Farina?
Art Neuendorffer
----------------------------------------------
De Vere As Shakespeare: An Oxfordian Reading of the Canon (Paperback)
by William Farina, Felicia Hardison Londre (Foreword)
(2 customer reviews)
----------------------------------------------
Editorial Reviews
.
The question may be met with chagrin by traditionalists, but the
identity of the Bard is not definitely decided. During the 20th
century, Edward de Vere, the most flamboyant of the courtier poets, a
man of the theater and literary patron, became the leading candidate
for an alternative Shakespeare. This text presents the controversial
argument for de Vere s authorship of the plays and poems attributed to
Shakespeare, offering the available historical evidence and moreover
the literary evidence to be found within the works. Divided into
sections on the comedies and romances, the histories and the tragedies
and poems, this fresh study closely analyzes each of the 39 plays and
the sonnets in light of the Oxfordian authorship theory. The vagaries
surrounding Shakespeare, including the lack of information about him
during his lifetime, especially relating to the lost years of
1585 1592, are also analyzed, to further the question of Shakespeare s
true identity and the theory of de Vere as the real Bard.
.
About the Author
A life-long Shakespeare hobbyist, William Farina is an executive with a
national real estate consulting firm. He lives in Evanston, Illinois.
......................................................
Who is Shakespeare?, September 19, 2006
Reviewer: K. Richardson "artgirl32" (Memphis, Tennessee)
.
I had the pleasure of meeting the author on September 18, 2006 at Davis
Kidd in Memphis. Although I have not read the book yet, I know it will
be intellectual treat.I have been a Shakespeare lover for years but
never really gave too much concern as to his true identity. Now that I
have met the author and had a chance to hear what he thought of the
whole matter, I will admit that it does deserve some looking into.I
know that there are people out there who could care less about
Shakespeare's true identity (we have his work, isn't that enough?)
Their point is valid but still the revealing of the Bard's true
identity would give us more of an insight into the mind of a literary
genius.
......................................................
Fascinating and comprehensive, February 18, 2006
Reviewer: Sauropod (Tucson, AZ)
William Farina covers all of Shakespeare's generally acknowledged plays
(except The Two Noble Kinsmen), as well as his two major narrative
poems and the Sonnets, in this extensively researched, consistently
illuminating book. He draws innumerable connections between Edward de
Vere and the source materials of Shakespeare's works, and shows the
clear parallels between de Vere's life and the lives of Shakespeare's
most autobiographical protagonists.
.
Although I've read most of the principal Oxfordian works, I still found
myself learning something new on almost every page. The author has
synthesized a vast amount of material in a brisk, readable form.
Discussion of each play is more or less self-contained, allowing one to
read the book selectively.
.
Naturally, even Oxfordian readers will take issue with some of Farina's
interpretations. I disagree with his analysis of the Sonnets, for
instance. To me, a more compelling theory is the one put forward in
Hank Whittemore's recently published book, The Monument (which also has
implications for Venus and Adonis). But this is a quibble.
.
Overall, De Vere as Shakespeare is an excellent resource, recommended
for anyone interested in the authorship question.
--------------------------------------------
Art Neuendorffer
seeker
> Has anyone read Bill Farina?
[ fuh-REE-nuh ] Made from CEREAL grains, farina is a bland-tasting
flour or meal that, when cooked in boiling water, makes a hot breakfast
cereal. It's very easily digested and rich in protein.
> About the Author
> A life-long Shakespeare hobbyist, William Farina is an executive with a
>
> national real estate consulting firm. He lives in Evanston, Illinois.
I've going to believe a house seller when it comes to Shakespeare. NOT!
seeker
That should be I'm going to believe a house seller when it comes to
Shakespeare. NOT!
bobgr...@nut-n-but.net
Oxford as Shakespeare that's new?
--Bob G.
Ms. Mouse
Art Neuendorffer wrote:
> Has anyone read Bill Farina?
I haven't read his book, but I've heard him speak a couple of times and
found him pretty interesting.
L.
Art Neuendorffer
seeker wrote:
>
>[ fuh-REE-nuh ] Made from CEREAL grains,
> farina is a bland-tasting flour or meal that, when
> cooked in boiling water, makes a hot breakfast cereal.
You betta smile when you say that.
http://www.thelittlerascals.net/Farina.jpg
.......................................
Dennis Farina
Date of birth: February 29, 1944 (15 birthdays!)
http://www.imdb.com/name/nm0001199/
------------------------------------------------
Get Shorty (1995)
.......................................
Dennis Farina as Ray "Bones" Barboni
------------------------------------------------
Ray "Bones" Barboni: Let me explain something to you. Momo is dead.
Which means that everything he had now belongs to Jimmy Cap,
including you. Which also means, that when I speak, I speak for Jimmy.
E.g., from now on, you start showing me the proper fucking respect.
.
Chili Palmer (Travolta) : "E.g." means "for example".
What I think you want to say is "I.e.".
.
Ray "Bones" Barboni: Bullshit! That's short for "ergo".
.
Chili Palmer: Ask your man.
.
Bodyguard: To the best of my knowledge, "e.g." means "for example".
.
Ray "Bones" Barboni: E.g., i.e., fuck you! The point is this:
is that, When I say "jump", you say "OK", okay?
------------------------------------------------
Ray "Bones" Barboni: [after punching Leo's wife Faye in the face]
I want us to be friends, Faye. And we all know that friends
don't hit each other... unless they have to.
.
[Harry Zimm calls Ray Bones on the phone]
.
Harry Zimm: Ray Barboni?
.
Ray "Bones" Barboni: Who is this?
.
Harry Zimm: Are you the guy they called Ray Bones?
.
Ray "Bones" Barboni: It depends. Who is this?
.
Harry Zimm: I'm the one telling you the way it is, okay, asshole?
That's who I am. Now you want your three hundred grand or don't you?
.
Ray "Bones" Barboni: What three hundred grand?
.
Harry Zimm: The three hundred grand a guy named Leo Devoe scammed off
an
airline. The three hundred grand Chili Palmer now has in his
possession.
.
Harry Zimm: [after a brief pause] Hello. Are you there?
.
Ray "Bones" Barboni: Yeah, I'm here. I just don't like the
anonymous crap. It means your either chickenshit or not for real.
.
Harry Zimm: Well, trust me, I'm very for real.
.
Ray "Bones" Barboni: Okay, so who are you?
.
Harry Zimm: I work for Harry Zimm, all right?
.
Ray "Bones" Barboni: Who?
.
Harry Zimm: Harry Zimm. The man happens to be a major Hollywood player.
.
Ray "Bones" Barboni: Never heard of him.
.
Harry Zimm: Maybe that's because you've never been out've fuckin'
Miami,
dipshit. Maybe it's time you got on a plane, flew out to L.A. and
took a meeting with Mr. Zimm.
.
Ray "Bones" Barboni: So, what, this Zimm guy asking for some
kinda finders fee, that what we're talking about here?
.
Harry Zimm: Hey, Zimm doesn't ask for dick.
Zimm tells you the way it is... or else.
.
Ray "Bones" Barboni: Or else what?
.
Harry Zimm: Or else use your fucking imagination!
------------------------------------------------
Limo Driver With Sign: Mr. Barbone? Welcome to L.A.,
I'm Bobby, your driver. I hope you had a pleasant flight.
.
Ray "Bones" Barboni: Yeah well, I hope you drive better than you
fucking spell, jack-off. My name is Barboni, not Barbone, okay!
.
Ray "Bones" Barboni: I'm from Miami-fuckin'-Beach and you wanna show
me the ocean, huh? And what about sun, does it ever shine around
here, or is this smog around all the time?
.
Limo Driver With Sign: They say
the smog is the reason we have such beautiful sunsets.
.
Ray "Bones" Barboni: That's what they say, huh?
What a bunch of fuckin bullshit.
------------------------------------------------
Ray "Bones" Barboni: Where's Chili Palmer, where's Leo DeVoe...
*where's* my fuckin' money?
------------------------------------------------
Ray "Bones" Barboni: [noticing Ronnie likes to flash his gun a lot]
You must be one of those quick-draw artists, the way you've got
your gun down on your belt like that.
.
Ronnie Wingate: Whatta you got there, a Wop 9? Fuckin' Fiat
of guns, always jammin' on you at the wrong time.
[Bones nods, smiles and shoots him 4 times]
------------------------------------------------
Ray "Bones" Barboni: [sitting in a toilet reading a magazine,
the phone rings] Fuck!
.
[continues sitting in the toilet, the phone rings again and he gets up]
Ray "Bones" Barboni: Fuck, fuck, fuck, fuck, fuck, fuck, fuck, fuck!
------------------------------------------------
[to the driver, as he gets into a cab]
Ray "Bones" Barboni: The fuckin' airport.
------------------------------------------------
Ray "Bones" Barboni: Chili Palmer. It's chilly outside and it's Chili
inside. It's a regular fuckin' chili-fest!
------------------------------------------------
Art Neuendorfffer
Art Neuendorffer
.
> Tell me, Art, what does the latest paradigm-exploder
> have to say about Oxford as Shakespeare that's new?
.
Art
nordicskiv2
Art Neuendorffer <aneuendor...@comcast.net>
(aneuendor...@comicass.nut) wrote:
> Has anyone read Bill Farina?
But Art -- "Fariña" is Spanish for "manioc flour." On the other
hand,
"maniac flower" is an apt designation for your collected h.l.a.s.
effusions,
Art, so perhaps your post is not as pointless as it appears.
> ----------------------------------------------
> De Vere As Shakespeare: An Oxfordian Reading of the Canon (Paperback)
> by William Farina, Felicia Hardison Londre (Foreword)
> (2 customer reviews)
> ----------------------------------------------
> Editorial Reviews
> .
> The question may be met with chagrin by traditionalists, but the
> identity of the Bard is not definitely decided. During the 20th
> century, Edward de Vere, the most flamboyant
Is that initial letter a long "s"? If so, "slam-boy-ant" is not a
bad
nonce-word for Oxford, in view of his reputed relationship with Orazio
Cogno.
> of the courtier poets, a
> man of the theater and literary patron, became the leading candidate
> for an alternative Shakespeare.
...for those who prefer an alternative to reality.
> This text presents the controversial
> argument for de Vere s authorship of the plays and poems attributed to
> Shakespeare, offering the available historical evidence and moreover
> the literary evidence to be found within the works. Divided into
> sections on the comedies and romances, the histories and the tragedies
> and poems, this fresh study closely analyzes each of the 39 plays and
> the sonnets in light of the Oxfordian authorship theory. The vagaries
> surrounding Shakespeare, including the lack of information about him
> during his lifetime, especially relating to the lost years of
> 1585 1592, are also analyzed, to further the question of Shakespeare s
> true identity and the theory of de Vere as the real Bard.
> .
> About the Author
> A life-long Shakespeare hobbyist, William Farina is an executive with a
>
> national real estate consulting firm. He lives in Evanston, Illinois.
> ......................................................
> Who is Shakespeare?, September 19, 2006
> Reviewer: K. Richardson "artgirl32" (Memphis, Tennessee)
"Artgirl32"? Is that your sister, Art? Or your daughter? Your
condition
may have a hereditary component.
> I had the pleasure of meeting the author on September 18, 2006 at Davis
> Kidd in Memphis. Although I have not read the book yet,
Reading a review of a book that the reviewer has not read is of
course
entertaining. But when did such a trifle eVER deter an
anti-Stratfordian?
> I know it will
> be intellectual [sic] treat.I have been a Shakespeare lover for years but
> never really gave too much concern as to his true identity.
The style of "artgirl32" is not unlike that of Mr. Streitz.
> Now that I
> have met the author and had a chance to hear what he thought of the
> whole matter, I will admit that it does deserve some looking into.I
> know that there are people out there who could care less about
> Shakespeare's true identity (we have his work, isn't that enough?)
> Their point is valid but still the revealing of the Bard's true
> identity would give us more of an insight into the mind of a literary
> genius.
> ......................................................
> Fascinating and comprehensive, February 18, 2006
> Reviewer: Sauropod (Tucson, AZ)
> William Farina covers all of Shakespeare's generally acknowledged plays
> (except The Two Noble Kinsmen), as well as his two major narrative
> poems and the Sonnets, in this extensively researched, consistently
> illuminating book. He draws innumerable connections between Edward de
> Vere and the source materials of Shakespeare's works, and shows the
> clear parallels between de Vere's life and the lives of Shakespeare's
> most autobiographical protagonists.
How could the reviewer possibly know which were Shakespeare's
"most autobiographical protagonists" without knowing both the author's
identity and his or her biography? This sort of circular "argument," a
venerable staple among anti-Stratfordians, is as curious as it is
amusing.
> Although I've read most of the principal Oxfordian works, I still found
> myself learning something new on almost every page.
That candid admission may reveal as much about the reviewer as
about the book.
> The author has
> synthesized
"Synthesized"? That's actually a good word for what a great many
anti-Stratfordians have done.
> a vast amount of material in a brisk, readable form.
> Discussion of each play is more or less self-contained, allowing one to
> read the book selectively.
> .
> Naturally, even Oxfordian readers will take issue with some of Farina's
> interpretations. I disagree with his analysis of the Sonnets, for
> instance. To me, a more compelling theory is the one put forward in
> Hank Whittemore's recently published book, The Monument
That sentence *certainly* reveals a great deal about the reviewer,
whatever may be the nature of the book under review -- and if, as the
reviewer claims, the analysis of the sonnets is indeed *less* plausible
than that in Whittemore's book, then reading Farina's book is apt to be
a
comedic treat to which readers with a sense of humor can look forward
with eager anticipation.
Art Neuendorffer
.
> > Has anyone read Bill Farina?
nordicskiv2 wrote:
.
<<But Art -- "Fariña" is Spanish for "manioc flour."
On the other hand, "maniac flower"
is an apt designation for your collected h.l.a.s. effusions,
You must be confusing me with Harold Bloom.
.
> Art Neuendorffer <aneuendor...@comcast.net>
> > ----------------------------------------------
> > De Vere As Shakespeare: An Oxfordian Reading of the Canon (Paperback)
> > by William Farina, Felicia Hardison Londre (Foreword)
> > (2 customer reviews)
> > ----------------------------------------------
> > Editorial Reviews
> > .
> > The question may be met with chagrin by traditionalists, but the
> > identity of the Bard is not definitely decided. During the 20th
> > century, Edward de Vere, the most flamboyant
>
> Is that initial letter a long "s"? If so, "slam-boy-ant"
> is not a bad nonce-word for Oxford,
> in view of his reputed relationship with Orazio Cogno.
Incognito, a. or adv.
[It. incognito, masc., incognita, fem., L. incognitus unknown;
pref. in- not + cognitus known, p. p. of cognoscere: cf. F.
incognito, fr. {It}.] Without being known; in disguise; in an
assumed character, or under an assumed title; -- said esp.
of great personages who sometimes adopt a disguise
or an assumed character in order to avoid notice.
-------------------------------------------------------------------
> Art Neuendorffer <aneuendor...@comcast.net>
> > of the courtier poets, a man of the theater and literary patron,
> > became the leading candidate for an alternative Shakespeare.
>
>
nordicskiv2 wrote:
>
> ...for those who prefer an alternative to reality.
------------------------------------------------------
_Cargo Cult Science_ by Richard Feynman
<<During the Middle Ages there were all kinds of crazy ideas, such as
that a piece of of rhinoceros horn would increase potency. Then a
method was discovered for separating the ideas--which was to try one to
see if it worked, and if it didn't work, to eliminate it. This method
became organized, of course, into science. And it developed very well,
so that we are now in the scientific age. It is such a scientific age,
in fact, that we have difficulty in understanding how witch doctors
could ever have existed, when nothing that they proposed ever really
worked--or very little of it did.>>
------------------------------------------------------
_Cogno Cult Science_ by Art Neuendorffer
.
<<During the 18th century there were all kinds of crazy ideas, such as
that an illiterate bumpkin from the boonies wrote Shakespeare. Then a
method was discoVERED for separating such ideas--which was to try one
to see if it worked, and if it didn't work, to eliminate it. This
method became organized, of course, into anti-Stratfordianism. And it
developed VERy well, so that we are now in the anti-Stratfordian age.
We even have difficulty now in understanding how Stratfordians could
EVER have existed, when nothing that they proposed EVER really made any
sense--or VERy little of it did.>>
------------------------------------------------------
Art Neuendorffer
nordicskiv2
Art Neuendorffer <aneuendor...@comcast.net>
(aneuendor...@comicass.nut) wrote:
> > Art Neuendorffer <aneuendor...@comcast.net>
> .
> > > Has anyone read Bill Farina?
> nordicskiv2 wrote:
> .
> <<But Art -- "Fariña" is Spanish for "manioc flour."
> On the other hand, "maniac flower"
> is an apt designation for your collected h.l.a.s. effusions,
> You must be confusing me with Harold Bloom.
Excellent, Art! But if so, you should beware Mr. Streitz --
although
he is no doubt busily engaged in the pursuit of his new career, that of
xenophobic fearmonger, he may still have a spare pig bladder or two in
his...uh...arsenal.
> > Art Neuendorffer <aneuendor...@comcast.net>
> > > ----------------------------------------------
> > > De Vere As Shakespeare: An Oxfordian Reading of the Canon (Paperback)
> > > by William Farina, Felicia Hardison Londre (Foreword)
> > > (2 customer reviews)
> > > ----------------------------------------------
> > > Editorial Reviews
> > > .
> > > The question may be met with chagrin by traditionalists, but the
> > > identity of the Bard is not definitely decided. During the 20th
> > > century, Edward de Vere, the most flamboyant
> > Is that initial letter a long "s"? If so, "slam-boy-ant"
> > is not a bad nonce-word for Oxford,
> > in view of his reputed relationship with Orazio Cogno.
> -------------------------------------------------------------------
> Incognito, a. or adv.
> [It. incognito, masc., incognita, fem., L. incognitus unknown;
> pref. in- not + cognitus known, p. p. of cognoscere: cf. F.
> incognito, fr. {It}.] Without being known; in disguise; in an
> assumed character, or under an assumed title; -- said esp.
> of great personages who sometimes adopt a disguise
> or an assumed character in order to avoid notice.
Perhaps it has escaped your attention, Art, but despite the
superficial
orthographic similarity of the words, there is a significant difference
between
"incognito" and "in Cogno," just as there is a significant difference
between
"neutron" and "neutrino." Oxford may well have in Cogno, but there is
scant
evidence of his putative incognito. But perhaps you're confused by the
fact
that the neutron is a hadron, but what Oxford had was a hardon.
> -------------------------------------------------------------------
> > Art Neuendorffer <aneuendor...@comcast.net>
>
> > > of the courtier poets, a man of the theater and literary patron,
> > > became the leading candidate for an alternative Shakespeare.
> nordicskiv2 wrote:
> >
> > ...for those who prefer an alternative to reality.
> ------------------------------------------------------
> _Cargo Cult Science_ by Richard Feynman
>
> <<During the Middle Ages there were all kinds of crazy ideas, such as
> that a piece of of rhinoceros horn would increase potency. Then a
> method was discovered for separating the ideas--which was to try one to
> see if it worked, and if it didn't work, to eliminate it. This method
> became organized, of course, into science. And it developed very well,
> so that we are now in the scientific age. It is such a scientific age,
> in fact, that we have difficulty in understanding how witch doctors
> could ever have existed, when nothing that they proposed ever really
> worked--or very little of it did.>>
> ------------------------------------------------------
> _Cogno Cult Science_ by Art Neuendorffer
I fear that you are no Feynman, Art -- Funnyman, yes; Feynman. no.
HoweVER, if it's any consolation, Art, you do a *great* Dan Quayle
imitation! Indeed, Quayle is a linguist after your own heART.
> <<During the 18th century there were all kinds of crazy ideas, such as
> that an illiterate bumpkin from the boonies
Warwickshire was not "the boonies" at the time, Art, _pace_ your
uninformed delusions. You really ought to read the first chapter of
_Ungentle Shakespeare_ -- or at any rate, get someone to read it to
you.
> wrote Shakespeare. Then a
> method was discoVERED for separating such ideas--which was to try one
> to see if it worked,
You mean, via evidentiary expedients like "Agnes a gob," nutcase
Neuendorffer/gangleri numerology, and the sort of brilliant, incisive
"reasoning" that led you to conclude that the name "Peter Gay" *must*
refer to the distinguished Yale scholar of that name, despite
information
clearly identifying the man as an industrial plant manager a quarter
century younger than the eminent historian?
> and if it didn't work, to eliminate it.
Well, certainly your "research" methods are best characterized as
"elimination," in the Crowleyan sense of the word.
> This
> method became organized, of course, into anti-Stratfordianism.
Yes, "elimination" is indeed an appropriate euphemism for the
"method"
of many anti-Stratfordians. You may recall that I have had occasion in
the
past to refer to your failed "anagrams" and similar crank cryptography
as
"vowel movements," Art.
> And it
> developed VERy well, so that we are now in the anti-Stratfordian age.
That's odd -- most of the world, if it is aware of
anti-Stratfordianism at all,
regards the phenomenon as an assortment of deluded cranks on the
lunatic
fringe whose various authorship scenarios are not merely unsupported
and
hopelessly subjective speculation, but are actually mutually
contradictory.
It is hard to imagine how the present could be characterized as the
"anti-Stratfordian age," except perhaps by someone whose connection
with
reality was as tenuous as that of aneuendor...@comicass.nut.
> We even have difficulty now in understanding how Stratfordians could
> EVER have existed, when nothing that they proposed EVER really made any
> sense--or VERy little of it did.>>
Of course, Art -- Virgil as predecessor of Herodotus makes SO much
more
sense!
> ------------------------------------------------------
> Art Neuendorffer
Art Neuendorffer
>>>
>>>>----------------------------------------------
>>>>De Vere As Shakespeare: An Oxfordian Reading of the Canon (Paperback)
>>>>by William Farina, Felicia Hardison Londre (Foreword)
>>>>(2 customer reviews)
>>>>----------------------------------------------
>>>>Editorial Reviews
>>>>.
>>>>The question may be met with chagrin by traditionalists, but the
>>>>identity of the Bard is not definitely decided. During the 20th
>>>>century, Edward de Vere, the most flamboyant
>>>
>
>>>Is that initial letter a long "s"? If so, "slam-boy-ant"
>>> is not a bad nonce-word for Oxford,
>>>in view of his reputed relationship with Orazio Cogno.
>>
>>-------------------------------------------------------------------
>>Incognito, a. or adv.
>>[It. incognito, masc., incognita, fem., L. incognitus unknown;
>>pref. in- not + cognitus known, p. p. of cognoscere: cf. F.
>>incognito, fr. {It}.] Without being known; in disguise; in an
>>assumed character, or under an assumed title; -- said esp.
>>of great personages who sometimes adopt a disguise
>>or an assumed character in order to avoid notice.
nordicskiv2 wrote:
>
> Perhaps it has escaped your attention, Art, but despite the
> superficial
> orthographic similarity of the words, there is a significant difference
> between
> "incognito" and "in Cogno," just as there is a significant difference
> between
> "neutron" and "neutrino." Oxford may well have in Cogno, but there is
> scant
> evidence of his putative incognito. But perhaps you're confused by the
> fact
> that the neutron is a hadron, but what Oxford had was a hardon.
>
did) but no one with so phoney a name as Horatio Cogno was lepton.
>
>>-------------------------------------------------------------------
>>
>>>Art Neuendorffer <aneuendor...@comcast.net>
>>
>>>>of the courtier poets, a man of the theater and literary patron,
>>>> became the leading candidate for an alternative Shakespeare.
>>>
>
>>nordicskiv2 wrote:
>>
>>> ...for those who prefer an alternative to reality.
> Art Neuendorffer <aneuendor...@comcast.net>
>>------------------------------------------------------
>>_Cargo Cult Science_ by Richard Feynman
>>
>><<During the Middle Ages there were all kinds of crazy ideas, such as
>>that a piece of of rhinoceros horn would increase potency. Then a
>>method was discovered for separating the ideas--which was to try one to
>>see if it worked, and if it didn't work, to eliminate it. This method
>>became organized, of course, into science. And it developed very well,
>>so that we are now in the scientific age. It is such a scientific age,
>>in fact, that we have difficulty in understanding how witch doctors
>>could ever have existed, when nothing that they proposed ever really
>>worked--or very little of it did.>>
>>------------------------------------------------------
>>
>>_Cogno Cult Science_ by Art Neuendorffer
>
>
> I fear that you are no Feynman, Art
>
>
> Art Neuendorffer <aneuendor...@comcast.net>
>>During the 18th century there were all kinds of crazy ideas,
>> such as that an illiterate bumpkin from the boonies
>
>
> Warwickshire was not "the boonies" at the time, Art,
Stratford upon Avon was & still is "the boonies."
.
> Art Neuendorffer <aneuendor...@comcast.net>
>>
>>wrote Shakespeare. Then a method was discoVERED
>> for separating such ideas--which was to try one
>>to see if it worked,
>
>
> You mean, via evidentiary expedients like "Agnes a gob,"
. (G)rooms (O)f the (B)edchamber.
-------------------------------------------------------------
*GOB* , n. [OF. gob morsel; cf. F. gobe, gobbe,
a poisoned morsel, poison ball, gobet a piece swallowed]
-----------------------------------------------------------------
2 Samuel 21:19 RSV
. And there was again war with the Philistines at *GOB* ;
. and Elha'nan the son of Ja'areor'egim, the Bethlehemite,
.
. slew Goliath the Gittite,
.
. the shaft of whose SPEAR was like a wEaVER's beam.
-------------------------------------------------------------------
2 Samuel 21:19 KJV
. And there was again a battle in GOB with the Philistines,
. where Elhanan the son of Jaareoregim, a Bethlehemite,
.
. slew *THE BROTHER* of Goliath the Gittite,
.
. the staff of whose SPEAR was like a wEaVER's beam.
---------------------------------------------------------
_____ *O BROTHER* , Where ART Thou?
"I detect, like me, you're endowed with the gift of GAB."
..........................................................
The gift of the GAB: Fluency of speech; or, rather, the gift of
boasting. (French, GABer, to gasconade; Danish & Scotch, GAB,
the mouth; Gaelic, *GOB* ; Irish, cab; whence our gap & gape,
GABble & GOBble. The GABle of a house is its beak.)
.
. "There was a good man named Job
. Who lived in the land of Uz,
. He had a good gift of the *GOB* ,
. The same thing happened us,"
.
. - Book of Job, by Zach. Boyd.
----------------------------------------------
Art Neuendorffer (the Wizard of Uz)
nordicskiv2
Art Neuendorffer <aneuendor...@comcast.net>
(aneuendor...@comicass.nut) wrote:
> >>>Art Neuendorffer <aneuendor...@comcast.net>
> >>>
> >>>>----------------------------------------------
> >>>>De Vere As Shakespeare: An Oxfordian Reading of the Canon (Paperback)
> >>>>by William Farina, Felicia Hardison Londre (Foreword)
> >>>>(2 customer reviews)
> >>>>----------------------------------------------
> >>>>Editorial Reviews
> >>>>.
> >>>>The question may be met with chagrin by traditionalists, but the
> >>>>identity of the Bard is not definitely decided. During the 20th
> >>>>century, Edward de Vere, the most flamboyant
> >>>Is that initial letter a long "s"? If so, "slam-boy-ant"
> >>> is not a bad nonce-word for Oxford,
> >>>in view of his reputed relationship with Orazio Cogno.
> > Art Neuendorffer <aneuendor...@comcast.net>
> >>-------------------------------------------------------------------
> >>Incognito, a. or adv.
> >>[It. incognito, masc., incognita, fem., L. incognitus unknown;
> >>pref. in- not + cognitus known, p. p. of cognoscere: cf. F.
> >>incognito, fr. {It}.] Without being known; in disguise; in an
> >>assumed character, or under an assumed title; -- said esp.
> >>of great personages who sometimes adopt a disguise
> >>or an assumed character in order to avoid notice.
> nordicskiv2 wrote:
> >
> > Perhaps it has escaped your attention, Art, but despite the
> > superficial
> > orthographic similarity of the words, there is a significant difference
> > between
> > "incognito" and "in Cogno," just as there is a significant difference
> > between
> > "neutron" and "neutrino." Oxford may well have in Cogno, but there is
> > scant
> > evidence of his putative incognito. But perhaps you're confused by the
> > fact
> > that the neutron is a hadron, but what Oxford had was a hardon.
> De Vere may have had a few strange quarks (at least his grandchildren
> did) but no one with so phoney a name as Horatio [sic] Cogno was lepton.
It was *Orazio* Cogno, Art. And Oxford appears to have anticipated
George W. Bush in seVERal ways. For example, Bush advocated "No
chlid left behind," while Oxford favored "No child's behind left."
> >>>Art Neuendorffer <aneuendor...@comcast.net>
> >>
> >>>>of the courtier poets, a man of the theater and literary patron,
> >>>> became the leading candidate for an alternative Shakespeare.
> >>nordicskiv2 wrote:
> >>
> >>> ...for those who prefer an alternative to reality.
> > Art Neuendorffer <aneuendor...@comcast.net>
> >>------------------------------------------------------
> >>_Cargo Cult Science_ by Richard Feynman
> >>
> >><<During the Middle Ages there were all kinds of crazy ideas, such as
> >>that a piece of of rhinoceros horn would increase potency. Then a
> >>method was discovered for separating the ideas--which was to try one to
> >>see if it worked, and if it didn't work, to eliminate it. This method
> >>became organized, of course, into science. And it developed very well,
> >>so that we are now in the scientific age. It is such a scientific age,
> >>in fact, that we have difficulty in understanding how witch doctors
> >>could ever have existed, when nothing that they proposed ever really
> >>worked--or very little of it did.>>
> >>------------------------------------------------------
> >>
> >>_Cogno Cult Science_ by Art Neuendorffer
> nordicskiv2 wrote:
> >
> > I fear that you are no Feynman, Art
> Surely you're joking.
If you're considering entitling your autobiography _Surely You're
Joking,
Mr. Funnyman (Adventures of a Spurious Character)_, then I whole-
heartedly endorse the project, Art, and I will be more than glad to
write an
enthusiastic REView of the book. But permit me to suggest a
significant
improvement: _Surely You're Toking, Mr. Funnyman_.
> > Art Neuendorffer <aneuendor...@comcast.net>
> >>During the 18th century there were all kinds of crazy ideas,
> >> such as that an illiterate bumpkin from the boonies
> nordicskiv2 wrote:
> >
> > Warwickshire was not "the boonies" at the time, Art,
> Stratford upon Avon was
No, it was not; as I said, get someone to read the first chapter of
_Ungentle Shakespeare_ to you.
> & still is "the boonies."
> > Art Neuendorffer <aneuendor...@comcast.net>
> >>
> >>wrote Shakespeare. Then a method was discoVERED
> >> for separating such ideas--which was to try one
> >>to see if it worked,
> nordicskiv2 wrote:
> >
> > You mean, via evidentiary expedients like "Agnes a gob,"
> -----------------------------------------------------------
> . (G)rooms (O)f the (B)edchamber.
> -------------------------------------------------------------
[More lunatic logorrhea snipped]
I see that that's exactly what you mean -- you prove my point
_ipso facto_, Art.
Art Neuendorffer
>>>>>>----------------------------------------------
>>>>>>De Vere As Shakespeare: An Oxfordian Reading of the Canon (Paperback)
>>>>>>by William Farina, Felicia Hardison Londre (Foreword)
>>>>>>(2 customer reviews)
>>>>>>----------------------------------------------
>>>>>>Editorial Reviews
>>>>>>.
>>>>>>The question may be met with chagrin by traditionalists, but the
>>>>>>identity of the Bard is not definitely decided. During the 20th
>>>>>>century, Edward de Vere, the most flamboyant
>>>>>
>
>>>>>Is that initial letter a long "s"? If so, "slam-boy-ant"
>>>>>is not a bad nonce-word for Oxford,
>>>>>in view of his reputed relationship with Orazio Cogno.
>>>>
>>>>-----------------------------------------------------
>>>>Incognito, a. or adv.
>>>>[It. incognito, masc., incognita, fem., L. incognitus unknown;
>>>>pref. in- not + cognitus known, p. p. of cognoscere: cf. F.
>>>>incognito, fr. {It}.] Without being known; in disguise; in an
>>>>assumed character, or under an assumed title; -- said esp.
>>>>of great personages who sometimes adopt a disguise
>>>>or an assumed character in order to avoid notice.
>>>
>
>>nordicskiv2 wrote:
>>
>>> Perhaps it has escaped your attention, Art, but despite the
>>>superficial
>>>orthographic similarity of the words, there is a significant difference
>>>between
>>>"incognito" and "in Cogno," just as there is a significant difference
>>>between
>>>"neutron" and "neutrino." Oxford may well have in Cogno, but there is
>>>scant
>>>evidence of his putative incognito. But perhaps you're confused by the
>>>fact
>>>that the neutron is a hadron, but what Oxford had was a hardon.
>
>
>>De Vere may have had a few strange quarks (at least his grandchildren
>>did) but no one with so phoney a name as Horatio [sic] Cogno was lepton.
>
>
> It was *Orazio* Cogno, Art.
http://italian.about.com/library/name/blname_orazio.htm
.
Orazio : English translation/equivalent: Horace, Horatio
.
Origin: Derived from the ancient Latin word Horatius
and from the Etruscan Huras, meaning "dark."
According to others it means "clairvoyant."
-------------------------------------------------------------
<<Orazio Vecchi (December 6, 1550 (baptized) - February 19, 1605)
was an Italian composer of the late Renaissance. He is most
famous for his madrigal comedies, particularly L'Amfiparnaso.
.
He was born in Modena, and studied with Salvatore Essenga, a Servite
monk there. In addition he prepared for holy orders with early education
at the Benedictine monastery, and took holy orders sometime before 1577.
.
By the end of the 1570s he was well-connected with the composers of the
Venetian school (for example Claudio Merulo and Giovanni Gabrieli) since
he collaborated with them in writing a sestina for a ducal marriage.
During this period he accompanied Count Baldassare Rangoni on his
travels, going to Bergamo and Brescia.
.
He was maestro di cappella (director of music) at the Salò cathedral
between 1581 and 1584. Following this, he was the choirmaster at the
cathedral of Reggio Emilia, until 1586. In that year he moved to
Correggio where he was appointed canon of the cathedral there; he
composed copiously during his time there, though he felt isolated from
the major musical centers of Italy such as Rome, Venice, Florence and
Ferrara. Eventually he attempted to correct this by moving back to
Modena, where he attained the rank of mansionario (a priest who also had
charge of the choir). He seems to have had considerable financial
difficulties during this time, which he alluded to in his letters, and
occasionally in his compositions.
.
In 1597 he visited Venice, where he published a collection of
canzonette. In addition he published a huge amount of other music that
same year, evidently his complete production of the last 16 years in
Correggio and the other towns. One of the pieces he published was
L'Amfiparnaso, which is his best-known composition.
.
Duke Cesare d'Este hired Vecchi in 1598 to be his maestro di corte, i.e.
the master of music at his court, and Vecchi accompanied him to Rome and
Florence in 1600; while in Florence he heard Jacopo Peri's opera
Euridice. Afterwards he returned to Modena where he continued to serve
in the cathedral until his death in 1605.
.
[edit]
Music and influence
Vecchi was renowned for his madrigals, especially his grouping of them
together in a new form called the "madrigal comedy." This was a light,
popular, and dramatic entertainment form of the late 16th century,
sometimes regarded as one of the precursors to opera.
.
In addition, he published books of canzonette, a lighter alternative to
the madrigal, midway in complexity and seriousness between it and the
villanella. He also composed serious madrigals, though not in the
quantity of composers like Marenzio, as well as some sacred music. The
sacred music in particular shows the influence of the Venetian school,
with polychoral writing as well as contrasting duple- versus triple-time
sections.
-------------------------------------------------------
Orazio (Horatio) Farinati (Italian, 1559-died after 1616)
http://www.artnet.com/artist/634501/orazio-horatio-farinati.html
-------------------------------------------------------------
Paolo Farinati (From Wikipedia), also seen as Farinato
(c. 1524 - c. 1606) was an Italian painter and architect.
.
<<A native of Verona, he is sometimes named Farinato degli Uberti, as he
came from the ancient Florentine stock to which the Ghibelline leader
Farinata degli Uberti, celebrated in Dante's Divina Commedia, belonged.
He flourished at the same time that the art of Verona obtained its
greatest lustre in the works of Paolo Cagliari (Paul Veronese),
succeeded by other members of the Cagliari family, of whom most or all
were outlived by Farinato. He was instructed by Niccolo Giolfino, and
probably by Antonio Badile and Domenico del Riccio (Brusasorci).
.
Proceeding to Venice, he formed his style partly on Titian and
Giorgione, though he was never conspicuous as a colorist, and in form he
learned more from the works of Giulio Romano. His nude figures show
knowledge of the antique; he affected a bronzed tone in the complexions,
harmonizing with the general gravity of his color, which is more
laudable in fresco than in oil-painting. Vasari praised his thronged
compositions and merit of draughtsmanship. His works are to be found not
only in Venice and principally in Verona, but also in Mantua, Padua and
other towns belonging or adjacent to the Venetian territory.
.
He was a prosperous and light-hearted man, and continually progressed in
his art, passing from a comparatively dry manner into a larger and
bolder one, with much attraction of drapery and of landscape. The
Miracle of the Loaves and Fishes, painted in the church of S. Giorgio in
Verona, is accounted his masterpiece; it was executed at the advanced
age of seventy-nine, and is of course replete with figures, comprising
those of the painter's own family. A saloon was painted by him in S.
Maria in Organo, in the same city, with the subjects of Michael
expelling Lucifer and the Massacre of the Innocents; in Piacenza is a St
Sixtus; in Berlin a Presentation in the Temple; and in the communal
gallery of Verona one of his prime works, the Marriage of St Catherine.
Farinati executed some sculptures, and various etchings of sacred and
mythologic subjects; his works of all kinds were much in request,
including the wax models which he wrought as studies for his painted
figures. He is said to have died at the same hour as his wife. His son
Orazio was also a painter of merit.
------------------------------------------------------
Art Neuendorffer