evidence
Art Neuendorffer
<<If, pointing to a red bicycle, I say Joe Smith owns
that particular red bicycle, I have--by sane standards--
provided direct evidence that Joe Smith owns that red bicycle.
If I show you a photograph of Joe Smith's back yard and
there's a red bicycle in it, I have provided you with
indirect evidence that Joe Smith owns that red bicycle.
If I show you a red sweater Joe Smith owns and tell you
Joe is the kind of guy who would own a red bicycle,
so the red bicycle that John Jones has pointed to and
said Bill Brown owns is actually owned by Joe Smith,
I have provided you with Oxfordian evidence that
Joe Smith owns that bicycle.>>
-----------------------------------------------------------
<<If, pointing to an empty tomb, the village idiot claims
that Jesus had told her directly that he had risen from
the dead, then one has (by normally accepted standards)
provided necessary & sufficient direct evidence
that Jesus was the risen Messiah.
If a rational person were to tell you what
a mesmerizing & inspirational speaker Jesus
had been and how distraught his loyal followers
were over his execution, but that nothing
much had basically changed of the
intervening 2,000 years, then they have
provided you with Oxfordian evidence
concerning the actual state of affairs.
If someone were to tell you that the story of
Jesus followed the standard mythological pattern
of a solar/agricultural deity/hero dying and
being reborn then they have provided you
with 'Neuendorffian' evidence concerning
the actual state of affairs.>>
---------------------------------------------------------
_ The DROESHOUT/HERODOTUS 'anagram' involves
_ *a sparagmos(dismemberment) & resurrection*
_ http://www.wordsmith.org/anagram/advanced.html gives
HERODOTUS as the *only* 1 word anagram for DROESHOUT in English,
_German, Dutch, Spanish, Portuguese, French, Swedish or Italian.
--------------------------------------------------------------------
____ (1939) Encyclopedia Britannica on "Drama"
____ HERODOTUS had a lot to say
____ about TRAGEDY (i.e., a goat-song) being a PATHOS
_____ (i.e., the violent death of Dionysus/Osiris
_______ by *SPARAGMOS* or dismemberment):
<<...we have the express testimony of HERODOTUS that the ritual
_worship of Dionysus (the god of Drama) was the same as the ritual
___ worship of Osiris such that it involved a "sparagmos"
__ (dismemberment), mourning, search, discovery & resurrection.>>
____ However, HERODOTUS avoided directly mentioning
____ Dionysus OR Osiris in this regard:
____ "When the Egyptians lament the god
___ whom I may not name in this connection"
__ "They lament but whom they lament I must not say" -- HERODOTUS
__ For in the manner of ancient religion, it was always necessary
____ that Dionysus or Osiris be represented by some surrogate.
In fact, ALL TRAGIC HEROS are simply surrogates of Dionysus/Osiris:
<<We find a frequent sparagmos of beings who have committed some sin:
____ Pentheus by Maenads
____ Orpheus by Maenads
____ Lycurgus by horses
____ HYPPOLYTUS by horses
____ Dirce by a bull
____ Actaeon by hounds. . .
This use of a surrogate was made easier by the fact that both at
Eleusis & in the Osiris rite the myth was conveyed by *tableaux*
____ (i.e., 'things shown') rather than by words.
___ Thus the death of Pentheus, wearing Dionysiac dress,
_ would be shown by exactly the same tableau as that of Dionysus.
____ THE TRUTH COULD BE SHOWN TO THE WISE
_ AND AT THE SAME TIME VEILED FROM *THE UNKNOWING*
____ Such facts help to explain the charge of
_ "profaning the mysteries" brought against Aeschylus.>>
_ - 'Drama' in (1939) _Encyclopedia Britannica_
------------------------------------------------------------
_ The DROESHOUT/HERODOTUS 'anagram' involves
_ *a sparagmos(dismemberment) & resurrection*
_ The Martin Droeshout portrait of Shakespeare
_ with it's two right eyes & two left shoulders
____ qualifies as well.
_ In fact, Droeshout's portrait appears
_ to be a *sparagmos & resurrection* of
_ Southampton & Oxford portraits combined:
_ (Printed at the bottom of the DROESHOUT:)
_____ *MArTiN DrOeSHOUT : sculPsit*
_____ *sir SOUTHAMPTON" + "sir Dulcet*
------------------------------------------------------
Art Neuendorffer
bobgr...@nut-n-but.net
with your psitchosis on here. Why did you feel the need to start a new
thread on it?
--Bob G.
Art Neuendorffer
LynnE
Wow. :(
Mouse
Tom Reedy
TR
<bobgr...@nut-n-but.net> wrote in message
news:1144104814....@u72g2000cwu.googlegroups.com...
Art Neuendorffer
>>Hey, asshole, there is a thread on the subject
>> you are wasting space with your psitchosis on here.
>> Why did you feel the need to start a new thread on it?
Tom Reedy wrote:
> Who are you talking to?
WhoM are you talking to?
Art N.
LynnE
Not to me, I don't think. ;)
LynnE
Tom Reedy
news:1144121792....@e56g2000cwe.googlegroups.com...
Oh, OK. I don't get Art's posts so I didn't know Bob was responding to him,
or so it appears.
TR
LynnE
Yes, Bob was replying to Art. It reminded me of someone I knew who,
when things weren't going well for him, would turn around and kick his
cat.
Not that I'm equating Art with a cat, of course, although he apparently
thinks I'm a boar.
Lynne, taking a day off and playing hookey on hlas.
>
> TR
Roundtable
>that particular red bicycle, I have--by sane standards--
>provided direct evidence that Joe Smith owns that red bicycle.
There are lawyers that would call that heresay.
Art Neuendorffer
>>If, pointing to a red bicycle, I say Joe Smith owns
>>that particular red bicycle, I have--by sane standards--
>>provided direct evidence that Joe Smith owns that red bicycle.
> There are lawyers that would call that heresay.
HERESY? HEARSAY?
Art N.
bobgr...@nut-n-but.net
with his threads. This buries certain recent threads, and requires
research to find ones more than a few days old. I was particularly
annoyed that in this case there was no need for him to start a new
thread since he was replying to a post from an ongoing thread. I was
also siding with Jim, who feels the same way I do about the way Art
vandalizes HLAS, and is under fire for doing no more than what Art does
all the time. I absurdly thought maybe a little shock treatment might
get Art to stop being an asshole. No, I take that back. I knew it
wouldn't. I just felt like erupting. I'll now go back to ignoring
Art's threads, like everyone else does, and shrug off the threads I'd
like to keep track of but can't without excessive trouble because of
Art's vandalism.
--Bob G.
Art Neuendorffer
> I was, of course, responding to Art's practice of cluttering Google
> with his threads. This buries certain recent threads, and
> requires research to find ones more than a few days old.
_ Moonshine & Lion are left to bury the older threads.
bobgr...@nut-n-but.net wrote:
> I was particularly annoyed that in this case there was
> no need for him to start a new thread since
> he was replying to a post from an ongoing thread.
_ O, reason not the need!
bobgr...@nut-n-but.net wrote:
> I was also siding with Jim, who feels the same way I do
> about the way Art vandalizes HLAS, and is under fire
> for doing no more than what Art does all the time.
_ But I never stole any tarts!
http://www.aoisakana.net/books/alice/alice01.png
bobgr...@nut-n-but.net wrote:
> I absurdly thought maybe a little shock treatment
> might get Art to stop being an asshole.
_ Surmise & general abuse, in however elegant language,
____ ought not to pass for *TRUTH*
bobgr...@nut-n-but.net wrote:
> No, I take that back. I knew it wouldn't.
> I just felt like erupting.
----------------------------------------------------
HAMLET: I am but mad north-north-west: when
*the wind is southerly* I know a *HAWK* from a *HANDSAW*
[A]nd forbicause hir former fall she ay in minde doth beare,
[S]he EVER since all lofty things doth WAREly shun for *FEARE*
[A]nd now forWEARiED Daedalus alighted in the land
[W]ithin the which the burning hilles of firie *AETNA* stand.
.........................................................
<<Stromboli! What an effect on the imagination did those few words
produce! We were in the centre of the Mediterranean; amidst the
*Eastern archipelago of mythological memory* ; in the ancient
Strongyle, where Æolus kept *the wind and THE TEMPEST chained up*
And that mighty volcano which rose on the *southern*
horizon *ETNA* , the fierce and celebrated *ETNA* .>>
------------------------------------------------------
_ ' *DAN CHAUCER* , well of English undefiled,
*On Fame's ET(er)NA(l) beadroll worthy to be filed* '
_ -- Spenser: Faërie Queene, book iv. canto ii. 32.
<<The Oxford Physic Garden was founded by
HENRY *DAN-VERS* , Earl of Danby, in 1621.
The 1st gardener was Jacob Bob-art, who is to
blame for the common English *WEED, OXFORD RAGWORT*
He grew the first examples of the plant in England
from seeds collected on the slopes of *Mount ETNA* .>>
http://www.thisisoxfordshire.co.uk/oxfordshire/info/gardens.html
----------------------------------------------------
FW 4:15 624.21: *Bold bet backwords*. For the loves
of sinfinTINS! *BEFORE the NAKED UNIVERSE* .
....................................................
*Bold bet backwords* = *ANTE => ETNA* [ *NEAT* ! ]
________ *NAKED UNIVERSE*
_______ *NED VERE IN AUKS*
------------------------------------------------------
"Going to dark bed there was a square round Sinbad the
Sailor roc's *AUK'S EGG IN* the night of the bed of all
the *AUKS* of the rocs of Darkinbad the Brightdayler."
- Joyce, _Ulysses_ (p. 737)
------------------------------------------------------
bobgr...@nut-n-but.net wrote:
> I'll now go back to ignoring Art's threads, like
> everyone else does, and shrug off the threads
> I'd like to keep track of but can't without
> excessive trouble because of Art's vandalism.
----------------------------------------------------
LAFEU: excessive grief the enemy to the living.
- _All's Well That Ends Well_ Act 1, Scene 1
----------------------------------------------------
Art Neuendorffer
seaker
Art Neuendorffer
> Bob - Art is an AK of the first order!
Alaska?
Akira Kurosawa?
Avtomat Kalashnikova?
Art Neuendorffer
> I was, of course, responding to Art's practice of cluttering
> Google with his threads. This buries certain recent threads,
> and requires research to find ones more than a few days old.
------------------------------------------------------------
The chaplain of the Tower hath buried them;
But how or in what place *I DO NOT KNOW*.
-------------------------------------------
Art N.
John H
somewhat rare postings which are intelligible, coherent, relevant, and
even humorous. That is why I am forced to conclude that almost the
entirety of Art's voluminous postings are intended to be disruptive.
If you don't like this state of affairs, why don't you organise a joint
complaint to Google Groups with a request that his postings be banned.
--JH
lackpurity
Reply to John Hermann:
I find some of his messages to be great. I've used the material from
them on occasions.
Michael Martin
Jim KQKnave
I can't understand how someone could keep that up,
day after day, year after year. I was finding it
a total pain in the ass to post that stuff last
week, and I was using anonymous remailers, which
each have a different time delay, so you can
post everything at once and it goes out to
the group at different times. He does it at
least a couple of times a day. He must have
a truly irrational hatred of Shakespeare.
See my demolition of Monsarrat's RES paper!
http://hometown.aol.com/kqknave/monsarr1.html
The Droeshout portrait is not unusual at all!
http://hometown.aol.com/kqknave/shakenbake.html
Agent Jim
-=-
This message was sent via two or more anonymous remailing services.
Art Neuendorffer
>
>>I was, of course, responding to Art's practice of cluttering Google
>>with his threads. This buries certain recent threads, and requires
>>research to find ones more than a few days old. I was particularly
>>annoyed that in this case there was no need for him to start a new
>>thread since he was replying to a post from an ongoing thread. I was
>>also siding with Jim, who feels the same way I do about the way Art
>>vandalizes HLAS, and is under fire for doing no more than what Art does
>>all the time. I absurdly thought maybe a little shock treatment might
>>get Art to stop being an asshole. No, I take that back. I knew it
>>wouldn't. I just felt like erupting. I'll now go back to ignoring
>>Art's threads, like everyone else does, and shrug off the threads I'd
>>like to keep track of but can't without excessive trouble because of
>>Art's vandalism.
Jim KQKnave wrote:
> I can't understand how someone could keep that up,
> day after day, year after year. I was finding it
> a total pain in the ass to post that stuff last
> week, and I was using anonymous remailers, which
> each have a different time delay, so you can
> post everything at once and it goes out to
> the group at different times. He does it at
> least a couple of times a day. He must have
> a truly irrational hatred of Shakespeare.
My hat goes off to you guys for writing thousands of posts year after
year supporting the illiterate Stratford boob...now THAT's a tedious
task if ever there was one!
Art N.
John H
down the gauntlet. Question is, what are you going to do about it
(apart from a further round of insipid complaints).
--JH
Mark Cipra
This is my "shocked" look.
--
Mark Cipra
"There is no love sincerer than the love of food." George Bernard Shaw
Play Indiana Jones! Hide the "ark" in my address to reply by email.
lackpurity
MM:
What an abrupt change of style! You give so much evidence on other
matters, but on this one, it's simply an allegation, with no legs to
stand on. Do you find it a tedious task to support your allegations
with evidence?
Michael Martin
Art Neuendorffer
>>>
>>>>I was, of course, responding to Art's practice of cluttering Google
>>>>with his threads. This buries certain recent threads, and requires
>>>>research to find ones more than a few days old. I was particularly
>>>>annoyed that in this case there was no need for him to start a new
>>>>thread since he was replying to a post from an ongoing thread. I was
>>>>also siding with Jim, who feels the same way I do about the way Art
>>>>vandalizes HLAS, and is under fire for doing no more than what Art does
>>>>all the time. I absurdly thought maybe a little shock treatment might
>>>>get Art to stop being an asshole. No, I take that back. I knew it
>>>>wouldn't. I just felt like erupting. I'll now go back to ignoring
>>>>Art's threads, like everyone else does, and shrug off the threads I'd
>>>>like to keep track of but can't without excessive trouble because of
>>>>Art's vandalism.
>>>
>>Jim KQKnave wrote:
>>
>>>I can't understand how someone could keep that up,
>>>day after day, year after year. I was finding it
>>>a total pain in the ass to post that stuff last
>>>week, and I was using anonymous remailers, which
>>>each have a different time delay, so you can
>>>post everything at once and it goes out to
>>>the group at different times. He does it at
>>>least a couple of times a day. He must have
>>>a truly irrational hatred of Shakespeare.
> Art Neuendorffer wrote:
>
>>My hat goes off to you guys for writing thousands of posts year after
>>year supporting the illiterate Stratford boob...now THAT's a tedious
>>task if ever there was one!
lackpurity wrote:
> What an abrupt change of style! You give so much evidence on other
> matters, but on this one, it's simply an allegation, with no legs to
> stand on. Do you find it a tedious task to support your allegations
> with evidence?
I made an *ASSERTION* :
bobgrum...@nut-n-but.net wrote:
> I would accept all assertions as evidence, with the proviso
> that an assertion contradicted by hundreds of other assertions
> should be given an evidentiary value near zero.
Art Neuendorffer
bobgr...@nut-n-but.net
John H wrote:
> The evidence that Art is not a total lunatic is provided by his
> somewhat rare postings which are intelligible, coherent, relevant, and
> even humorous.
You'll find that he's capable of taking one rational step from a
subject. After that, he dissolves in irrelevancies. If you say A, he
can say not A, B, fairly rationally; if you then say, no, not B, and
give arguments for this; he'll respond with word-play and/or alls kinds
of quotations from the Internet.
> That is why I am forced to conclude that almost the
> entirety of Art's voluminous postings are intended to be disruptive.
> If you don't like this state of affairs, why don't you organise a joint
> complaint to Google Groups with a request that his postings be banned.
> --JH
Because I believe in total freedom of speech. I believe people I
consider to be abusing the privilege of freedom of speech should be
apprised of it. It's up to them to change their behavior. If they
don't want to, there's nothing more I can do.
--Bob G.
bobgr...@nut-n-but.net
I like that, RT--it really is heresay: I am here with the bicycle,
directly testifying as to who owns it. As I say in the real thread on
all this is that I'm concerned with what direct and indirect evidence
are according to rational use of words, not what lawyers would say
about it.
--Bob G.
bobgr...@nut-n-but.net
how many threads each particiapant has started. I suspect you have
started more than the rest of us combined (if we don't count Jim's
parodies of yours; maybe even if we do). If you give us detailed
stats, I would be willing to bet that you have started more threads
that only the thread's creator has ever contributed to than the rest of
us combined, as well.
--Bob G.
Art Neuendorffer
Art Neuendorffer
>>That is why I am forced to conclude that almost the
>>entirety of Art's voluminous postings are intended to be disruptive.
>>If you don't like this state of affairs, why don't you organise a joint
>>complaint to Google Groups with a request that his postings be banned.
I hope I shall see an end of him;
for my soul, yet I know not why,
hates nothing more than he. Yet he's gentle, never
schooled and yet learned, full of noble device, of
all sorts enchantingly beloved, and indeed so much in
the heart of the world, and especially of my own people,
who best know him, that I am altogether misprised.
bobgr...@nut-n-but.net wrote:
> Because I believe in total freedom of speech. I believe people I
> consider to be abusing the privilege of freedom of speech should be
> apprised of it. It's up to them to change their behavior. If they
> don't want to, there's nothing more I can do.
Sir, his definement suffers no perdition in you;
though, I know, to divide him inventorially would
dizzy the arithmetic of memory, and yet but yaw
neither, in respect of his quick sail. But, in the
verity of extolment, I take him to be a soul of
great article; and his infusion of such dearth
and rareness, as, to make true diction of him,
his semblable is his mirror; and who else
would trace him, his umbrage, nothing more.
Art Neuendorffer
>>>If, pointing to a red bicycle, I say Joe Smith owns
>>>that particular red bicycle, I have--by sane standards--
>>>provided direct evidence that Joe Smith owns that red bicycle.
> Roundtable wrote:
>
>>There are lawyers that would call that heresay.
----------------------------------------------------------
Cymbeline Act 3, Scene 4
IMOGEN: What *IS HERE*? The scriptures
of the loyal Leonatus, All turn'd to *HEREsy* ?
----------------------------------------------------------
bobgr...@nut-n-but.net wrote:
> I like that, RT--it really is heresay: I am here with the bicycle,
> directly testifying as to who owns it. As I say in the real thread
> on all this is that I'm concerned with what direct and indirect
> evidence are according to rational use of words,
> not what lawyers would say about it.
-------------------------------------------------------
The Merry Wives of Windsor Act 4, Scene 6
FENTON: The purpose why, *IS HERE* : in which disguise
VVhile other *IE-STs* are something ranke on foote,
---------------------------------------------------
___ *HERE* = *ECO* (in Venetian)
[E]douardus [C]omes [O]XONIAE, Vic[ECO]mes BULBECK
__ *IE SUS* = *I KNEW* {French}
---------------------------------------------------
HAMLET: *I KNEW* him, Horatio:
_ a fellow of infinite *IE-ST*,
_ ...*HERE* hung *Those LiPS that I have kissed*
---------------------------------------------------
_ GOOD FREND FOR [IE]{SVS}' S[AKE] FORBEARE,
____ TO DIGG THE DV[ST] ____ EN[CLO]ASED *HEaRE*
BLESTE BE Ye MAN Yt SPA[RE]S THES STONES,
AND CVRST BE HE Yt MO[VE]S MY *BONES*
---------------------------------------------------
_ The Taming of the Shrew Act 5, Scene 1
VINCENTIO: His name! as if *I KNEW not his name*
____ I have brought him up *EVER* ...
.................................................
_ All's Well That Ends Well Act 5, Scene 3
DIANA: By Jove, if *EVER I KNEW* man, *T-WAS* you.
.............................................
_ Timon of Athens Act 2, Scene 2
FLAVIUS: For that *I KNEW* it the most general way--
To them to use your signet and your name;
But they do *SHAKE* their heads, and I am *HERE*
----------------------------------------------------------
March 6, 1616 Francis Beaumont's non-Tomb in Westminster:
_ <<MORTALITY, behold and *FEAR* !
__ What a change of flesh ____ *IS HERE* !
__ Think how many royal ____ [BO]NES
__ Sleep within this heap of ____ [STON]ES:>>
----------------------------------------------------------
Cymbeline Act 2, Scene 2
IACHIMO: Swift, swift, you dragons of the night, that dawning
May bare the raven's eye! I lodge in *FEAR* ;
Though this a heavenly angel, hell *IS HERE*.
[Clock strikes]
One, two, three: time, time!
----------------------------------------------------------
TOTHEO [N] l ___ I _ EBE G ____ ETTERO
FTHESE_ [I] n ___ S - UIN G ____ SONNET
SMrWha_- [L] L __ [H]a P <P> I__ [N] ESSEA
NDthat____[E] T __ [E]r _ N <I> T___[I] EPROM
ISEDB Y O u ___- [R]e V <E> R [L] IVING
POEtW I s h ____ [E]t _ H [T] H___[E] WELLW
IShIN- G a ______ [d V e] N [T] u ______ ReRINS
EtTIN G fort___________ H [T] t
_________________ <= 19 =>
----------------------------------------------------------
King Richard III Act 3, Scene 7
BUCKINGHAM: The mayor *IS HERE* at hand: intend some *FEAR* ;
----------------------------------------------------------
A Midsummer Night's Dream Act 2, Scene 1
HELENA: No, no, I am as ugly as a bear;
For beasts that meet me run away for *FEAR* :
THEREfore no marvel though Demetrius
Do, as a monster fly my presence thus.
What wicked and dissembling glass of mine
Made me compare with Hermia's sphery eyne?
But who *IS HERE*? Lysander! on the ground!
Dead? or asleep? I see no blood, no wound.
Lysander if you live, good sir, awake.
----------------------------------------------------------
King Henry VI, Part iii Act 2, Scene 2
KING HENRY VI: would thy best friends did know
How it doth grieve me that thy head *IS HERE*!
----------------------------------------------------------
King Richard II Act 5, Scene 2
Saddle my horse.
God for his mercy, what treachery *IS HERE*!
----------------------------------------------------------
King Henry IV, Part ii Act 3, Scene 2
FALSTAFF Come, thou shalt go to the wars in a gown; we wilt
have away thy cold; and I will take such order that
my friends shall ring for thee. *IS HERE* all?
Act 4, Scene 1
WESTMORELAND The prince *IS HERE* at hand: pleaseth your lordship
To meet his grace just distance 'tween our armies.
--------------------------------------------------------
The Taming of the Shrew Act 4, Scene 2
TRANIO: This, by the way, I let you understand;
my father *IS HERE* look'd for EVERy day,
To pass assurance of a dower in marriage
'Twixt me and one Baptista's daughter HERE:
In all these circumstances I'll insTRUct you:
Go with me to clothe you as becomes you.
Act 4, Scene 3
PETRUCHIO: Thy gown? why, ay: come, *TAILOR*, let us see't.
O mercy, God! what masquing stuff *IS HERE*?
What's this? a sleeve? 'tis like a demi-cannon:
What, up and down, carved like an apple-tart?
HERE's snip and nip and cut and slish and slash,
Like to a censer in a barber's shop:
Why, what, i' *DEVIL*'s name, *TAILOR*, call'st thou this?
Act 5, Scene 1
PETRUCHIO: tell Signior Lucentio that his father is come from Pisa,
and *IS HERE* at the door to speak with him.
BIONDELLO: God send 'em good shipping! But who *IS HERE*? mine old
master Vincentio! now we are undone and brought to nothing.
----------------------------------------------------------
A Midsummer Night's Dream Act 2, Scene 1
HELENA: Then how can it be said I am alone,
When all the world *IS HERE* to look on me?
Act 2, Scene 2
PUCK: Through the forest have I gone.
But Athenian found I none,
On whose eyes I might approve
This flower's force in stirring love.
Night and silence.--Who *IS HERE*?
Weeds of Athens he doth wear:
Act 3, Scene 2
PUCK: Captain of our fairy band,
Helena *IS HERE* at hand;
And the youth, mistook by me,
Pleading for a loVER's fee.
Shall we their fond pageant see?
Lord, what fools these mortals be!
Act 5, Scene 1
Pyramus: Sweet Moon, I thank thee for thy sunny beams;
I thank thee, Moon, for shining now so bright;
For, by thy gracious, golden, glittering gleams,
I TRUst to take of TRUEst Thisby sight.
But stay, O spite!
But mark, poor knight,
What dreadful dole *IS HERE*!
Eyes, do you see?
How can it be?
O dainty duck! O dear!
Thy mantle good,
What, stain'd with blood!
Approach, ye Furies fell!
O Fates, come, come,
Cut thread and thrum;
Quail, crush, conclude, and quell!
----------------------------------------------------------
The Merchant of Venice Act 2, Scene 9
ARRAGON: What *IS HERE*?
----------------------------------------------------------
The Merry Wives of Windsor Act 3, Scene 3
MISTRESS PAGE: Your husband's coming hither, woman, with all the
officers in Windsor, to search for a gentleman that
he says *IS HERE* now in the house by your consent, to
take an ill advantage of his assence: you are undone.
Act 4, Scene 2
MISTRESS FORD: I am undone! The knight *IS HERE*.
----------------------------------------------------------
Much Ado About Nothing Act 2, Scene 1
BENEDICK: while she *IS HERE*,
a man may live as quiet in hell as in a sanctuary;
----------------------------------------------------------
As You Like It Act 1, Scene 1
DENNIS: he *IS HERE* at the door and importunes access to you.
----------------------------------------------------------
Twelfth Night Act 3, Scene 4
FABIAN: HERE he *IS, HERE* he is.
----------------------------------------------------------
Act 4, Scene 2
Clown: Advise you what you say; the minister *IS HERE*.
Malvolio, Malvolio, thy wits the heavens restore!
endeavour thyself to sleep, and leave thy vain
bibble babble.
----------------------------------------------------------
Troilus and Cressida Act 4, Scene 2
AENEAS: Come, he *IS HERE*, my lord; do not deny him:
Act 4, Scene 4
PANDARUS: What a pair of spectacles *IS HERE*!
----------------------------------------------------------
Measure for Measure Act 3, Scene 2
DUKE VINCENTIO: O heavens! what stuff *IS HERE*
Act 5, Scene 1
ISABELLA: Unfold the evil which *IS HERE* wrapt up
In countenance! Heaven shield your grace from woe,
As I, thus wrong'd, hence unbelieved go!
----------------------------------------------------------
All's Well That Ends Well Act 5, Scene 3
Gentleman: I undertook it,
Vanquish'd tHEREto by the fair grace and speech
Of the poor suppliant, who by this I know *IS HERE* attending:
----------------------------------------------------------
The Winter's Tale Act 3, Scene 2
Officer: Ay, my lord; even so As it *IS HERE* set down.
Act 3, Scene 3
Shepherd: they were warmer that got this than the
poor thing *IS HERE*. I'll take it up for pity:
Act 4, Scene 4
AUTOLYCUS: I understand the business, I hear it: to have an
open ear, a quick eye, and a nimble hand, is
necessary for a cut-purse; a good nose is requisite
also, to smell out work for the other senses. I see
this is the time that the unjust man doth thrive.
What an exchange had this been without boot! What
a boot *IS HERE* with this exchange! Sure the gods do
this year connive at us, and we may do any thing
extempore. The prince himself is about a piece of
iniquity, stealing away from his father with his
clog at his heels: if I thought it were a piece of
honesty to acquaint the king withal, I would not
do't: I hold it the more knaVERy to conceal it;
and tHEREin am I constant to my profession.
[Re-enter Clown and Shepherd]
Aside, aside; HERE is more matter for a hot brain:
EVERy lane's end, EVERy shop, church, session,
hanging, yields a careful man work.
----------------------------------------------------------
Cymbeline Act 3, Scene 2
IMOGEN: Who? thy lord? that is my lord, Leonatus!
O, learn'd indeed were that astronomer
That knew the stars as I his characters;
He'ld lay the future open. You good gods,
Let what *IS HERE* contain'd relish of love,
Of my lord's health, of his content, yet not
That we two are asunder; let that grieve him:
Act 3, Scene 5
CLOTEN: Who *IS HERE*? What, are you packing, sirrah?
Act 4, Scene 2
CAIUS LUCIUS Dream often so, And nEVER false.
Soft, ho! what TRUnk *IS HERE*
Without his top? The ruin speaks that sometime
It was a worthy building. How! a page!
Or dead, or sleeping on him? But dead rather;
For nature doth abhor to make his bed
With the defunct, or sleep upon the dead.
Let's see the boy's face.
Act 5, Scene 3
POSTHUMUS LEONATUS: *Great the sLAUGHTER IS HERE*
made by the Roman;
----------------------------------------------------------
The Tempest Act 3, Scene 3
SEBASTIAN: Will't please you taste of what *IS HERE*?
----------------------------------------------------------
Titus Andronicus Act 2, Scene 3
SATURNINUS: Along with me: I'll see what hole *IS HERE*,
And what he is that now is leap'd into it.
Say who art thou that lately didst descend
Into this gaping hollow of the earth?
Act 5, Scene 2
TAMORA: When he *IS HERE*, even at thy solemn feast,
I will bring in the empress and her sons,
----------------------------------------------------------
Romeo and Juliet Act 2, Scene 1
ROMEO: Can I go forward when my heart *IS HERE*?
*Turn back, dull earth, and find thy centre out*
Act 2, Scene 3
FRIAR LAURENCE: Holy Saint Francis, what a change *IS HERE*!
Act 3, Scene 3
ROMEO: 'Tis torture, and not mercy: heaven *IS HERE*,
WHERE Juliet lives; and EVERy cat and dog
And little mouse, EVERy unworthy thing,
Live HERE in heaven and may look on her;
Act 4, Scene 5
LADY CAPULET What noise *IS HERE*?
----------------------------------------------------------
Julius Caesar Act 3, Scene 2
BRUTUS: Who *IS HERE* so vile that will not love his country?
----------------------------------------------------------
Hamlet, Prince of Denmark Act 3, Scene 1
OPHELIA: O, what a noble mind *IS HERE* o'erthrown!
Act 5, Scene 2
LAERTES: It *IS HERE*, Hamlet:
----------------------------------------------------------
Othello, The Moor of Venice Act 2, Scene 1
Third Gentleman: The ship *IS HERE* put in,
___________ A VEROnesa; Michael Cassio,
Lieutenant to the warlike Moor Othello,
Is come on shore: the Moor himself at sea,
And is in full commission *HERE* for Cyprus.
----------------------------------------------------------
Timon of Athens Act 4, Scene 3
TIMON: Who seeks for better of thee, sauce his palate
With thy most operant poison! What *IS HERE*?
Gold? yellow, glittering, precious gold? No, gods,
I am no idle votarist: roots, you clear heavens!
----------------------------------------------------------
King Lear Act 1, Scene 1
KENT: Freedom lives hence, and banishment *IS HERE*.
Act 4, Scene 6
Gentleman: Though that the queen on special cause *IS HERE*,
Her army is moved on.
----------------------------------------------------------
Antony and Cleopatra Act 5, Scene 2
First Guard: What work *IS HERE*! Charmian, is this well done?
----------------------------------------------------------
Coriolanus Act 4, Scene 5
First Servingman: Wine, wine, wine! What service
*IS HERE*! I think our fellows are asleep.
----------------------------------------------------------
Art Neuendorffer
Peter Farey
> Bob Grumman wrote:
>
> Art, you are the HLAS post-counter. I dare you to give
> started. I suspect you have started more than the rest
> of us combined (if we don't count Jim's parodies of
> yours; maybe even if we do). If you give us detailed
> stats, I would be willing to bet that you have started
> more threads that only the thread's creator has ever
> contributed to than the rest of us combined, as well.
A week or two ago, I did in fact total up the number of
threads posted to by Art just in February. It came to
over a hundred, of which no fewer than 65 consisted of
just his single post.
By contrast I see that in the whole of the past *year*,
whilst I have sent just under 500 posts in all, only six
of them started a new thread (Art being the 2nd poster
for two of them - and changing the subject as usual).
Peter Farey
pet...@rey.prestel.co.uk
http://www2.prestel.co.uk/rey/index.htm
Art Neuendorffer
>>
>>Art, you are the HLAS post-counter. I dare you to give
>>us the stats on how many threads each participant has
>>started. I suspect you have started more than the rest
>>of us combined (if we don't count Jim's parodies of
>>yours; maybe even if we do). If you give us detailed
>>stats, I would be willing to bet that you have started
>>more threads that only the thread's creator has ever
>>contributed to than the rest of us combined, as well.
Peter Farey wrote:
> A week or two ago, I did in fact total up the number of
> threads posted to by Art just in February. It came to
> over a hundred, of which no fewer than 65 consisted of
> just his single post.
>
> By contrast I see that in the whole of the past *year*,
> whilst I have sent just under 500 posts in all, only six
> of them started a new thread (Art being the 2nd poster
> for two of them - and changing the subject as usual).
----------------------------------------------------------
My life was wrapped around the circus. Her name was Lydia.
I met her at the world's fair in 1900,
marked down from 1940. Ah, Lydia.
She was the most glorious creature
Under the su-un.
Guiess. DuBarry. Garbo.
Rolled into one.
Oooooooh Lydia, oh Lydia, say, have you met Lydia?
Lydia The Tattooed Lady.
She has eyes that folks adore so,
and a torso even more so.
Lydia, oh Lydia, that encyclo-pidia.
Oh Lydia The Queen of Tattoo.
On her back is The Battle of Waterloo.
Beside it, The Wreck of the Hesperus too.
And proudly above waves the red, white, and blue.
You can learn a lot from Lydia!
La-la-la...la-la-la.
La-la-la...la-la-la.
When her robe is unfurled she will show you the world,
if you step up and tell her where.
For a dime you can see Kankakee or Paree,
or Washington crossing The Delaware.
La-la-la...la-la-la.
La-la-la...la-la-la.
Oh Lydia, oh Lydia, say, have you met Lydia?
Lydia The Tattooed Lady.
When her muscles start relaxin',
up the hill comes Andrew Jackson.
Lydia, oh Lydia, that encyclo-pidia.
Oh Lydia The Queen of them all.
For two bits she will do a mazurka in jazz,
with a view of Niagara that nobody has.
And on a clear day you can see Alcatraz.
You can learn a lot from Lydia!
La-la-la...la-la-la.
La-la-la...la-la-la.
Come along and see Buffalo Bill with his lasso.
Just a little classic by *MENDEL* Picasso.
Here is Captain Spaulding exploring the Amazon.
Here's Godiva, but with her pajamas on.
La-la-la...la-la-la.
La-la-la...la-la-la.
[1939 New York World's Fair]
Here is Grover Whelan unveilin' The Trilon.
Over on the west coast we have Treasure Isle-on.
Here's Nijinsky a-doin' the rhumba.
Here's her social security numba.
La-la-la...la-la-la.
La-la-la...la-la-la.
Lydia, oh Lydia, that encyclo-pidia.
[O]h Lydia The Champ of them all.
[S]he once swept an Admiral clear off his feet.
[T]he ships on her hips made his heart skip a beat.
[A]nd now the old boy's in command of the fleet,
[F]or he went and married Lydia!
I said Lydia...
(He said Lydia...)
They said Lydia...
We said Lydia, la, la!
--------------------------------------------
Art N.
bobgr...@nut-n-but.net
threads in February. My impression is that he starts four or five a
day.
--Bob G.
Art Neuendorffer
Better a thread than a threat!
-------------------------------------------------------------
____ Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec
2003 352 261 157 175 183 190 190 126 162 223 203 193
2004 236 218 304 167 211 234 116 153 171 212 260 263
2005 195 207 169 166 146 228 165 150 189 220 135 191
2006 283 227 305
-------------------------------------------------------------
Art Neuendorffer
Roundtable
>I like that, RT--it really is heresay: I am here with the bicycle,
>directly testifying as to who owns it.
Yeah oops. My spelink iz gedding wurss evary daie.
Wel, att leest u lafft. Actuz alwez layk an uppreeshutiv awdiens.
Rownde tebbill.