dumb" bit above, Art.
> > ------------------------------ｭ-------------------------
> > Chief Wiggum:
> > "Let me just type it up on my invisible TYPEWRITER."
> >
> > First novel ever written on a TYPEWRITER: _Tom Sawyer_
> >
> > {anagram}
> > TOM SAWYER PRINTER
> > MASON 'R' TYPEWRITER
"David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> INPNC score 5/16, less than 1/3 -- not to mention that "Mason 'r'
> typewriter" is moronic nonsense. A better anagram is the following:
> "On 'Tom Savvyer' printer" is an anagram of
>
> Art N., tipsy VVere moron.
>
> This has a superior INPNC score, and not only makes sense
> in English, but even communicates a probable truth.
But the first novel ever written on a TYPEWRITER:
was _Tom Sawyer_!
Freemason Benjamin Franklin: "PRINTER"
http://www.kittytours.org/thatman2/search.asp?subject=65
"David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> > >> http://www.classicalnotes.net/classics/fifth.html
> > >>
> > >> Copyright 2001 by Peter Gutmann: <<Dit-dit-dit-daaaah.
> > >>
> > >> Talk about a great hook! Three quick G's
>
> > "David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> >
> > > Masonic, no doubt!
> "Art Neuendorffer" <aneuendorffer114...@comcast.net>
> > No doubt!
"David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> You're priceless, Art!
>
> > >> and a long E-flat
"David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> No doubt the "E" refers to "east," the position
> of the Master Councilor in the Order of DeMolay.
A long E-flat = GEnuFLexion?
> > >> - the opening of
> > >> Ludwig van Beethoven's Fifth Symphony just could be
> > >> the most memorable musical phrase of all time.
>>>> While the Fifth isn't Beethoven's most innovative or influential
>>>> symphony (the Third and Ninth compete for that honor)
>
> > "David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> >
> > > As does the seventh, whose second movement (Alegretto) is
> > > one of the most sublime Beethoven (or anyone else) eVER wrote.
> "Art Neuendorffer" <aneuendorffer114...@comcast.net>
> > In Spanish? "Alegretto?" [Yale Grotto?]
"David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> No, Art; musical terminology is almost invariably Italian.
Then why not Allegretto?
>>>> Beethoven reportedly called his opening
>>>> "Fate KNOCKing at the door,"
>>>> but nowadays that's largely discredited as unreliable hearsay;
> > "David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> > > So, of course,
> > > it makes a *great* source for anti-Stratfordian nutcases.
> "Art Neuendorffer" wrote:
> > For me too!
"David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> That's what I said, Art.
Huh?
> "Art Neuendorffer" <aneuendorffer114...@comcast.net>
> > ------------------------------ｭ------------------------------ｭ-
> > "What hath God wrought?" Message, 24 May 1844
> >
> > King George III - 106th birthday
> > Queen Victoria's - 25th birthday
> >
> > 1858 August 16 The first transatlantic cable message is sent from
> > Queen Victoria to President Buchanan. However, while this
> > fourth attempt to establish an Atlantic cable is successful,
> > it stops working less than a month after its completion.
> > ------------------------------ｭ------------------------------ｭ---
> > The Papers of Samuel Finley Breese Morse
> > http://memory.loc.gov/ammem/atthtml/morse2.html
> >
> > <<This paper tape recording of the historic message transmitted
> > by Samuel F. B. Morse reads, "What hath God wrought?" It was sent
> > by him from the Supreme Court room in the Capitol to his assistant,
> > Alfred Vail, in Baltimore. Morse gave credit to Annie Ellsworth,
> > the young daughter of a friend, for suggesting Numbers 23:23.>>
> >
> > NUMBERS 23:23 What HATH God wrought!
"David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> But Art -- 23 is the first prime whose cyclotomic field has
> nontrivial ideal class group! It must be a Masonic conspiracy.
What HATH God wrought!
> "Art Neuendorffer" wrote:
> > (Quote from the last oracle of the non-Israelite prophet Balaam)
"David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> You bear a closer resemblance to Balaam's mount, Art.
-----------------------------------------------------------
Mount Pisgah or Mount Peor?
<<Balaam went apart to receive a message from the Lord for Balak (ch
23:1-6). Balaam's first message consisted of a declaration that Israel
was different from all other nations and that God had blessed them.
Balak took Balaam next to Mount Pisgah, where the sacrificial procedure
was repeated (vs 14-17), but the second message reaffirmed the first.
Balak nevertheless made a third attempt, offering the same sacrifices
on the top of Mount Peor (vs 27-30), but the results were the same.>>
-----------------------------------------------------------
> "Art Neuendorffer" wrote:
> > http://chem.ch.huji.ac.il/~eugeniik/history/morse.html
> >
> > <<Samuel Finley Breese Morse, born in Charlestown, Mass.,
> > 27 April, 1791, the oldest son of ReVEREnD JEDIdiah Morse
"David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> That's *Jedediah* Morse, not "Jedidiah [sic] Morse," Art.
> The Jedi have no connection whateVER with our Order, Art --
> but as I said above, you always were a Morse's hindquarters.
------------------------------------------------------------------
Not according to the Encyclopaedia Britannica:
<<MORSE, SAMUEL FINLEY BREESE (1791-1872),
American artist and inventor, was born at Charlestown,
Massachusetts, on the 27th of April 1791, son of Jedidiah Morse
(1761-1826), Congregational minister there and a writer on geography,
& a grandson of Samuel Finley, president of the college of New Jersey.>>
------------------------------------------------------ｭ----------
Bacon/Solomon was known also as Jedidiah: 'Beloved of the Lord'.
------------------------------------------------------ｭ----------
http://www.fbrt.org.uk/
<<In both the title page illustration to the 1645 De Dignitate &
Augmentis Scientiarum and the frontispiece illustration to the 1640
Advancement of Learning Francis Bacon is shown seated on a chair, hatted
& robed as the Lord Chancellor. This 'enthroned' posture of his is not
only taken from life but is a symbolic one, first used in the memorial
statue of him erected after his death in St. Michael's Church,
St. Albans, by his principal secretary & friend, Thomas Meautys.
Outwardly it epitomises Bacon as the Lord Chancellor,
but symbolically also as Solomon & Apollo, by which
names he was referred to by his contemporaries.
Solomon was renowned for his wisdom, for building the temple at
Jerusalem, and for his songs & writings-notably, his Book of Wisdom,
his Song of Songs, his Proverbs and his Natural History. He was the
great patron of Israel's Wisdom literature. His name, Solomon, is
variously spelt, but is said to derive from the Hebrew Shelomoh,
meaning 'The Peaceful One'. Solomon was known also as Jedidiah,
'Beloved of the Lord'.
An alternative meaning of his name in esoteric tradition, as an
archetype, is as Sol-Om-On, used to represent the Light (Sol), the
Holy Spirit (Om, the Sound of the Word) and the Most High or 'Father'
(On)-i.e. the Light or Sun/Son of the Spirit of the Most High.>>
--------------------------------------------------------------------
"David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> but as I said above, you always were a Morse's hindquarters.
--------------------------------------------------------------
"A noble spirit embiggens the smallest man."
- Jebediah Obediah Zacharia Jedediah Springfield.
-------------------------------------------------------
Art Neuendorffer
David L. Webb
"Art Neuendorffer" <aneuendor...@comcast.net>
(amorondaf...@comicass.nut) wrote:
[Lunatic logorrhea snipped]
> The _Count of Monte *Cristo*_ opens with the arrival of DANTES
> in a 'death ship' named *Pharaon* (i.e., *Pharaoh*);
>
> Dantes carries a letter from *Napoleon* to:
>
> "M. NOIRTIER, Rue Coq-HERON, No. 13"
> ----------------------------------------------------------------------
> <<Charles NODIER (1801-44) - the flamboyant mentor
> for an entire generation including:
>
> young Victor Hugo, Balzac, Dalcroix, DUMAS PERE, . . .
>
> - all who drew upon esoteric and Hermetic tradition. "Around 1793
> he created another group - or perhaps an inner circle of the
> first [the Philadephes]- which included one of the subsequent
> plotters against *Napoleon* .">> - William Still, New World Order
Now *there's* a reliable source! Did you by any chance look any
further at Mr. Still's _New World Order_, Art? Or did you content
yourself with mindless grepping? You can find more at
<http://www.1cure4cancer.com/world-order.html>,
where among other things the following précis is offered:
"For thousands of years, secret societies have cultivated an ancient
plan, which has powerfully influenced world events. Until now, this
secret plan has remained mysteriously hidden from view. Its primary
objective is to bring all nations under one-world government -- the
biblical rule of the Anti-christ. Today, its proponents simply call
it the New World Order."
By all means, buy the book, Art! Your "Petulant Paranoid" trolling
persona will have a field day!
Perhaps you can enlighten me, Art -- in what way does Bacon's "AABAA"
resemble Morse/Vail's "."? And how does Bacon's "BAABA" resemble
Morse/Vail's "_"? Inquiring minds want to know.
> But ..._ is "V" in both
[Lunatic logorrhea snipped]
> > > An episode of The Simpsons see the residents of Springfield build a
> > > concert hall to make their town more cultural. Beethoven's 5th Symphony
> > > is played on the opening night, but after the first four notes have
> > > been played the audience gets bored and leaves. When the conducter
> > > asks where everyone is going, Clancy Wiggum sneers "Hey, we heard
> > > the 'Duh-duh-duh-dum' bit already, the rest is just filler.">>
> > > -------------------------------------------------------
> > > "David L. Webb" <David.L.W...@Dartmouth.edu> wrote
> > >
> > > > Quite right -- we have seen your "duh-duh-duh-dumb" bit above, Art.
> > > -------------------------------------------------------
> > > Chief Wiggum:
> > > "Let me just type it up on my invisible TYPEWRITER."
> > >
> > > First novel ever written on a TYPEWRITER: _Tom Sawyer_
> > >
> > > {anagram}
> > > TOM SAWYER PRINTER
> > > MASON 'R' TYPEWRITER
> "David L. Webb" <David....@Dartmouth.edu> wrote
>
> > INPNC score 5/16, less than 1/3
You do recall the INPNC, don't you, Art?
> > -- not to mention that "Mason 'r'
> > typewriter" is moronic nonsense. A better anagram is the following:
> > "On 'Tom Savvyer' printer" is an anagram of
> >
> > Art N., tipsy VVere moron.
> >
> > This has a superior INPNC score, and not only makes sense
> > in English, but even communicates a probable truth.
> But the first novel ever written on a TYPEWRITER:
> was _Tom Sawyer_!
So?
It was a typo, Art; thank you for correcting it.
> > > >> Beethoven reportedly called his opening "Fate knocking at the door,"
> > > >> but nowadays that's largely discredited as unreliable hearsay;
> >
> > > > So, of course,
> > > > it makes a *great* source for anti-Stratfordian nutcases.
>
> > "Art Neuendorffer" wrote:
>
> > > For me too!
>
> "David L. Webb" <David....@Dartmouth.edu> wrote
>
> > That's what I said, Art.
>
> Huh?
[Lunatic logorrhea snipped]
> > > <<Samuel Finley Breese Morse, born in Charlestown, Mass., 27 April,
> > > 1791, was the oldest son of ReVEREnD JEDIdiah [sic] Morse
>
> "David L. Webb" <David....@Dartmouth.edu> wrote
>
> > That's *Jedediah* Morse, not "Jedidiah [sic] Morse," Art.
> > The Jedi have no connection whateVER with our Order, Art --
> > but as I said above, you always were a Morse's hindquarters.
> -----------------------------------------------------------
> Not according to the Encyclopaedia Britannica:
>
> <<MORSE, SAMUEL FINLEY BREESE (1791-1872),
> American artist and inventor, was born at Charlestown,
> Massachusetts, on the 27th of April 1791, son of Jedidiah Morse
> (1761-1826), Congregational minister there and a writer on geography,
> and a grandson of Samuel Finley, president of the college of New Jersey.>>
All right, Art, have it your way: the Jedi Knights are, as you always
suspected, merely the extraterrestrial arm of our Order, the Priory of
Sion/Knights Templar conspiracy. May the Farce be with you!
Art Neuendorffer
> > > >
>>>>> As does the seventh, whose second movement (Alegretto) is
>>>>> one of the most sublime Beethoven (or anyone else) eVER wrote.
> >
> > > "Art Neuendorffer" <aneuendor...@comcast.net>
> >
> > > > In Spanish? "Alegretto?" [Yale Grotto?]
> >
> > "David L. Webb" <David....@Dartmouth.edu> wrote
> >
> > > No, Art; musical terminology is almost invariably Italian.
> "Art Neuendorffer" <aneuendor...@comcast.net>
> > Then why not Allegretto?
"David L. Webb" <David....@Dartmouth.edu> wrote
> It was a typo, Art; thank you for correcting it.
One would have thought that a mathematician
would have learned to read music.
>>>> <<Samuel Finley Breese Morse, born in Charlestown, Mass., 27 April,
>>>> 1791, was the oldest son of ReVEREnD JEDIdiah [sic] Morse
> >
> > "David L. Webb" <David....@Dartmouth.edu> wrote
> >
> > > That's *Jedediah* Morse, not "Jedidiah [sic] Morse," Art.
> > > The Jedi have no connection whateVER with our Order, Art --
> > > but as I said above, you always were a Morse's hindquarters.
> > -----------------------------------------------------------
> > Not according to the Encyclopaedia Britannica:
> "Art Neuendorffer" <aneuendor...@comcast.net>
> > <<MORSE, SAMUEL FINLEY BREESE (1791-1872),
> > American artist and inventor, was born at Charlestown,
> > Massachusetts, on the 27th of April 1791, son of Jedidiah Morse
> > (1761-1826), Congregational minister there and a writer on geography,
> > and a grandson of Samuel Finley, president of the college of New
Jersey.>>
"David L. Webb" <David....@Dartmouth.edu> wrote
> All right, Art, have it your way: the Jedi Knights are, as you always
> suspected, merely the extraterrestrial arm of our Order, the Priory of
> Sion/Knights Templar conspiracy.
So when did you switch over to the dark side, Dave?
Art Neuendorffer
David L. Webb
"Art Neuendorffer" <aneuendor...@comcast.net>
(aneuendor...@comicass.nut) wrote:
[...]
> >>>> <<Samuel Finley Breese Morse, born in Charlestown, Mass., 27 April,
> >>>> 1791, was the oldest son of ReVEREnD JEDIdiah [sic] Morse
> > >
> > > "David L. Webb" <David....@Dartmouth.edu> wrote
> > >
> > > > That's *Jedediah* Morse, not "Jedidiah [sic] Morse," Art.
> > > > The Jedi have no connection whateVER with our Order, Art --
> > > > but as I said above, you always were a Morse's hindquarters.
> > > -----------------------------------------------------------
> > > Not according to the Encyclopaedia Britannica:
>
> > "Art Neuendorffer" <aneuendor...@comcast.net>
>
> > > <<MORSE, SAMUEL FINLEY BREESE (1791-1872),
> > > American artist and inventor, was born at Charlestown,
> > > Massachusetts, on the 27th of April 1791, son of Jedidiah Morse
> > > (1761-1826), Congregational minister there and a writer on geography,
> > > and a grandson of Samuel Finley, president of the college of New
> Jersey.>>
> "David L. Webb" <David....@Dartmouth.edu> wrote
>
> > All right, Art, have it your way: the Jedi Knights are, as you always
> > suspected, merely the extraterrestrial arm of our Order, the Priory of
> > Sion/Knights Templar conspiracy.
> So when did you switch over to the dark side, Dave?
I leave the dork side to you, Art; may the Farce be with you (it
certainly has been thus far!).
Art Neuendorffer
>>>>>> the oldest son of ReVEREnD JEDIdiah [sic] Morse
> > > >
> > > > "David L. Webb" <David....@Dartmouth.edu> wrote
> > > >
>>>>> That's *Jedediah* Morse, not "Jedidiah [sic] Morse," Art.
>>>>> The Jedi have no connection whateVER with our Order, Art --
>>>>> but as I said above, you always were a Morse's hindquarters.
> > > > -----------------------------------------------------------
> > > > Not according to the Encyclopaedia Britannica:
> >
> > > "Art Neuendorffer" <aneuendor...@comcast.net>
> >
>>>> <<MORSE, SAMUEL FINLEY BREESE (1791-1872),
>>>> American artist and inventor, was born at Charlestown,
>>>> Massachusetts, on the 27th of April 1791, son of Jedidiah Morse
>>>> (1761-1826), Congregational minister there and a writer on geography,
>
> > "David L. Webb" <David....@Dartmouth.edu> wrote
> >
>>> All right, Art, have it your way: the Jedi Knights are, as you always
>>> suspected, merely the extraterrestrial arm of our Order, the Priory of
>>> Sion/Knights Templar conspiracy.
> "Art Neuendorffer" <aneuendor...@comcast.net>
> > So when did you switch over to the dark side, Dave?
"David L. Webb" <David....@Dartmouth.edu> wrote
> I leave the dork side to you, Art; may the Farce be with you
> (it certainly has been thus far!).
Once a Dwebb always a Dwebb.
Art