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Art Neuendorffer
Oct 22, 2004, 12:29:04 AM10/22/04
to
_THIS STAR OF
ENGLAND_ Chap. 8
http://www.sourcetext.com/sourcebook/Star/ch08.html
by Dorothy & Charlton Ogburn
.
<<IN JANUARY 7, 1575, Lord Oxford set forth with his retinue,
consisting, as Burghley noted in his diary, of "two gentlemen, two
http://www.sourcetext.com/sourcebook/Star/ch08.html
by Dorothy & Charlton Ogburn
.
<<IN JANUARY 7, 1575, Lord Oxford set forth with his retinue,
consisting, as Burghley noted in his diary, of "two gentlemen, two
grooms, one payend, a harbinger, a housekeeper & a
trenchman."
.
Before the end of May the traveller reached Venice, where he
declined a generous offer on the part of [titular Grand Prior]
Sir RICHARD SHELLEY of a furnished house, to continue his journey.>>
------------------------------------------------------------------
Grand Prior Richard SHELLEY
------------------------------------------------------------------
THE KNIGHTS OF SAINT JOHN
.
Before the end of May the traveller reached Venice, where he
declined a generous offer on the part of [titular Grand Prior]
Sir RICHARD SHELLEY of a furnished house, to continue his journey.>>
------------------------------------------------------------------
Grand Prior Richard SHELLEY
------------------------------------------------------------------
THE KNIGHTS OF SAINT JOHN
IN ENGLAND, SCOTLAND AND
IRELAND
http://www.saintjohn.org/priory.htm
http://www.saintjohn.org/priory.htm
<<By 1567 the only English knights remaining on Malta were
the
titular Grand Prior RICHARD SHELLEY (who was an active participant
in several plots against Elizabeth) and Oliver Starkey (commander
of Quenington), later titular Bailiff of Egle (from 1569).>>
titular Grand Prior RICHARD SHELLEY (who was an active participant
in several plots against Elizabeth) and Oliver Starkey (commander
of Quenington), later titular Bailiff of Egle (from 1569).>>
[JOHN Shakspere was Bailiff of Stratford (from 1568).]
<<Starkey, who had been La Valette's Latin
Secretary
and was the only Englishman at the Great Siege,
died in 1588 and SHELLEY in 1590, when
a French knight was appointed to the titular Grand Priory.
and was the only Englishman at the Great Siege,
died in 1588 and SHELLEY in 1590, when
a French knight was appointed to the titular Grand Priory.
This appointment was challenged by an Irish knight
resident
in the convent, one *ANDREW WISE* from Waterford who, after
complaining, was appointed Bailiff of Egle but, still unsatisfied,
appealed to the Pope. In 1593 Wise was appointed titular Grand Prior,
a dignity he held until his death in 1631. From thenceforth the
offices of Grand Prior of England, Turcopilier, Bailiff of Egle and
Prior or Grand Prior of Ireland became honorifics given to knights
whom the Grand Master and Council wished to honor with
in the convent, one *ANDREW WISE* from Waterford who, after
complaining, was appointed Bailiff of Egle but, still unsatisfied,
appealed to the Pope. In 1593 Wise was appointed titular Grand Prior,
a dignity he held until his death in 1631. From thenceforth the
offices of Grand Prior of England, Turcopilier, Bailiff of Egle and
Prior or Grand Prior of Ireland became honorifics given to knights
whom the Grand Master and Council wished to honor with
the grand cross and membership of the
Chapter-General.>>
-------------------------------------------------------------------
*ANDREW WISE* - Grand Prior 1593-1631
--------------------------------------------------------------------
<<Whenever a town was founded a round hole would first be dug.
In the bottom of it a stone, LAPIS manalis, which represented
a gate to the Underworld, would then be embedded.
-------------------------------------------------------------------
*ANDREW WISE* - Grand Prior 1593-1631
--------------------------------------------------------------------
<<Whenever a town was founded a round hole would first be dug.
In the bottom of it a stone, LAPIS manalis, which represented
a gate to the Underworld, would then be embedded.
On August
23rd,
this stone would be removed to permit the Manes to pass through.>>
--------------------------------------------------------------------
August 23, 1600, Shakespeare's Name 1st appears in Stationer's Register
when *ANDREW WYSE* enters "II Henry IV" and "Much Ado About Nothing".
this stone would be removed to permit the Manes to pass through.>>
--------------------------------------------------------------------
August 23, 1600, Shakespeare's Name 1st appears in Stationer's Register
when *ANDREW WYSE* enters "II Henry IV" and "Much Ado About Nothing".
II Henry IV Act 4, Scene 1
ARCHBISHOP OF YORK To Scotland: and concludes in hearty
prayers
That your attempts may *OVERLIVE the HAZARD*
------------------------------------------------------------------
*OliVER HAZARD* Perry
That your attempts may *OVERLIVE the HAZARD*
------------------------------------------------------------------
*OliVER HAZARD* Perry
August 23,
1785 b. South Kingstown, RI,
August 23, 1819 d. Orinoco River, Venezuela,
-------------------------------------------------------------------
Julius Caesar Act 5, Scene 1
August 23, 1819 d. Orinoco River, Venezuela,
-------------------------------------------------------------------
Julius Caesar Act 5, Scene 1
CASSIUS: Why, now, blow wind, swell billow and swim
bark!
THE STORM IS UP, and ALL IS ON the HAZARD.
------------------------------------------------------------------
http://fly.hiwaay.net/~paul/cryptology/history.html
THE STORM IS UP, and ALL IS ON the HAZARD.
------------------------------------------------------------------
http://fly.hiwaay.net/~paul/cryptology/history.html
Geoffrey Chaucer is considered "the outstanding English
poet before
Shakespeare and 'the first finder of our language' " (@ Britannica 3:
141). In The Equatorie of the Planetis, a supplement to his 1391
Treatise on the Astrolabe, Chaucer included six passages written in
cipher. The cipher system consists of a substitution alphabet of
symbols. The solution to the cryptogram is:
Shakespeare and 'the first finder of our language' " (@ Britannica 3:
141). In The Equatorie of the Planetis, a supplement to his 1391
Treatise on the Astrolabe, Chaucer included six passages written in
cipher. The cipher system consists of a substitution alphabet of
symbols. The solution to the cryptogram is:
"This table servith for to entre in to the
table
of equacion of the mone on either side."
of equacion of the mone on either side."
The popularity of cryptology was not limited to those who used
it for
military and diplomatic intelligence. The increasing popularity of
cryptology in the 16th and 17th centuries is clearly attested to by the
proliferation of books on the subject. So much was published that Duke
August of Brunswick, author of the encyclopedic Cryptomenytices et
Cryptographiae Libri IX, "had managed by 1622 to accumulate and analyze
almost two hundred books on the subject of cryptology" (@ Strasser 51).
In the preface of Cryptomenytices, he listed 187 authors of
cryptographic works.
Many books on cryptography were published prior to the 1609 first
edition of Shake-speares Sonnets. A few of the more popular and
important cryptographic works are listed below (indicating only dates
prior to 1609):
military and diplomatic intelligence. The increasing popularity of
cryptology in the 16th and 17th centuries is clearly attested to by the
proliferation of books on the subject. So much was published that Duke
August of Brunswick, author of the encyclopedic Cryptomenytices et
Cryptographiae Libri IX, "had managed by 1622 to accumulate and analyze
almost two hundred books on the subject of cryptology" (@ Strasser 51).
In the preface of Cryptomenytices, he listed 187 authors of
cryptographic works.
Many books on cryptography were published prior to the 1609 first
edition of Shake-speares Sonnets. A few of the more popular and
important cryptographic works are listed below (indicating only dates
prior to 1609):
1470 Leone BATTISTA Alberti's
Trattati in cifra was published in Rome.
Alberti dealt "especially with theories and processes of cipherment,
methods of decipherment, and statistical data" (@ Galland 3).
Alberti dealt "especially with theories and processes of cipherment,
methods of decipherment, and statistical data" (@ Galland 3).
1518 Johannis Trithemius wrote
(but did not publish) his Steganographia,
which "circulated in manuscript for a hundred years, being copied by
many persons eager to suck out the secrets that it was thought to hold"
1518 Trithemius' Polygraphiae libri sex, which included his tabula
recta Caesar substitution tableau, was published (though there is some
disagreement on the first edition date [Galland 183]). It was reprinted
in 1550, '64, '71, and 1600.
which "circulated in manuscript for a hundred years, being copied by
many persons eager to suck out the secrets that it was thought to hold"
1518 Trithemius' Polygraphiae libri sex, which included his tabula
recta Caesar substitution tableau, was published (though there is some
disagreement on the first edition date [Galland 183]). It was reprinted
in 1550, '64, '71, and 1600.
1526 Jacopo Silvestri's Opus novum ... principibus maxime
vtilissimum
pro cipharis was published. The work discussed six cipher methods,
including the Caesar cipher, for which he recommended the use of a
cipher disc. Opus novum was written as a practical manual and "was
clearly intended to reach a wide circle of readers" (@ Arnold 102).
pro cipharis was published. The work discussed six cipher methods,
including the Caesar cipher, for which he recommended the use of a
cipher disc. Opus novum was written as a practical manual and "was
clearly intended to reach a wide circle of readers" (@ Arnold 102).
1540 GIOVANNI
BATTISTA Palatino published his
Libro nvova d'imparare a
scrivere ... Con vn breue et vtile trattato de le cifere. It was
reprinted in 1545, '47, '48, '50, '53, '56, '61, '66, '78, and 1588. A
revised version was printed in 1566, '78, and '88.
scrivere ... Con vn breue et vtile trattato de le cifere. It was
reprinted in 1545, '47, '48, '50, '53, '56, '61, '66, '78, and 1588. A
revised version was printed in 1566, '78, and '88.
1550 Girolamo Cardano's De subtilitate libri XXI was published.
"This
famous work of a noted mathematician, physicist and philosopher
contain[ed] ... a considerable amount of information concerning
processes of cipherment" (@ Galland 34). It was reprinted in 1551, '54
{x2}, '59, '60 {x2}, '80, and '82.
famous work of a noted mathematician, physicist and philosopher
contain[ed] ... a considerable amount of information concerning
processes of cipherment" (@ Galland 34). It was reprinted in 1551, '54
{x2}, '59, '60 {x2}, '80, and '82.
1553 GIOVANNI
BATTISTA Bellaso's La cifra del was
published.
It "stress[ed] especially processes of cipherment" (21)
and was corrected and reprinted in 1557 and 1564.
1556 Cardano published De rerum varietate libri XVII, which
contained
cryptographic information and was a follow-up to his popular De
Subtilitate. Both books were "translated and pirated by printers
throughout Europe" (@ Kahn 144). De rerum was reprinted
cryptographic information and was a follow-up to his popular De
Subtilitate. Both books were "translated and pirated by printers
throughout Europe" (@ Kahn 144). De rerum was reprinted
in 1557, '58, '80, and '81.
-----------------------------------------------------------------
THOMAS TRESHAM 1557-1559
RICHARD SHELLEY 1557-1590
-----------------------------------------------------------------
THOMAS TRESHAM 1557-1559
RICHARD SHELLEY 1557-1590
Francis
Astorg
de Segreville 1591-1593
de Segreville 1591-1593
ANDREW
WYSE
1593-1631
Cesare
Ferretti
1612
GIOVANNI BATTISTA Nari 1631-1639
---------------------------------------------------------------------
http://www.kfki.hu/~arthp/html/c/caravagg/10/65lazar.html
http://www.thais.it/speciali/Caravaggio/vita_1_Sicilia.htm
GIOVANNI BATTISTA Nari 1631-1639
---------------------------------------------------------------------
http://www.kfki.hu/~arthp/html/c/caravagg/10/65lazar.html
http://www.thais.it/speciali/Caravaggio/vita_1_Sicilia.htm
The Raising of Lazarus
1608-09
Oil on canvas, 380 x 275 cm
Museo Nazionale, Messina
Oil on canvas, 380 x 275 cm
Museo Nazionale, Messina
<<A rich Genoese merchant in Messina, GIOVANNI BATTISTA de' Lazzari
asked Caravaggio to paint an altar- piece with the Madonna and
the saints. Caravaggio proposed the Resurrection of Lazarus in
honour of his name. According to SUSinno, an earlier version of the work
had been destroyed due to some criticism:" Michelangelo, with his usual
impatience, attacked the painting with the dagger he always carried
leaving it in shreds." The dagger reappeared whilst he was working on
the second canvas, brandished by Caravaggio to convince the "porters"
asked Caravaggio to paint an altar- piece with the Madonna and
the saints. Caravaggio proposed the Resurrection of Lazarus in
honour of his name. According to SUSinno, an earlier version of the work
had been destroyed due to some criticism:" Michelangelo, with his usual
impatience, attacked the painting with the dagger he always carried
leaving it in shreds." The dagger reappeared whilst he was working on
the second canvas, brandished by Caravaggio to convince the "porters"
to continue to carry Lazarus, who in the love of realism, was an
unburied
body "already smelling after some days". Lazarus had not, however,
obeyed the peremptory sign of Christ and seems unwilling to return to
life with one hand raised towards a skull (death as a consequence
of the original sin) and the other towards the Saviour.>>
-----------------------------------------------------------------------
September 8 => Feastday of St. ADRIAN (patron saint of butchers)
-----------------------------------------------------------------------
September 8, 1560, Amy Robsart BREAKS neck at bottom of staircase
body "already smelling after some days". Lazarus had not, however,
obeyed the peremptory sign of Christ and seems unwilling to return to
life with one hand raised towards a skull (death as a consequence
of the original sin) and the other towards the Saviour.>>
-----------------------------------------------------------------------
September 8 => Feastday of St. ADRIAN (patron saint of butchers)
-----------------------------------------------------------------------
September 8, 1560, Amy Robsart BREAKS neck at bottom of staircase
September 8,
1573, Caravaggio born
September 8, 1601,
Shakespeare's father, JOHN,
buried
September 8, 1608, Shakespeare's mother, Mary, dies
September 8, 1611, FORMAN SIMon dies: "An IMPOST, an IMPOST"
------------------------------------------------------------------
http://fly.hiwaay.net/~paul/cryptology/history.html
September 8, 1608, Shakespeare's mother, Mary, dies
September 8, 1611, FORMAN SIMon dies: "An IMPOST, an IMPOST"
------------------------------------------------------------------
http://fly.hiwaay.net/~paul/cryptology/history.html
1558 Ioan BAPTISTA Porta's Magiae natvralis libri XX, in which Book
XVI
treats deciphering, was published. It was reprinted in 1560, '61 {x2},
'62, '64, '67, '76, '85, '91, '97, and 1607. An anonymous French
translation was printed in 1565, '67, '70, '71, and '84.
treats deciphering, was published. It was reprinted in 1560, '61 {x2},
'62, '64, '67, '76, '85, '91, '97, and 1607. An anonymous French
translation was printed in 1565, '67, '70, '71, and '84.
1563 Ioan BAPTISTA Porta's De fvrtivis literarvm notis, vvlgo
de
ziferis Libri IIII was published; it appeared in the same year
translated into English under the title On secret notations for letters,
commonly called ciphers. "Its four books, dealing respectively with
ancient ciphers, modern ciphers, cryptanalysis, and a list of linguistic
peculiarities that will help in solution, encompassed the cryptologic
knowledge of the time" (138). A working set of rococo cipher discs was
packaged with it. The work was reprinted in 1591, '93, 1602 {x2}, '03,
and '06.
----------------------------------------------------------
The Taming of the Shrew Act 4, Scene 4
ziferis Libri IIII was published; it appeared in the same year
translated into English under the title On secret notations for letters,
commonly called ciphers. "Its four books, dealing respectively with
ancient ciphers, modern ciphers, cryptanalysis, and a list of linguistic
peculiarities that will help in solution, encompassed the cryptologic
knowledge of the time" (138). A working set of rococo cipher discs was
packaged with it. The work was reprinted in 1591, '93, 1602 {x2}, '03,
and '06.
----------------------------------------------------------
The Taming of the Shrew Act 4, Scene 4
Pedant: Ay, what else? and but I be
deceived
Signior BAPTISTA may remember me,
Near twenty years ago, in Genoa,
Where we were LODGERS at the Pegasus.
----------------------------------------------------------
"The Case for Oxford";
Tom Bethel, (The Atlantic Monthly; October, 1991;
Signior BAPTISTA may remember me,
Near twenty years ago, in Genoa,
Where we were LODGERS at the Pegasus.
----------------------------------------------------------
"The Case for Oxford";
Tom Bethel, (The Atlantic Monthly; October, 1991;
"When Edward de Vere set off for France in January of 1575,
he was accompanied by "two gentlemen, two grooms, one
payend, a harbinger, a housekeeper, and a trencherman,"
Lord Burghley noted for his records."
he was accompanied by "two gentlemen, two grooms, one
payend, a harbinger, a housekeeper, and a trencherman,"
Lord Burghley noted for his records."
"Oxford and party stayed six weeks or more in Paris and were
introduced to the French King, Henry III. It is possible that at
this time Oxford met Henry of Navarre (King of France 1589-1610),
whose brother-in-law, the Duke of Alencon, was then being
considered as a husband for Queen Elizabeth. Henry of Navarre and
Oxford were about the same age, and in many respects Henry seems
to have been a man after Oxford's own heart. We know, in any
event, that Oxford later kept in touch with the French
ambassador in London; and we know that Shakespeare was
familiar with some details of the Navarre court in 1578
(described in Love's Labours Lost)."
introduced to the French King, Henry III. It is possible that at
this time Oxford met Henry of Navarre (King of France 1589-1610),
whose brother-in-law, the Duke of Alencon, was then being
considered as a husband for Queen Elizabeth. Henry of Navarre and
Oxford were about the same age, and in many respects Henry seems
to have been a man after Oxford's own heart. We know, in any
event, that Oxford later kept in touch with the French
ambassador in London; and we know that Shakespeare was
familiar with some details of the Navarre court in 1578
(described in Love's Labours Lost)."
"Oxford went to Strasbourg, and thence to Italy, arriving in Padua
in May. "For fear of the Inquisition I dare not pass by Milan, the
Bishop whereof exerciseth such tyranny," he wrote to Burghley.
From Padua he traveled to Genoa, later returning to Padua. In
September he was in Venice. Here he borrowed 500 crowns from
one BAPTISTA Nigrone; then in December he received
a further remittance through a Pasquino SPINOLA.
in May. "For fear of the Inquisition I dare not pass by Milan, the
Bishop whereof exerciseth such tyranny," he wrote to Burghley.
From Padua he traveled to Genoa, later returning to Padua. In
September he was in Venice. Here he borrowed 500 crowns from
one BAPTISTA Nigrone; then in December he received
a further remittance through a Pasquino SPINOLA.
In The Taming of the Shrew the rich gentleman of Padua
whose shrewish daughter Petruchio will tame is called
BAPTISTA Minola, and his "crowns" are repeatedly mentioned."
whose shrewish daughter Petruchio will tame is called
BAPTISTA Minola, and his "crowns" are repeatedly mentioned."
"Oxford then traveled to Florence & Siena. He was also reported
to have been in Sicily, "a famous man of chivalry," who challenged
all comers to a contest with "all manner of weapons." In a book
published in Naples in 1699 he was described as participating in a
mock tournament staged by the Commedia dell' Arte; the account
implied that he was a familiar figure at these performances. In
1936 George Lyman Kittredge, of Harvard, pointed out that "the
influence of the Italian commedia dell' arte is visible
throughout" Love's Labour's Lost. "Several of the figures
correspond to standard figures of the Italian convention....">>
---------------------------------------------------------------
Symphonic Shakespeare By Paul Schuyler Phillips
http://buweb.univ-angers.fr/EXTRANET/AnthonyBURGESS/NL2Symphonic.html
to have been in Sicily, "a famous man of chivalry," who challenged
all comers to a contest with "all manner of weapons." In a book
published in Naples in 1699 he was described as participating in a
mock tournament staged by the Commedia dell' Arte; the account
implied that he was a familiar figure at these performances. In
1936 George Lyman Kittredge, of Harvard, pointed out that "the
influence of the Italian commedia dell' arte is visible
throughout" Love's Labour's Lost. "Several of the figures
correspond to standard figures of the Italian convention....">>
---------------------------------------------------------------
Symphonic Shakespeare By Paul Schuyler Phillips
http://buweb.univ-angers.fr/EXTRANET/AnthonyBURGESS/NL2Symphonic.html
"In Shakespeare's Love's Labour's Lost, the pedant Holofernes has a
very
interesting speech, in which he praises the old poet Mantuan, quotes a
line from him, sings a snatch of Italian song - "Venezia, Venezia,
chi non ti vede non ti prezia" - and also warbles the notes do re sol
la mi fa. Holofernes' brief speech is a rumination that occurs while
the parson Sir Nathaniel peruses a letter just handed to him by the
illiterate dairymaid Jaquenetta. As Nathaniel silently studies the
missive, which turns out to be a love letter from Berowne to Rosaline,
Holofernes pretentiously prates on before asking the curate to inform
him of the contents of the letter. Holofernes, a self-important bore
based on the commedia dell-arte figure of the Pedant (and possibly named
for Gangantua's tutor in Rabelais), incessantly fills his longwinded
utterances with strings of redundant synonyms and snatches of Latin and
Italian, impressing only the curate Nathaniel, whose pretensions to
erudition are even more ludicrous than the schoolmaster's.
interesting speech, in which he praises the old poet Mantuan, quotes a
line from him, sings a snatch of Italian song - "Venezia, Venezia,
chi non ti vede non ti prezia" - and also warbles the notes do re sol
la mi fa. Holofernes' brief speech is a rumination that occurs while
the parson Sir Nathaniel peruses a letter just handed to him by the
illiterate dairymaid Jaquenetta. As Nathaniel silently studies the
missive, which turns out to be a love letter from Berowne to Rosaline,
Holofernes pretentiously prates on before asking the curate to inform
him of the contents of the letter. Holofernes, a self-important bore
based on the commedia dell-arte figure of the Pedant (and possibly named
for Gangantua's tutor in Rabelais), incessantly fills his longwinded
utterances with strings of redundant synonyms and snatches of Latin and
Italian, impressing only the curate Nathaniel, whose pretensions to
erudition are even more ludicrous than the schoolmaster's.
In these lines, Holofernes quotes in three Italianate languages -
Latin,
Italian, and musical solfeggio. He begins with the opening line of the
first eclogue by Mantuan: "Fauste, precor, gelida quando pecus omne sub
umbra ruminat," which George Turbervile's 1567 translation rendered as,
"Friend Faustus, pray thee, since our flock in shade and pleasaunt vale
doth chewe the cudde."
Italian, and musical solfeggio. He begins with the opening line of the
first eclogue by Mantuan: "Fauste, precor, gelida quando pecus omne sub
umbra ruminat," which George Turbervile's 1567 translation rendered as,
"Friend Faustus, pray thee, since our flock in shade and pleasaunt vale
doth chewe the cudde."
Variously known as BAPTISTA Spagnolo, BATTISTA Spagnoli,
BATTISTA Spagnuoli, BAPTISTA Mantuanus, and Mantuanus,
Mantuan was a poet and Carmelite monk who lived from 1448-1516.
[Like Vergil, BAPTISTA Spagnolo was a native of Mantua.
BATTISTA Spagnuoli, BAPTISTA Mantuanus, and Mantuanus,
Mantuan was a poet and Carmelite monk who lived from 1448-1516.
[Like Vergil, BAPTISTA Spagnolo was a native of Mantua.
Because Vergil was known in medieval times as The
Mantuan,
confusion between these two Latin poets has sometimes arisen,
compounded by the fact that Vergil and Mantuan each wrote
ten eclogues that are in both cases among their best known writings.
During his lifetime, Mantuan was indeed hailed as a "Second Vergil".]
He was a respected philosopher and orator, a noted theologian
learned in Latin, Greek and Hebrew, and an extraordinarily prolific poet
said to have published more than 55,000 verses! His eclogues (pastoral
poems often in dialogue form), modeled on those of Vergil and Petrarch,
were first published in 1498 and used as a Latin textbook in Italy,
France, Germany and England for nearly two hundred years thereafter.
confusion between these two Latin poets has sometimes arisen,
compounded by the fact that Vergil and Mantuan each wrote
ten eclogues that are in both cases among their best known writings.
During his lifetime, Mantuan was indeed hailed as a "Second Vergil".]
He was a respected philosopher and orator, a noted theologian
learned in Latin, Greek and Hebrew, and an extraordinarily prolific poet
said to have published more than 55,000 verses! His eclogues (pastoral
poems often in dialogue form), modeled on those of Vergil and Petrarch,
were first published in 1498 and used as a Latin textbook in Italy,
France, Germany and England for nearly two hundred years thereafter.
Holofernes then addresses an apostrophe to the poet he has just
quoted:
"Ah! good old Mantuan. I may speak of thee as the traveller doth of
Venice: "Venetia, Venetia, chi non ti vede non ti pretia." The Italian
quotation is the first part of a familiar adage "Venetia, chi non ti
vede non ti pretia, ma chi ti vede ben gli costa." This proverb
appeared in Firste Fruites (1578) and Second Frutes (1591), books by
JOHN Florio which were popular bilingual texts for teaching Italian to
Englishmen and English to Italians. Florio's books included popular
phrases contained within dialogues about everyday activities, similar to
many language textbooks today, and were regarded as combined manuals of
polite conversation, handbooks for self-improvement, and digests of
popular journalism. Florio, the son of an Italian emigrant to London was
secretary to the Earl of Southampton, and tutor to Prince Henry, the son
of James I. William Warburton proposed in 1747 that Florio may have been
the prototype for the character of Holofernes. After quoting the
beginning of the epigram, Holofernes goes on to complete his thought:
"Old Mantuan! Old Mantuan! Who understandeth thee not, loves thee not."
"Ah! good old Mantuan. I may speak of thee as the traveller doth of
Venice: "Venetia, Venetia, chi non ti vede non ti pretia." The Italian
quotation is the first part of a familiar adage "Venetia, chi non ti
vede non ti pretia, ma chi ti vede ben gli costa." This proverb
appeared in Firste Fruites (1578) and Second Frutes (1591), books by
JOHN Florio which were popular bilingual texts for teaching Italian to
Englishmen and English to Italians. Florio's books included popular
phrases contained within dialogues about everyday activities, similar to
many language textbooks today, and were regarded as combined manuals of
polite conversation, handbooks for self-improvement, and digests of
popular journalism. Florio, the son of an Italian emigrant to London was
secretary to the Earl of Southampton, and tutor to Prince Henry, the son
of James I. William Warburton proposed in 1747 that Florio may have been
the prototype for the character of Holofernes. After quoting the
beginning of the epigram, Holofernes goes on to complete his thought:
"Old Mantuan! Old Mantuan! Who understandeth thee not, loves thee not."
With his next utterance, "Ut, re, sol, la, mi, fa" (which, according
to
a stage direction, he sings), Holofernes displays his learning once
more, this time with solfeggio. In Shakespeare's day, the instruction
of children in singing was of prime importance, and a schoolmaster like
Holofernes would likely have been a singing master as well. Initially
the line seems not to refer to Mantuan, but it does, obliquely. The use
of solfeggio syllables originated early in the eleventh century, when
Guido d'Arezzo noted that each phrase of the hymn Ut queant laxis began
on a successively higher tone of the scale, beginning with Ut on C:
a stage direction, he sings), Holofernes displays his learning once
more, this time with solfeggio. In Shakespeare's day, the instruction
of children in singing was of prime importance, and a schoolmaster like
Holofernes would likely have been a singing master as well. Initially
the line seems not to refer to Mantuan, but it does, obliquely. The use
of solfeggio syllables originated early in the eleventh century, when
Guido d'Arezzo noted that each phrase of the hymn Ut queant laxis began
on a successively higher tone of the scale, beginning with Ut on C:
UT queant
laxis
REsonare fibris,
MIra gestorum
FAmuli tuorum:
SOLve polluti,
LAbii reatum,
Sancte JOHANNES.
REsonare fibris,
MIra gestorum
FAmuli tuorum:
SOLve polluti,
LAbii reatum,
Sancte JOHANNES.
The hymn, attributed to Paul the Deacon (774), celebrates the
Nativity
of St. JOHN the Baptist (June 24), wherein lies the connection with
Mantuan. The poet's full name was JOHANNES BAPTISTA Spagnolo;
the solfeggio syllables, even out of order, refer back
to this important hymn for the saint whose name Mantuan bore.
of St. JOHN the Baptist (June 24), wherein lies the connection with
Mantuan. The poet's full name was JOHANNES BAPTISTA Spagnolo;
the solfeggio syllables, even out of order, refer back
to this important hymn for the saint whose name Mantuan bore.
That Shakespeare intended this pun there can be little doubt.
Linguistic complexity abounds in Love's Labour's Lost to
a
greater degree than in virtually any other play by Shakespeare,
with nearly every character continually engaging in his or
her own particular kind of wordplay.
greater degree than in virtually any other play by Shakespeare,
with nearly every character continually engaging in his or
her own particular kind of wordplay.
The sunny atmosphere of Love's Labour's Lost changes abruptly in Act
V
when the messenger Marcade arrives with the grim news that the King of
France has died. Marcade's entrance interrupts the pageant of the Nine
Worthies, a theatrical entertainment presented by Don Armado for King
Ferdinand and his court. Costard, Sir Nathaniel, Holofernes, Moth,
and Don Armado portray Pompey the Great, Alexander, Judas Maccabeus,
Hercules, and Hector of Troy, respectively, before the festivity is
halted by Marcade's appearance. The Princess, now Queen, announces that
she will return to France immediately with her entourage, causing the
separation of the ladies from their suitors.
when the messenger Marcade arrives with the grim news that the King of
France has died. Marcade's entrance interrupts the pageant of the Nine
Worthies, a theatrical entertainment presented by Don Armado for King
Ferdinand and his court. Costard, Sir Nathaniel, Holofernes, Moth,
and Don Armado portray Pompey the Great, Alexander, Judas Maccabeus,
Hercules, and Hector of Troy, respectively, before the festivity is
halted by Marcade's appearance. The Princess, now Queen, announces that
she will return to France immediately with her entourage, causing the
separation of the ladies from their suitors.
In conventional Elizabethan comedies, lovers marry
at the end of the play, but not in Love's Labour's Lost,
leading Berowne to grumble, "Our wooing doth not end like an old play:
Jack hath not Jill." For breaking their oaths, the suitors are
assigned year-long acts of penance by their ladies, who agree to
return in "a twelvemonth and a day,"to which Berowne retorts,
"That's too long for a play."
at the end of the play, but not in Love's Labour's Lost,
leading Berowne to grumble, "Our wooing doth not end like an old play:
Jack hath not Jill." For breaking their oaths, the suitors are
assigned year-long acts of penance by their ladies, who agree to
return in "a twelvemonth and a day,"to which Berowne retorts,
"That's too long for a play."
At this point, Don Armado proposes to King Ferdinand a resumption
of
their previous entertainment with two songs that "should have followed
in the end of our show." He asks the King to "hear the dialogue that the
two learned men have compiled in praise of the owl and the cuckoo." The
masque replaces the wedding ceremony as a way of bringing merriment and
closure to the play's conclusion. The songs, deceptively simple on the
surface, contain witty contradictions and multiple levels of meaning,
like so much of what has come before. Spring is a time of warmth, color,
and rejuvenation, as reflected in the list of brightly hued flowers
that "paint the meadows with delight": "daisies pied," "violets blue,"
"lady-smocks all silver-white", and "cuckoo buds of yellow hue."
It is a season of shepherds and farmers: the former "pipe on
oaten straws", the latter rise at dawn each day with the larks,
who "are ploughmen's clocks". To ready their warm weather clothing,
"maidens bleach their summer smocks."
their previous entertainment with two songs that "should have followed
in the end of our show." He asks the King to "hear the dialogue that the
two learned men have compiled in praise of the owl and the cuckoo." The
masque replaces the wedding ceremony as a way of bringing merriment and
closure to the play's conclusion. The songs, deceptively simple on the
surface, contain witty contradictions and multiple levels of meaning,
like so much of what has come before. Spring is a time of warmth, color,
and rejuvenation, as reflected in the list of brightly hued flowers
that "paint the meadows with delight": "daisies pied," "violets blue,"
"lady-smocks all silver-white", and "cuckoo buds of yellow hue."
It is a season of shepherds and farmers: the former "pipe on
oaten straws", the latter rise at dawn each day with the larks,
who "are ploughmen's clocks". To ready their warm weather clothing,
"maidens bleach their summer smocks."
But spring has its negative side. A season of life, it is also a time
of
sexual activity that "mocks married men." It is the season "when turtles
tread", i.e. when turtledoves (read "lovers") mate, and the cuckoo "on
every tree" sings his "word of fear": "cuckoo, cuckoo". Married men are
reminded of that fear not just by the sound of the cuckoo, but by the
flowers in the field: "cuckoo buds", "lady-smocks" (synonym for
cuckoo-flower), and "violets", since "blue had come in
the Middle Ages to symbolize infidelity, cuckoldry and folly."
sexual activity that "mocks married men." It is the season "when turtles
tread", i.e. when turtledoves (read "lovers") mate, and the cuckoo "on
every tree" sings his "word of fear": "cuckoo, cuckoo". Married men are
reminded of that fear not just by the sound of the cuckoo, but by the
flowers in the field: "cuckoo buds", "lady-smocks" (synonym for
cuckoo-flower), and "violets", since "blue had come in
the Middle Ages to symbolize infidelity, cuckoldry and folly."
Winter is the season of cold, discomfort, and illness, but also a
time
of merriment and wisdom. The song contains images of cold throughout the
first stanza: "icicles hang by the wall," "Dick the shepherd blows his
nail," (i.e., blows on his finger nails to warm his hands), "milk comes
frozen home in pail." The cold causes discomfort: "blood is nipp'd, and
ways be foul," while "Marian's nose looks red and raw." It also causes
illness which brings "coughing [that] drowns the parson's saw" (sermon).
In winter's fierce weather, "all aloud (i.e. extremely loudly)
the wind doth blow" and "birds sit brooding in the snow."
of merriment and wisdom. The song contains images of cold throughout the
first stanza: "icicles hang by the wall," "Dick the shepherd blows his
nail," (i.e., blows on his finger nails to warm his hands), "milk comes
frozen home in pail." The cold causes discomfort: "blood is nipp'd, and
ways be foul," while "Marian's nose looks red and raw." It also causes
illness which brings "coughing [that] drowns the parson's saw" (sermon).
In winter's fierce weather, "all aloud (i.e. extremely loudly)
the wind doth blow" and "birds sit brooding in the snow."
Yet winter has a positive side which inversely mirrors the
negative
aspect of spring. Fire brings warmth and the pleasure of hot food.
To deliver fuel for the fire, "Tom bears logs into the hall." Mouths
water "when roasted crabs (crab-apples) hiss in the bowl" and hot
liquids cook properly "while greasy Joan doth keel the pot" (i.e.
cool by stirring or some other method to keep from boiling over).
Winter nights are serenaded by "the staring owl", a symbol of
wisdom who sounds "a merry note," with sexual punning on
"Tu-who" ("To who?") and "Tu-whit" ("To wit!").
aspect of spring. Fire brings warmth and the pleasure of hot food.
To deliver fuel for the fire, "Tom bears logs into the hall." Mouths
water "when roasted crabs (crab-apples) hiss in the bowl" and hot
liquids cook properly "while greasy Joan doth keel the pot" (i.e.
cool by stirring or some other method to keep from boiling over).
Winter nights are serenaded by "the staring owl", a symbol of
wisdom who sounds "a merry note," with sexual punning on
"Tu-who" ("To who?") and "Tu-whit" ("To wit!").
The line that follows - "The words of Mercury are harsh after the
songs
of Apollo" - can be interpreted in two ways. "The words of Mercury"
can be taken to mean the "harsh" news of the French King's death as
delivered by the messenger Marcade, while "The songs of Apollo" refer
to the courtiers' sonnets of Act IV. The simpler and more convincing
explanation is based on the association of Mercury, messenger of the
gods, with sophistry, and of the Greek god Apollo with song. What Don
Armado seems to be saying is, "No more clever talk! After the sweet song
of Spring and Winter, speech would be discordant." The invocation of
Mercury and Apollo is Shakespeare's way of saying that there is no
of Apollo" - can be interpreted in two ways. "The words of Mercury"
can be taken to mean the "harsh" news of the French King's death as
delivered by the messenger Marcade, while "The songs of Apollo" refer
to the courtiers' sonnets of Act IV. The simpler and more convincing
explanation is based on the association of Mercury, messenger of the
gods, with sophistry, and of the Greek god Apollo with song. What Don
Armado seems to be saying is, "No more clever talk! After the sweet song
of Spring and Winter, speech would be discordant." The invocation of
Mercury and Apollo is Shakespeare's way of saying that there is no
need of further wordplay after song; in other words, the play is
ended.
The play's final line - "You that way. We this way." - also has
more
than one possible meaning. Don Armado could be addressing the members of
the audience, indicating that they exit in one direction, the actors in
another. He might also be addressing the Princess and her ladies, who
are about to leave for France "that way" while he and the King's
entourage go off "this way".>>
---------------------------------------------------------------------
http://www.lib.sfu.ca/proj/aldus.htm
than one possible meaning. Don Armado could be addressing the members of
the audience, indicating that they exit in one direction, the actors in
another. He might also be addressing the Princess and her ladies, who
are about to leave for France "that way" while he and the King's
entourage go off "this way".>>
---------------------------------------------------------------------
http://www.lib.sfu.ca/proj/aldus.htm
<<Aldus Pius Manutius was born in 1452 at Bassiano, a hilltown some
80
km south of Rome. Between 1467 and 1473 he was a student in the Faculty
of Arts in the University of Rome where he developed a passion for
Classics. In the late 1470's he attended the University of Ferrara,
where he studied Greek under the distinguished humanist and educator
BATTISTA Guarino (1435-1505). From 1480 he was employed
km south of Rome. Between 1467 and 1473 he was a student in the Faculty
of Arts in the University of Rome where he developed a passion for
Classics. In the late 1470's he attended the University of Ferrara,
where he studied Greek under the distinguished humanist and educator
BATTISTA Guarino (1435-1505). From 1480 he was employed
as tutor to the children of the Duke of Carpi, near Ferrara.
The graceful Anchor and Dolphin
design, perhaps the most famous of all
printer's marks or colophons, first appeared as an illustration in the
Hypnerotomachia Poliphili, the first edition of which was published in
December 1499. Aldus adopted the device as his printer's mark
printer's marks or colophons, first appeared as an illustration in the
Hypnerotomachia Poliphili, the first edition of which was published in
December 1499. Aldus adopted the device as his printer's mark
in January 1501 in the second volume of Poetae Christiani veteres,
and subsequently used it in at least 19 versions.
The Anchor and Dolphin emblem
is called an impresa, a form of pictorial
puzzle popular in renaissance Italy. The picture illustrates a motto,
in this case a saying of the emperor Augustus that Aldus knew from
Suetonius' biography and from the Noctes Atticae of Aulus Gellius:
puzzle popular in renaissance Italy. The picture illustrates a motto,
in this case a saying of the emperor Augustus that Aldus knew from
Suetonius' biography and from the Noctes Atticae of Aulus Gellius:
FESTINA LENTE, "MAKE HASTE SLOWLY."
The Anchor was symbolic
of slowness and the Dolphin of
speed,
an apt representation of the printer's painstaking
and relentless style of work.>>
---------------------------------------------------------------------
ALDUS MANUTIUS (1449-1515)
http://www.italnet.nd.edu/Dante/text/1502.venice.aldus.html
an apt representation of the printer's painstaking
and relentless style of work.>>
---------------------------------------------------------------------
ALDUS MANUTIUS (1449-1515)
http://www.italnet.nd.edu/Dante/text/1502.venice.aldus.html
<<The famous "Dolphin and
Anchor" device of Aldus appeared for
only the second time in the second state of the 1502 Dante, and was
used subsequently in all his editions. It is the symbol of the
ancient
proverb "FESTINA LENTE" which Aldus had taken as a motto as
proverb "FESTINA LENTE" which Aldus had taken as a motto as
early as 1499, and seems to have regularly expounded to his friends.
A grammarian and humanist, Aldus' fame is above all connected to
his
greatness as a typographer and editor. Aldus began his career as a
humanist teacher and became known to the most important humanist circles
of the time before coming to Venice around 1490. In 1493 Aldus
established a printing house together with Andrea Torresani da Asolo.
Aldus' publishing activity, in contrast to the vast majority of printing
during the incunable period, was inspired by clear cultural and
intellectual goals in addition to economic ones. Founder of the
Philhellenic Academy, he contributed in a decisive manner to the study
and cultivation of Greek letters in Italy. He himself edited splendid
Greek, Latin and vernacular editions, and had other editions
prepared for him by the best scholars in these languages.
greatness as a typographer and editor. Aldus began his career as a
humanist teacher and became known to the most important humanist circles
of the time before coming to Venice around 1490. In 1493 Aldus
established a printing house together with Andrea Torresani da Asolo.
Aldus' publishing activity, in contrast to the vast majority of printing
during the incunable period, was inspired by clear cultural and
intellectual goals in addition to economic ones. Founder of the
Philhellenic Academy, he contributed in a decisive manner to the study
and cultivation of Greek letters in Italy. He himself edited splendid
Greek, Latin and vernacular editions, and had other editions
prepared for him by the best scholars in these languages.
The revolutionary impact of Aldus' editions is readily apparent when
the
elegant portable octavo of his 1502 Dante, printed in beautiful italic
type without commentary, is compared to the ponderous incunabula of the
previous decade which buried Dante's text beneath exegetical commentary.
Aldus' editions invited the reader to encounter the classics directly,
in an unfiltered state. In addition, the portable format and
unencumbered presentation of the text appealed to the expanding public
demand for Dante and the vernacular classics. In the cities among the
middle classes, and in the courts, vernacular poetry was flourishing
among both gentlemen and gentlewomen -- giving rise, for the first time
in the Italian tradition, to a distinguished group of women poets.
elegant portable octavo of his 1502 Dante, printed in beautiful italic
type without commentary, is compared to the ponderous incunabula of the
previous decade which buried Dante's text beneath exegetical commentary.
Aldus' editions invited the reader to encounter the classics directly,
in an unfiltered state. In addition, the portable format and
unencumbered presentation of the text appealed to the expanding public
demand for Dante and the vernacular classics. In the cities among the
middle classes, and in the courts, vernacular poetry was flourishing
among both gentlemen and gentlewomen -- giving rise, for the first time
in the Italian tradition, to a distinguished group of women poets.
The italic type, which has come to be associated with Aldus' name
more
than any other, was first used in an octavo edition of Virgil in 1501.>>
------------------------------------------------------------------
http://fly.hiwaay.net/~paul/cryptology/history.html
than any other, was first used in an octavo edition of Virgil in 1501.>>
------------------------------------------------------------------
http://fly.hiwaay.net/~paul/cryptology/history.html
1586 Blaise de Vigenère's 600 page Traicté des chiffres was
published.
In it he discussed many ciphers, including the "running autokey" system
(used in some modern cipher machines) and the so-called "Vigenere
tableau" method. He was "scrupulous in assigning credit for material
from other authors, and he quoted them accurately and with
comprehension" (146).
In it he discussed many ciphers, including the "running autokey" system
(used in some modern cipher machines) and the so-called "Vigenere
tableau" method. He was "scrupulous in assigning credit for material
from other authors, and he quoted them accurately and with
comprehension" (146).
1591 Porta's De fvrtivis
was reprinted by JOHN Wolfe in
London who
"counterfeited the original 1563 edition almost to perfection" (142).
"counterfeited the original 1563 edition almost to perfection" (142).
1592 Julius Caesar
Scaliger published his 1220 page Exotericarvm
exercitationvm liber XV. "This philosophical treatise on Cardano's
exercitationvm liber XV. "This philosophical treatise on Cardano's
De subtilitate ... was a popular text-book until the final fall
of
Aristotle's physics". It was reprinted in 1557, '60, and '76.
Aristotle's physics". It was reprinted in 1557, '60, and '76.
1593 Porta's De fvrtivis was reissued (without permission) as De
occvltis literarvm notis and included the first set of cryptological
synoptic tables ever published. It was reprinted in 1603 and 1606.
1594 Sir Hugh Platt published The Jewell House of Art and
Nature,
conteining divers rare and profitable Inventions.... The fifth tract
included a description of a steganographic method: "How to write a
letter secretlie that cannot easilie be discovered, or suspected" (144).
conteining divers rare and profitable Inventions.... The fifth tract
included a description of a steganographic method: "How to write a
letter secretlie that cannot easilie be discovered, or suspected" (144).
1605 Francis Bacon
published Proficience and Advancement of Learning
Divine and Humane. In book VI, he gave a single paragraph description of
cryptography and explained that preference should be given to those
ciphers whose "vertues" include that they "bee without suspition"
(60-1). That is, he recommended using a steganographic method which
produces ciphertext that does not appear to be an enciphered message.
Bacon concluded his brief treatment by noting that "in regarde of the
rawnesse and Vnskilfulnesse of the handes, through which they passe, the
greatest Matters, are many times carryed in the weakest CYPHARS."
1606 JOHANNES Trithemius' Steganographia...Ars per occvltam scriptvram
animi svi volvntatem absentibvs aperiendi certa was printed for the
first time (however there is "considerable disagreement concerning the
early editions of this work", including some indication it was published
in a very limited edition in 1531 at Lyon [181-3]). The work dealt
explicitly with methods of hiding the very existence of cryptograms in
"normal" appearing text. Book IV treated acrostic steganograms and
listed words which could be used "to construct a cover text in which
only the second letters of each word would carry the secret message"
Divine and Humane. In book VI, he gave a single paragraph description of
cryptography and explained that preference should be given to those
ciphers whose "vertues" include that they "bee without suspition"
(60-1). That is, he recommended using a steganographic method which
produces ciphertext that does not appear to be an enciphered message.
Bacon concluded his brief treatment by noting that "in regarde of the
rawnesse and Vnskilfulnesse of the handes, through which they passe, the
greatest Matters, are many times carryed in the weakest CYPHARS."
1606 JOHANNES Trithemius' Steganographia...Ars per occvltam scriptvram
animi svi volvntatem absentibvs aperiendi certa was printed for the
first time (however there is "considerable disagreement concerning the
early editions of this work", including some indication it was published
in a very limited edition in 1531 at Lyon [181-3]). The work dealt
explicitly with methods of hiding the very existence of cryptograms in
"normal" appearing text. Book IV treated acrostic steganograms and
listed words which could be used "to construct a cover text in which
only the second letters of each word would carry the secret message"
------------------------------------------------------------
Art Neuendorffer
Art Neuendorffer
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