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Arthur Neuendorffer
May 23, 2013, 9:46:04 PM5/23/13
to
----------------------------------------------------------
http://www.indirect.com/user/reddog/julie4.html
, Osiris Fragment by Julie Noterman
,
<<In ancient Egypt, the goddess Isis reigned over the Earth, over
creation and death. She had a son Osiris who was torn to pieces by
his war-like brother SET. In his wrath, SET scattered the parts over
the face of the Earth. A heartbroken Isis searched the world over,
found the pieces and put him back together. She found all the parts
except for his penis; that she ingeniously fashioned out of clay and
attached to the body. The life force breathed into Osiris once again.
Legend has this event recurring year after year just as the seasons
continue to pass by anew each cycle.>>
----------------------------------------------------------
, MYTH OF OSIRIS AND ISIS
, http://www.bulfinch.org/fables/bull34.html
, Bulfinch's Mythology : The Age of Fable
,
<<Osiris and Isis were at one time induced to descend to the earth
to bestow gifts and blessings on its inhabitants. Isis showed them
first the use of wheat and barley, and Osiris made the instruments of
agriculture and taught men the use of them, as well as how to harness
the ox to the plough. He then gave men laws, the institution of
marriage, a civil organization, and taught them how to worship the
gods. After he had thus made the valley of the Nile a happy country,
he assembled a host with which he went to bestow his blessings upon
the rest of the world. He conquered the nations everywhere, but not
with weapons, only with music and eloquence. His brother, SET saw
this, and filled with envy and malice sought during his absence
to usurp his throne. But Isis, who held the reins of government,
frustrated his plans. Still more embittered, he now resolved to kill
his brother. This he did in the following manner: Having organized
a conspiracy of seventy-two members, he went with them to the feast
which was celebrated in honour of the king's return. He then caused a
box or chest to be brought in, which had been made to fit exactly the
size of Osiris, and declared that he would give that chest of precious
wood to whomsoever could get into it. The rest tried in vain, but no
sooner was Osiris in it than SET and his companions closed the lid and
flung the chest into the Nile.
When Isis heard of the cruel murder she wept and mourned,
and then with her hair shorn, clothed in black and beating her
breast, she sought diligently for the body of her husband. In this
search she was materially assisted by Anubis, the son of Osiris and
Nephthys. They sought in vain for some time; for when the chest,
carried by the waves to the shores of Byblos, had become entangled in
the reeds that grew at the edge of the water, the divine power that
dwelt in the body of Osiris imparted such strength to the shrub that
it grew into a mighty tree, enclosing in its trunk the coffin
of the god. This tree with its sacred deposit was shortly after
felled, and erected as a column in the palace
of the king of Phoenicia. But at length by the aid of Anubis
and the sacred birds, Isis ascertained these facts,
and then went to the royal city. There she offered herself at the
palace as a servant, and being admitted, threw off her disguise and
appeared as the goddess, surrounded with thunder and lightning.
Striking the column with her wand she caused it to split open and give
up the sacred coffin. This she seized and returned with it, and
concealed it in the depth of a forest, but SET discovered it, and
cutting the body into fourteen pieces scattered them hither and
thither. After a tedious search, Isis found thirteen pieces, the
fishes of the Nile having eaten the other. This she replaced
by an imitation of sycamore wood, and buried the body at Philoe
(Philae), which became ever after the great burying place
of the nation, and the spot to which pilgrimages were made from
all parts of the country. A temple of surpassing magnificence
was also erected there in honour of the god, and at every place
where one of his limbs had been found minor temples and tombs
were built to commemorate the event. Osiris became after that
the tutelar deity of the Egyptians. His soul was supposed
always to inhabit the body of the bull Apis, and at his death
to transfer itself to his successor.>>
....................................................
SET is a god of the desert, storms, and foreigners in ancient Egyptian
religion. In later myths he is also the god of darkness and chaos. In
Ancient Greek, the god's name is given as Sēth (Σήθ). Set is portrayed
as the usurper who killed and mutilated his own brother Osiris.
Osiris' wife Isis reassembled Osiris' corpse and embalmed him. Osiris'
son Horus sought revenge upon Set, and the myths describe their
conflicts. The death of Osiris and the battle between Horus and
Set is a popular event in Egyptian mythology.
--------------------------------------------------------------
http://www.camelotintl.com/heritage/thames.html
.
. The River Thamesis
.
Rising in the Cotswolds, the Thames flows east for 210 miles
through *Oxford* (where it is also known as the *ISIS* )
----------------------------------------------------------
Milton, in his "Hymn on the Nativity," alludes to the Egyptian
deities, not as imaginary beings, but as real demons,
put to flight by the coming of Christ.
.
. "[T]he brutish gods of Nile as fast,
_ [I]sis and Horus and the dog Anubis haste.
. [N]or is Osiris seen
_ [I]n Memphian grove or green
. [T]rampling the unshowered grass with lowings loud;
. Nor can he be at rest
. Within his sacred chest;
. [N]ought but profoundest hell can be his shroud.
_ [I]n vain with timbrel'd anthems dark
. [T]he sable-stoled sorcerers bear his worshipped ark."
-------------------------------------------------------------
In the fashion of Peter Nockolds's diamond:
....................................................
.
. T
. O T H
. E(O)N L I
. E B(E)G E{T}T
. E R O(F)T H{E}S E
. I N S U(I)N G{S}O N N
. E T S M R(W|H}A L L H A P
. P I N E(S|S|E|A}N D T H A T E
. T E R N I(T|I)E[P]R O M I S E D B
. Y O U R E V(E|R)L[I]V I N G P O E T W
. I S H E T H T(H|E)W[E]L L W I S H I N G A
. D V E N T U R E R I N[S]E T T I N G F O R T H
....................................................
{SET}
{HAPI} Prob. in center ~ 1 in in 16,000
[PIES] Prob. in center bottom ~ 1 in 32,000
(E.WIFE.O.)
.................................................
The world will wail thee, like a makeless (WIFE)
--------------------------------------------------------------------
<<{SET} is a god of the desert, storms, and foreigners in ancient
Egyptian religion. In later myths he is also the god of darkness and
chaos. Set is portrayed as the usurper who killed and mutilated his
own brother Osiris. Osiris' (WIFE) Isis reassembled Osiris' corpse and
embalmed him. Osiris' son Horus sought revenge upon Set, and the myths
describe their conflicts.)>>
.................................................................
<<{HAPI} (Golden Dawn, Ahephi) One of the Four Sons of Horus,
{HAPI} was represented as a mummified man with the head of a *BABOON*.
.He was the protector of the lungs of the deceased, & was protected
. by the goddess Nephthys. The name {HAPI}, spelled with different
. HIEROGLYPHs, in most but not all cases, is also the name
. of the god who was the personification of the River *NILE*
. depicted as a corpulent man (Falstaff? / NevILE?)
. with a crown of *LILIES* (Upper {NILE} )
_______ or papyrus plants (Lower {NILE>). - Shawn C. Knight
---------------------------------------------------------------------
_______________ <= 19 =>
.
. TOTHEO {N} li (I)_ <E>B E (G) E T T E R O
. FTHESE__- {I} nS (S)- U<I>N (G) S O N N E T
. SMrWha_- {L} LH (H)a] P <P> (I) {N}E S S E A
. NDthat____{E} T _ [E|r] - N <I> T__ {I}E<P>R O M
. ISEDB Y O u ___ [R|e] V <E> R {L|I>V I N G
. <P> OEtW I s h ___ [E|t] _ H {T} H_- <E>W E L L W
. <I> ShIN-(G)a ___ [d V e] N {T} u _ R E R I N S
. <E> tTIN (G)fort----_____ H {T} t
-------------------------------------------------------------
. "Singe CAPons, or *POOR PIGS* , dropping their eyes ;
___ *Condemn'd me to the OVENs with the PIES* ;
- After his library FIRE of 1623 Ben Jonson
wrote of his LOSS in "An Execration upon Vulcan"
----------------------------------------------------------
. 22 / 7 ~ PI
. 19 / 7 ~ E
----------------------------------------------------------
. 22 P**'s => 4 PIE's
. (22*21*20*19)/(4*3*2*1)
. 14 I's: (14/145)*(13/144)*(12/143)*(11/142)
. 23 E's: (23/141)*(22/140)*(21/139)*(20/138)
. Probability of 4 oven PIE's ~ 1/4,300
--------------------------------------------------------------------
<<The Least Successful Collector Betsy Baker played a central role in
the history of collecting. She was employed as a servant in the house
of John Warburton (1682-1759) who had amassed a fine collection of 58
1st edition plays, including most of the works of Shakespeare. One day
Warburton returned home to find 55 of them charred beyond legibility.
Betsy had either burned them or used them as *PIE* bottoms. The
remaining three folios are now in the British Museum. The only
comparable literary figure was the maid who in 1835 burned the
manuscript of the first volume of Thomas Carlyle's "The Hisory of
the French Revolution", thinking it was wastepaPER.>> -- Stephen PILE
.
. http://hometown.aol.com/clasz/Chap9.html
.
[NOTE- some 60 manuscripts of plays of this period eventually come
into the hands of a collector named John Warburton* (1682-1759).
.
Many are the only surviving coPIES of plays that had never been
printed. Unfortunately Warburton was careless with them and his
servant, Betsy Baker, made use of them to light her stove and
line the bottom of *PIES* In the end only three survived.
The surviving plays are the work of Dekker, Ford & Massinger.]>>
----------------------------------------------------
[M]R. William
SHAK{E}SPE[A|R}ES
Comedi<ES>,
H<I>sto[R|I}es &
Traged(I)es,
<P>ubl[I|S}hed according to t[He} True Orig(I)nal Co<PIES>
....................................................
________ <= 17 =>
.
. [M]R. W i l l i a m S (H) A K <E S> P E
. [A|R} E S C o m e d i (E) s,H <I> s t o
. [R|I} e s&T r a g e d (I) e s <P> u b l
. [I|S} h e d a c c o r (D) i n g t o t
. [H E} T r u e O r i g (I) n a l C o<P I E S>
[MARI{He}] 17 Prob. [HIRAM] ~ 1 in 480 (any skip)
{RISE} 17
(HEIDI) : German form of (ALICE)
----------------------------------------------------------
TO THE ONLIE BEGETTER OF THESE INSVING SONNETS
.
________ <= 17 =>
.
. [M]R W H A L L (H) A P P I N E S S E
. [A|N) D T H A T (E) T E R N I T I E P
. [R|O) M I S E D (B|Y) O V R E V E R L
. [I|V) I N G P O (E|T) W I S H E T H T
. (H e) W E L L W (I|S) H I N G
.
ADVENTVRER IN SETTING FORTH.
..................................................
THE LA. [MARI]e (He)r(be)rt COUNTESSE OF PEMBROOKE.
..................................................
(NOVe): in a new or unusual manner {Latin}
*(NOVe)RINT* : Seriant [=Sergeant] William *HARRIS*
----------------------------------------------------
. http://www.tiny.cc/VnVtD
.
Cecil Papers 88/101 (bifolium, 232mm x 170mm),
Oxford to Cecil; 7 October 1601 (W337;F593).
.
...for I am aduised, that I may passe *MY BOOKE* from her
Magestie, yf a warrant may be procured to my cosen *BACON*
and Seriant [=Sergeant] *HARRIS* to perfet [= *PERFECT* ] yt.
Whic[HE BE]inge *DOONE* , I know to whome formallye to
thanke, but reallye they shalbe, and are from me, and myne,
*to be SEALED VP* in an *AETERNALL REMEMBRANCE* to yowre selfe.
And thus *WISHINGE ALL HAPPINES* to yow, and sume fortunat
meanes to me, wherby I myght recognise soo *DIEPE* merites,
I take my leaue this 7th of October from my House at HAKNEY. 1601.
.
Yowre most assured and louinge Broother.
(signed) Edward Oxenford (ital.; 4+7)
.
Addressed (O): To the ryghte honorable & my very good Broother
Sir Robert Cecill on [=one] of her Magestyes pryvie Councel
and principall Secretarie giue thes at the Coorte. [seal]
.
Endorsed: 1601 7 October: Erle of Oxenford to my Master.
---------------------------------------------------------
_____ *SEALD & DOONE*
............................................
______ Hamlet (Q2, 1604)
.
King: Follow him at foote,
. Tempt him with speede abord,
. Delay it not, Ile haue him hence
. to nig[H]t. Aw[A]y, fo[R] eue[R]y th[I]ng i[S]
. *SEALD and DONE*
. That els leanes on th'affayre, pray you make hast,
..........................................................
______ Hamlet (Folio, 1623)
.
King: Follow him at foote,
. Tempt him with speed aboord:
. Delay it not, Ile haue him hence to
. nig[H]t. Aw[A]y, fo[R] eue[R]y th[I]ng i[S]
. *SEAL'D and DONE*
. That else leanes on th'Affaire, pray you make hast.
........................................................
Ile haue him hence to
.
. --- n i g
. [H]{t A w}
. [A] y f o
. [R] e u e
. [R] y t h
-. [I] n g i
. [S] *SEAL'D and DONE*
.
[HARRIS] 4 {2,300,000}
-----------------------------------------------------------
http://www.archive.org/stream/cu31924026121313/cu31924026121313_djvu.txt
http://www.george345.com/website/archive/tribune/2002/oct/tribune_102...
[Contract by Peter Streete with Philip Henslowe and Edward Alleyn
for the erection of the Fortune at the cost of £440. Dated 8 Jan.
1599/1600. Bearing Street's mark and the autograph signatures of
the witnesses. With acquittances and notes of payments on the back,
8 Jan.- ii June 1600. Printed, Malone, iii. p. 338 ;
Halliwell, Illustrations, p. 81, from Malone.]
........................................................
IN WITNES WHEREOF the pties abouesaid to
theis pnte Jndentures Jnterchaungeably
haue s{E}tt theire *HAN{D}ES* and scales /
{Y}eoven the dai{E} and yeare ffi{R}ste abouewritten.
.......................................
__ <= 12 =>
.
. h a u e s {E} t t t h e i
. r e*H A N {D} E S*a n d s
. c a l e s/{Y} e o v e n t
. h e d a i {E} a n d y e a
. r e f f i {R} s t e a b o
. u e w r i t t e n.
.
{E.DYER} 12
.......................................
P S
S{E}aled and {D}eliued b{Y} the said{E} Peter St{R}eete
.......................................
__ <= 8 =>
.
. S {E} a l e d a n
. d {D} e l i u e d
. b {Y} t h e s a i
. d {E} P e t e r S
. t {R} e e t e
.
{E.DYER} 8 Prob. of both ~ 1 in 75,000
.....................................................
in the p(r)sence of me *[W]illiam. [HARRIS]* [Pub Scr]
And me Frauncis Smyth appr to the said Scr /
[seal wanting ; endorsed :]
Peater Streat ffor The Building of the ffortune
........................................................
The contract for building _The Fortune Playhouse_
-----------------------------------------------------------
http://en.wikipedia.org/wiki/Edward_Dyer
<<Sir {E}dward {DYER} (October 1543 – May 1607) was employed by
Elizabeth on a mission (1584) to the Low Countries, and in 1589 was
sent to Denmark. In a commission to inquire into *MANORS* unjustly
alienated from the crown in the west country he did not altogether
please the queen. Wood says that many thought Dyer to be a
Rosicrucian. He was knighted and made chancellor of the Order
of the Garter in 1596. William Oldys said of him that he
"would not stoop to fawn." He was buried in the chancel
of St Saviour's, Southwark, on 11 May 1607.>>
-----------------------------------------------------------
<<In 1943 Alden Brooks proposed Sir [E]dward [DYER]
as a candidate in the Shakespearean authorship
question in his book Will Shakspere & the *DYER’S HAND* >>
..................................................
_______ Sonnet 111
Thence *COMES* it that *MY NAME* receiues a brand,
And almost thence my nature is subdu'd
To what it workes in, like the *DYERS HAND* ,
Pitty me then, and wish *I wERE REnU'DE* ,
-------------------------------------------------------
_The Choice of Valentines_ by Thomas *NASHE*
.
Why Si[R], quoth she[E], if that be [Y]ou{R} d(E)man[D|E},
Co(M)e, la{Y|E] me (A) Go{D}s-pen(N)i{E} in *MY HAND* ;
...................................................
______ <= 8 =>
.
. S i [R] q u o t h
. s h e [E] i f t h
_ a t b e [Y] o u {R}
. d (E) m a n [D]{E} C
_ o (M) e l a {Y]{E] m
. e (A) G o {D} s p e
. n (N) i {E} i n *M Y HAND* ;
.
[E.DYER] -9
. (NAME) -8
{E.DYER} -7
Chance of TCV having crossed [E.DYER]'s ~ 1 in 160,000
------------------------------------------------------
Mere's Palladis Tamia (1598): . . . "these are the most passionate
among us to bewail & bemoan the perplexities of Love, Henrie
Howard Earl of Surrey, Sir Thomas Wyat the elder, Sir Francis
Brian, Sir Philip Sidney, Sir Walter Raleigh, Sir *EDWARD DYER*
, Spencer, Daniel, Drayton, Shakespeare, Whetstone, etc."
.................................................
____ Palladis Tamia. (continued)
.
As Actaeon was wooried of his owne hounds:
so is *Tom NASH* of his Ile of Dogs.
Dogges were the death of Euripedes, but bee not disconsolate
gallant young Juvenall, Linus, the sonne of Apollo died the same
death. Yet God forbid that so brave a witte should so basely
perish, thine are but paper dogges, neither is thy banishm-
[E]nt like Ovi[D]s, eternall[Y] to convers[E] with the ba[R]barous
Getes. Therefore comfort thyselfe sweete Tom. with Ciceros
glorious return to Rome, and with the counsel Aeneas
gives to his seabeaten soldiors. Lib. I. Aeneid.
................................
_______ <= 10 =>
.
. T h y b a n i s h m
. [E] n t l i k e O v i
. [D] s,e t e r n a l l
. [Y] t o c o n v e r s
. [E] w i t h t h e b a
. [R] b a r o u s G e t
[EDYER] 10
-------------------------------------------------------------
http://tinyurl.com/28fore8
<<The following is found in Epistle, by Thomas *NASHE*
prefixed to Greene's Arcadia, which was published in 1589: --
"I will turn back to my first text of studies of delight,
. and talk a little in friendship with a few of our
trivial translators. It is a common practice now-a-days,
amongst a sort of shifting companions that run through
ev[E]ry art an[D] thrive b[Y] none, to l[E]ave the t[R]ade of
...................................................
___ <= 8 =>
. e v [E] r y a r t
. a n [D] t h r i v
. e b [Y] n o n e t
- o l [E] a v e t h
- e t [R] a d e o f
[E.DYER] 8 ( Sir [E]dward [DYER] )
...................................................
*NOVERINT* , whereto they were born, and busy themselves with the
endeavours of art, that could scarcely Latinize their neck-verse if
they should have need ; yet English Seneca, read by candle-light,
yields many good sentences, as Hood is a leggar, and so *FORTH* ;
and if you intreat him FAIR, in a frosty morning,
*he WILL afFORD you whole Hamlets* ;
I should say *HANDfuls* of tragical speeches. But… Seneca, let blood
line by line and page by page, at length must needs die to our stage;
which makes his famished followers to imitate the *KIDde* in Aesop,
who enamoured of the fox’s newfangles, forsook all hopes of life
to leap into a new occupation; and these men, renouncing all
possibilities of credit or estimation, to intermeddle
with Italian translations…”
...................................................
http://www.sourcetext.com/lawlibrary/greenwood/isasp/08.htm
.
<<" *Kyd* was born to the trade of *NOVERINT* & perhaps
. spent a few years in the office of his father who
. was a scrivener; in A Warning, IV, 4, the indictments
of Browne, Anne Sanders, and Drury, with their legal jargon,
point to the probability of their having been drawn up by
one accustomed to copying legal documents. All Kyd's plays,
with the exception of his translation of Garnier's Cornelia,
. were issued anonymously, so was A Warning.">>
---------------------------------------------------------
http://www.wjray.net/shakespeare_papers/shakespeare-sonnets.htm
The Poetry and Thought of WJ Ray
<<Sonnet 76 reiterates the importance of parents and heir. It is the
midpoint of the volume of 154 Sonnets, the apex of "the monument"
as explicitly described in Sonnet 81. Sonnet 76 contains all their
mottos. "Every word doth almost tell my name" actually contains his
name. He asks, "Why write I still all one, ever the same?". The
answer is he is speaking of the other two & himself, keying what the
whole Sonnet sequence is about. "All for One" is Wriothesley's motto.
"Ever the Same" is Elizabeth's. Ever is an anagram of Vere.>>
................................................
http://www.geocities.com/athens/troy/4081/Oxford.html
_WHY OXFORD WASN'T SHAKESPEARE_ by John Ruskin
<<In Sonnet 76, the author laments the loss of his muse, the loss of
his inventiveness, and compares his current work to "weeds". He goes
on to correlate the weedy nature of his current work with his own
undistinguished name and birth: that he comes from a modest background
and that he has not proceeded much beyond that as is manifested in
his current work. Some Oxfordians claim "That every word doth almost
tell my name" is a pointer to an anagram and that "every word" is an
anagram of Edwor(y) Ver which is "almost" an anagram of Edward de
Vere. As the Friedmans showed in their classic book on alleged ciphers
in Shakespeare's works, and as can be seen here, accidental anagrams
and ciphers can be found anywhere you go hunting for them. What is
most odd, is that if de Vere was so fond of anagrams and ciphers
(as demonstrated by him allegedly signing some correspondence as
"eVer yours" as a pun on his name), why aren't Shakespeare's
works riddled with such de Vere ciphers and anagrams?>>
...................................................................
Deuteronomy 8:3: man doth not live by bread only, but by
. *EVERY WORD* that proceedeth out of the mouth of the Lord
Proverbs 14:15: The simple believeth *EVERY WORD*:
. but the prudent man looketh well to his going.
Proverbs 30:5: *EVERY WORD* of God is pure:
Luke 4:4: It is written, That man shall not live by bread alone,
. but by *EVERY WORD* of God.
2 Corinthians 13:1: In the mouth of two or three witnesses
. shall *EVERY WORD* be established.
................................................
http://voices.yahoo.com/shakespeare-man-behind-verse-1205.html?cat=38
_Shakespeare: The Man Behind the Verse_ by Ria
<<Of all the evidence Oxfordians use to present their case, Sonnet #76
is seldom mentioned. In the first line the word "barren" sounds the
same as "baron," which is basically equivalent to DeVere's title Earl.
The second and third lines contain "quick change," and "glance aside."
A synonym for both could be Vere. The phrase, "And keep invention in a
noted weed," sounds a lot like like a clue from a cryptic crossword
puzzle. If it were, you would look for the answer within the words
"noted weed," and come out with "ed weed." To take the liberty of
assuming "ed weed" means Edward may seem a bit much, but the clue says
"and keep invention," which in a cryptic crossword would lead you
believe the answer was DeVere's first name, "Edward." The following
phrase, "every word doth almost tell my name," also has the qualities
of a cryptic crossword clue. This one implies that "every" is the word
that almost tells his name. If you remove the "y" and rearrange the
letters of "every" you get "vere," which is almost his name.>>
_______ Sonnet 76
.
Why is my verse so barren of new pride?
So far from variation or quic<K>e *CHANGE*?
Why with the time do <I> not glance aside
[T]o new foun(D) methods, and to compounds *ST{R}ANGE*
[W]hy write I still all one, *EVER* {T}he <S>am<E>
[A]n<D> k(E|E>pe inv(E|N|T}ion in a *NOT (E)D W(E)ED* ,
[T]h{A|T} *EVERy* wor<D> [D]oth almo{S|T} (FEL) m[Y] nam{E},
[S]hewing t{H|E|I>r birth, and whe[R]e th{E}y did proce[E]d
[O] <K>now swe{E}t lo[V]e I alwaies writ[E] of you,
A[n]d you an[D] l(O)ve are still m[Y] a{R|G|U)ment:
So all my b<E>st <I>s (D)ressing o<L>d wor(D)s new,
Spe[N|D>ing a{G}ain(E) what is alrea[D]y sp(E)nt:
. For as the Sun is (D)a[I]ly new and old,
. So is my love [S]till telling what is told,
................................................
[T.WATSO.] Acrostic Prob. ~ 1 in 688
---------------------------------------------------------------
_______ Sonnet 76 : 4 X 19
_____________ <= 19 =>
. T o n e w f o u n d m e t h o d s,a n
. d t o c o m p o u n[D]s s t r a n g e?
. [W] h y w r (I) t e I s t i l l a l l o n
. e *E V E R*{T} h e s[A]m e[A]n d k(E|E)p
. e i n v(E){N} T i o n i n a*N O T(E)D W
. (E) E D[T]h {A} T*E[V]E R y*w o r<D|D]o t
. h a l m o {S} T(F E L)m[Y]n a m{E|S]h e
. w (I) n g t {H} E|I>r b i r t h,a n d w h
. e {R} e t h {E} y d i d p r o c e[E]d[O|K>
. n {O} w s w e {E}t l o[V]e I a l w a i e
. s {W} r i t [E] o f y o u,A[n]d y o u a n
. [D]{L}(O)v e a r e s t i l l m[Y]a{R|G|U)
. m {E} n t:
.
(I){TNASHE} 19
(I){ROWLE} 19
. [DAVIE]s 37
-----------------------------------------------------------------
As in former times two great Cardinals, Bembus and Biena, did
countenance Poets: so of late yeares two great preachers have
given them their right hands in (FEL)owship, Beza and Melancthon.
..................................................................
http://www.shakespeares-sonnets.com/Images/Oxford01.JPG
.
_______ Sonnet 76 : <= 7 X 7 =>
Sofar f romvariationorquickechangeWhywi t h t h e t i m e d o I
notgl a nceasideTonewfoundmethodsandtoc o m p o u n d s s t{R}a
ngeWh y writeIstillalloneeuerthesameAnd k e e p e i n u e{N}t i
onina n otedweedThateueryworddothalmost (F E L)m y*N A M{E}S*h e
wingt (H) eirbirthandwheretheydidproceedO <K>n o w s w e{E}t l o v
eIalw (A) ieswriteofyouAndyouandlovearest <I>l l m y a{R}g u m e n
tSoal (L) mybestisdressingoldwordsnewSpen <D>i n g a{G}a i n e w h
atisa (L) readyspentForastheSunisdailynew a n d o l d S o i s m y
loves t illtellingwhatistold
................................................
<KID> 49,24,30 Prob. skip < 50 ~ 1 in 42
(HALL) 49
{GREEN,R} -48 Prob. skip < 49 ~ 1 in 232
-------------------------------------------------------------------
As Horace, Lucilius, Juvenall, Persius Lucullus are the best for
Satyre among the Latines: so with us in the same faculty these
are chiefe, Piers Plowman, Lodge, (HALL) of Imanuel Colledge in
Cambridge; the Authour of Pigmalions Image, and certaine Satyrs;
the Author of Skialetheia.
------------------------------------------------------
_____ *NOT (E)D WEED*
...............................................
_______ Sonnet 76 : <= 7 + 7 =>
.
. W h y i s m y v e r s e s o
. b a r r e n o f n e w p r i
. d e? S o f a r f r o m v a r
. i a t i o n o r q u i c <K> e
. *C H A N G E* W h y w i t h t
. h e t i m e d o <I> n o t g l
. a n c e a s i d e [T] o n e w
. f o u n (D) m e t h o d s, a n
. d t o c o m p o u n d s S T
. {R} A N G E [W] h y w r i t e I
. s t i l l a l l o n e E V E
. R {T} h e s a m e [A] n d k (E)(E)
. p e i n v (E){N}{T} i o n i n a
. *N O T (E) D W (E) E D* T h {A}{T} E
. V E R y w o r <D>[D] O t h a l
. m o {S}{T} F E L m [Y] N a m {E} S
. h e w i n g t {H}[E]<I> r b i r
. t h a n d w h e [R] e t h {E} y
. (D) i d p r o c e [E] d O <K> n o
. w s w e {E} t l o [V] e I a l w
. a i e s w r i t [E] o f y o u
. A n d y o u a n [D] l (O) v (E) a
. r e s t <I> l l m Y a {R}<G>(U) m
. (E) n t S o a l l m y b <E> s t
. (I) s (D) r e s s i n g o <L> d w
. o r (D) s n e w S p e [N]<D> i n
. g a {G} a (I) n (E) w h a t i s a
. l r (E) a [D] y (S) p (E) n t F o r
. a s t h (E) S u n (I) s (D) a [I] l
. y n e w a n (D) o l d (S) o (I) s
. m y l o v e [S] t (I) l l t e l
. l i n g w h a t i s t o l d,
...............................
<D.LEG> -14
...............................
our best for tragedy,...
<D>octor <LEG>ge of Cambridge,..Edward Ferris,
... Marlowe, Peele, Watson, Kyd, Shakespeare,
................................................
The best for Comedy amongst us bee,
Edward Earle of Oxforde
..................................................
[DEVERE] -14 {Found by James Ferris}
[DEVERE] Prob. in this Sonnet skip < 15
. [in perfect 14 x 32 array] ~ 1 in 2000
.
[DYER,E(dweed)] 14
.
[DYEREVED] 14 Prob. skip < 15 ~ 1 in 450,000
Prob. in perfect array skip < 15 ~ 1 in 1,150,000
................................................
the most passionate among us to bewaile
and bemoane the perplexities of Love:
... Sir [Edward DYER]
http://www.youtube.com/watch?v=FB1deifkIxw
(Steven May considers "My Mynde to me a kingdome is" as
possibly written by Edward de Vere, 17th Earl of Oxford.)
--------------------------------------------------------
Biography of Sir Edward Dyer
http://www.poemhunter.com/sir-edward-dyer/biography/
.
<<Author of two of the most famous Elizabethan lyrics,
'My Mind to Me a Kingdom is' and 'The Lowest Trees have Tops',
Dyer cut a figure of some significance at Elizabeth's Court
and became Chancellor of the Order of the Garter.
.
Philip Sidney and he were companions in everything (he was
'Coridens' [Cosn Dier] in Sidney's verse) and with Fulke Greville
Dyer was bequeathed Sidney's books. He wrote an elegy lamenting
Sidney's death. His other friends included Robert Earl of Essex,
Gilbert Talbot Earl of Shrewsbury, Walter Ralegh, Robert Sidney,
*Robert Cecil* , Thomas Sackville Lord Buckhurst,
Sir Christopher Hatton, the Countess of Pembroke & John Dee.
.
An alchemist himself, it was on the basis of Dyer's reports of the
success of Edward Kelley, Dee's scryer, that influenced Elizabeth
and Burghley to take Kelley's claims seriously. Dyer worked with
Kelley in his laboratory in Bohemia for about six months in 1590.
.
His contemporaries praised his skill as a poet: '...in a *MANNER*
oure onlye Inglish poett...'and his 'written devises farr excell
most of the sonets, and cantos in print' (Gabriel Harvey);
'Maister Edward Dyar for Elegie moste sweete, solempne and
of high conceit' (Puttenham); Nashe stated that Dyer was
the first 'that repurified Poetrie from Arts pedantisime,
and that instructed it to speake courtly'. He was buried
at St Saviour’s, Southwark, on the 11th of May 1607.>>
----------------------------------------------------
____ Richard III Q1 (1597)
The Tragedy of King Richard the third. Containing, His
treacherous Plots against his brother Clarence : the pittiefull
murther of his innocent nephewes : his tyrannicall vsu(R)pation :
with the whol(E) course of his de{TEST}(E)d life,
and most deser(V)ed death. As it hath b(E)ene
lately Acted b[Y] the Right honourabl[E]
the Lord Chamberlai[N]e his seruants.
At Lon[D]on, Printed by Valent[I]ne Sims,
for Andrew Wi[S]e, dwelling in Paules
{CHURCH-YARD}, at the signe of the Angell. 1597.
...........................................
_________ <= 18 =>
.
. t y r a n n i c a l l v s u [R] p a t
. i o n:w i t h t h e w h o l [E] c o u
. r s e o f h i s d e{T E S T}[E] d l i
. f e,a n d m o s t d e s e r [v] E D}d
. e a t h.A s i t h a t h b e [E] n e l
. a t e l y A c t e d b [Y] t h e R i g
. h t h o n o u r a b L [E] T H E L o r
. d C h a m b e r l a i [N] e h i s s e
. r u a n t s A t L o n [D] o n P r i n
. t e d b y V a l e n t [I] n e S i m(S)
. f o r A n d r e w W i [S] e d w e l(L)
. i n g i n P a u l e s {C} H U R C H(Y)
. A R D},
.
[{C}SIDNEY] -18 {1,025,000} Q1(1597)
de(E.VEER) -18
{C}ountesse of pembrooke: mary [SIDNEY]
----------------------------------------------------
____ Richard III Q2(1598)
The Tragedie of King Richard the third. Conteining his
treacherous Plots against his b{R}other Clarence : the pitiful
murther of his innoc{E}nt Nephewes : his tyrannicall vsu[R]pation :
with th{E} whol[E] course of his detest[E]d life,
and most {deser[V]ED} death.
As it hath be[E]ne lately Acted by the Eight honourable
the Lord [C]hamberlaine his ser[V]ants. By William Shak[E]-speare.
London Print[E]d by Thomas Creede, fo[R] Andrew Wise, dwelling
in Paules Churchyard, at the signe of the Angell. 1598.
...........................................
_________ <= 18 =>
.
. T h e T r a g e d i e o f K i n g R
. i c h a r d t h e t h i r d.C o n t
. e i n i n g h i s t r e a c h e r o
. u s P l o t s a g a i n s t h i s b
.{R}o t h e r C l a r e n c e:t h e p
. i t i f u l m u r t h e r o f h i s
. i n n o c{E}n t N e p h e w e s: h i
. s t y r a n n i c a l l v s u [R] p a
. t i o n:w i t h t h{E}w h o l [E] c o
. u r s e o f h i s d e t e s t [E] d l
. i f e, a n d m o s t{d e s e r [V] E D}
. d e a t h.A s i t h a t h b e [E] n e
. l a t e l y A c t e d b y t h e E i
. g h t h o n o u r a b l e t h e L o
. r d [C] h a m b e r l a i n e h i s s
. e r [V] a n t s.B y W i l l i a m S h
. a k [E] s p e a r e.L o n d o n P r i
. n t [E] d b y T h o m a s C r e e d e,
. f o [R] A n d r e w W i s e,d w e l l
. i n g i n P a u l e s C h u r c h y
. a r d, a t t h e s i g n e o f t h e
. A n g e l l.
de[E.VEER] -18
[C.VEER] 18
----------------------------------------------------
____ Richard III Q3(1602)
The Tragedie of King Richard the third. Conteining his
treacherous Plots against his brother Clarence : the pittifull
murther of his innocent Nephewes : his tyrannicall vsu(R)pation:
with the whol(E) course of his {D|E|T)EST(E)D} life,
and most {DEsER[V|E)D} {DE}ath. As it hath b(E)ne
lat[E|L)y Acted by the Right Honou[R|A)ble
the Lord Chamberlain[E] His seruants. Newly augmented,
.
By William Shakespeare. London Printed by Thomas Creede,
for Andrew Wise, dwelling in Paules {CHURCH-YARD},
at the signe of the Angell. 1602.
.......................................................
with the whole- <= 23 =>
.
. c o u r s e o f h i s{D}[E](T)E S T E D}l i f e
. a n d m o s t{D E s E R [V](E)D} D Ea t h A s i
. t h a t h b e n e l a t [E](L)y A c t e d b y t
. h e R i g h t H o n o u [R](A)b l e t h e L o r
. d C h a m b e r l a i n [E] H i s s e r u a n t s.
.
d(E.VEER) -18
[EVERE] 23 Prob. ~ 1 in 68
(TELA) 23
--------------------------------------------------
____ Richard III Q4 (1605)
The Tragedie of King Richard the third. Conteining his
treacherous Plots against his brother Clarence : the pittifull
murther of his innocent Nephewes : his tyrannicall vsu(R)pation :
with the whol(E) course of his de{TEST(E)D} life, and most deser(V)ed
death. As it hath bin lately A[C]ted by the Right Honourable
the Lord Chamberlaine h[I]s seruants. Newly augmented, by
William Shakespeare. [L]ondon, Printed by Thomas Creede,
and are to be sold by M[A]tthew Lawe, dwelling in Paules Church
-yard, at the signe of the (F){OXE, N}ear S. Austins gate, 1605.
.......................................................
_______ <= 44 =>
.
ofhisde{TEST [E] D}lif e a n dmos tdeserueddeathAsithat
hbinlat elyA [C] t edb y t h eRig htHonourabletheLordCh
amberla ineh [I] s ser u a n tsNe wlyaugmentedbyWilliam
Shakesp eare [L] o ndo n P r inte dbyThomasCreedeandare
tobesol dbyM [A] t the w L a wedw ellinginPaulesChurchy
ardatth esig n e oft h e(F|OXEN}earSAustinsgate
de(VEER) -18
[ALICE] -44
(F|OXEN} 1
--------------------------------------------------
____ Richard III Q5 (1612)
The Tragedie of King Richard the third. Containing his
treacherous Plots against his brother Clarence : the pittifull
murther of his innocent Ne-phewes : his tyrannicall usu(R)pa-
tion : with the whol(E) course of his detest(E)d life, and most
{DEsE[R|V)ED} of death. As it hath beene lately Act[E]d by
the Kings Maiesties servants. Newl[Y] augmented, By William
Shake-speare. Lon[D]on, Printed by Thomas Creede, and are
to b[E] sold by Mathew Lawe, dwelling in Pauls Churchyard,
at the Signe of the (F){OXE, N}eare S. Austins gate, 1612.
...........................................
with the whole course of his detested life,
and most <= 33 =>
.
. {DEsE [R] VED} ofdeathAsithathbeene l-atel
. yAct [E] dby theKingsMaiestiesser v-ants
. Newl [Y] aug mentedByWilliamShake s-pear
. eLon [D] onP rintedbyThomasCreede a-ndar
. etob [E] sol dbyMathewLawedwellin g-inPa
. ulsC -h- urc hyardattheSigneofthe(F|OXEN}
. eare -S- Aus tinsgate
.
de(VEER) -18
[EDYER] -33
--------------------------------------------------
____ Richard III Q6 (1622)
The Tr[A]gedie of King Richard the Third. Contayning his
treacherous P[L]ots against his brother Clarence : The pittifull
murder of his [I]nnocent Nephewes : his tyrannicall usu(R)pation :
with the whol(E) [C]ourse of his detest(E)d life, and most deser(V)ed
death. As it hath b[E]en lately Acted by the Kings Majesties
Servants. Newly augmented. By William Shakespeare.
London, Printed by Thomas Purfoot, and are to be sold
by Mathew Law, dwelling in Pauls Church-yard, at
the Signe of the (F){OXE, N}ere S. Austines gate, 1622.
.......................................................
_______ <= 52 =>
.
TheTr [A] gedieofKing R icha rdtheThirdContayninghistreache
rousP [L] otsagainsth i sbro therClarenceThepittifullmurder
ofhis [I] nnocentNeph e wesh istyrannicallusurpationwiththe
whole [C] ourseofhisd e test edlifeandmostdeserveddeathAsit
hathb [E] enlatelyAct e dbyt heKingsMajestiesServantsNewlya
ugmen t edByWilliam*S hake speareLondonPrintedbyThomasPur
foota n daretobesol d byMa thewLawdwellinginPaulsChurchya
rdatt h eSigneofthe(F|OXEN}ereSAustinesgate
de(VEER) -18
[ALICE] 52
(F|OXEN} 1
------------------------------------------------
John Payne Collier, in "Britannia's Pastorals" in Bibliographical
and Critical Account of the Rarest Books (1866) 1:114-15.
<<In 1614 Christopher Brooke published a poem of great merit,
entitled, *The Ghost of Richard the Third* . Its interest and
importance may at once be established by the following stanzas,
directly referring to Shakspeare and to his popular tragedy,
put into the mouth of Richard's Ghost:—
. To him that impt my fame with Clio's quill,
. Whose magick rais'd me from Oblivion's den,
. That writ my storie on the Muses' hill,
. And with my actions dignifi'd his pen;
. He that from Helicon sends many a rill,
. Whose nectared veines are drunke by thirstie men,
. Crown'd be his stile with fame, his head with bayes,
. And none detract, but gratulate his praise!
. Yet if his scaenes have not engrost all grace,
. The much fam'd action could extend on stage;
. If time or memory have left a place
. For me to fill, t' enforme this ignorant age,
. To that intent I shew my horrid face,
. Imprest with feare and characters of rage:
. Nor wits nor chronicles could ere containe
. The hell-DEEPE [R]each[E]s of m[Y] soun[D]less[E] braine.
.....................................
The hell- <= 5 =>
.
. D E E P E
. [R](E) a c h
. [E](S) o f m
. [Y](S) o (U) n
. [D](L) e (S) s
. [E](B) r (A) i n e.
[EDYER] -5
----------------------------------------------
Biography of Sir Edward Dyer
http://www.poemhunter.com/sir-edward-dyer/biography/
.
<<Author of two of the most famous Elizabethan lyrics,
'My Mind to Me a Kingdom is' and 'The Lowest Trees have Tops',
Dyer cut a figure of some significance at Elizabeth's Court
and became Chancellor of the Order of the Garter.
.
Philip Sidney and he were companions in everything (he was
'Coridens' [Cosn Dier] in Sidney's verse) and with Fulke Greville
Dyer was bequeathed Sidney's books. He wrote an elegy lamenting
Sidney's death. His other friends included Robert Earl of Essex,
Gilbert Talbot Earl of Shrewsbury, Walter Ralegh, Robert Sidney,
*Robert Cecil* , Thomas Sackville Lord Buckhurst, Sir
Christopher Hatton, the Countess of Pembroke and John Dee.
.
An alchemist himself, it was on the basis of Dyer's reports of the
success of Edward Kelley, Dee's scryer, that influenced Elizabeth
and Burghley to take Kelley's claims seriously. Dyer worked with
Kelley in his laboratory in Bohemia for about six months in 1590.
.
His contemporaries praised his skill as a poet: '...in a *MANNER*
oure onlye Inglish poett...' and his 'written devises farr excell
most of the sonets, and cantos in print' (Gabriel Harvey);
'Maister Edward Dyar for Elegie moste sweete, solempne and
of high conceit' (Puttenham); Nashe stated that Dyer was
the first 'that repurified Poetrie from Arts pedantisime,
and that instructed it to speake courtly'. He was buried
at St Saviour’s, Southwark, on the 11th of May 1607.>>
.........................................................
_. GOOD FREND FO_{R} [IE]{SVS}'_S(AKE)__ FOR[BE]ARE,
____ TO DIGG THE D_{V}[ST] ___ EN(CLO)ASED [HE]ARE:
_. BLESTE BE Ye MA_{N} Yt___ SPA[RE]S THES STONES,
__ AND CVRST BE H_{E} Yt___ MO[VE]S MY BONES.
...............................................
http://library.thinkquest.org/5175/images/grave1.jpg
.........................................................
Philip Sidney = 1576 [HEBE] royal cupbearer.
Edward Dyer = 1576 [HEBE] license to PARDON
________________and diSPENSE with *TANNING LEATHER* .
-------------------------------------------------
http://www2.prestel.co.uk/rey/epitaph.htm#2
<<Clark Holloway brought to my attention a 1628 epitaph
by Ben Jonson for a certain Henry, Lord La-Ware:
An Epitaph, on Henry L. La-ware.
To the Pas{S}er-by.
If, {P}asseng{E}r, thou c{A}nst but {R}eade:
Stay, drop a teare for him that's (D)ead,
Henr(Y), the brav(E) young Lo(R)d La-ware,
Minerva's and the Muses care!
What could their care doe 'gainst the {S}pigh{T}
Of a D{I}seas{E}, that lov'd no light
Of honour, nor no ayre of good?
But crept like darknesse through his blood?
Offended with the dazeling flame
Of VER(tu)E, got above his name?
No noble furniture of parts,
No love of action, and high Arts.
No aime at glorie, or in warre,
Ambition *to become a Starre* ,
Could stop the m{ALICE} of this ill,
T[H]at spr[E]ad his [B]ody o'r[E], to kill:
And only, his great Soule ENVY'd,
Because it durst [H]av[E] No[B]li[E]r dy'd.
(DYER) 8
{SPEAR} 7
[HEBE] 6
{STIE} 5
[HEBE] 4
{ALICE} 1
-----------------------------------------------------
____ Romeo and Juliet (Quarto 1, 1597)
...............................................
The Prologu{E}.
.
. TWo houshold Frends alike in dign{I}tie,
. (In faire Verona, where we lay ou{R} Scen[E])
. From ciuill broyles b[R]oke i(N)to enmit{I}e,
. {VV}hos[E] ciu(I)ll wa{R}re mak{E}s ci[V]i(L|L) h{A}nds vncleane.
. Fr(o|M} f(o)rt{H} the fata(L)l l(O)ynes of these two f(o|E]s,
. A paire of starre-c[R|o)st Louers tooke th[E]ir (L)ife:
. {VV}hose misa(d|V|e)ntures, piteous ou[E]rthrowes,
.(Through t{H}e continuing of the{I}r Fathers strife,
. An{D} death-markt passag{E} of their Parents rage)
. Is now the two howres traffique of our S(T)age.
. The w(H)ic(H) if you with pati(E)nt (E)ares attend,
. {VV}ha(T) he(R)e we want wee'l studi(E) to amend.
................................................
. The Prologu{E} T- <= 17 =>
.
- W o h o u s h o l d F r e n d s a
_ l i k e i n d i g n{I}t i e I n f
- a i r e V e r o n a w h e r e w e
- l a y o u{R}S c e n[E]F r o m c i
_ u _i_ l_l_b r o y l e{S}b[R]o k e i
. (N) t o e n m i t{I}e W h o s[E]c i
- u (I) l_l_w a{R}r e m a k{E}s c i[V]
- i (L){L}h{A}n d s v n c l e a n e F
- r (o){M}f{o}r t{H}t h e f a t a(L)l
- l (O) y n e s{O}f t h e s e t w o f
. (o)[E] s A p a i r e o f s t a r r e
- c [R|(o)s t l O u e r s t o o k e t
- h [E] i r(L)i f e W h o s e m i s a
. (d|V|e) n t u r e s p i t e o u s o
- u [E] r t h r o w e s T h r o u g h
_ t {H} e c o n t i n u i n g o f t h
_ e {I} r F a t h e r s s t r i f e A
- n {D} d e a t h m a r k t p a s s a
- g {E} o f t h e i r P a r e n t s r
- a (G) e I s n o w t h e t w o h o w
_ r (E) s t r a f f i q u e o f o u r
- S (T) a g e T h e w(H)i c(H)i f y o
_ u _w i t h_p a_t_i(E)n t(E)a r e s
_ a t t e n d_W h a(T)h e(R)e w e w
_ a n t_w e_e l_s t u d i(E)t o a m
- e n d.
..........................................
{HENRI} -29
[VERE] -19
{MARI S.} -15
(I, Lo. O.)[{H?}E.(de) VERE] -17
{HIDE}(GET)/(HET)/(HERE) 17
-------------------------------------------------------
___ Job 38:30-1
T[H]e w[A]te[R]s a[R]e h[I]d a[S] with a stone,
and the face of the deepe is frozen.
Canst thou bind the sweete influences of Pleiades?
. or loose the bands of Orion?
[HARRIS] 3
---------------------------------------------
http://en.wikipedia.org/wiki/Edward_Dyer
<< Sir Edward Dyer (October 1543 – May 1607) was an English
courtier and poet. His first court patron was Robert Dudley,
Earl of Leicester, who seems to have thought of putting him
forward as a rival to Sir Christopher Hatton for the queen's
favour. He is mentioned by Gabriel Harvey, along with Sir Philip
Sidney, as one of the ornaments of the court. Sidney, in his will,
bequeathed his books equally between Fulke Greville and Dyer.
Among the poems in England's Helicon (1600), signed [S.E.D.], and
included in Dr A.B. Grosart's collection of Dyer's works (Miscellanies
of the Fuller Worthies Library, vol. iv, 1876) is the charming
pastoral "My Phillis hath the morninge sunne," but this comes from
the Phillis of Thomas Lodge. Grosart also prints a prose tract
entitled The Prayse of Nothing (1585). The Sixe Idillia from
Theocritus, reckoned by John Payne Collier among Dyer's works,
were dedicated to, not written by, him.>>
----------------------------------------------------------
Terra tegit, ____ pOPVL(v)S Maeret, __ OL'Y-MP(v)S habet
juDicium (P)YLium, gENio (S)ocraTEm, arte (M)ARONem
........................................................
(P)oldy, _____ (S)tephen, ____ (M)olly
(P)reparatory to, (S)tately Plump, (M)r. Leopold Bloom
(P)auca ______ (S)ed _____ (M)atura
[Carl Friedrich Gauss motto: Few, but ripe.]
----------------------------------------------------------------------
Monument to Spenser in Westminster Abbey as in the Works, 1679 Edition
http://www.sirbacon.org/graphics/spenserface.jpg
" *SED* Carmina major imago." - OVID. < Trist. I. vii. 11. >
.....................................................................
Carminum (genitive carminī); n, third declension
1. song, poem
Imāgō (genitive imāginis); f, third declension
1. image, imitation, likeness, statue, representation
2. ancestral image
3. ghost, apparition
4. semblance, appearance, shadow
5. echo
6. conception, thought
7. reminder
8. (rhetoric) comparison
----------------------------------------------
http://en.wikipedia.org/wiki/Black_Madonna
<<It has also been suggested by many authors that the medieval
veneration of Black Madonnas was in response to a line from the Song
of Songs 1:5 in the Old Testament: "I am black but comely, O daughters
of Jerusalem, ..." or "Nigra sum *SED* formosa" in Latin, words
discussed at length in the sermons of Bernard of Clairvaux.
------------------------------------------------
<<The line Victrix causa diis placuit *SED* victa *CATONI* has been a
favorite for supporters of 'lost' causes over the centuries; it can be
translated as "the winning cause pleased the gods, but the losing
cause pleased *CATO* ". One American example comes from the
Confederate Memorial at Arlington National Cemetery, which has these
words in Latin inscribed on its base.>>
------------------------------------------------------------
The Triumpbs of Augustus in the East
*Sextus Propertius* (c.50 B.C.?c.16 B.C.)
.
*SED* tempus lustrare *aliis Helicona choreis*
et campum Haemonio iam dare tempus equo.
iam libet et fortis memorare ad proelia turmas
et Romana mei dicere castra ducis.
quod si deficiant uires, audacia certe
laus erit: in magnis et uoluisse sat est.
.
*aetas prima canat Veneres, extrema tumultus*
.
bella canam, quando scripta puella mea est.
nunc uolo subducto grauior procedere uoltu,
nunc aliam citharam me, mea Musa, doce.
surge, anima; ex humili iam carmine sumite uiris,
Pierides: magni nunc erit oris opus.
---------------------------------------------------
http://en.wiktionary.org/wiki/parvus#Latin
*parvus* m : *small* , little, cheap; unimportant (Latine)
And though thou hadst [*parvus*] Latine, and [*μείον*] Greeke,
------------------------------------------------
___*μείον* : *LESS* (Greeke)
___*MOINS* : *LESS* , *MINUS* (French)
.........................................
*125* *VERO NIHIL VERIUS* DICTUM *VERORUm* ,
. ILLUSTRISSIMORUM OXONIAE COMITUM
.
*VERUs*, verior, et verissimus, haec tria monstrant
Quod vero quiddam verius esse potest.
Falsum ergo est, *VERO NIL VERIUS* esse. *SED* ipsum
Hoc *VERUm* est, Vero verius esse nihil.
Intense capitur *VERUm* et quandoque remisse.
Vere, magis tu non suscipis atque *MINUS* .
http://www.philological.bham.ac.uk/stradling/4lat.html#125
http://www.philological.bham.ac.uk/stradling/4eng.html
.............................................
125. *VERO NIHIL VERIUS* . THE MOTTO OF THE VERES,
THE MOST DISTINGUISHED EARLS OF OXFORD
Veritable, more veritable, and most veritable,
these three demonstrate that something can be truer than true.
That *VERO NIHIL VERIUS* is therefore wrong.
But this is truth. Nothing is truer than Vere.
This vere is sometimes understood narrowly, and sometimes loosely.
But, Vere, you do not admit a "more" and a *LESS*
---------------------------------------------------
http://shakespeareauthorship.com/fuller.html
Thomas Fuller on Shakespeare
from Worthies of Warwickshire (1662)
WILLIAM SHAKESPEARE was born at Stratford on Avon in
this county, in whom three eminent Poets may seem
in some sort to be compounded.
1. Martial in the Warlike sound of his Sur-name (whence
some may conjecture him of a Military extraction,)
Hasti-vibrans, or Shake-speare.
2. Ovid, the most naturall and witty of all Poets,
and hence it was that Queen Elizabeth, coming into
a Grammar-School, made this extemporary verse,
'Persius a Crab-staffe, Bawdy Martial,
Ovid a fine Wag.'
3. Plautus, who was an exact Comaedian, yet never any
Scholar, as our Shake-speare (if alive) would confess
himself. Adde to all these, that though his Genius
generally was jocular, and inclining him to festivity,
yet he could (when so disposed) be solemn and serious,
as appears by his Tragedies, so that Heraclitus himself
(I mean if secret and unseen) might afford to
smile at his Comedies, they w[E]re so me[R]ry,
and D[E]mocrit[U]s scarc[E] forbea[R] to sigh
[A]t his Tragedies they were so mournfull.
................................
___ <= 7 =>
. [E] r e s o m e
. [R] r y a n d D
. [E] m o c r i t
. [U] s s c a r c
. [E] f o r b e a
. [R] t o s i g h
. [A] t h i s
Tragedies they were so mournfull.
................................
He was an eminent instance of the truth of that Rule,
Poeta non fit, *SED* nascitur, one is not made, but born a
Poet. Indeed his Learning was very little, so that as
Cornish diamonds are not polished by any Lapidary, but
are pointed and smoothed even as they are taken out of
the Earth, so nature it self was all the art which was
used upon him.
Many were the wit-combates betwixt him and Ben Johnson,
which two I behold like a Spanish great Gallion and an
English man of War; Master Johnson (like the former) was
built far higher in Learning; Solid, but Slow in his
performances. Shake-spear, with the English-man of War,
lesser in bulk, but lighter in sailing, could turn with
all tides, tack about and take advantage of all winds,
by the quickness of his Wit and Invention. He died
Anno Domini 16 . ., and was buried at Stratford upon
Avon, the Town of his Nativity.
-----------------------------------------------
. HEERE LYETH YE BODY OF IOHN HALL
. GENT: HEE MARR: SVSANNA, YE DAUGH & coheire
. TER, OF WILL: SHAKESPEARE, GENT. HEE
. DECEASED NOVER: 25. AO . 1635, AGED 60.
.
[H]allius hic situs est medica celeberrimus arte;
[E]xpectans regni Gaudia laeta Dei;
[D]ignus erat meritis, qui nestora vinceret annis;
[I]n terris omnes, *SED* rapit aequa dies.
[N]e tumulo, QUId dESIT ADEST fidessima coniux,
. Et vitae comitem nunc quoque mortis habet.
-------------------------------------------------------
<< *HEDING-HAM* : one of the properties by Oxford's reckoning
was to produce the £500 to 600 for his [3] DAUGHTERS' upkeep.
In December 1591 the Earl made it over to Burghley in trust for
his daughters. At the same time he authorized the dismantling
of part of the castle and many outbuildings.>> - Ogburn p.721
------------------------------------------------------------
"The marke of William Slye": (p. 80 Playhouse Wills 1558-1642,
edited by E. A. J. Honigmann and Susan Brock)
{anagram}
"W. CHRISTOPHER SLYE"
_____ [C]
. H. W R I [O] T H E S L E Y
_____ [R]
_____ [P]
_____ [S]
. *CORPS* , n. [F., fr. L. corpus body.]
. The human body, whether living or dead.
....................................................
"By what CRAFT in my *CORPS* , it cometh and where."
--Piers Plowman.
---------------------------------
Curiosities of Literature
by Isaac D’Israeli (1766-1848)
http://tinyurl.com/283jqjs
.......................................
Fuller, in his “Worthies of England.”
On SHAKESPEARE.—
“He was an eminent instance of the TRUTH of that rule,
*POETA NON FIT, *SED* NASCITUR* ;
one is not made, but born a poet.
Indeed his learning was but very little; so that as Cornish diamonds
are not polished by any lapidary, but are pointed and smoothed,
even as they are taken out of the earth,
so Nature itself was all the art which was used upon him.
“Many were the wit-combats betwixt him and Ben Jonson, which two I
behold like a Spanish great galleon, and an English man-of-war. Master
Jonson, (like the former) was built far higher in learning; solid, but
slow in his performances. Shakspeare, with an English man-of-war,
lesser in bulk but lighter in sailing, could turn with all tides, and
take advantage of all winds, by the quickness of his wit and
invention.”
Had these “Wit-combats” between Shakspeare and Jonson, which Fuller
notices, been chronicled by some faithful Boswell of the age, our
literary history would have received an interesting accession. A
letter has been published by Dr. Berkenhout relating to an evening’s
conversation between our great rival bards, and Alleyn the actor.
Peele, a dramatic poet, writes to his friend Marlowe, another poet.
The Doctor unfortunately in giving this copy
did not recollect his authority.
“FRIEND MARLOW,
“I never longed for thy companye more than last night: we were all
very merrye at the Globe, where Ned Alleyn did not scruple to affirme
pleasantly to thy friend WILL, that he had stolen his speeche about
the qualities of an actor’s excellencye in Hamlet his Tragedye,
from conversations manyfold which had passed between them,
and opinyons given by Alleyn touchinge this subject.
SHAKSPEARE did not take this talk in good sorte;
but JONSON put an end to the strife, by wittylie remarking,
— this affaire needeth no contention: *you stole it from NED* ,
no doubt, do not marvel; have you not seen him
act times out of number?”
This letter is not genuine, but one of those ingenious forgeries which
the late George Steevens practised on the literary antiquary; they
were not always of this innocent cast. It has been frequently quoted
as an original document. I have preserved it as an example of
Literary Forgeries, and the danger which literary historians
incur by such nefarious practices.
--------------------------------------
*Poeta Fit, Non Nascitur* - Lewis Carroll
"How shall I be a poet?
How shall I write in rhyme?
You told me once 'the very wish
Partook of the sublime.'
Then tell me how! Don't put me off
With your 'another time'!"
The old man smiled to see him,
To hear his sudden sally;
He liked the lad to speak his mind
Enthusiastically;
And thought "There's no hum-drum in him,
Nor any shilly-shally."
"And would you be a poet
Before you've been to school?
Ah, well! I hardly thought you
So absolute a fool.
First learn to be spasmodic -
A very simple rule.
"For first you write a sentence,
And then you chop it small;
Then mix the bits, and sort them out
Just as they chance to fall:
The order of the phrases makes
No difference at all.
'Then, if you'd be impressive,
Remember what I say,
That abstract qualities begin
With capitals alway:
The True, the Good, the Beautiful -
Those are the things that pay!
"Next, when you are describing
A shape, or sound, or tint;
Don't state the matter plainly,
But put it in a hint;
And learn to look at all things
With a sort of mental squint."
"For instance, if I wished, Sir,
Of mutton-pies to tell,
Should I say 'dreams of fleecy flocks
Pent in a wheaten cell'?"
"Why, yes," the old man said: "that phrase
Would answer very well.
"Then fourthly, there are epithets
That suit with any word -
As well as Harvey's Reading Sauce
With fish, or flesh, or bird -
Of these, 'wild,' 'lonely,' 'weary,' 'strange,'
Are much to be preferred."
"And will it do, O will it do
To take them in a lump -
As 'the wild man went his weary way
To a strange and lonely pump'?"
"Nay, nay! You must not hastily
To such conclusions jump.
"Such epithets, like pepper,
Give zest to what you write;
And, if you strew them sparely,
They whet the appetite:
But if you lay them on too thick,
You spoil the matter quite!
"Last, as to the arrangement:
Your reader, you should show him,
Must take what information he
Can get, and look for no im-
mature disclosure of the drift
And purpose of your poem.
"Therefore, to test his patience -
How much he can endure -
Mention no places, names, or dates,
And evermore be sure
Throughout the poem to be found
Consistently obscure.
"First fix upon the limit
To which it shall extend:
Then fill it up with 'Padding'
(Beg some of any friend):
Your great SENSATION-STANZA
You place towards the end."
"And what is a Sensation,
Grandfather, tell me, pray?
I think I never heard the word
So used before to-day:
Be kind enough to mention one
'Exempli gratia.'"
And the old man, looking sadly
Across the garden-lawn,
Where here and there a dew-drop
Yet glittered in the dawn,
Said "Go to the Adelphi,
And see the 'Colleen Bawn.'
'The word is due to Boucicault -
The theory is his,
Where Life becomes a Spasm,
And History a Whiz:
If that is not Sensation,
I don't know what it is.
"Now try your hand, ere Fancy
Have lost its present glow--"
"A[N]d then," his grandson added,
"We'll publish it, you kn[O]w:
Green cloth--gold-lettered at the back -
In duode[C]imo!"
Then proudly smiled that old man
To see the e[A]ger lad
Rush madly for his pen and ink
And for his [B]lotting-pad -
But, when he thought of PUBLISHING,
His face grew stern and sad.
-----------------------------
Nowtr_- -y- yourhandereFancyHavelostitspresent
glowA-- [N] dthenhisgrandsonaddedWellpublishit
youkn-- [O] wGreenclothgoldletteredatthebackIn
duode [C] imoThenproudlysmiledthatoldmanTose
ethee_- [A] gerladRushmadlyforhispenandinkAndf
orhis__ [B] lottingpadButwhenhethoughtofPUBLIS
HING_- *Hisface* grewsternandsad
-----------------------------------------
Art Neuendorffer
http://www.indirect.com/user/reddog/julie4.html
, Osiris Fragment by Julie Noterman
,
<<In ancient Egypt, the goddess Isis reigned over the Earth, over
creation and death. She had a son Osiris who was torn to pieces by
his war-like brother SET. In his wrath, SET scattered the parts over
the face of the Earth. A heartbroken Isis searched the world over,
found the pieces and put him back together. She found all the parts
except for his penis; that she ingeniously fashioned out of clay and
attached to the body. The life force breathed into Osiris once again.
Legend has this event recurring year after year just as the seasons
continue to pass by anew each cycle.>>
----------------------------------------------------------
, MYTH OF OSIRIS AND ISIS
, http://www.bulfinch.org/fables/bull34.html
, Bulfinch's Mythology : The Age of Fable
,
<<Osiris and Isis were at one time induced to descend to the earth
to bestow gifts and blessings on its inhabitants. Isis showed them
first the use of wheat and barley, and Osiris made the instruments of
agriculture and taught men the use of them, as well as how to harness
the ox to the plough. He then gave men laws, the institution of
marriage, a civil organization, and taught them how to worship the
gods. After he had thus made the valley of the Nile a happy country,
he assembled a host with which he went to bestow his blessings upon
the rest of the world. He conquered the nations everywhere, but not
with weapons, only with music and eloquence. His brother, SET saw
this, and filled with envy and malice sought during his absence
to usurp his throne. But Isis, who held the reins of government,
frustrated his plans. Still more embittered, he now resolved to kill
his brother. This he did in the following manner: Having organized
a conspiracy of seventy-two members, he went with them to the feast
which was celebrated in honour of the king's return. He then caused a
box or chest to be brought in, which had been made to fit exactly the
size of Osiris, and declared that he would give that chest of precious
wood to whomsoever could get into it. The rest tried in vain, but no
sooner was Osiris in it than SET and his companions closed the lid and
flung the chest into the Nile.
When Isis heard of the cruel murder she wept and mourned,
and then with her hair shorn, clothed in black and beating her
breast, she sought diligently for the body of her husband. In this
search she was materially assisted by Anubis, the son of Osiris and
Nephthys. They sought in vain for some time; for when the chest,
carried by the waves to the shores of Byblos, had become entangled in
the reeds that grew at the edge of the water, the divine power that
dwelt in the body of Osiris imparted such strength to the shrub that
it grew into a mighty tree, enclosing in its trunk the coffin
of the god. This tree with its sacred deposit was shortly after
felled, and erected as a column in the palace
of the king of Phoenicia. But at length by the aid of Anubis
and the sacred birds, Isis ascertained these facts,
and then went to the royal city. There she offered herself at the
palace as a servant, and being admitted, threw off her disguise and
appeared as the goddess, surrounded with thunder and lightning.
Striking the column with her wand she caused it to split open and give
up the sacred coffin. This she seized and returned with it, and
concealed it in the depth of a forest, but SET discovered it, and
cutting the body into fourteen pieces scattered them hither and
thither. After a tedious search, Isis found thirteen pieces, the
fishes of the Nile having eaten the other. This she replaced
by an imitation of sycamore wood, and buried the body at Philoe
(Philae), which became ever after the great burying place
of the nation, and the spot to which pilgrimages were made from
all parts of the country. A temple of surpassing magnificence
was also erected there in honour of the god, and at every place
where one of his limbs had been found minor temples and tombs
were built to commemorate the event. Osiris became after that
the tutelar deity of the Egyptians. His soul was supposed
always to inhabit the body of the bull Apis, and at his death
to transfer itself to his successor.>>
....................................................
SET is a god of the desert, storms, and foreigners in ancient Egyptian
religion. In later myths he is also the god of darkness and chaos. In
Ancient Greek, the god's name is given as Sēth (Σήθ). Set is portrayed
as the usurper who killed and mutilated his own brother Osiris.
Osiris' wife Isis reassembled Osiris' corpse and embalmed him. Osiris'
son Horus sought revenge upon Set, and the myths describe their
conflicts. The death of Osiris and the battle between Horus and
Set is a popular event in Egyptian mythology.
--------------------------------------------------------------
http://www.camelotintl.com/heritage/thames.html
.
. The River Thamesis
.
Rising in the Cotswolds, the Thames flows east for 210 miles
through *Oxford* (where it is also known as the *ISIS* )
----------------------------------------------------------
Milton, in his "Hymn on the Nativity," alludes to the Egyptian
deities, not as imaginary beings, but as real demons,
put to flight by the coming of Christ.
.
. "[T]he brutish gods of Nile as fast,
_ [I]sis and Horus and the dog Anubis haste.
. [N]or is Osiris seen
_ [I]n Memphian grove or green
. [T]rampling the unshowered grass with lowings loud;
. Nor can he be at rest
. Within his sacred chest;
. [N]ought but profoundest hell can be his shroud.
_ [I]n vain with timbrel'd anthems dark
. [T]he sable-stoled sorcerers bear his worshipped ark."
-------------------------------------------------------------
In the fashion of Peter Nockolds's diamond:
....................................................
.
. T
. O T H
. E(O)N L I
. E B(E)G E{T}T
. E R O(F)T H{E}S E
. I N S U(I)N G{S}O N N
. E T S M R(W|H}A L L H A P
. P I N E(S|S|E|A}N D T H A T E
. T E R N I(T|I)E[P]R O M I S E D B
. Y O U R E V(E|R)L[I]V I N G P O E T W
. I S H E T H T(H|E)W[E]L L W I S H I N G A
. D V E N T U R E R I N[S]E T T I N G F O R T H
....................................................
{SET}
{HAPI} Prob. in center ~ 1 in in 16,000
[PIES] Prob. in center bottom ~ 1 in 32,000
(E.WIFE.O.)
.................................................
The world will wail thee, like a makeless (WIFE)
--------------------------------------------------------------------
<<{SET} is a god of the desert, storms, and foreigners in ancient
Egyptian religion. In later myths he is also the god of darkness and
chaos. Set is portrayed as the usurper who killed and mutilated his
own brother Osiris. Osiris' (WIFE) Isis reassembled Osiris' corpse and
embalmed him. Osiris' son Horus sought revenge upon Set, and the myths
describe their conflicts.)>>
.................................................................
<<{HAPI} (Golden Dawn, Ahephi) One of the Four Sons of Horus,
{HAPI} was represented as a mummified man with the head of a *BABOON*.
.He was the protector of the lungs of the deceased, & was protected
. by the goddess Nephthys. The name {HAPI}, spelled with different
. HIEROGLYPHs, in most but not all cases, is also the name
. of the god who was the personification of the River *NILE*
. depicted as a corpulent man (Falstaff? / NevILE?)
. with a crown of *LILIES* (Upper {NILE} )
_______ or papyrus plants (Lower {NILE>). - Shawn C. Knight
---------------------------------------------------------------------
_______________ <= 19 =>
.
. TOTHEO {N} li (I)_ <E>B E (G) E T T E R O
. FTHESE__- {I} nS (S)- U<I>N (G) S O N N E T
. SMrWha_- {L} LH (H)a] P <P> (I) {N}E S S E A
. NDthat____{E} T _ [E|r] - N <I> T__ {I}E<P>R O M
. ISEDB Y O u ___ [R|e] V <E> R {L|I>V I N G
. <P> OEtW I s h ___ [E|t] _ H {T} H_- <E>W E L L W
. <I> ShIN-(G)a ___ [d V e] N {T} u _ R E R I N S
. <E> tTIN (G)fort----_____ H {T} t
-------------------------------------------------------------
. "Singe CAPons, or *POOR PIGS* , dropping their eyes ;
___ *Condemn'd me to the OVENs with the PIES* ;
- After his library FIRE of 1623 Ben Jonson
wrote of his LOSS in "An Execration upon Vulcan"
----------------------------------------------------------
. 22 / 7 ~ PI
. 19 / 7 ~ E
----------------------------------------------------------
. 22 P**'s => 4 PIE's
. (22*21*20*19)/(4*3*2*1)
. 14 I's: (14/145)*(13/144)*(12/143)*(11/142)
. 23 E's: (23/141)*(22/140)*(21/139)*(20/138)
. Probability of 4 oven PIE's ~ 1/4,300
--------------------------------------------------------------------
<<The Least Successful Collector Betsy Baker played a central role in
the history of collecting. She was employed as a servant in the house
of John Warburton (1682-1759) who had amassed a fine collection of 58
1st edition plays, including most of the works of Shakespeare. One day
Warburton returned home to find 55 of them charred beyond legibility.
Betsy had either burned them or used them as *PIE* bottoms. The
remaining three folios are now in the British Museum. The only
comparable literary figure was the maid who in 1835 burned the
manuscript of the first volume of Thomas Carlyle's "The Hisory of
the French Revolution", thinking it was wastepaPER.>> -- Stephen PILE
.
. http://hometown.aol.com/clasz/Chap9.html
.
[NOTE- some 60 manuscripts of plays of this period eventually come
into the hands of a collector named John Warburton* (1682-1759).
.
Many are the only surviving coPIES of plays that had never been
printed. Unfortunately Warburton was careless with them and his
servant, Betsy Baker, made use of them to light her stove and
line the bottom of *PIES* In the end only three survived.
The surviving plays are the work of Dekker, Ford & Massinger.]>>
----------------------------------------------------
[M]R. William
SHAK{E}SPE[A|R}ES
Comedi<ES>,
H<I>sto[R|I}es &
Traged(I)es,
<P>ubl[I|S}hed according to t[He} True Orig(I)nal Co<PIES>
....................................................
________ <= 17 =>
.
. [M]R. W i l l i a m S (H) A K <E S> P E
. [A|R} E S C o m e d i (E) s,H <I> s t o
. [R|I} e s&T r a g e d (I) e s <P> u b l
. [I|S} h e d a c c o r (D) i n g t o t
. [H E} T r u e O r i g (I) n a l C o<P I E S>
[MARI{He}] 17 Prob. [HIRAM] ~ 1 in 480 (any skip)
{RISE} 17
(HEIDI) : German form of (ALICE)
----------------------------------------------------------
TO THE ONLIE BEGETTER OF THESE INSVING SONNETS
.
________ <= 17 =>
.
. [M]R W H A L L (H) A P P I N E S S E
. [A|N) D T H A T (E) T E R N I T I E P
. [R|O) M I S E D (B|Y) O V R E V E R L
. [I|V) I N G P O (E|T) W I S H E T H T
. (H e) W E L L W (I|S) H I N G
.
ADVENTVRER IN SETTING FORTH.
..................................................
THE LA. [MARI]e (He)r(be)rt COUNTESSE OF PEMBROOKE.
..................................................
(NOVe): in a new or unusual manner {Latin}
*(NOVe)RINT* : Seriant [=Sergeant] William *HARRIS*
----------------------------------------------------
. http://www.tiny.cc/VnVtD
.
Cecil Papers 88/101 (bifolium, 232mm x 170mm),
Oxford to Cecil; 7 October 1601 (W337;F593).
.
...for I am aduised, that I may passe *MY BOOKE* from her
Magestie, yf a warrant may be procured to my cosen *BACON*
and Seriant [=Sergeant] *HARRIS* to perfet [= *PERFECT* ] yt.
Whic[HE BE]inge *DOONE* , I know to whome formallye to
thanke, but reallye they shalbe, and are from me, and myne,
*to be SEALED VP* in an *AETERNALL REMEMBRANCE* to yowre selfe.
And thus *WISHINGE ALL HAPPINES* to yow, and sume fortunat
meanes to me, wherby I myght recognise soo *DIEPE* merites,
I take my leaue this 7th of October from my House at HAKNEY. 1601.
.
Yowre most assured and louinge Broother.
(signed) Edward Oxenford (ital.; 4+7)
.
Addressed (O): To the ryghte honorable & my very good Broother
Sir Robert Cecill on [=one] of her Magestyes pryvie Councel
and principall Secretarie giue thes at the Coorte. [seal]
.
Endorsed: 1601 7 October: Erle of Oxenford to my Master.
---------------------------------------------------------
_____ *SEALD & DOONE*
............................................
______ Hamlet (Q2, 1604)
.
King: Follow him at foote,
. Tempt him with speede abord,
. Delay it not, Ile haue him hence
. to nig[H]t. Aw[A]y, fo[R] eue[R]y th[I]ng i[S]
. *SEALD and DONE*
. That els leanes on th'affayre, pray you make hast,
..........................................................
______ Hamlet (Folio, 1623)
.
King: Follow him at foote,
. Tempt him with speed aboord:
. Delay it not, Ile haue him hence to
. nig[H]t. Aw[A]y, fo[R] eue[R]y th[I]ng i[S]
. *SEAL'D and DONE*
. That else leanes on th'Affaire, pray you make hast.
........................................................
Ile haue him hence to
.
. --- n i g
. [H]{t A w}
. [A] y f o
. [R] e u e
. [R] y t h
-. [I] n g i
. [S] *SEAL'D and DONE*
.
[HARRIS] 4 {2,300,000}
-----------------------------------------------------------
http://www.archive.org/stream/cu31924026121313/cu31924026121313_djvu.txt
http://www.george345.com/website/archive/tribune/2002/oct/tribune_102...
[Contract by Peter Streete with Philip Henslowe and Edward Alleyn
for the erection of the Fortune at the cost of £440. Dated 8 Jan.
1599/1600. Bearing Street's mark and the autograph signatures of
the witnesses. With acquittances and notes of payments on the back,
8 Jan.- ii June 1600. Printed, Malone, iii. p. 338 ;
Halliwell, Illustrations, p. 81, from Malone.]
........................................................
IN WITNES WHEREOF the pties abouesaid to
theis pnte Jndentures Jnterchaungeably
haue s{E}tt theire *HAN{D}ES* and scales /
{Y}eoven the dai{E} and yeare ffi{R}ste abouewritten.
.......................................
__ <= 12 =>
.
. h a u e s {E} t t t h e i
. r e*H A N {D} E S*a n d s
. c a l e s/{Y} e o v e n t
. h e d a i {E} a n d y e a
. r e f f i {R} s t e a b o
. u e w r i t t e n.
.
{E.DYER} 12
.......................................
P S
S{E}aled and {D}eliued b{Y} the said{E} Peter St{R}eete
.......................................
__ <= 8 =>
.
. S {E} a l e d a n
. d {D} e l i u e d
. b {Y} t h e s a i
. d {E} P e t e r S
. t {R} e e t e
.
{E.DYER} 8 Prob. of both ~ 1 in 75,000
.....................................................
in the p(r)sence of me *[W]illiam. [HARRIS]* [Pub Scr]
And me Frauncis Smyth appr to the said Scr /
[seal wanting ; endorsed :]
Peater Streat ffor The Building of the ffortune
........................................................
The contract for building _The Fortune Playhouse_
-----------------------------------------------------------
http://en.wikipedia.org/wiki/Edward_Dyer
<<Sir {E}dward {DYER} (October 1543 – May 1607) was employed by
Elizabeth on a mission (1584) to the Low Countries, and in 1589 was
sent to Denmark. In a commission to inquire into *MANORS* unjustly
alienated from the crown in the west country he did not altogether
please the queen. Wood says that many thought Dyer to be a
Rosicrucian. He was knighted and made chancellor of the Order
of the Garter in 1596. William Oldys said of him that he
"would not stoop to fawn." He was buried in the chancel
of St Saviour's, Southwark, on 11 May 1607.>>
-----------------------------------------------------------
<<In 1943 Alden Brooks proposed Sir [E]dward [DYER]
as a candidate in the Shakespearean authorship
question in his book Will Shakspere & the *DYER’S HAND* >>
..................................................
_______ Sonnet 111
Thence *COMES* it that *MY NAME* receiues a brand,
And almost thence my nature is subdu'd
To what it workes in, like the *DYERS HAND* ,
Pitty me then, and wish *I wERE REnU'DE* ,
-------------------------------------------------------
_The Choice of Valentines_ by Thomas *NASHE*
.
Why Si[R], quoth she[E], if that be [Y]ou{R} d(E)man[D|E},
Co(M)e, la{Y|E] me (A) Go{D}s-pen(N)i{E} in *MY HAND* ;
...................................................
______ <= 8 =>
.
. S i [R] q u o t h
. s h e [E] i f t h
_ a t b e [Y] o u {R}
. d (E) m a n [D]{E} C
_ o (M) e l a {Y]{E] m
. e (A) G o {D} s p e
. n (N) i {E} i n *M Y HAND* ;
.
[E.DYER] -9
. (NAME) -8
{E.DYER} -7
Chance of TCV having crossed [E.DYER]'s ~ 1 in 160,000
------------------------------------------------------
Mere's Palladis Tamia (1598): . . . "these are the most passionate
among us to bewail & bemoan the perplexities of Love, Henrie
Howard Earl of Surrey, Sir Thomas Wyat the elder, Sir Francis
Brian, Sir Philip Sidney, Sir Walter Raleigh, Sir *EDWARD DYER*
, Spencer, Daniel, Drayton, Shakespeare, Whetstone, etc."
.................................................
____ Palladis Tamia. (continued)
.
As Actaeon was wooried of his owne hounds:
so is *Tom NASH* of his Ile of Dogs.
Dogges were the death of Euripedes, but bee not disconsolate
gallant young Juvenall, Linus, the sonne of Apollo died the same
death. Yet God forbid that so brave a witte should so basely
perish, thine are but paper dogges, neither is thy banishm-
[E]nt like Ovi[D]s, eternall[Y] to convers[E] with the ba[R]barous
Getes. Therefore comfort thyselfe sweete Tom. with Ciceros
glorious return to Rome, and with the counsel Aeneas
gives to his seabeaten soldiors. Lib. I. Aeneid.
................................
_______ <= 10 =>
.
. T h y b a n i s h m
. [E] n t l i k e O v i
. [D] s,e t e r n a l l
. [Y] t o c o n v e r s
. [E] w i t h t h e b a
. [R] b a r o u s G e t
[EDYER] 10
-------------------------------------------------------------
http://tinyurl.com/28fore8
<<The following is found in Epistle, by Thomas *NASHE*
prefixed to Greene's Arcadia, which was published in 1589: --
"I will turn back to my first text of studies of delight,
. and talk a little in friendship with a few of our
trivial translators. It is a common practice now-a-days,
amongst a sort of shifting companions that run through
ev[E]ry art an[D] thrive b[Y] none, to l[E]ave the t[R]ade of
...................................................
___ <= 8 =>
. e v [E] r y a r t
. a n [D] t h r i v
. e b [Y] n o n e t
- o l [E] a v e t h
- e t [R] a d e o f
[E.DYER] 8 ( Sir [E]dward [DYER] )
...................................................
*NOVERINT* , whereto they were born, and busy themselves with the
endeavours of art, that could scarcely Latinize their neck-verse if
they should have need ; yet English Seneca, read by candle-light,
yields many good sentences, as Hood is a leggar, and so *FORTH* ;
and if you intreat him FAIR, in a frosty morning,
*he WILL afFORD you whole Hamlets* ;
I should say *HANDfuls* of tragical speeches. But… Seneca, let blood
line by line and page by page, at length must needs die to our stage;
which makes his famished followers to imitate the *KIDde* in Aesop,
who enamoured of the fox’s newfangles, forsook all hopes of life
to leap into a new occupation; and these men, renouncing all
possibilities of credit or estimation, to intermeddle
with Italian translations…”
...................................................
http://www.sourcetext.com/lawlibrary/greenwood/isasp/08.htm
.
<<" *Kyd* was born to the trade of *NOVERINT* & perhaps
. spent a few years in the office of his father who
. was a scrivener; in A Warning, IV, 4, the indictments
of Browne, Anne Sanders, and Drury, with their legal jargon,
point to the probability of their having been drawn up by
one accustomed to copying legal documents. All Kyd's plays,
with the exception of his translation of Garnier's Cornelia,
. were issued anonymously, so was A Warning.">>
---------------------------------------------------------
http://www.wjray.net/shakespeare_papers/shakespeare-sonnets.htm
The Poetry and Thought of WJ Ray
<<Sonnet 76 reiterates the importance of parents and heir. It is the
midpoint of the volume of 154 Sonnets, the apex of "the monument"
as explicitly described in Sonnet 81. Sonnet 76 contains all their
mottos. "Every word doth almost tell my name" actually contains his
name. He asks, "Why write I still all one, ever the same?". The
answer is he is speaking of the other two & himself, keying what the
whole Sonnet sequence is about. "All for One" is Wriothesley's motto.
"Ever the Same" is Elizabeth's. Ever is an anagram of Vere.>>
................................................
http://www.geocities.com/athens/troy/4081/Oxford.html
_WHY OXFORD WASN'T SHAKESPEARE_ by John Ruskin
<<In Sonnet 76, the author laments the loss of his muse, the loss of
his inventiveness, and compares his current work to "weeds". He goes
on to correlate the weedy nature of his current work with his own
undistinguished name and birth: that he comes from a modest background
and that he has not proceeded much beyond that as is manifested in
his current work. Some Oxfordians claim "That every word doth almost
tell my name" is a pointer to an anagram and that "every word" is an
anagram of Edwor(y) Ver which is "almost" an anagram of Edward de
Vere. As the Friedmans showed in their classic book on alleged ciphers
in Shakespeare's works, and as can be seen here, accidental anagrams
and ciphers can be found anywhere you go hunting for them. What is
most odd, is that if de Vere was so fond of anagrams and ciphers
(as demonstrated by him allegedly signing some correspondence as
"eVer yours" as a pun on his name), why aren't Shakespeare's
works riddled with such de Vere ciphers and anagrams?>>
...................................................................
Deuteronomy 8:3: man doth not live by bread only, but by
. *EVERY WORD* that proceedeth out of the mouth of the Lord
Proverbs 14:15: The simple believeth *EVERY WORD*:
. but the prudent man looketh well to his going.
Proverbs 30:5: *EVERY WORD* of God is pure:
Luke 4:4: It is written, That man shall not live by bread alone,
. but by *EVERY WORD* of God.
2 Corinthians 13:1: In the mouth of two or three witnesses
. shall *EVERY WORD* be established.
................................................
http://voices.yahoo.com/shakespeare-man-behind-verse-1205.html?cat=38
_Shakespeare: The Man Behind the Verse_ by Ria
<<Of all the evidence Oxfordians use to present their case, Sonnet #76
is seldom mentioned. In the first line the word "barren" sounds the
same as "baron," which is basically equivalent to DeVere's title Earl.
The second and third lines contain "quick change," and "glance aside."
A synonym for both could be Vere. The phrase, "And keep invention in a
noted weed," sounds a lot like like a clue from a cryptic crossword
puzzle. If it were, you would look for the answer within the words
"noted weed," and come out with "ed weed." To take the liberty of
assuming "ed weed" means Edward may seem a bit much, but the clue says
"and keep invention," which in a cryptic crossword would lead you
believe the answer was DeVere's first name, "Edward." The following
phrase, "every word doth almost tell my name," also has the qualities
of a cryptic crossword clue. This one implies that "every" is the word
that almost tells his name. If you remove the "y" and rearrange the
letters of "every" you get "vere," which is almost his name.>>
_______ Sonnet 76
.
Why is my verse so barren of new pride?
So far from variation or quic<K>e *CHANGE*?
Why with the time do <I> not glance aside
[T]o new foun(D) methods, and to compounds *ST{R}ANGE*
[W]hy write I still all one, *EVER* {T}he <S>am<E>
[A]n<D> k(E|E>pe inv(E|N|T}ion in a *NOT (E)D W(E)ED* ,
[T]h{A|T} *EVERy* wor<D> [D]oth almo{S|T} (FEL) m[Y] nam{E},
[S]hewing t{H|E|I>r birth, and whe[R]e th{E}y did proce[E]d
[O] <K>now swe{E}t lo[V]e I alwaies writ[E] of you,
A[n]d you an[D] l(O)ve are still m[Y] a{R|G|U)ment:
So all my b<E>st <I>s (D)ressing o<L>d wor(D)s new,
Spe[N|D>ing a{G}ain(E) what is alrea[D]y sp(E)nt:
. For as the Sun is (D)a[I]ly new and old,
. So is my love [S]till telling what is told,
................................................
[T.WATSO.] Acrostic Prob. ~ 1 in 688
---------------------------------------------------------------
_______ Sonnet 76 : 4 X 19
_____________ <= 19 =>
. T o n e w f o u n d m e t h o d s,a n
. d t o c o m p o u n[D]s s t r a n g e?
. [W] h y w r (I) t e I s t i l l a l l o n
. e *E V E R*{T} h e s[A]m e[A]n d k(E|E)p
. e i n v(E){N} T i o n i n a*N O T(E)D W
. (E) E D[T]h {A} T*E[V]E R y*w o r<D|D]o t
. h a l m o {S} T(F E L)m[Y]n a m{E|S]h e
. w (I) n g t {H} E|I>r b i r t h,a n d w h
. e {R} e t h {E} y d i d p r o c e[E]d[O|K>
. n {O} w s w e {E}t l o[V]e I a l w a i e
. s {W} r i t [E] o f y o u,A[n]d y o u a n
. [D]{L}(O)v e a r e s t i l l m[Y]a{R|G|U)
. m {E} n t:
.
(I){TNASHE} 19
(I){ROWLE} 19
. [DAVIE]s 37
-----------------------------------------------------------------
As in former times two great Cardinals, Bembus and Biena, did
countenance Poets: so of late yeares two great preachers have
given them their right hands in (FEL)owship, Beza and Melancthon.
..................................................................
http://www.shakespeares-sonnets.com/Images/Oxford01.JPG
.
_______ Sonnet 76 : <= 7 X 7 =>
Sofar f romvariationorquickechangeWhywi t h t h e t i m e d o I
notgl a nceasideTonewfoundmethodsandtoc o m p o u n d s s t{R}a
ngeWh y writeIstillalloneeuerthesameAnd k e e p e i n u e{N}t i
onina n otedweedThateueryworddothalmost (F E L)m y*N A M{E}S*h e
wingt (H) eirbirthandwheretheydidproceedO <K>n o w s w e{E}t l o v
eIalw (A) ieswriteofyouAndyouandlovearest <I>l l m y a{R}g u m e n
tSoal (L) mybestisdressingoldwordsnewSpen <D>i n g a{G}a i n e w h
atisa (L) readyspentForastheSunisdailynew a n d o l d S o i s m y
loves t illtellingwhatistold
................................................
<KID> 49,24,30 Prob. skip < 50 ~ 1 in 42
(HALL) 49
{GREEN,R} -48 Prob. skip < 49 ~ 1 in 232
-------------------------------------------------------------------
As Horace, Lucilius, Juvenall, Persius Lucullus are the best for
Satyre among the Latines: so with us in the same faculty these
are chiefe, Piers Plowman, Lodge, (HALL) of Imanuel Colledge in
Cambridge; the Authour of Pigmalions Image, and certaine Satyrs;
the Author of Skialetheia.
------------------------------------------------------
_____ *NOT (E)D WEED*
...............................................
_______ Sonnet 76 : <= 7 + 7 =>
.
. W h y i s m y v e r s e s o
. b a r r e n o f n e w p r i
. d e? S o f a r f r o m v a r
. i a t i o n o r q u i c <K> e
. *C H A N G E* W h y w i t h t
. h e t i m e d o <I> n o t g l
. a n c e a s i d e [T] o n e w
. f o u n (D) m e t h o d s, a n
. d t o c o m p o u n d s S T
. {R} A N G E [W] h y w r i t e I
. s t i l l a l l o n e E V E
. R {T} h e s a m e [A] n d k (E)(E)
. p e i n v (E){N}{T} i o n i n a
. *N O T (E) D W (E) E D* T h {A}{T} E
. V E R y w o r <D>[D] O t h a l
. m o {S}{T} F E L m [Y] N a m {E} S
. h e w i n g t {H}[E]<I> r b i r
. t h a n d w h e [R] e t h {E} y
. (D) i d p r o c e [E] d O <K> n o
. w s w e {E} t l o [V] e I a l w
. a i e s w r i t [E] o f y o u
. A n d y o u a n [D] l (O) v (E) a
. r e s t <I> l l m Y a {R}<G>(U) m
. (E) n t S o a l l m y b <E> s t
. (I) s (D) r e s s i n g o <L> d w
. o r (D) s n e w S p e [N]<D> i n
. g a {G} a (I) n (E) w h a t i s a
. l r (E) a [D] y (S) p (E) n t F o r
. a s t h (E) S u n (I) s (D) a [I] l
. y n e w a n (D) o l d (S) o (I) s
. m y l o v e [S] t (I) l l t e l
. l i n g w h a t i s t o l d,
...............................
<D.LEG> -14
...............................
our best for tragedy,...
<D>octor <LEG>ge of Cambridge,..Edward Ferris,
... Marlowe, Peele, Watson, Kyd, Shakespeare,
................................................
The best for Comedy amongst us bee,
Edward Earle of Oxforde
..................................................
[DEVERE] -14 {Found by James Ferris}
[DEVERE] Prob. in this Sonnet skip < 15
. [in perfect 14 x 32 array] ~ 1 in 2000
.
[DYER,E(dweed)] 14
.
[DYEREVED] 14 Prob. skip < 15 ~ 1 in 450,000
Prob. in perfect array skip < 15 ~ 1 in 1,150,000
................................................
the most passionate among us to bewaile
and bemoane the perplexities of Love:
... Sir [Edward DYER]
http://www.youtube.com/watch?v=FB1deifkIxw
(Steven May considers "My Mynde to me a kingdome is" as
possibly written by Edward de Vere, 17th Earl of Oxford.)
--------------------------------------------------------
Biography of Sir Edward Dyer
http://www.poemhunter.com/sir-edward-dyer/biography/
.
<<Author of two of the most famous Elizabethan lyrics,
'My Mind to Me a Kingdom is' and 'The Lowest Trees have Tops',
Dyer cut a figure of some significance at Elizabeth's Court
and became Chancellor of the Order of the Garter.
.
Philip Sidney and he were companions in everything (he was
'Coridens' [Cosn Dier] in Sidney's verse) and with Fulke Greville
Dyer was bequeathed Sidney's books. He wrote an elegy lamenting
Sidney's death. His other friends included Robert Earl of Essex,
Gilbert Talbot Earl of Shrewsbury, Walter Ralegh, Robert Sidney,
*Robert Cecil* , Thomas Sackville Lord Buckhurst,
Sir Christopher Hatton, the Countess of Pembroke & John Dee.
.
An alchemist himself, it was on the basis of Dyer's reports of the
success of Edward Kelley, Dee's scryer, that influenced Elizabeth
and Burghley to take Kelley's claims seriously. Dyer worked with
Kelley in his laboratory in Bohemia for about six months in 1590.
.
His contemporaries praised his skill as a poet: '...in a *MANNER*
oure onlye Inglish poett...'and his 'written devises farr excell
most of the sonets, and cantos in print' (Gabriel Harvey);
'Maister Edward Dyar for Elegie moste sweete, solempne and
of high conceit' (Puttenham); Nashe stated that Dyer was
the first 'that repurified Poetrie from Arts pedantisime,
and that instructed it to speake courtly'. He was buried
at St Saviour’s, Southwark, on the 11th of May 1607.>>
----------------------------------------------------
____ Richard III Q1 (1597)
The Tragedy of King Richard the third. Containing, His
treacherous Plots against his brother Clarence : the pittiefull
murther of his innocent nephewes : his tyrannicall vsu(R)pation :
with the whol(E) course of his de{TEST}(E)d life,
and most deser(V)ed death. As it hath b(E)ene
lately Acted b[Y] the Right honourabl[E]
the Lord Chamberlai[N]e his seruants.
At Lon[D]on, Printed by Valent[I]ne Sims,
for Andrew Wi[S]e, dwelling in Paules
{CHURCH-YARD}, at the signe of the Angell. 1597.
...........................................
_________ <= 18 =>
.
. t y r a n n i c a l l v s u [R] p a t
. i o n:w i t h t h e w h o l [E] c o u
. r s e o f h i s d e{T E S T}[E] d l i
. f e,a n d m o s t d e s e r [v] E D}d
. e a t h.A s i t h a t h b e [E] n e l
. a t e l y A c t e d b [Y] t h e R i g
. h t h o n o u r a b L [E] T H E L o r
. d C h a m b e r l a i [N] e h i s s e
. r u a n t s A t L o n [D] o n P r i n
. t e d b y V a l e n t [I] n e S i m(S)
. f o r A n d r e w W i [S] e d w e l(L)
. i n g i n P a u l e s {C} H U R C H(Y)
. A R D},
.
[{C}SIDNEY] -18 {1,025,000} Q1(1597)
de(E.VEER) -18
{C}ountesse of pembrooke: mary [SIDNEY]
----------------------------------------------------
____ Richard III Q2(1598)
The Tragedie of King Richard the third. Conteining his
treacherous Plots against his b{R}other Clarence : the pitiful
murther of his innoc{E}nt Nephewes : his tyrannicall vsu[R]pation :
with th{E} whol[E] course of his detest[E]d life,
and most {deser[V]ED} death.
As it hath be[E]ne lately Acted by the Eight honourable
the Lord [C]hamberlaine his ser[V]ants. By William Shak[E]-speare.
London Print[E]d by Thomas Creede, fo[R] Andrew Wise, dwelling
in Paules Churchyard, at the signe of the Angell. 1598.
...........................................
_________ <= 18 =>
.
. T h e T r a g e d i e o f K i n g R
. i c h a r d t h e t h i r d.C o n t
. e i n i n g h i s t r e a c h e r o
. u s P l o t s a g a i n s t h i s b
.{R}o t h e r C l a r e n c e:t h e p
. i t i f u l m u r t h e r o f h i s
. i n n o c{E}n t N e p h e w e s: h i
. s t y r a n n i c a l l v s u [R] p a
. t i o n:w i t h t h{E}w h o l [E] c o
. u r s e o f h i s d e t e s t [E] d l
. i f e, a n d m o s t{d e s e r [V] E D}
. d e a t h.A s i t h a t h b e [E] n e
. l a t e l y A c t e d b y t h e E i
. g h t h o n o u r a b l e t h e L o
. r d [C] h a m b e r l a i n e h i s s
. e r [V] a n t s.B y W i l l i a m S h
. a k [E] s p e a r e.L o n d o n P r i
. n t [E] d b y T h o m a s C r e e d e,
. f o [R] A n d r e w W i s e,d w e l l
. i n g i n P a u l e s C h u r c h y
. a r d, a t t h e s i g n e o f t h e
. A n g e l l.
de[E.VEER] -18
[C.VEER] 18
----------------------------------------------------
____ Richard III Q3(1602)
The Tragedie of King Richard the third. Conteining his
treacherous Plots against his brother Clarence : the pittifull
murther of his innocent Nephewes : his tyrannicall vsu(R)pation:
with the whol(E) course of his {D|E|T)EST(E)D} life,
and most {DEsER[V|E)D} {DE}ath. As it hath b(E)ne
lat[E|L)y Acted by the Right Honou[R|A)ble
the Lord Chamberlain[E] His seruants. Newly augmented,
.
By William Shakespeare. London Printed by Thomas Creede,
for Andrew Wise, dwelling in Paules {CHURCH-YARD},
at the signe of the Angell. 1602.
.......................................................
with the whole- <= 23 =>
.
. c o u r s e o f h i s{D}[E](T)E S T E D}l i f e
. a n d m o s t{D E s E R [V](E)D} D Ea t h A s i
. t h a t h b e n e l a t [E](L)y A c t e d b y t
. h e R i g h t H o n o u [R](A)b l e t h e L o r
. d C h a m b e r l a i n [E] H i s s e r u a n t s.
.
d(E.VEER) -18
[EVERE] 23 Prob. ~ 1 in 68
(TELA) 23
--------------------------------------------------
____ Richard III Q4 (1605)
The Tragedie of King Richard the third. Conteining his
treacherous Plots against his brother Clarence : the pittifull
murther of his innocent Nephewes : his tyrannicall vsu(R)pation :
with the whol(E) course of his de{TEST(E)D} life, and most deser(V)ed
death. As it hath bin lately A[C]ted by the Right Honourable
the Lord Chamberlaine h[I]s seruants. Newly augmented, by
William Shakespeare. [L]ondon, Printed by Thomas Creede,
and are to be sold by M[A]tthew Lawe, dwelling in Paules Church
-yard, at the signe of the (F){OXE, N}ear S. Austins gate, 1605.
.......................................................
_______ <= 44 =>
.
ofhisde{TEST [E] D}lif e a n dmos tdeserueddeathAsithat
hbinlat elyA [C] t edb y t h eRig htHonourabletheLordCh
amberla ineh [I] s ser u a n tsNe wlyaugmentedbyWilliam
Shakesp eare [L] o ndo n P r inte dbyThomasCreedeandare
tobesol dbyM [A] t the w L a wedw ellinginPaulesChurchy
ardatth esig n e oft h e(F|OXEN}earSAustinsgate
de(VEER) -18
[ALICE] -44
(F|OXEN} 1
--------------------------------------------------
____ Richard III Q5 (1612)
The Tragedie of King Richard the third. Containing his
treacherous Plots against his brother Clarence : the pittifull
murther of his innocent Ne-phewes : his tyrannicall usu(R)pa-
tion : with the whol(E) course of his detest(E)d life, and most
{DEsE[R|V)ED} of death. As it hath beene lately Act[E]d by
the Kings Maiesties servants. Newl[Y] augmented, By William
Shake-speare. Lon[D]on, Printed by Thomas Creede, and are
to b[E] sold by Mathew Lawe, dwelling in Pauls Churchyard,
at the Signe of the (F){OXE, N}eare S. Austins gate, 1612.
...........................................
with the whole course of his detested life,
and most <= 33 =>
.
. {DEsE [R] VED} ofdeathAsithathbeene l-atel
. yAct [E] dby theKingsMaiestiesser v-ants
. Newl [Y] aug mentedByWilliamShake s-pear
. eLon [D] onP rintedbyThomasCreede a-ndar
. etob [E] sol dbyMathewLawedwellin g-inPa
. ulsC -h- urc hyardattheSigneofthe(F|OXEN}
. eare -S- Aus tinsgate
.
de(VEER) -18
[EDYER] -33
--------------------------------------------------
____ Richard III Q6 (1622)
The Tr[A]gedie of King Richard the Third. Contayning his
treacherous P[L]ots against his brother Clarence : The pittifull
murder of his [I]nnocent Nephewes : his tyrannicall usu(R)pation :
with the whol(E) [C]ourse of his detest(E)d life, and most deser(V)ed
death. As it hath b[E]en lately Acted by the Kings Majesties
Servants. Newly augmented. By William Shakespeare.
London, Printed by Thomas Purfoot, and are to be sold
by Mathew Law, dwelling in Pauls Church-yard, at
the Signe of the (F){OXE, N}ere S. Austines gate, 1622.
.......................................................
_______ <= 52 =>
.
TheTr [A] gedieofKing R icha rdtheThirdContayninghistreache
rousP [L] otsagainsth i sbro therClarenceThepittifullmurder
ofhis [I] nnocentNeph e wesh istyrannicallusurpationwiththe
whole [C] ourseofhisd e test edlifeandmostdeserveddeathAsit
hathb [E] enlatelyAct e dbyt heKingsMajestiesServantsNewlya
ugmen t edByWilliam*S hake speareLondonPrintedbyThomasPur
foota n daretobesol d byMa thewLawdwellinginPaulsChurchya
rdatt h eSigneofthe(F|OXEN}ereSAustinesgate
de(VEER) -18
[ALICE] 52
(F|OXEN} 1
------------------------------------------------
John Payne Collier, in "Britannia's Pastorals" in Bibliographical
and Critical Account of the Rarest Books (1866) 1:114-15.
<<In 1614 Christopher Brooke published a poem of great merit,
entitled, *The Ghost of Richard the Third* . Its interest and
importance may at once be established by the following stanzas,
directly referring to Shakspeare and to his popular tragedy,
put into the mouth of Richard's Ghost:—
. To him that impt my fame with Clio's quill,
. Whose magick rais'd me from Oblivion's den,
. That writ my storie on the Muses' hill,
. And with my actions dignifi'd his pen;
. He that from Helicon sends many a rill,
. Whose nectared veines are drunke by thirstie men,
. Crown'd be his stile with fame, his head with bayes,
. And none detract, but gratulate his praise!
. Yet if his scaenes have not engrost all grace,
. The much fam'd action could extend on stage;
. If time or memory have left a place
. For me to fill, t' enforme this ignorant age,
. To that intent I shew my horrid face,
. Imprest with feare and characters of rage:
. Nor wits nor chronicles could ere containe
. The hell-DEEPE [R]each[E]s of m[Y] soun[D]less[E] braine.
.....................................
The hell- <= 5 =>
.
. D E E P E
. [R](E) a c h
. [E](S) o f m
. [Y](S) o (U) n
. [D](L) e (S) s
. [E](B) r (A) i n e.
[EDYER] -5
----------------------------------------------
Biography of Sir Edward Dyer
http://www.poemhunter.com/sir-edward-dyer/biography/
.
<<Author of two of the most famous Elizabethan lyrics,
'My Mind to Me a Kingdom is' and 'The Lowest Trees have Tops',
Dyer cut a figure of some significance at Elizabeth's Court
and became Chancellor of the Order of the Garter.
.
Philip Sidney and he were companions in everything (he was
'Coridens' [Cosn Dier] in Sidney's verse) and with Fulke Greville
Dyer was bequeathed Sidney's books. He wrote an elegy lamenting
Sidney's death. His other friends included Robert Earl of Essex,
Gilbert Talbot Earl of Shrewsbury, Walter Ralegh, Robert Sidney,
*Robert Cecil* , Thomas Sackville Lord Buckhurst, Sir
Christopher Hatton, the Countess of Pembroke and John Dee.
.
An alchemist himself, it was on the basis of Dyer's reports of the
success of Edward Kelley, Dee's scryer, that influenced Elizabeth
and Burghley to take Kelley's claims seriously. Dyer worked with
Kelley in his laboratory in Bohemia for about six months in 1590.
.
His contemporaries praised his skill as a poet: '...in a *MANNER*
oure onlye Inglish poett...' and his 'written devises farr excell
most of the sonets, and cantos in print' (Gabriel Harvey);
'Maister Edward Dyar for Elegie moste sweete, solempne and
of high conceit' (Puttenham); Nashe stated that Dyer was
the first 'that repurified Poetrie from Arts pedantisime,
and that instructed it to speake courtly'. He was buried
at St Saviour’s, Southwark, on the 11th of May 1607.>>
.........................................................
_. GOOD FREND FO_{R} [IE]{SVS}'_S(AKE)__ FOR[BE]ARE,
____ TO DIGG THE D_{V}[ST] ___ EN(CLO)ASED [HE]ARE:
_. BLESTE BE Ye MA_{N} Yt___ SPA[RE]S THES STONES,
__ AND CVRST BE H_{E} Yt___ MO[VE]S MY BONES.
...............................................
http://library.thinkquest.org/5175/images/grave1.jpg
.........................................................
Philip Sidney = 1576 [HEBE] royal cupbearer.
Edward Dyer = 1576 [HEBE] license to PARDON
________________and diSPENSE with *TANNING LEATHER* .
-------------------------------------------------
http://www2.prestel.co.uk/rey/epitaph.htm#2
<<Clark Holloway brought to my attention a 1628 epitaph
by Ben Jonson for a certain Henry, Lord La-Ware:
An Epitaph, on Henry L. La-ware.
To the Pas{S}er-by.
If, {P}asseng{E}r, thou c{A}nst but {R}eade:
Stay, drop a teare for him that's (D)ead,
Henr(Y), the brav(E) young Lo(R)d La-ware,
Minerva's and the Muses care!
What could their care doe 'gainst the {S}pigh{T}
Of a D{I}seas{E}, that lov'd no light
Of honour, nor no ayre of good?
But crept like darknesse through his blood?
Offended with the dazeling flame
Of VER(tu)E, got above his name?
No noble furniture of parts,
No love of action, and high Arts.
No aime at glorie, or in warre,
Ambition *to become a Starre* ,
Could stop the m{ALICE} of this ill,
T[H]at spr[E]ad his [B]ody o'r[E], to kill:
And only, his great Soule ENVY'd,
Because it durst [H]av[E] No[B]li[E]r dy'd.
(DYER) 8
{SPEAR} 7
[HEBE] 6
{STIE} 5
[HEBE] 4
{ALICE} 1
-----------------------------------------------------
____ Romeo and Juliet (Quarto 1, 1597)
...............................................
The Prologu{E}.
.
. TWo houshold Frends alike in dign{I}tie,
. (In faire Verona, where we lay ou{R} Scen[E])
. From ciuill broyles b[R]oke i(N)to enmit{I}e,
. {VV}hos[E] ciu(I)ll wa{R}re mak{E}s ci[V]i(L|L) h{A}nds vncleane.
. Fr(o|M} f(o)rt{H} the fata(L)l l(O)ynes of these two f(o|E]s,
. A paire of starre-c[R|o)st Louers tooke th[E]ir (L)ife:
. {VV}hose misa(d|V|e)ntures, piteous ou[E]rthrowes,
.(Through t{H}e continuing of the{I}r Fathers strife,
. An{D} death-markt passag{E} of their Parents rage)
. Is now the two howres traffique of our S(T)age.
. The w(H)ic(H) if you with pati(E)nt (E)ares attend,
. {VV}ha(T) he(R)e we want wee'l studi(E) to amend.
................................................
. The Prologu{E} T- <= 17 =>
.
- W o h o u s h o l d F r e n d s a
_ l i k e i n d i g n{I}t i e I n f
- a i r e V e r o n a w h e r e w e
- l a y o u{R}S c e n[E]F r o m c i
_ u _i_ l_l_b r o y l e{S}b[R]o k e i
. (N) t o e n m i t{I}e W h o s[E]c i
- u (I) l_l_w a{R}r e m a k{E}s c i[V]
- i (L){L}h{A}n d s v n c l e a n e F
- r (o){M}f{o}r t{H}t h e f a t a(L)l
- l (O) y n e s{O}f t h e s e t w o f
. (o)[E] s A p a i r e o f s t a r r e
- c [R|(o)s t l O u e r s t o o k e t
- h [E] i r(L)i f e W h o s e m i s a
. (d|V|e) n t u r e s p i t e o u s o
- u [E] r t h r o w e s T h r o u g h
_ t {H} e c o n t i n u i n g o f t h
_ e {I} r F a t h e r s s t r i f e A
- n {D} d e a t h m a r k t p a s s a
- g {E} o f t h e i r P a r e n t s r
- a (G) e I s n o w t h e t w o h o w
_ r (E) s t r a f f i q u e o f o u r
- S (T) a g e T h e w(H)i c(H)i f y o
_ u _w i t h_p a_t_i(E)n t(E)a r e s
_ a t t e n d_W h a(T)h e(R)e w e w
_ a n t_w e_e l_s t u d i(E)t o a m
- e n d.
..........................................
{HENRI} -29
[VERE] -19
{MARI S.} -15
(I, Lo. O.)[{H?}E.(de) VERE] -17
{HIDE}(GET)/(HET)/(HERE) 17
-------------------------------------------------------
___ Job 38:30-1
T[H]e w[A]te[R]s a[R]e h[I]d a[S] with a stone,
and the face of the deepe is frozen.
Canst thou bind the sweete influences of Pleiades?
. or loose the bands of Orion?
[HARRIS] 3
---------------------------------------------
http://en.wikipedia.org/wiki/Edward_Dyer
<< Sir Edward Dyer (October 1543 – May 1607) was an English
courtier and poet. His first court patron was Robert Dudley,
Earl of Leicester, who seems to have thought of putting him
forward as a rival to Sir Christopher Hatton for the queen's
favour. He is mentioned by Gabriel Harvey, along with Sir Philip
Sidney, as one of the ornaments of the court. Sidney, in his will,
bequeathed his books equally between Fulke Greville and Dyer.
Among the poems in England's Helicon (1600), signed [S.E.D.], and
included in Dr A.B. Grosart's collection of Dyer's works (Miscellanies
of the Fuller Worthies Library, vol. iv, 1876) is the charming
pastoral "My Phillis hath the morninge sunne," but this comes from
the Phillis of Thomas Lodge. Grosart also prints a prose tract
entitled The Prayse of Nothing (1585). The Sixe Idillia from
Theocritus, reckoned by John Payne Collier among Dyer's works,
were dedicated to, not written by, him.>>
----------------------------------------------------------
Terra tegit, ____ pOPVL(v)S Maeret, __ OL'Y-MP(v)S habet
juDicium (P)YLium, gENio (S)ocraTEm, arte (M)ARONem
........................................................
(P)oldy, _____ (S)tephen, ____ (M)olly
(P)reparatory to, (S)tately Plump, (M)r. Leopold Bloom
(P)auca ______ (S)ed _____ (M)atura
[Carl Friedrich Gauss motto: Few, but ripe.]
----------------------------------------------------------------------
Monument to Spenser in Westminster Abbey as in the Works, 1679 Edition
http://www.sirbacon.org/graphics/spenserface.jpg
" *SED* Carmina major imago." - OVID. < Trist. I. vii. 11. >
.....................................................................
Carminum (genitive carminī); n, third declension
1. song, poem
Imāgō (genitive imāginis); f, third declension
1. image, imitation, likeness, statue, representation
2. ancestral image
3. ghost, apparition
4. semblance, appearance, shadow
5. echo
6. conception, thought
7. reminder
8. (rhetoric) comparison
----------------------------------------------
http://en.wikipedia.org/wiki/Black_Madonna
<<It has also been suggested by many authors that the medieval
veneration of Black Madonnas was in response to a line from the Song
of Songs 1:5 in the Old Testament: "I am black but comely, O daughters
of Jerusalem, ..." or "Nigra sum *SED* formosa" in Latin, words
discussed at length in the sermons of Bernard of Clairvaux.
------------------------------------------------
<<The line Victrix causa diis placuit *SED* victa *CATONI* has been a
favorite for supporters of 'lost' causes over the centuries; it can be
translated as "the winning cause pleased the gods, but the losing
cause pleased *CATO* ". One American example comes from the
Confederate Memorial at Arlington National Cemetery, which has these
words in Latin inscribed on its base.>>
------------------------------------------------------------
The Triumpbs of Augustus in the East
*Sextus Propertius* (c.50 B.C.?c.16 B.C.)
.
*SED* tempus lustrare *aliis Helicona choreis*
et campum Haemonio iam dare tempus equo.
iam libet et fortis memorare ad proelia turmas
et Romana mei dicere castra ducis.
quod si deficiant uires, audacia certe
laus erit: in magnis et uoluisse sat est.
.
*aetas prima canat Veneres, extrema tumultus*
.
bella canam, quando scripta puella mea est.
nunc uolo subducto grauior procedere uoltu,
nunc aliam citharam me, mea Musa, doce.
surge, anima; ex humili iam carmine sumite uiris,
Pierides: magni nunc erit oris opus.
---------------------------------------------------
http://en.wiktionary.org/wiki/parvus#Latin
*parvus* m : *small* , little, cheap; unimportant (Latine)
And though thou hadst [*parvus*] Latine, and [*μείον*] Greeke,
------------------------------------------------
___*μείον* : *LESS* (Greeke)
___*MOINS* : *LESS* , *MINUS* (French)
.........................................
*125* *VERO NIHIL VERIUS* DICTUM *VERORUm* ,
. ILLUSTRISSIMORUM OXONIAE COMITUM
.
*VERUs*, verior, et verissimus, haec tria monstrant
Quod vero quiddam verius esse potest.
Falsum ergo est, *VERO NIL VERIUS* esse. *SED* ipsum
Hoc *VERUm* est, Vero verius esse nihil.
Intense capitur *VERUm* et quandoque remisse.
Vere, magis tu non suscipis atque *MINUS* .
http://www.philological.bham.ac.uk/stradling/4lat.html#125
http://www.philological.bham.ac.uk/stradling/4eng.html
.............................................
125. *VERO NIHIL VERIUS* . THE MOTTO OF THE VERES,
THE MOST DISTINGUISHED EARLS OF OXFORD
Veritable, more veritable, and most veritable,
these three demonstrate that something can be truer than true.
That *VERO NIHIL VERIUS* is therefore wrong.
But this is truth. Nothing is truer than Vere.
This vere is sometimes understood narrowly, and sometimes loosely.
But, Vere, you do not admit a "more" and a *LESS*
---------------------------------------------------
http://shakespeareauthorship.com/fuller.html
Thomas Fuller on Shakespeare
from Worthies of Warwickshire (1662)
WILLIAM SHAKESPEARE was born at Stratford on Avon in
this county, in whom three eminent Poets may seem
in some sort to be compounded.
1. Martial in the Warlike sound of his Sur-name (whence
some may conjecture him of a Military extraction,)
Hasti-vibrans, or Shake-speare.
2. Ovid, the most naturall and witty of all Poets,
and hence it was that Queen Elizabeth, coming into
a Grammar-School, made this extemporary verse,
'Persius a Crab-staffe, Bawdy Martial,
Ovid a fine Wag.'
3. Plautus, who was an exact Comaedian, yet never any
Scholar, as our Shake-speare (if alive) would confess
himself. Adde to all these, that though his Genius
generally was jocular, and inclining him to festivity,
yet he could (when so disposed) be solemn and serious,
as appears by his Tragedies, so that Heraclitus himself
(I mean if secret and unseen) might afford to
smile at his Comedies, they w[E]re so me[R]ry,
and D[E]mocrit[U]s scarc[E] forbea[R] to sigh
[A]t his Tragedies they were so mournfull.
................................
___ <= 7 =>
. [E] r e s o m e
. [R] r y a n d D
. [E] m o c r i t
. [U] s s c a r c
. [E] f o r b e a
. [R] t o s i g h
. [A] t h i s
Tragedies they were so mournfull.
................................
He was an eminent instance of the truth of that Rule,
Poeta non fit, *SED* nascitur, one is not made, but born a
Poet. Indeed his Learning was very little, so that as
Cornish diamonds are not polished by any Lapidary, but
are pointed and smoothed even as they are taken out of
the Earth, so nature it self was all the art which was
used upon him.
Many were the wit-combates betwixt him and Ben Johnson,
which two I behold like a Spanish great Gallion and an
English man of War; Master Johnson (like the former) was
built far higher in Learning; Solid, but Slow in his
performances. Shake-spear, with the English-man of War,
lesser in bulk, but lighter in sailing, could turn with
all tides, tack about and take advantage of all winds,
by the quickness of his Wit and Invention. He died
Anno Domini 16 . ., and was buried at Stratford upon
Avon, the Town of his Nativity.
-----------------------------------------------
. HEERE LYETH YE BODY OF IOHN HALL
. GENT: HEE MARR: SVSANNA, YE DAUGH & coheire
. TER, OF WILL: SHAKESPEARE, GENT. HEE
. DECEASED NOVER: 25. AO . 1635, AGED 60.
.
[H]allius hic situs est medica celeberrimus arte;
[E]xpectans regni Gaudia laeta Dei;
[D]ignus erat meritis, qui nestora vinceret annis;
[I]n terris omnes, *SED* rapit aequa dies.
[N]e tumulo, QUId dESIT ADEST fidessima coniux,
. Et vitae comitem nunc quoque mortis habet.
-------------------------------------------------------
<< *HEDING-HAM* : one of the properties by Oxford's reckoning
was to produce the £500 to 600 for his [3] DAUGHTERS' upkeep.
In December 1591 the Earl made it over to Burghley in trust for
his daughters. At the same time he authorized the dismantling
of part of the castle and many outbuildings.>> - Ogburn p.721
------------------------------------------------------------
"The marke of William Slye": (p. 80 Playhouse Wills 1558-1642,
edited by E. A. J. Honigmann and Susan Brock)
{anagram}
"W. CHRISTOPHER SLYE"
_____ [C]
. H. W R I [O] T H E S L E Y
_____ [R]
_____ [P]
_____ [S]
. *CORPS* , n. [F., fr. L. corpus body.]
. The human body, whether living or dead.
....................................................
"By what CRAFT in my *CORPS* , it cometh and where."
--Piers Plowman.
---------------------------------
Curiosities of Literature
by Isaac D’Israeli (1766-1848)
http://tinyurl.com/283jqjs
.......................................
Fuller, in his “Worthies of England.”
On SHAKESPEARE.—
“He was an eminent instance of the TRUTH of that rule,
*POETA NON FIT, *SED* NASCITUR* ;
one is not made, but born a poet.
Indeed his learning was but very little; so that as Cornish diamonds
are not polished by any lapidary, but are pointed and smoothed,
even as they are taken out of the earth,
so Nature itself was all the art which was used upon him.
“Many were the wit-combats betwixt him and Ben Jonson, which two I
behold like a Spanish great galleon, and an English man-of-war. Master
Jonson, (like the former) was built far higher in learning; solid, but
slow in his performances. Shakspeare, with an English man-of-war,
lesser in bulk but lighter in sailing, could turn with all tides, and
take advantage of all winds, by the quickness of his wit and
invention.”
Had these “Wit-combats” between Shakspeare and Jonson, which Fuller
notices, been chronicled by some faithful Boswell of the age, our
literary history would have received an interesting accession. A
letter has been published by Dr. Berkenhout relating to an evening’s
conversation between our great rival bards, and Alleyn the actor.
Peele, a dramatic poet, writes to his friend Marlowe, another poet.
The Doctor unfortunately in giving this copy
did not recollect his authority.
“FRIEND MARLOW,
“I never longed for thy companye more than last night: we were all
very merrye at the Globe, where Ned Alleyn did not scruple to affirme
pleasantly to thy friend WILL, that he had stolen his speeche about
the qualities of an actor’s excellencye in Hamlet his Tragedye,
from conversations manyfold which had passed between them,
and opinyons given by Alleyn touchinge this subject.
SHAKSPEARE did not take this talk in good sorte;
but JONSON put an end to the strife, by wittylie remarking,
— this affaire needeth no contention: *you stole it from NED* ,
no doubt, do not marvel; have you not seen him
act times out of number?”
This letter is not genuine, but one of those ingenious forgeries which
the late George Steevens practised on the literary antiquary; they
were not always of this innocent cast. It has been frequently quoted
as an original document. I have preserved it as an example of
Literary Forgeries, and the danger which literary historians
incur by such nefarious practices.
--------------------------------------
*Poeta Fit, Non Nascitur* - Lewis Carroll
"How shall I be a poet?
How shall I write in rhyme?
You told me once 'the very wish
Partook of the sublime.'
Then tell me how! Don't put me off
With your 'another time'!"
The old man smiled to see him,
To hear his sudden sally;
He liked the lad to speak his mind
Enthusiastically;
And thought "There's no hum-drum in him,
Nor any shilly-shally."
"And would you be a poet
Before you've been to school?
Ah, well! I hardly thought you
So absolute a fool.
First learn to be spasmodic -
A very simple rule.
"For first you write a sentence,
And then you chop it small;
Then mix the bits, and sort them out
Just as they chance to fall:
The order of the phrases makes
No difference at all.
'Then, if you'd be impressive,
Remember what I say,
That abstract qualities begin
With capitals alway:
The True, the Good, the Beautiful -
Those are the things that pay!
"Next, when you are describing
A shape, or sound, or tint;
Don't state the matter plainly,
But put it in a hint;
And learn to look at all things
With a sort of mental squint."
"For instance, if I wished, Sir,
Of mutton-pies to tell,
Should I say 'dreams of fleecy flocks
Pent in a wheaten cell'?"
"Why, yes," the old man said: "that phrase
Would answer very well.
"Then fourthly, there are epithets
That suit with any word -
As well as Harvey's Reading Sauce
With fish, or flesh, or bird -
Of these, 'wild,' 'lonely,' 'weary,' 'strange,'
Are much to be preferred."
"And will it do, O will it do
To take them in a lump -
As 'the wild man went his weary way
To a strange and lonely pump'?"
"Nay, nay! You must not hastily
To such conclusions jump.
"Such epithets, like pepper,
Give zest to what you write;
And, if you strew them sparely,
They whet the appetite:
But if you lay them on too thick,
You spoil the matter quite!
"Last, as to the arrangement:
Your reader, you should show him,
Must take what information he
Can get, and look for no im-
mature disclosure of the drift
And purpose of your poem.
"Therefore, to test his patience -
How much he can endure -
Mention no places, names, or dates,
And evermore be sure
Throughout the poem to be found
Consistently obscure.
"First fix upon the limit
To which it shall extend:
Then fill it up with 'Padding'
(Beg some of any friend):
Your great SENSATION-STANZA
You place towards the end."
"And what is a Sensation,
Grandfather, tell me, pray?
I think I never heard the word
So used before to-day:
Be kind enough to mention one
'Exempli gratia.'"
And the old man, looking sadly
Across the garden-lawn,
Where here and there a dew-drop
Yet glittered in the dawn,
Said "Go to the Adelphi,
And see the 'Colleen Bawn.'
'The word is due to Boucicault -
The theory is his,
Where Life becomes a Spasm,
And History a Whiz:
If that is not Sensation,
I don't know what it is.
"Now try your hand, ere Fancy
Have lost its present glow--"
"A[N]d then," his grandson added,
"We'll publish it, you kn[O]w:
Green cloth--gold-lettered at the back -
In duode[C]imo!"
Then proudly smiled that old man
To see the e[A]ger lad
Rush madly for his pen and ink
And for his [B]lotting-pad -
But, when he thought of PUBLISHING,
His face grew stern and sad.
-----------------------------
Nowtr_- -y- yourhandereFancyHavelostitspresent
glowA-- [N] dthenhisgrandsonaddedWellpublishit
youkn-- [O] wGreenclothgoldletteredatthebackIn
duode [C] imoThenproudlysmiledthatoldmanTose
ethee_- [A] gerladRushmadlyforhispenandinkAndf
orhis__ [B] lottingpadButwhenhethoughtofPUBLIS
HING_- *Hisface* grewsternandsad
-----------------------------------------
Art Neuendorffer
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