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Feb 9, 2012, 7:55:42 PM2/9/12
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-----------------------------------------------
*PRO PARE VOTIS EMERITE*
- _The De Vere Code_ by Jonathan Bond
....................................
Probability of 2 "PARE"s ~ 1/225
*PARE* : 1202d
*PARE* : 1609u
------------------------------------------------------
*PARE*, v. t. [F. PAREr to PARE, as a horse's hoofs,
*to dress or curry LEATHER* , to clear ANCHORS or
CABLES, to parry, ward off, fr. L. parare to prePARE.]
-------------------------------------------------
____ *PARE VOTIS* : *MNEME RITE*
.................................................
. TOT ___ HEONL ____ IEBE
. GET ___ TEROF ____ THES
. EIN _____- SVING [S] _ONN
- -ET_ [S] [M] RWHA _- [L] _LHA
_ -P- [P-I]_[N E] SS__- E[A] _NDT
_ -H- [A T] [E T] ER___ N[I] _TIE
_ {P} [R O] [M I] ___ [S] ED[B] _YOV
_. {R} [E V] [E R] -L___ [I]__V[I] _NGP
_ {O} ET___ WISH [E]- [T] _HTH
. EWE ___ LLWI[S.]_ [H.] _ ING
. ADV ___ ENTV[R.]_ [E.] _ RIN
. SET ____ TING[F.]_ [O.] _ RTH
--------------------------------------------------
Sundial On the church of St. Pierre, Saintes,
which dates from the fifteenth century.
TEMPORA CUNCTA SUIS VISITANTES DISCITE *VOTIS*.
You who come to see me, learn all the hours by their *PRAYERS* .
http://digital.library.upenn.edu/women/gatty/sundials/421.html
----------------------------------------------------------
Montaigne's Essays: OF DRUNKENESSE
Spumantemque dari, pecora inter inertia, *VOTIS*
--------------------------------------------------
*RITE* , n. [L. ritus; cf. Skr. r[=i]ti a STREAM, a running,
. way, manner, ri: TO FLOW: cf. F. *RIT* , RITE.] A formal
. act of religion or other solemn duty; a solemn observance;
. a ceremony; as, the RITEs of FREEMASONRY.
--------------------------------------------------------
*ENDVES TIBIALS* = Dons the Order of the Garter
_____________ [H]enry [E]arl of [O]xford
----------------------------------------------------------
<<In view of your prior obsession with "Don Quixote" and donning
thigh armor, I'm surprised that you haven't made the obvious
connection, Art. *ENDVES TIBIALS* means "dons shin armor".
I'm sure you can make something of that.>> - Dave Webb
---------------------------------------------------------
Philip Sidney (1554-86) had gallantly refused
to 'Don' thigh armour (cuisses or 'Quixote') when
an elder knight didn't have any(; did Philip, in fact,
loan his cuisses to that elderly knight). Sidney was shot
in the thigh on Sept. 22, 1586 and died on October 17.
----------------------------------
*EMERITE* m. (Vocative: Latin )
1. *EARNed* , merited, having been earned.
2. *sERVED* , having done one's service.
................................................
*EARN* , v. t. [AS. earnian; akin to G. *ERNte* ]
*ERNte* : crop, harvesting, picking, yield (German)
................................................
. "REVEREND WARD"
.
. E D W A R D V E R E has an INPNC of 10/12!
. R
. N
-----------------------------------------------------
*EARN/ERNe* : To stir with strong emotion; to grieve; to mourn.
[Corrupted into *yEARN* in modern editions of Shakespeare.]
...............................................
___ Henry V (Folio 1, 1623)
Hostesse. 'Prythee honey sweet Husband,
_____ let me bring thee to Staines.
Pistoll. No: for my manly heart doth *ERNe* . Bardolph,
. be blythe: Nim, rowse thy vaunting Veines: Boy,
. brissle thy Courage vp: for Falstaffe hee is dead,
. and wee must *ERNe* therefore.
-----------------------------------------------------
___ *ERN* : earnest, pledge (Welsh)
-----------------------------------------------------
. *CORONET* : A CROWN inferior to the royal CROWN.
.
A duke's *CORONET* is adorned with strawberry leaves above
the band; that of a marquis with strawberry leaves alternating
with *PEARLS*; that of an earl has *pEARLS* elevated on stalks,
. alternating with leaves above the band;
that of a *visCOUNT* has a string of *pEARLS* above the band,
. but no leaves; that of a baron has only six *PEARLS*.
...............................................
http://f01.middlebury.edu/FS010A/students/Minerva/title.jpg
.
. (V I\V\ I T U R
. I N G \E\ N I O
. |C||E||T| E \R\ A M
. |O||R||T| I S \E\ R
. |U N T|
.
______________ *COUNT VERE*
_____*COU-RONNE* [French] *CORONET* , corona
----------------------------------------------------
. King Henry IV, Part ii Act 3, Scene 2
.
FALSTAFF: Lord, Lord, how
. subject we old men are to this vice of lying!
. This same starved justice hath done nothing but prate
. to me of the wildness of his youth, and the feats
. he hath done about Turnbull Street: and EVERy
. third word a lie, duer paid to the hearer
.
. than THE TURK's tribute.
.
I do remember him at Clement's Inn like
a man made after supper of a *CHEESE-PARING*:
-----------------------------------------------------------
. All's Well That Ends Well Act 1, Scene 1
.
[PAR]oll[E]s: Virginity breeds mites,
. much like a *CHEESE* ; consumes itself to the VERy
. *PARING*, and so dies with feeding his own stomach.
---------------------------------------------
P. OVIDI NASONIS FASTORVM LIBER TERTIVS
...........................................
Idibus est Annae festum geniale Perennae
non procul a ripis, advena Thybri, tuis.
plebs venit ac virides passim disiecta per herbas
potat, et accumbit cum *PARE* quisque sua. 526
..........................................
http://www.theoi.com/Text/OvidFasti3.html
On the Ides is held the jovial feast of Anna Perenna
not far from the banks, O Tiber, who comest from afar.
The common folk come, and scattered here
and there over the green grass they drink,
every lad reclining beside *his lass* .
Some camp under the open sky; a few pitch tents; some make a leafy hut
of boughs. Others set up reeds in place of rigid pillars, and
stretching out their robes place them upon the reeds. But they grow
warm with sun and wine, and they pray for as many years as they take
cups, and they count the cups they drink. There shall you find a man
who drains as many goblets as *NESTOR* numbered years, and a woman who
would live to the Sibyl’s age if cups could work the charm.
There they sing the ditties they picked up in the theatres, beating
time to the words with nimble hands; they set the bowl down, and trip
in dances, lubberly, while the spruce sweetheart skips about with
streaming hair. On the way home they reel, a spectacle for vulgar
eyes, and the crowd that meets them calls them “blest.”
..........................................
vincitur ars vento nec iam moderator habenis 594
utitur, at *VOTIS* is quoque poscit opem.
iactatur tumidas exul Phoenissa per undas,
umidaque opposita lumina veste tegit.
---------------------------------------------
Sundial Formerly at Park Hill, Oswestry.
__ TEMPORI *PARE* : *OBEY* time.
---------------------------------------------
__ *The DIAL TIS NoW For BACon TO Obey*
----------------------------------------------------
. Mira. More to know
[D]id *NEUER* medle with my thoughts.
Pros. *TIS TIME*
[I] should informe thee farther: Lend thy hand
[A]nd *PLUCKE my Magick Garment* from me: So,
[L]ye there my Art: wipe thou thine eyes, haue *COMFORT*,
.
[The] direfull spectacle of the *WRACKE* which touch'd
.
[T]he *VERy VERtue* of compassion in thee:
[I] haue with such prouision in mine Art
[S]o SAFEly ordered, that there is no soule
[No] not so much perdition as an hayre
. betid to any creature in the vessell
[W]hich thou heardst cry, which thou saw'st sinke: Sit
[For] thou must *NoW* know farther. [downe,
. Mira. You haue often
[B]egun to tell me what I am, but stopt
[A]nd left me to a bootelesse Inquisition,
[Con]cluding, stay: not yet.
. Pros. The howr's now come
[T]he *VERy MINUTE* byds thee *OPE THINE EARE* ,
[Obey], and be attentiue. Canst thou remember
___ A time before we came vnto this Cell?
------------------------------------------------------
CALIBAN: I must *OBEY* : his art is of such power,
. It would control my dam's god, *SET(eb)OS* ,
. and make a vassal of him.
---------------------------------------------
__ David L. Roper's *EVERE* Monument array
STAYPAS_ *S* ENGERWHYGOES_______ TTHOVBYSOFASTR
EADIFT_ *H O* VCANSTWHOM_ *E _ N* VIOVSDEATHHATH
PLASTW- *I_T* HINTHISMON____*V M_ E* NTSHAKSPEAREW
ITHWHO *M E* QVICKNATVR___ *ED I__D* EWHOSENAMEDO
THDECKY *S* TOMBEFARMO_ *RE t_H* ENCOSTSIEHAL
LYTHEHA- _T_ HWRITTLEAV___ *E* ____SLIVINGARTBVTPA
GETOSERVEHISWITT _______ <= Sonnet 34 =>
.........................................................
__ *SETOS* : *FENCES* , *HEDGES* , *MERES* (Spanish)
------------------------------------------------------------
P. Ovidius Naso, Metamorphoses Book 8 (ed. Arthur Golding)
.
. And as he of his wretched sonne the corse in ground did hide,
. The cackling Partrich from a thicke and leavie thorne him spide,
. And clapping with his wings for joy aloud to call began.
. There was of that same kinde of Birde no mo but he as than
. In times forepast had none bene seene. It was but late anew
. Since he was made a bird: and that thou, Daedalus, mayst rew:
. For whyle the world doth last thy shame shall thereupon ensew.
. For why thy sister, ignorant of that which after hapt,
. Did put him to thee to be taught full twelve yeares old and apt
. To take instruction. He did marke the middle bone that goes
. Through fishes, and according to the paterne tane of those
. He filed teeth upon a piece of yron one by one
. And so devised first the Saw where erst was nEVER none.
. Moreover he two yron shankes so joynde in one round head,
. That opening an indifferent space, the one point downe shall tread,
. And tother draw a circle round. The finding of these things,
. The spightfull heart of DaEDALUS with such a malice stings,
. That headlong from the holy towre of *PALLAS* downe he thrue
. His Nephew, feyning him to fall by chaunce, which was NOT TRUE.
. But PALLAS (WHO DOTH FAVOUR WITS) did stay him in his fall
. And chaunging him into a Bird did clad him over all
. With FETHERS soft amid the Aire. The QUICKnesse of his WIT
. (Which erst was SWift) did shed it selfe among his wings and feete.
[*FLEDGE* , a. furnished with FEATHERS or wings; able to fly.]
. And as he Partrich hight before, so hights he Partrich still.
. Yet mounteth not this Bird aloft ne seemes to have a will
. To build hir nest in tops of trees among the boughes on hie
. But flecketh nere the ground and layes hir egges in *HEDGES* drie.
. And forbicause hir former fall she ay in minde doth beare,
. She EVER since all lofty things doth warely shun for FEARE.
-------------------------------------------------------------
<<[Shakespeare] gorged on farming terms & would refer to
_____ *MEERS,* or banks & *HEDGES* .>> - p. 35, Honan
----------------------------------------------------------
. Francis *MERES*'s Palladis Tamia; Wits Treasury,
. Being the Second Part of Wits Commonwealth (1598)
.
. [http://www.clark.net/tross/ws/rep.html]
.
... the best for Comedy amongst vs bee,
. Edward Earle of Oxforde,
Francis *MERES* states that Marlowe was "stabbed to death
by a bawdy serving-man, a rival of his in his lewd love"
as punishment for his "epicurism and atheism" ...but
Peter Farey refused to accept that "fact."
-----------------------------------------------------------------
*MERE* , n. [Written also *MAR* ] [OE. MERE, AS. MERE, sea;
akin to D. MEER lake, OS. meri sea, OHG. *MERI* , G. *MEER* ,
Icel. *MARR* , Goth. marei, Russ. more, W. mor, Ir. & Gael. muir,
L. mare, a& perh. to L. mori to die, and meaning originally,
*that which is DEAD, a WASTE* . Cf. {Mortal}, {MERMAID},
{MOOR}.] A pool or lake. --Drayton.
........................................................
Francis *MERES* (like 'Francis' Frizer & Kit *MAR-lo*) is
all part & parcel of the Masonic/Rosicrucian smoke & mirrors:
___ *MEER/MERE* , n. A boundary. --Bacon.
Francis *MERES* -- d. Jan. 29, 1647, *WING , Rutland*
. [Jan. 29, 1845, Poe's *THE RAVEN* {anagram} *THAN VERE* ]
---------------------------------------------------------------
PSALM 40:13 DE(l)IVER me: O LORD, make *HASTE* to help me.
Let them be ashamed & confounded together that seek after my soul
to destroy it; let them be driven backward and put to shame that
wish me evil. Let them be desolate for a *REWARD* of their shame
. that say unto me, *AHA* , *AHA* .
----------------------------------------------------------
. King Richard III Act 1, Scene 1
.
CLARENCE: Yea, Richard, when I know; for I protest
.
_______ [A]s yet I do not: but, as I can learn,
_______ [H]e hearkens after prophecies and dreams;
_______ [A]nd from the cross-row plucks the letter G.
_______ [A]nd says a WIZARD told him that by G
_______ [H]is issue disinherited should be;
_______ [A]nd, for my name of GEORGE begins with G,
_______ It follows in his thought that I AM HE.
..................................................
_______ *NIL VERO-VERIU(S) *
_______ *OUR EVER-LIVIN(G) *
------------------------------------------------------
_________ O, could he but have drawne his wit
_________ [A]s well *IN-BRASSe* , as he hath hit
_________ [H]is face ; the Print would then surpasse
_________ [A]ll, that was *EVER WRI-TIN-BRASSe* . - B.J.
..........................................................
Buck: *AHA* my Lord this prince is not an Edward
- [King Richard the Third (Quarto) 3.1]
..............................................
*AHA* / *HA-HA* / *haw-haw* ,
n. [Duplication of haw a *HEDGE* .] A sunk *FENCE*,
WALL, or DITCH, not visible till one is close upon it.
.
"David L. Webb" wrote:
> Jane Austen uses the word "haha"
> in the sense of a sunken *FENCE.*
..............................................
___ Island of Dr. Moreau - H. G. Wells *
_____ ( XII. THE SAYERS OF THE LAW. )
The noise of my pursuers passed away to my left.
In one place three strange, pink, hopping animals,
about the size of cats, bolted before my footsteps.
This pathway ran up hill, across another open space coVERED
with white incrustation, and plunged into a canebrake again.
Then suddenly it turned parallel with the edge of a steep-walled gap,
which came without warning, like the *HA-HA* of an English park,--
turned with an unexpected abruptness. I was still running
with all my might, and I nEVER saw this drop until
I was flying headlong through the air.
----------------------------------------------------
. All's Well That Ends Well Act 5, Scene 2
.
LAFEU: And what would you have me to do?
. 'Tis too late to *PARE her NAILS* now.
. Wherein have you played the knave with
. fortune, that she should SCRATCH you.
------------------------------------------------------------
An ANCRE's life to leade, with NAILES to SCRATCHe my grave,
Where earthly Wormes on me shall fede, is all the joyes I crave;
And hide my self from SHAME, sith that myne eyes doe see,
Ah, a alantida my deare dame, hath thus tormented me.
http://drk.sd23.bc.ca/DeVere/Oxford_Poems_and_Songs-18.pdf
http://www3.telus.net/oxford/oxfordspoems.html#3
----------------------------------------------------
. Twelfth Night Act 4, Scene 2
.
Clown: Like a mad lad, *PARE thy NAILS* , dad;
. Adieu, good man *DEVIL*.
-----------------------------------------------------
. King Henry V Act 4, Scene 4
.
Boy: I did nEVER know so full a voice issue from
. so empty a heart: but the saying is TRUE 'The empty
. vessel makes the greatest sound.' Bardolph and Nym
. had ten times more valour than this roaring *DEVIL*
i' the *OLD PLAY* , that EVERy one may *PARE his NAILS*
. with a wooden dagger; and they are both HANGED;
------------------------------------------------------
. WE-EVER, JOHN, 1599
Epigrammes in the Oldest Cut and Newest Fashion.
.
They burn in love, THY CHILDREN Shakespear [HET] them
Go, wo thy Muse, more NYMPhish brood BEGET them
..........................................................
[HET], v. t. & i. To *PROMISE*. [Obs.] --Chaucer.
--------------------------------------------------------------
___ <= Sonnets 33/34 => 35 *DE VEER*
___ /T/ OT __ [H] EONLIEBEGE TTE [R] OFTHESEINSUINGS
__- /O/ NN _ [E T] SMRWHALLH APPIN [E] SSEANDTHATETE
__ /R/ NI___ [T(I)E] *PROMISED*BYOUREV [E] RLIVINGPOET
_ /W/ IS___ [H E T H] THEWELL WISHINGA [DVE] NTURERIN
_______________ SETTIN GFORTH ______________TT
--------------------------------------------------------------
HET OVERtollige (Dutch): *PARING*, burr, shaving, trimming.
--------------------------------------------------------------
*PARING*, Perching or GROUNDING:
After staking the leather was ready for *PARING*.
This removed the roughness from the flesh side and reduced
the skins to uniform thickness. The parts around the neck,
flanks and backs were the thickest. *PARING* was done
with a circular knife with the skin mounted on a frame called
a 'Perch' (a horizontal pole or beam between two uprights).
.
. http://hudsonshakespeare.org/biography.htm
.
The *PARING* knife in The Merry Wives of Windsor
.
. 'Does he not WEAR a great round beard?
. Like a *glover's PARING knife* '
(R.A. Salaman has argued in his dictionary of leather
working tools that Shakespeare could be referring to
the semi-circular knife used by leather workers).
Edward de Vere, is also reputed to have introduced
the fashion of elaborately embroidered gloves, when
he presented a pair to Queen Elizabeth in 1573.
http://palimpsest.stanford.edu/don/dt/dt2545.html
-----------------------------------------------------------
____ Hamlet > Act I, scene V
.
HAMLET: Yea, from the table of my *MEMORY*
. *I'll WIPE AWAY* all trivial fond records,
. All saws of books, all forms, all pressures past,
. That youth and observation copied there;
. And thy commandment all alone shall live
. Within the book and volume of my brain,
. Unmix'd with baser matter: yes, by heaven!
------------------------------------------
http://en.wikipedia.org/wiki/Muse
According to Pausanias in the later 2nd century AD,
there were three original Muses:
Aoidē ("song" or "voice"),
Meletē ("practice" or "occasion"),
and *MNEME* ( *MEMORY* ).
------------------------------------------------
. *PARE VOTI* : *MNEME RITERS(i)*
..............................................
__ *PARE* : It appears (Italian)
__ *VOTI* : that I dedicate/devote (Italian)
__ *RITER{s(v)i}* : *I WIPED AWAY* (Italian)
__ *MNEME* : *MEMORY*
.................................................
. TOT ___ HEONL ____ IEBE
. GET ___ TEROF ____ THES
. EIN ___- {s(v)i} NG ___ [S] _ONN
- -ET_ {S} [M R] RWHA [L] _LHA
_ -P- [P-I]_[N E] SS___ E[A] _NDT
_ -H- [A T]-[E T] ___- ERN[I] _TIE
_ {P} [R O]-[M I] ___ [S] ED[B] _YOV
_. {R} [E V]-[E R] -L___ [I]__V[I] _NGP
_ {O} ET WISH ___- [E] [T] _HTH
. EWE ___ LLWI [S.]_-[H.] _ ING
. ADV ___ ENTV [R.]_-[E.] _ RIN
. SET ____ TING [F.]_-[O.] _ RTH
-----------------------------------------------
*DE VERE IN TOMB*
*MENTE VIDEBOR* => In the mind "I" will be seen.
............................................
*MENTE VIDEBOR I"=> In the mind I will see you ADVANCE.
*DE VERE NIMBO IT"=> *De Vere ADVANCEs on a CLOUD*
....................................................
FRIAR LAURENCE: The most you sought was her promotion;
. For 'twas your heaven she should be ADVANCEd:
. And weep ye now, *SEEing she is ADVANCEd*
. *ABOVE THE CLOUDS*, as high as heaven itself?
-----------------------------------------------------
*EKPHRASIS*: A presentation to the mind's eye.
*I SHAKSPER*
..................................................
<<Petrarch's poems, because of their sculpted quality
and because of Petrarch's use of *EKPHRASIS*
--for instance in sonnet 78 where *LAURA* appears as
SIMON's painting--which introduces the gaze into writing,
are made visible to the reader's eyes. Winn thus writes:
"Petrarch's poetry, however expressive and sonorous, also employs
techniques learned from the recondite virtuosity of the Middle Ages,
.
including *ANAGRAMMATIC DISTORTIONS of LAURA's name* .>>
..................................................
*AURAL* , a. [L. aura air.] Of or pertaining to the *AIR*
*AURAL* , a. [L. auris ear.] Of or pertaining to the *EAR*
----------------------------------
Lucan's PHARSALIA Book II
WITH AN ENGLISH TRANSLATION
BY J. D. DUFF, M.A.
....................................
*O VERE Romana manus* , quibus arma senatus
Non privata dedit, *VOTIS* deposcite pugnam.
*Romans indeed* , whom the Senate
has armed to defend your country,
*declare* now your eagerness for battle.
---------------------------------------------
http://community.livejournal.com/latin/464752.html
Hoc erat in *VOTIS* ?
*AudiVERE* , Lyce, di mea vota, di
*audiVERE* , Lyce: fis anus
Horace, Odes 4. 13. 1 f.
[The gods have listened to my prayers,
Lyce, the gods have listened,
Lyce: you're becoming an old woman]
I've always understood Horace's vota as good wishes for Lyce's long
life. Cinara by contrast, in the same poem v. 21 ff., is said to have
died young. So I was very surprised to read Syndikus' interpretation*
of vota as vengeful curses for Lyce to become all wrinkly and
decrepit. Horace is troubled by his own old age all through Book 4 of
the Odes, so I'd rather imagine him to be compassionate than derisive.
(The cruel and obscene ageism of his eighth epode lies decades behind
him, and I'm not so sure that even that was authentic.) - Maybe
Syndikus was nodding after all? In the same few pages he keeps
misspelling Cinara ("the artichoke") as Cinaera. (Of course this
slip is irrelevant to the point that I take exception to.)
---------------------------------------------
http://colecizj.easyvserver.com/pohorhoc.htm
SERMONUM - II.6 SATIRES - II.6
Horace (Q. Horatius Flaccus) tr. Niall Rudd
...........................................
Hoc erat in *VOTIS* : modus agri non ita magnus,
hortus ubi et tecto vicinus jugis aquae fons
et paullum silvae super his foret. auctius atque
di melius fecere. bene est. nil amplius oro,
Maia nate, nisi ut propria haec mihi munera faxis.
This is what I *PRAYED FOR* . A piece of land - not so very big,
with a garden and, near the house, a spring that never fails,
and a bit of wood to round it off. All this and more
the gods have granted. So be it. I ask for nothing else,
O son of Maia, except that you make these blessings last.
...........................................
matutine pater, seu Iane libentius audis,
unde homines operum primos vitaeque labores
instituunt, sic Dis placitum, tu carminis esto
principium. Romae sponsorem me rapis. 'heia!
ne prior officio quisquam respondeat, urge.'
sive Aquilo radit terras seu bruma nivalem
interiore diem gyro trahit, ire necesse est.
O Father of the Dawn, or Janus if you would rather have
that name, you watch over the beginning of man's working day,
for such is the will of heaven. So let me begin my song
with you. In Rome you dispatch me to act as a guarantor.
'Hurry, or someone else will answer the call before you!'
The north wind may he rasping the earth or winter may be
drawing the snowy day into a smaller circle, but go I must.
----------------------------------------
Art Neuendorffer
*PRO PARE VOTIS EMERITE*
- _The De Vere Code_ by Jonathan Bond
....................................
Probability of 2 "PARE"s ~ 1/225
*PARE* : 1202d
*PARE* : 1609u
------------------------------------------------------
*PARE*, v. t. [F. PAREr to PARE, as a horse's hoofs,
*to dress or curry LEATHER* , to clear ANCHORS or
CABLES, to parry, ward off, fr. L. parare to prePARE.]
-------------------------------------------------
____ *PARE VOTIS* : *MNEME RITE*
.................................................
. TOT ___ HEONL ____ IEBE
. GET ___ TEROF ____ THES
. EIN _____- SVING [S] _ONN
- -ET_ [S] [M] RWHA _- [L] _LHA
_ -P- [P-I]_[N E] SS__- E[A] _NDT
_ -H- [A T] [E T] ER___ N[I] _TIE
_ {P} [R O] [M I] ___ [S] ED[B] _YOV
_. {R} [E V] [E R] -L___ [I]__V[I] _NGP
_ {O} ET___ WISH [E]- [T] _HTH
. EWE ___ LLWI[S.]_ [H.] _ ING
. ADV ___ ENTV[R.]_ [E.] _ RIN
. SET ____ TING[F.]_ [O.] _ RTH
--------------------------------------------------
Sundial On the church of St. Pierre, Saintes,
which dates from the fifteenth century.
TEMPORA CUNCTA SUIS VISITANTES DISCITE *VOTIS*.
You who come to see me, learn all the hours by their *PRAYERS* .
http://digital.library.upenn.edu/women/gatty/sundials/421.html
----------------------------------------------------------
Montaigne's Essays: OF DRUNKENESSE
Spumantemque dari, pecora inter inertia, *VOTIS*
--------------------------------------------------
*RITE* , n. [L. ritus; cf. Skr. r[=i]ti a STREAM, a running,
. way, manner, ri: TO FLOW: cf. F. *RIT* , RITE.] A formal
. act of religion or other solemn duty; a solemn observance;
. a ceremony; as, the RITEs of FREEMASONRY.
--------------------------------------------------------
*ENDVES TIBIALS* = Dons the Order of the Garter
_____________ [H]enry [E]arl of [O]xford
----------------------------------------------------------
<<In view of your prior obsession with "Don Quixote" and donning
thigh armor, I'm surprised that you haven't made the obvious
connection, Art. *ENDVES TIBIALS* means "dons shin armor".
I'm sure you can make something of that.>> - Dave Webb
---------------------------------------------------------
Philip Sidney (1554-86) had gallantly refused
to 'Don' thigh armour (cuisses or 'Quixote') when
an elder knight didn't have any(; did Philip, in fact,
loan his cuisses to that elderly knight). Sidney was shot
in the thigh on Sept. 22, 1586 and died on October 17.
----------------------------------
*EMERITE* m. (Vocative: Latin )
1. *EARNed* , merited, having been earned.
2. *sERVED* , having done one's service.
................................................
*EARN* , v. t. [AS. earnian; akin to G. *ERNte* ]
*ERNte* : crop, harvesting, picking, yield (German)
................................................
. "REVEREND WARD"
.
. E D W A R D V E R E has an INPNC of 10/12!
. R
. N
-----------------------------------------------------
*EARN/ERNe* : To stir with strong emotion; to grieve; to mourn.
[Corrupted into *yEARN* in modern editions of Shakespeare.]
...............................................
___ Henry V (Folio 1, 1623)
Hostesse. 'Prythee honey sweet Husband,
_____ let me bring thee to Staines.
Pistoll. No: for my manly heart doth *ERNe* . Bardolph,
. be blythe: Nim, rowse thy vaunting Veines: Boy,
. brissle thy Courage vp: for Falstaffe hee is dead,
. and wee must *ERNe* therefore.
-----------------------------------------------------
___ *ERN* : earnest, pledge (Welsh)
-----------------------------------------------------
. *CORONET* : A CROWN inferior to the royal CROWN.
.
A duke's *CORONET* is adorned with strawberry leaves above
the band; that of a marquis with strawberry leaves alternating
with *PEARLS*; that of an earl has *pEARLS* elevated on stalks,
. alternating with leaves above the band;
that of a *visCOUNT* has a string of *pEARLS* above the band,
. but no leaves; that of a baron has only six *PEARLS*.
...............................................
http://f01.middlebury.edu/FS010A/students/Minerva/title.jpg
.
. (V I\V\ I T U R
. I N G \E\ N I O
. |C||E||T| E \R\ A M
. |O||R||T| I S \E\ R
. |U N T|
.
______________ *COUNT VERE*
_____*COU-RONNE* [French] *CORONET* , corona
----------------------------------------------------
. King Henry IV, Part ii Act 3, Scene 2
.
FALSTAFF: Lord, Lord, how
. subject we old men are to this vice of lying!
. This same starved justice hath done nothing but prate
. to me of the wildness of his youth, and the feats
. he hath done about Turnbull Street: and EVERy
. third word a lie, duer paid to the hearer
.
. than THE TURK's tribute.
.
I do remember him at Clement's Inn like
a man made after supper of a *CHEESE-PARING*:
-----------------------------------------------------------
. All's Well That Ends Well Act 1, Scene 1
.
[PAR]oll[E]s: Virginity breeds mites,
. much like a *CHEESE* ; consumes itself to the VERy
. *PARING*, and so dies with feeding his own stomach.
---------------------------------------------
P. OVIDI NASONIS FASTORVM LIBER TERTIVS
...........................................
Idibus est Annae festum geniale Perennae
non procul a ripis, advena Thybri, tuis.
plebs venit ac virides passim disiecta per herbas
potat, et accumbit cum *PARE* quisque sua. 526
..........................................
http://www.theoi.com/Text/OvidFasti3.html
On the Ides is held the jovial feast of Anna Perenna
not far from the banks, O Tiber, who comest from afar.
The common folk come, and scattered here
and there over the green grass they drink,
every lad reclining beside *his lass* .
Some camp under the open sky; a few pitch tents; some make a leafy hut
of boughs. Others set up reeds in place of rigid pillars, and
stretching out their robes place them upon the reeds. But they grow
warm with sun and wine, and they pray for as many years as they take
cups, and they count the cups they drink. There shall you find a man
who drains as many goblets as *NESTOR* numbered years, and a woman who
would live to the Sibyl’s age if cups could work the charm.
There they sing the ditties they picked up in the theatres, beating
time to the words with nimble hands; they set the bowl down, and trip
in dances, lubberly, while the spruce sweetheart skips about with
streaming hair. On the way home they reel, a spectacle for vulgar
eyes, and the crowd that meets them calls them “blest.”
..........................................
vincitur ars vento nec iam moderator habenis 594
utitur, at *VOTIS* is quoque poscit opem.
iactatur tumidas exul Phoenissa per undas,
umidaque opposita lumina veste tegit.
---------------------------------------------
Sundial Formerly at Park Hill, Oswestry.
__ TEMPORI *PARE* : *OBEY* time.
---------------------------------------------
__ *The DIAL TIS NoW For BACon TO Obey*
----------------------------------------------------
. Mira. More to know
[D]id *NEUER* medle with my thoughts.
Pros. *TIS TIME*
[I] should informe thee farther: Lend thy hand
[A]nd *PLUCKE my Magick Garment* from me: So,
[L]ye there my Art: wipe thou thine eyes, haue *COMFORT*,
.
[The] direfull spectacle of the *WRACKE* which touch'd
.
[T]he *VERy VERtue* of compassion in thee:
[I] haue with such prouision in mine Art
[S]o SAFEly ordered, that there is no soule
[No] not so much perdition as an hayre
. betid to any creature in the vessell
[W]hich thou heardst cry, which thou saw'st sinke: Sit
[For] thou must *NoW* know farther. [downe,
. Mira. You haue often
[B]egun to tell me what I am, but stopt
[A]nd left me to a bootelesse Inquisition,
[Con]cluding, stay: not yet.
. Pros. The howr's now come
[T]he *VERy MINUTE* byds thee *OPE THINE EARE* ,
[Obey], and be attentiue. Canst thou remember
___ A time before we came vnto this Cell?
------------------------------------------------------
CALIBAN: I must *OBEY* : his art is of such power,
. It would control my dam's god, *SET(eb)OS* ,
. and make a vassal of him.
---------------------------------------------
__ David L. Roper's *EVERE* Monument array
STAYPAS_ *S* ENGERWHYGOES_______ TTHOVBYSOFASTR
EADIFT_ *H O* VCANSTWHOM_ *E _ N* VIOVSDEATHHATH
PLASTW- *I_T* HINTHISMON____*V M_ E* NTSHAKSPEAREW
ITHWHO *M E* QVICKNATVR___ *ED I__D* EWHOSENAMEDO
THDECKY *S* TOMBEFARMO_ *RE t_H* ENCOSTSIEHAL
LYTHEHA- _T_ HWRITTLEAV___ *E* ____SLIVINGARTBVTPA
GETOSERVEHISWITT _______ <= Sonnet 34 =>
.........................................................
__ *SETOS* : *FENCES* , *HEDGES* , *MERES* (Spanish)
------------------------------------------------------------
P. Ovidius Naso, Metamorphoses Book 8 (ed. Arthur Golding)
.
. And as he of his wretched sonne the corse in ground did hide,
. The cackling Partrich from a thicke and leavie thorne him spide,
. And clapping with his wings for joy aloud to call began.
. There was of that same kinde of Birde no mo but he as than
. In times forepast had none bene seene. It was but late anew
. Since he was made a bird: and that thou, Daedalus, mayst rew:
. For whyle the world doth last thy shame shall thereupon ensew.
. For why thy sister, ignorant of that which after hapt,
. Did put him to thee to be taught full twelve yeares old and apt
. To take instruction. He did marke the middle bone that goes
. Through fishes, and according to the paterne tane of those
. He filed teeth upon a piece of yron one by one
. And so devised first the Saw where erst was nEVER none.
. Moreover he two yron shankes so joynde in one round head,
. That opening an indifferent space, the one point downe shall tread,
. And tother draw a circle round. The finding of these things,
. The spightfull heart of DaEDALUS with such a malice stings,
. That headlong from the holy towre of *PALLAS* downe he thrue
. His Nephew, feyning him to fall by chaunce, which was NOT TRUE.
. But PALLAS (WHO DOTH FAVOUR WITS) did stay him in his fall
. And chaunging him into a Bird did clad him over all
. With FETHERS soft amid the Aire. The QUICKnesse of his WIT
. (Which erst was SWift) did shed it selfe among his wings and feete.
[*FLEDGE* , a. furnished with FEATHERS or wings; able to fly.]
. And as he Partrich hight before, so hights he Partrich still.
. Yet mounteth not this Bird aloft ne seemes to have a will
. To build hir nest in tops of trees among the boughes on hie
. But flecketh nere the ground and layes hir egges in *HEDGES* drie.
. And forbicause hir former fall she ay in minde doth beare,
. She EVER since all lofty things doth warely shun for FEARE.
-------------------------------------------------------------
<<[Shakespeare] gorged on farming terms & would refer to
_____ *MEERS,* or banks & *HEDGES* .>> - p. 35, Honan
----------------------------------------------------------
. Francis *MERES*'s Palladis Tamia; Wits Treasury,
. Being the Second Part of Wits Commonwealth (1598)
.
. [http://www.clark.net/tross/ws/rep.html]
.
... the best for Comedy amongst vs bee,
. Edward Earle of Oxforde,
Francis *MERES* states that Marlowe was "stabbed to death
by a bawdy serving-man, a rival of his in his lewd love"
as punishment for his "epicurism and atheism" ...but
Peter Farey refused to accept that "fact."
-----------------------------------------------------------------
*MERE* , n. [Written also *MAR* ] [OE. MERE, AS. MERE, sea;
akin to D. MEER lake, OS. meri sea, OHG. *MERI* , G. *MEER* ,
Icel. *MARR* , Goth. marei, Russ. more, W. mor, Ir. & Gael. muir,
L. mare, a& perh. to L. mori to die, and meaning originally,
*that which is DEAD, a WASTE* . Cf. {Mortal}, {MERMAID},
{MOOR}.] A pool or lake. --Drayton.
........................................................
Francis *MERES* (like 'Francis' Frizer & Kit *MAR-lo*) is
all part & parcel of the Masonic/Rosicrucian smoke & mirrors:
___ *MEER/MERE* , n. A boundary. --Bacon.
Francis *MERES* -- d. Jan. 29, 1647, *WING , Rutland*
. [Jan. 29, 1845, Poe's *THE RAVEN* {anagram} *THAN VERE* ]
---------------------------------------------------------------
PSALM 40:13 DE(l)IVER me: O LORD, make *HASTE* to help me.
Let them be ashamed & confounded together that seek after my soul
to destroy it; let them be driven backward and put to shame that
wish me evil. Let them be desolate for a *REWARD* of their shame
. that say unto me, *AHA* , *AHA* .
----------------------------------------------------------
. King Richard III Act 1, Scene 1
.
CLARENCE: Yea, Richard, when I know; for I protest
.
_______ [A]s yet I do not: but, as I can learn,
_______ [H]e hearkens after prophecies and dreams;
_______ [A]nd from the cross-row plucks the letter G.
_______ [A]nd says a WIZARD told him that by G
_______ [H]is issue disinherited should be;
_______ [A]nd, for my name of GEORGE begins with G,
_______ It follows in his thought that I AM HE.
..................................................
_______ *NIL VERO-VERIU(S) *
_______ *OUR EVER-LIVIN(G) *
------------------------------------------------------
_________ O, could he but have drawne his wit
_________ [A]s well *IN-BRASSe* , as he hath hit
_________ [H]is face ; the Print would then surpasse
_________ [A]ll, that was *EVER WRI-TIN-BRASSe* . - B.J.
..........................................................
Buck: *AHA* my Lord this prince is not an Edward
- [King Richard the Third (Quarto) 3.1]
..............................................
*AHA* / *HA-HA* / *haw-haw* ,
n. [Duplication of haw a *HEDGE* .] A sunk *FENCE*,
WALL, or DITCH, not visible till one is close upon it.
.
"David L. Webb" wrote:
> Jane Austen uses the word "haha"
> in the sense of a sunken *FENCE.*
..............................................
___ Island of Dr. Moreau - H. G. Wells *
_____ ( XII. THE SAYERS OF THE LAW. )
The noise of my pursuers passed away to my left.
In one place three strange, pink, hopping animals,
about the size of cats, bolted before my footsteps.
This pathway ran up hill, across another open space coVERED
with white incrustation, and plunged into a canebrake again.
Then suddenly it turned parallel with the edge of a steep-walled gap,
which came without warning, like the *HA-HA* of an English park,--
turned with an unexpected abruptness. I was still running
with all my might, and I nEVER saw this drop until
I was flying headlong through the air.
----------------------------------------------------
. All's Well That Ends Well Act 5, Scene 2
.
LAFEU: And what would you have me to do?
. 'Tis too late to *PARE her NAILS* now.
. Wherein have you played the knave with
. fortune, that she should SCRATCH you.
------------------------------------------------------------
An ANCRE's life to leade, with NAILES to SCRATCHe my grave,
Where earthly Wormes on me shall fede, is all the joyes I crave;
And hide my self from SHAME, sith that myne eyes doe see,
Ah, a alantida my deare dame, hath thus tormented me.
http://drk.sd23.bc.ca/DeVere/Oxford_Poems_and_Songs-18.pdf
http://www3.telus.net/oxford/oxfordspoems.html#3
----------------------------------------------------
. Twelfth Night Act 4, Scene 2
.
Clown: Like a mad lad, *PARE thy NAILS* , dad;
. Adieu, good man *DEVIL*.
-----------------------------------------------------
. King Henry V Act 4, Scene 4
.
Boy: I did nEVER know so full a voice issue from
. so empty a heart: but the saying is TRUE 'The empty
. vessel makes the greatest sound.' Bardolph and Nym
. had ten times more valour than this roaring *DEVIL*
i' the *OLD PLAY* , that EVERy one may *PARE his NAILS*
. with a wooden dagger; and they are both HANGED;
------------------------------------------------------
. WE-EVER, JOHN, 1599
Epigrammes in the Oldest Cut and Newest Fashion.
.
They burn in love, THY CHILDREN Shakespear [HET] them
Go, wo thy Muse, more NYMPhish brood BEGET them
..........................................................
[HET], v. t. & i. To *PROMISE*. [Obs.] --Chaucer.
--------------------------------------------------------------
___ <= Sonnets 33/34 => 35 *DE VEER*
___ /T/ OT __ [H] EONLIEBEGE TTE [R] OFTHESEINSUINGS
__- /O/ NN _ [E T] SMRWHALLH APPIN [E] SSEANDTHATETE
__ /R/ NI___ [T(I)E] *PROMISED*BYOUREV [E] RLIVINGPOET
_ /W/ IS___ [H E T H] THEWELL WISHINGA [DVE] NTURERIN
_______________ SETTIN GFORTH ______________TT
--------------------------------------------------------------
HET OVERtollige (Dutch): *PARING*, burr, shaving, trimming.
--------------------------------------------------------------
*PARING*, Perching or GROUNDING:
After staking the leather was ready for *PARING*.
This removed the roughness from the flesh side and reduced
the skins to uniform thickness. The parts around the neck,
flanks and backs were the thickest. *PARING* was done
with a circular knife with the skin mounted on a frame called
a 'Perch' (a horizontal pole or beam between two uprights).
.
. http://hudsonshakespeare.org/biography.htm
.
The *PARING* knife in The Merry Wives of Windsor
.
. 'Does he not WEAR a great round beard?
. Like a *glover's PARING knife* '
(R.A. Salaman has argued in his dictionary of leather
working tools that Shakespeare could be referring to
the semi-circular knife used by leather workers).
Edward de Vere, is also reputed to have introduced
the fashion of elaborately embroidered gloves, when
he presented a pair to Queen Elizabeth in 1573.
http://palimpsest.stanford.edu/don/dt/dt2545.html
-----------------------------------------------------------
____ Hamlet > Act I, scene V
.
HAMLET: Yea, from the table of my *MEMORY*
. *I'll WIPE AWAY* all trivial fond records,
. All saws of books, all forms, all pressures past,
. That youth and observation copied there;
. And thy commandment all alone shall live
. Within the book and volume of my brain,
. Unmix'd with baser matter: yes, by heaven!
------------------------------------------
http://en.wikipedia.org/wiki/Muse
According to Pausanias in the later 2nd century AD,
there were three original Muses:
Aoidē ("song" or "voice"),
Meletē ("practice" or "occasion"),
and *MNEME* ( *MEMORY* ).
------------------------------------------------
. *PARE VOTI* : *MNEME RITERS(i)*
..............................................
__ *PARE* : It appears (Italian)
__ *VOTI* : that I dedicate/devote (Italian)
__ *RITER{s(v)i}* : *I WIPED AWAY* (Italian)
__ *MNEME* : *MEMORY*
.................................................
. TOT ___ HEONL ____ IEBE
. GET ___ TEROF ____ THES
. EIN ___- {s(v)i} NG ___ [S] _ONN
- -ET_ {S} [M R] RWHA [L] _LHA
_ -P- [P-I]_[N E] SS___ E[A] _NDT
_ -H- [A T]-[E T] ___- ERN[I] _TIE
_ {P} [R O]-[M I] ___ [S] ED[B] _YOV
_. {R} [E V]-[E R] -L___ [I]__V[I] _NGP
_ {O} ET WISH ___- [E] [T] _HTH
. EWE ___ LLWI [S.]_-[H.] _ ING
. ADV ___ ENTV [R.]_-[E.] _ RIN
. SET ____ TING [F.]_-[O.] _ RTH
-----------------------------------------------
*DE VERE IN TOMB*
*MENTE VIDEBOR* => In the mind "I" will be seen.
............................................
*MENTE VIDEBOR I"=> In the mind I will see you ADVANCE.
*DE VERE NIMBO IT"=> *De Vere ADVANCEs on a CLOUD*
....................................................
FRIAR LAURENCE: The most you sought was her promotion;
. For 'twas your heaven she should be ADVANCEd:
. And weep ye now, *SEEing she is ADVANCEd*
. *ABOVE THE CLOUDS*, as high as heaven itself?
-----------------------------------------------------
*EKPHRASIS*: A presentation to the mind's eye.
*I SHAKSPER*
..................................................
<<Petrarch's poems, because of their sculpted quality
and because of Petrarch's use of *EKPHRASIS*
--for instance in sonnet 78 where *LAURA* appears as
SIMON's painting--which introduces the gaze into writing,
are made visible to the reader's eyes. Winn thus writes:
"Petrarch's poetry, however expressive and sonorous, also employs
techniques learned from the recondite virtuosity of the Middle Ages,
.
including *ANAGRAMMATIC DISTORTIONS of LAURA's name* .>>
..................................................
*AURAL* , a. [L. aura air.] Of or pertaining to the *AIR*
*AURAL* , a. [L. auris ear.] Of or pertaining to the *EAR*
----------------------------------
Lucan's PHARSALIA Book II
WITH AN ENGLISH TRANSLATION
BY J. D. DUFF, M.A.
....................................
*O VERE Romana manus* , quibus arma senatus
Non privata dedit, *VOTIS* deposcite pugnam.
*Romans indeed* , whom the Senate
has armed to defend your country,
*declare* now your eagerness for battle.
---------------------------------------------
http://community.livejournal.com/latin/464752.html
Hoc erat in *VOTIS* ?
*AudiVERE* , Lyce, di mea vota, di
*audiVERE* , Lyce: fis anus
Horace, Odes 4. 13. 1 f.
[The gods have listened to my prayers,
Lyce, the gods have listened,
Lyce: you're becoming an old woman]
I've always understood Horace's vota as good wishes for Lyce's long
life. Cinara by contrast, in the same poem v. 21 ff., is said to have
died young. So I was very surprised to read Syndikus' interpretation*
of vota as vengeful curses for Lyce to become all wrinkly and
decrepit. Horace is troubled by his own old age all through Book 4 of
the Odes, so I'd rather imagine him to be compassionate than derisive.
(The cruel and obscene ageism of his eighth epode lies decades behind
him, and I'm not so sure that even that was authentic.) - Maybe
Syndikus was nodding after all? In the same few pages he keeps
misspelling Cinara ("the artichoke") as Cinaera. (Of course this
slip is irrelevant to the point that I take exception to.)
---------------------------------------------
http://colecizj.easyvserver.com/pohorhoc.htm
SERMONUM - II.6 SATIRES - II.6
Horace (Q. Horatius Flaccus) tr. Niall Rudd
...........................................
Hoc erat in *VOTIS* : modus agri non ita magnus,
hortus ubi et tecto vicinus jugis aquae fons
et paullum silvae super his foret. auctius atque
di melius fecere. bene est. nil amplius oro,
Maia nate, nisi ut propria haec mihi munera faxis.
This is what I *PRAYED FOR* . A piece of land - not so very big,
with a garden and, near the house, a spring that never fails,
and a bit of wood to round it off. All this and more
the gods have granted. So be it. I ask for nothing else,
O son of Maia, except that you make these blessings last.
...........................................
matutine pater, seu Iane libentius audis,
unde homines operum primos vitaeque labores
instituunt, sic Dis placitum, tu carminis esto
principium. Romae sponsorem me rapis. 'heia!
ne prior officio quisquam respondeat, urge.'
sive Aquilo radit terras seu bruma nivalem
interiore diem gyro trahit, ire necesse est.
O Father of the Dawn, or Janus if you would rather have
that name, you watch over the beginning of man's working day,
for such is the will of heaven. So let me begin my song
with you. In Rome you dispatch me to act as a guarantor.
'Hurry, or someone else will answer the call before you!'
The north wind may he rasping the earth or winter may be
drawing the snowy day into a smaller circle, but go I must.
----------------------------------------
Art Neuendorffer
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