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Re: What other ways are there of recognizing a mason?
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neufer
Nov 19, 2011, 11:33:14 AM11/19/11
to
---------------------------------------------------
http://www.montypython.net/scripts/give-up.php
First Voice Over: (Eric Idle)
What other ways are there of recognizing a mason?
(Shot from camera concealed in a car so we get reactions of passers-
by. A busy city street- i.e. Threadneedle Street. In amongst the
throng four city gents are leaping along with their trousers round
their ankles. They are wearing bowler hats and pinstripes. Another
city street or another part of the same street. Two city gents, with
trousers rolled up to the knee, approach each other and go into the
most extraordinary handshake which involves rolling on the floor etc.)
Second Voice Over: (John Cleese) Having once identified a mason
immediate steps must be taken to isolate him from the general public.
Having accomplished that it is now possible to cure him of these
unfortunate masonic tendencies through the use of behavioural
psychotherapy. (we see a cartoon city gent locked into a cell)
In this treatment the patient is rewarded for the correct response
and punished for the wrong one. Let us begin. Would you like
to give up being a mason? Think carefully. Think. Think.
Cartoon City Gent: No.
(A large hammer attacks the city gent.)
---------------------------------------------------
http://www.newyorker.com/humor/2011/11/21/111121sh_shouts_idle
The New Yorker
Shouts & Murmurs
Who Wrote Shakespeare?
by Eric Idle* November 21, 2011
* (Most likely Michael Palin, really.)
While it is perfectly obvious to everyone that Ben Jonson wrote all of
Shakespeare’s plays, it is less known that Ben Jonson’s plays were
written by a teen-age girl in Sunderland, who mysteriously
disappeared, leaving no trace of her existence, which is clear proof
that she wrote them. The plays of Marlowe were actually written by a
chambermaid named Marlene, who faked her own orgasm, and then her own
death in a Deptford tavern brawl. Queen Elizabeth, who was obviously a
man, conspired to have Shakespeare named as the author of his plays,
because how could a man who had only a grammar-school education and
spoke Latin and a little Greek possibly have written something as bad
as “All’s Well That Ends Well”? It makes no sense. It was obviously an
upper-class twit who wished to disguise his identity so that Vanessa
Redgrave could get a job in her old age.
Many people believe that Richard III not only was a good man who would
never hurt a fly but actually wrote “She Stoops to Conquer,” and that
the so-called author, Oliver Goldsmith, found the play under a tree in
1773 while visiting Bosworth Field, now a multistory car park (clearly
an attempt to cover up the evidence of the ruse). Oscar Wilde’s plays
were written by a stable boy named Simon, though Wilde gave them both
a good polish. Chaucer was written by a Frenchman on holiday, while
Simone de Beauvoir wrote all of Balzac and a good deal of “Les
Misérables,” despite the fact that she was not yet born when she did
so. Beau Brummell wrote nearly all of Jane Austen, and two men and a
cat wrote most of Charles Dickens, with the exception of “A Tale of
Two Cities,” which Napoleon wrote while visiting St. Helena.
Incidentally, Napoleon was not Napoleon but a man named Trevor
Francis, who later turned up playing for Birmingham City.
Thomas Jefferson produced the Declaration with the aid of a
ghostwriter, a woman of color named Betty Mae, who was a non-voluntary
worker. “Moby-Dick” was written not by Herman Melville but by Herman
Melbrooks, who wrote most of it in Yiddish on the boat over from Coney
Island. “The Shorter Pepys,” a Penguin paperback, was actually written
by the taller Pepys, a man named Doris Pepys, who was no relation but
worked as a candle cleaner in Wapping (home of the Liar). Henry James
did write all of his own works, because nobody else could be that
boring, and, more significant, no one else has ever bothered
to claim them.
Mere lack of evidence, of course, is no reason to denounce a theory.
Look at intelligent design. The fact that it is bollocks hasn’t
stopped a good many people from believing in it. Darwinism itself is
only supported by tons of evidence, which is a clear indication that
Darwin didn’t write his books himself. They were most likely written
by Jack the Ripper, who was probably King Edward VII, since all
evidence concerning this has been destroyed.
Paranoia? Of course not. It’s alternative scholarship. What’s wrong
with teaching alternative theories in our schools? What are liberals
so afraid of? Can’t children make up their own minds about things like
killing and carrying automatic weapons on the playground? Bush was
right: no child left unarmed. Why this dictatorial approach to
learning, anyway? What gives teachers the right to say what things
are? Who’s to say that flat-earthers are wrong? Or that the Church
wasn’t right to silence Galileo, with his absurd theory (actually
written by his proctologist) that the earth moves around the sun.
Citing “evidence” is so snobbish and élitist. I think we all
know what lawyers can do with evidence. Look at Shakespeare.
Poor bloke. Wrote thirty-seven plays, none of them his.
----------------------------------------------------
http://www.shakespearefellowship.org/etexts/si/11-6.htm
........................................................
. Edmund [SPENSER]'s _Tears of the Muses_ (1590)
.
. "All these, and all that else the Comic Stage,
. With seasoned wit and goodly pleasance graced,
. By which man's life in his likest image
. Was limned *FORTH*, are wholly now defaced;
. And those *SWEET* wits which wont the like to frame
. Are now despised and made a laughing game.
.
. "And he the man whom Nature's self had made
. To mock herself and *TRUTH* to imitate,
. With kindly counter under Mimic shade,
. Our pleasant Willie, ah! is dead {of late}.
. With whom all joy and jolly merriment
. Is also deaded and in doleur drent.
.
. "But that same gentle spirit from whose *PEN*
. Large streams of honey and *SWEET* nectar flow,
. Scorning the boldness of such base-born men,
. Which dare their follies *FORTH* so rashly throw,
. Doth rather choose to sit in *IDLE CELL* ,
. Than so himself to mockery to sell."
---------------------------------------------------
A Defence of Ryme: Against a Pamphlet entituled:
Obseruations in the Art of English Poesie.
.
Wherein is demonstratiuely pro-
ued, that Ryme is the fittest har-
monie of words that comportes
with our Language.
By Sa: D. {Samuel *DANIEL* }
.
Printed by V.S. for Edward Blount.
..................................................
____ *VERDIG* : *WORTHY* (Norwegian)
.................................................
To all the *WORTHie Louers* and learned
Professors of Ryme, within his Maiesties Dominions,
.
S. D. {Samuel Daniel}
TO WILLIAM HEBERT EARLE OF PEMBROOKE.
.
I haue wished there were not that multiplicitie of Rymes as is vsed
by many in Sonets, which yet we see in some so happily to succeed,
and hat{H} beene so farre f[R]om hindering th[E]ir inuentions, a[S]
{I}t hath begot co[N]ceit beyond exp[E]ctation, and com[P]a{R}able
to the be[S]t inuentions of the world: for sure in {A}n eminent
spirit whome Nature hath fitted for that {M}ysterie,
Ryme is no impediment to his conceit, rather giues him
*WINGS TO MOUNT* mount and carries him, not out of his course,
but as it were beyond his power to a farre happier flight.
....................................................
I haue wished there were not that multiplicitie of
Rymes as is vsed by many in Sonets, which yet
we see in some so happily to succeed, and hat-
.
______ <= 14 =>
.
. {H}b e e n e s o f a r r e f
. [R]o m h i n d e r i n g t h
. [E]i r i n u e n t i o n s a
. [S|I}t h a t h b e g o t c o
. [N]c e i t b e y o n d e x p
. [E]c t a t i o n a n d c o m
. [P]a{R}a b l e t o t h e b e
. [S]t i n u e n t i o n s o f
. (T)h e w o r l d f o r s u r
. (E)i n{A}n e m i n e n t s p
. (I)r i t w h o m e N a t u r
. (E)h a t h f i t t e d f o r
. (T)h a t {M} y s t e r i e
.
Prob. of {HIRAM} stuck onto [SPENSER] ~ 1 in 1100
----------------------------------------------------
TOTHEONLI__ *E* BEGETTE *R* OFTHESEINVINGSON
NETSMRWHA *L* LHAPPIN_ *E* SSEANDTHAETERNIT
IEPROMISE-__ *D* BYOVREV *E* RLIVINGPOTWISHET
HTHEWELLW *I* SHINGA_ *DVE* NTVRERINETTING
FORTH <= 35 =>
........................................................
["Edward *DE VEER* , only son of John, born the Twelfth day
of April A 1550, Earle of Oxenforde (Ogburn, 1998, 765).
..............................................
In the name of God Amen. I *Iohn DE VEER* Erle of Oxinforde,
Lorde greate Chamberlayne of Englonde Vicounte Bulbeck &c,
__ *being of hole and parfecte MYNDe*
..............................................
- 1562 Will of the 16th Earl of Oxford (28 July 1562)
http://ist-socrates.berkeley.edu/~ahnelson/DOCS/16will2.html
---------------------------------------------------
*VEER* : *PEN* , feather, spring, plume (Dutch)
.................................................
. The Author(Shelton)'s Preface to the Reader
.
<<I took, oftentimes, my *PEN* in my hand to write it, and as often
set it down again, as not knowing what I should write; and being
once in a muse, with my *PAPER* before me, my *PEN* in mine ear,
.
. *mine elbow on the table, and mine hand on my cheek* ,
.
imagining what I might write, there entered a friend
of mine unexpectedly, who was a *VERy* discreet and
pleasantly-witted man, who, seeing me so pensative,
demanded of me the reason of my musing; and, not concealing
it from him, said that I bethought myself on my preface I was
to make to Don Quixote's history, which did so much trouble me as
I neither meant to make any at all, nor publish the history of the
acts of so noble a knight. 'For how can I choose,' quoth I, 'but be
much confounded at that which the old legislator (the VULGAR) WILL
say, when it sees that, after the end of so many years as are spent
since I first slept in the bosom of oblivion, I come out loaden
with my grey hairs, and bring with me a book as dry as a KEX ,
void of invention, barren of good phrase, poor of conceits,
and altogether empty both of learning and eloquence; without
quotations on the margents, or annotations in the end of
the book, wherewith I see other books are still adorned,
be they *nEVER so IDLE*, fabulous, and profane;>>
---------------------------------------
______ *DE CERVANTES*
________ {anagram}
______ *SCANT DE VERE*
.......................................
QUEEN GERTRUDE: He's fat, and *SCANT* of breath.
- Hamlet, Prince of Denmark Act 5, Scene 2
-----------------------------------------------------
. _Musophilus_ by Samuel *DAnIEL*
.
And therefore, leaue the left and out-worne course
. Of vnregarded wayes, and *LABOUR* how
. To fit the times with what is most in force;
. Be new with mens affections that are new:
. Striue not to runne an *IDLE* counter-course,
. Out from the scent of humours, men allow.
.
Yet oft we see the barres of this restraint
. Holdes goodnesse in, which loose wealth would let flie;
. And fruitlesse riches barriner then *WANT* ,
. Brings *FORTH small WORTH* from *IDLE* Libertie:
. Which when Disorders shall againe make *SCANT* ,
. It must refetch her state from Pouertie.
.
Cleer'd from th'oppressing humours wherewithall
. The *IDLE* multitude surcharge their laies.
. Whenas (perhaps) the words thou scornest now
. May liue, the speaking picture of the minde;
---------------------------------------------------
Probability of *D(???)ANIEL* ~ 1/330
.........................................
________ <= 9 =>
____ TOTHEON-_ {L} __I
____ EBEGETT__ {E} -R
____ OFTHESE__ {I} -_N
____ SVINGSO__ {N} _N
____ ETSMRWH- {A} _L
____ LHAPPINE___ _S
____ SEANDTHA__ _T
____ ETERNITI____- _E
____ PROMISE__- {D} -B
____ YOVR _- EVER L
____ IVIN ___- GPOE T
____ WISH-- [E] THT _ H
____ EWEL [L] WIS _- H
____ INGA_- [D] VEN _ T
____ VRER-- [I] NSE __ T
____ TING _ _ FORTH
............................................
. _Ulysses and the Siren_ by Samuel {D-ANIEL}
.
Ulys. Delicious nymph, suppose there were
. Nor honor nor report,
. Yet manliness would scorn to *WEAR*
. The time *IN IDLE SPORT* .
. For toil doth give a better touch,
. To make us feel our [joy] ;
. And ease finds tediousness, as much
. As *LABOR*, yields [annoy]
............................................
*VEER* : *LABOUR* (Danish)
............................................
http://www.luminarium.org/renlit/cleopatra.htm
.
_The Tragedie of Cleopatra_ by Samuel *DAnIEL*
.
But if that *LABOUR* some mortality
Found this *SWEET* error, only to confine
The curious search of *IDLE* vanity,
That would the depth of darkness undermine:
Or rather, to give rest unto the thought
Of wretched man, with th'after-coming [joy]
Of those conceivèd fields, whereon we dote,
To pacify the present world's [annoy].
----------------------------------------------------------
Letter written by Sir Henry WOttON (former spy for Essex)
. to Edmund Bacon on July 2, 1613:
.
"...STUFF wherewith one of them was stopped , did light
on the *THATCH*, were being thought at first but an
*IDLE SMOAK* , and their eyes more attentive to
the show, it kindled inwardly, and ran round like a train,
-------------------------------------------------------
Greg Reynolds <even...@core.com> wrote:
> thy gift, thy tables, are within my brain
> full character'd witH LASting memory,
> which shall above that *IDLE* rank remain
> beyond all date, even to eternity;
. - Sonnet 122
-------------------------------------------------------
Hank Whittemore’s Shakespeare Blog
http://tinyurl.com/43rtdvu
..................................................
The MONUMENT edition of the Sonnets and SHAKE-SPEARE’S
TREASON the one-man show demonstrate that
“Shakespeare” was a Pen Name used for Royal Politics
http://tinyurl.com/3g9np7m
Below the emblem Peacham writes,
“Who liketh best to live in *IDLEness* ”
– and in an early poem by Oxford in
The Paradise of Dainty Devices in 1576 he wrote:
That nEVER am less *IDLE L.O. * , than when I am alone
-------------------------------------------------------
_______ _The *SCOURGE* of Folly_
. registered Oct. 8, 1610 by JOHN *DaVIEs*
Fucus, the furious Poet writes but Plaies;
So, playing, writes: that’s, *IDLY* writeth all:
Yet, *IDLE PLAIES* , and Players are his Staies;
Which stay him that he can no lower fall:>>
-----------------------------------------
The Faerie Queene Dedicatory Sonnets
http://www.bartleby.com/153/31.html
..........................................
To the right honourable the Lo.
Burleigh, Lo. high Threasur- <= 35 =>
. {E|R]ofEnglandTOyourightnobleLordwhose
. {C|A]refullbrestTomenageofmostgraueaff
. {A|I]resisbentAndonwhosemightieshoulde
. {R|S]mostdothrestTheburdeinofthiskingd
. {O|me]sgouernementAsthewidecompasseoft
. {H|E]firmamentOnAtlasmightyshouldersis
vpstayed;
{HORACE} -35
..........................................
To the right honourable the Lo.
Burleigh, Lo. high Threasur{E}r of England.
TO you, right noble Lord, whose {C}arefull brest
To menage of most graue aff{A}ires is bent,
And on whose mightie shoulde{R}s most doth rest
The burdein of this kingd{O}mes gouernement,
As the wide compasse of t{H}e firmament,
On Atlas mighty shoulders is vpstayed;
.
Vnfitly I these *YDLE RIMES* present,
The *LABOUR* of lost time, and wit vnstayd:
.
Yet if their deeper sence be inly wayd,
And the dim vele, with which from comune vew
The[I]r fairer parts are hid, asi[D]e be layd.
Perhaps not vain[E] the might appeare to you.
S[U]ch as they be, vouchsafe th[E]m to receaue,
And wipe thei[R] faults out of your censur[E] graue.
............................................
The <= 22 =>
_ [I] r f a i r e r p a r t s a r e h i d a s i
. [D] e b e l a y d P e r h a p s n o t v a i n
. [E] t h e m i g h t a p p e a r e t o y o u S
. [U] c h a s t h e y b e v o u c h s a f e t h
. [E] m t o r e c e a u e A n d w i p e t h e i
. [R] f a u l t s o u t o f y o u r c e n s u r
. [E] g r a u e
[I DEUERE] 22
-----------------------------------------------
*VEER* : *LABOUR* (Danish)
............................................
The *MASON* poor, that builds the lordly HALLs,
Dwells not in them, they are for high degree;
His cottage is compact in *PAPER* walls,
And not with brick or stone as others be.
.
The *IDLE DRONE* that *LABOURs* not at all
Sucks up the *SWEET of HONEY* from the bee.
Who worketh most, to their share least doth fall;
With due *DESERT REWARD* will nEVER be.
. -- *EDWARD DE VERE*
............................................
http://www.luminarium.org/renlit/cleopatra.htm
.
_The Tragedie of Cleopatra_ by Samuel *DAnIEL*
.
But if that *LABOUR* some mortality
Found this *SWEET* error, only to confine
The curious search of *IDLE vanity* ,
That would the depth of darkness undermine:
Or rather, to give rest unto the thought
Of wretched man, with th'after-coming [joy]
Of those conceivèd fields, whereon we dote,
To pacify the present world's [annoy].
If it be so, why speak I then to the air?
But 'tis not so, my Antony doth hear:
His *EVER-LIVING* ghost attends my prayer,
And I do know his hovering sprite is near.
And I will speak, and pray, and mourn to thee.
O pure immortal soul that deign'st to hear,
I feel thou answer'st my credulity
With touch of comfort, finding none elsewhere.
Thou know'st these hands entombed thee HERE {of late},
Free and unforc'd, which now must servile be,
Reserv'd for bands to grace proud Caesar's state,
Who seeks in me to triumph over thee.
O if in life we could not *sEVERED* be,
Shall Death divide our bodies now asunder?
Must thine in Egypt, mine in Italy,
Be kept the Monuments of Fortune's wonder?
If any powers be there whereas thou art,
(Sith our country gods betray our case,)
O work they may their gracious help impart,
To save thy woeful wife from such disgrace.
Do not permit she should in triumph show
The blush of her reproach, joined with thy shame:
But (rather) let that hateful tyrant know,
That thou and I had power t'avoid the same.
But what do I spend breath and *IDLE* wind,
In vain invoking a conceivèd aide ?
-----------------------------------------------------------
. T O T H E R I G H T H O N O R A B L E
. Henrie VVriothesley, Earle of Southampton,
. and Baron of Titchfield.
.
. RIght Honourable, I know not how I shall offend in
. dedicating my vnpolisht lines to your Lordship, nor
. how the worlde vvill censure mee for choosing so
. strong a proppe to support so vveake a burthen,
. onelye if your Honour seeme but pleased, I ac-
. count my selfe highly praised,
. and vowe to take aduantage of all *IDLE* houres,
.
TILL I
[H]AU[E] HO[N]OU[R]ED [Y]OU [W.]I T[H.] SO[M]E G[r.]AUER
LABOUR.
............................................................
--- "[T] I L
---- [L] I [H]
-- [A] V [E]
- [H] O [N]
- [O.] U [R]
-- [E.] D [Y]
.
. O U [W.]
---- I T [H.]
.
. S O [M]
- E G [r.]
.
. -AVER LABOUR"
.
. The chance of finding *HENRY W.H. Mr.*
. (or something roughly to that effect)
. within one of the two Shak. poetry dedications
. to *Henry* Wriothesley is about 1 in 4,000,000
-----------------------------------------------------------
The only other **NRY**** with a skip of 13 or less:
..............................................
_ n e [V] e r A f t
__ e r [E] a r [E] [S] o
_ [B] a [R] r e [N] [A] l
_ [A] n [D] f o [R] [F] e
_ [A] r _[E] i_ t [Y] [E] e
..........................................................
*ne[V]er after [E]are so ba[R]ren a lan[D], for fear[E] *
- it [Y]eeld me still so bad a harvest."
-----------------------------------------------------------
. Othello, The Moor of Venice Act 1, Scene 3
.
IAGO: Our bodies are our *G-ARDENs* , to the which
. *OUR WILLS are G-ARDENers* : so that if we will plant
. nettles, or sow lettuce, set hyssop and weed up
. *THYME* , supply it with one gender of herbs, or
. distract it with many, either to have it sterile with
. *IDLE-ness* , or manured with *IN-DUSTry* , why, the
. power & corrigible authority of this *LIES in OUR WILLS*
---------------------------------------------------
WASHINGTON IRVING, 1819 - p.48, Stratford-On-Avon, Sketch Book.
.
<<A flat stone marks the spot where the bard is buried. There are
FOUR lines inscribed on it, said to have been written by himself,
. and which have in them something extremely AWFUL.>>
...............................................
http://library.thinkquest.org/5175/images/grave1.jpg
. GOOD FREND FO{R} [IE]{SUS}'_S(AKE)__ FOR[BE]ARE,
___ TO DIGG THE D{U}[ST] ___ EN(CLO)ASED [HE]ARE:
............................................
_. BLESTE BE Ye MA_{N} Yt___ SPA[RE]S THES STONES,
__ AND CVRST BE H_{E} Yt___ MO[VE]S MY BONES.
...............................................
<<The inscription on the tombstone has not been without its effect. It
has prevented the removal of his remains from the bosom of his native
place to Westminster Abbey, which was at one time contemplated. A few
years since also, as some *LABORERs* were digging to make an adjoining
vault, the earth caved in, so as to leave a vacant space almost *like
an ARCH* through which one might have reached into his grave.>>
...............................................
*BUE* : *BOW, ARCH* (Danish, Norwegian)
*BUE* : *OX* (Italian)
...............................................
____ *WRIOTHESLEY / BUE*
______ {anagram}
____ *BE WHERE YOU LIST* - Sonnet 58
...............................................
No one, howEVER, presumed to meddle with
his remains so awfully guarded by a malediction;
and lest any of the *IDLE* or the curious or any collector
of relics should be tempted to commit depredations,
the old sexton kept watch over the place for two days,
until the vault was finished and the aperture closed again.
He told me that he had made bold to look in at the hole,
but could see neither coffin nor BONES -
- *NOTHING BUT DUST* . It was something, I thought,
to have seen the *DUST* (*POLVERE*) of Shakespeare.>>
--------------------------------------------------------------
. _EVERy Man in His Humour_ by Ben Jonson (1598)
...........................................
[A theatre legend first recorded in 1709 by Nicholas Rowe has it that
Shakespeare advocated production of the play at a point when the
company was about to reject it. The folio also gives a cast list for
the original 1598 production. After Shakespeare, the main players are
given in the following order: Richard Burbage, Augustine Phillips,
John Heminges, Henry Condell, Thomas Pope, William Sly, Christopher
Beeston, William Kempe, and John Duke.]
...........................................
H: Aye Lorenzo, but election is now gouernd altogether by the
. influence of humor, which insteed of those holy flames that
should direct and light the soule to eternitie, *hurles FOORTH*
nothing but *SMOOKE* & congested vapours, that stifle her up, and
bereaue her of all sight and motion. But she must have store of
Ellebore, given her to *PURGE* these grosse obstructions: o that
is well sayd, give me thy torch, come lay this STUFFE together.
.
So, give fire? there, *SEE, SEE* , how
OUR Poets *GLORY* shines brighter, and brighter, still,
still it increaseth, o now it is at the highest,
and now it declines as fast: you may see gallants,
*SIC TRANSIT GLORIA MUNDI* . Well now my two Signior out
sides, stand FOORTH, and *LEND ME YOUR LARGE EARES* ,
................................................................
. The Second Part of the Return from Parnassus, 1601,
.
Kempe: Few of the UnIVERSity *PEN* plays well,
they smell too much of that writer *OVID*
and that writer Metamorphosis, and talk too much of
Proserpina & Jupiter. Why, here's our fellow Shakespeare puts them
all down, aye and Ben Jonson too. O that Ben Jonson is a pestilent
fellow, he brought up Horace giving the poets a pill, but our fellow
Shakespeare HATH given him a *PURGE* that made him bewray his credit.
-------------------------------------------------------
http://en.wikipedia.org/wiki/The_Isle_of_Dogs_%28play%29
<<The Isle of Dogs is a play by {T}homas {NASHE} & Ben [JONSON] which
was performed in 1597. It was immediately suppressed, and no copy of
it is known to exist. The play was performed, probably by Pembroke's
Men, at the Swan Theatre in Bankside in July or August, 1597. A
satirical comedy, it was reported to the authorities as a "lewd plaie"
full of seditious and "slanderous matter". While existing records do
not indicate what gave offence, a reference in The Returne from
Parnassus (II) suggests that the Queen herself was satirised.
Other evidence suggests that Henry Brooke, 8th Lord Cobham
may have been the target.
The Isle of Dogs is a location in London on the opposite bank of the
Thames to Greenwich, home of a royal palace, Placentia, where indeed
the Privy Council met. However, the title alone does not indicate the
play's content, since this area was also known as an unhealthy swamp
where river sewage would accumulate. The Isle is also mentioned in
Eastward Hoe (1605), another play for which Jonson was arrested. Nashe
also referred to the location in Summers Last Will: "Here's a coyle
about dogges without wit. If I had thought the ship of fooles would
have stayed to take in fresh water at the Ile of dogges I would have
furnished it with a whole kennel of collections to the purpose."
Whatever the cause, Richard Topcliffe informed Robert Cecil, who
raised the issue to the Privy Council. Three of the players (Gabriel
Spencer, Robert Shaa, and Ben Jonson) were arrested and sent to
Marshalsea Prison. Nashe's home was raided (he was then at Yarmouth)
and his papers seized, but he escaped imprisonment. He later wrote
that he had given birth to a monster — "it was no sooner borne but I
was glad to runne from it." Nashe was later to call it "an imperfit
Embrion of my *IDLE houres* " and claimed to have written only the
introduction and first act. For his part, Jonson recalled that he
said nothing but "yes and no". Authorities placed two informers
(Robert Poley and Parrot) with him; those two are referred
to in his Epigram 59 Of Spies.>>
--------------------------------------------------------------
<<Among Daniel's most characteristic works, _Musophilus_ is
a dialogue between a courtier and a man of letters addressed
to Fulke Greville, and is a general defence of learning, and
in particular of poetic learning as an instrument in the
education of the perfect courtier or man of action.>>
..............................................
. _Musophilus_ (1599) by Samuel *DAnIEL*
.
Philocosmus: Fond man Musophilus, that thus dost spend,
. In an vngainefull Arte thy deerest dayes,
. Tyring thy wits, and toyling to no end,
. But to attaine that *IDLE SMOAKE of PRAISE* :
. Now when this busie world cannot attend
. Th'vntimely Musicke of neglected layes.
. Other delights then these, other desires
. This wiser profit-seeking Age requires.
. Poore *IDLE h(on)ours* that can ill defend
. Your memories that cannot keepe their owne.
. And whereto serue that wondrous Trophei now,
. That on the goodly Plaine neere Wilton stands?
. That huge dumbe heape, that cannot tell vs how,
. Nor what, nor whence it is, nor with whose hands,
. Nor for whose *GLORY*, it was set to shew
. How much our pride mocks that of other lands?
----------------------------------------------------------
___ POETASTER, OR HIS ARRAIGNEMENT.
___ A Comicall Satyre. by Ben Jonson
http://fly.hiwaay.net/~paul/jonson/poetaster.html
......................................
LVSC.: God be with you, sir, I'le leaue you to your
. poeticall fancies, and furies. I'le not be guiltie, I.
.
*OVID* : Be not, good ignorance : I'm glad th'ART gone :
. For thus alone, our eare shall better judge
. The hastie errours of our morning muse.
.
*ENUIE* , why tWITSt thou me, my time's spent ill ?
And call'st my verse, fruits of an *IDLE quill* ?
Or that (vnlike the line from whence I sprung)
.
Wars *DUSTic honours* I pursue not young ?
Or that I studie not the tedious lawes ;
*And prostitute my voyce in EUERie cause* ?
Thy scope is mortall ; mine eternall fame :
Which through the world shall *EUER chaunt my name* .
HOMER will liue, whil'st TENEDOS stands, and IDE,
Or, to the sea, fleed SIMOIS doth slide :
And so shall HESIOD too, while vines doe beare,
Or crooked sickles crop the ripened eare.
CALLIMACHVS, though in inuention lowe,
Shall still be sung : since he in art doth flowe.
No LOSSE shall come to SOPHOCLES proud vaine.
With sunne, and moone, ARATVS shall remaine.
Whil'st slaues be false,
. fathers hard, and bawdes be whorish,
Whil'st harlots flatter, shall MENANDER flourish.
ENNIVS, though rude, and ACCIVS high-reard straine,
A fresh applause in EUERie age shall gaine.
Of VARRO'S name, what eare shall not be told ?
Of IASONS ARGO ? and the fleece of gold ?
Then shall LVCRETIVS loftie numbers die,
When earth, and seas in fire and flames shall frie.
TYTIRVS, Tillage, ÆNEE shall be read,
Whil'st ROME of all the conquer'd world is head.
Till CVPIDS fires be out, and *his BOWE broken* ,
Thy VERsEs ( *NEATE TIBVLLVS* ) shall be spoken.
Our GALLVS shall be knowne from east to west :
So shall LYCORIS, whom he now loues best.
The *SUFFERING PLOUGH-SHARE* , or the flint may *WEARE* :
But heauenly poesie no death can FEARE.
-----------------------------------------------------------
*ALL IS TRUE* : *TUTTE E VERE* (Italian)
........................................................
Letter written by Sir Henry WOttON (former spy for Essex)
. to Edmund Bacon on July 2, 1613:
.
"Now, to let matters of State sleep, I will entertain you at
the present with what hath happened this week at the banks side.
The Kings Players had a new Play, called *ALL IS TRUE* ,
representing some principall pieces of
the raign of Henry 8. which was *SET FORTH* with
many extraordinary circumstances of Pomp & Majesty,
even to the matting of the stage; the Knights of the Order,
with their Georges & Garter, the Guards with their embroidered
Coats, and the like: sufficient in TRUTH within a while to make
greatness VERy familiar, if not ridiculous. Now, King Henry
making a Masque at the Cardinal Wolsey's house, and certain
Chambers being shot off at his entry, some of the *PAPER* ,
and other STUFF wherewith one of them was stopped , did light
on the thatch, were being thought at first but an *IDLE SMOAK*
, and their eyes more attentive to the show, it kindled
inwardly, and ran round like a train, consuming withing
less than an hour the whole house to the *VERy* grounds."
.
This was the fatal period of that virtuous FABRIC ; wherein yet
nothing did perish but wood & straw, and a few forsaken *CLO-AKS*
. only one man had his *Breeches* set on fire, that would
. perhaps have broiled him, if he had not by the benefit
. of a provident wit put it out with bottle ale.
.........................................
_____ Henry Wotton's fEVERED DEath:
. 4 Dec 1639 => First observed Venus TRANSIT
................................................
"the influence of humor, which ... hurles FOORTH
*NOTHING but SMOOKE* and congested vapours" -- Jonson
.........................................
And let our crooked *SMOKES* climb to their nostrils
And *SMOKE the TEMPLE* with our sacrifices. Cymbeline: V, v
---------------------------------------------------------
Terry Ross wrote:
> In 1610, John Davies of *HERE-FORD* published a volume
> entitled The *SCOURGE* of Folly, consisting mostly of
> poems to famous people and Davies's friends.
> One of these poems was addressed to Shake-speare:
> To our English Terence, Mr. Will. Shake-speare.
>.
> Some say (good Will) which I, in sport, do sing,
> Had'st thou not plaid some Kingly parts *IN SPORT* ,
> Thou hadst bin a companion for a King;.
> And, beene *A KING AMONG THE MEANER SORT* .
.............................................................
JOHN 19:1 Then Pilate therefore took *JESUS, and SCOURGEd him*
.
19:19 And * * Pilate wrote a title, and put it on the *CROSS*
And the writing was, *JESUS OF NAZARETH THE KING OF THE JEWS*
.............................................................
_________________ <= 19 =>
.
. 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 =>
-------------------------------------------------------
. "[E]dwardus [C]omes [O]xon{iensis}"
. [ECO]: [HERE] (Venetian)
.............................................................
1616, March 6, 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:>>
--------------------------------------------------------------
. David Kathman's spellings of Shake-speare:
1. 1594: in Willobie His Avisa
2. 1598: Q2 Richard III (for Andrew WISE Grand Prior 1593-1631)
3. 1598: Q2 Richard II (for Andrew WISE Grand Prior 1593-1631)
4. 1599: Q2 Henry IV, Pt 1 (for Andrew WISE Grand Prior 1593-1631)
5. 1601: Phoenix and the Turtle
6. 1603: Q1 Hamlet
7. 1609: Sonnets
8. 1610: The Scourge of Folly
9. 1612: Epistel to The White Devil
10: 1612-37: Romeo and Juliet
-----------------------------------------------------
Art Neuendorffer
http://www.montypython.net/scripts/give-up.php
First Voice Over: (Eric Idle)
What other ways are there of recognizing a mason?
(Shot from camera concealed in a car so we get reactions of passers-
by. A busy city street- i.e. Threadneedle Street. In amongst the
throng four city gents are leaping along with their trousers round
their ankles. They are wearing bowler hats and pinstripes. Another
city street or another part of the same street. Two city gents, with
trousers rolled up to the knee, approach each other and go into the
most extraordinary handshake which involves rolling on the floor etc.)
Second Voice Over: (John Cleese) Having once identified a mason
immediate steps must be taken to isolate him from the general public.
Having accomplished that it is now possible to cure him of these
unfortunate masonic tendencies through the use of behavioural
psychotherapy. (we see a cartoon city gent locked into a cell)
In this treatment the patient is rewarded for the correct response
and punished for the wrong one. Let us begin. Would you like
to give up being a mason? Think carefully. Think. Think.
Cartoon City Gent: No.
(A large hammer attacks the city gent.)
---------------------------------------------------
http://www.newyorker.com/humor/2011/11/21/111121sh_shouts_idle
The New Yorker
Shouts & Murmurs
Who Wrote Shakespeare?
by Eric Idle* November 21, 2011
* (Most likely Michael Palin, really.)
While it is perfectly obvious to everyone that Ben Jonson wrote all of
Shakespeare’s plays, it is less known that Ben Jonson’s plays were
written by a teen-age girl in Sunderland, who mysteriously
disappeared, leaving no trace of her existence, which is clear proof
that she wrote them. The plays of Marlowe were actually written by a
chambermaid named Marlene, who faked her own orgasm, and then her own
death in a Deptford tavern brawl. Queen Elizabeth, who was obviously a
man, conspired to have Shakespeare named as the author of his plays,
because how could a man who had only a grammar-school education and
spoke Latin and a little Greek possibly have written something as bad
as “All’s Well That Ends Well”? It makes no sense. It was obviously an
upper-class twit who wished to disguise his identity so that Vanessa
Redgrave could get a job in her old age.
Many people believe that Richard III not only was a good man who would
never hurt a fly but actually wrote “She Stoops to Conquer,” and that
the so-called author, Oliver Goldsmith, found the play under a tree in
1773 while visiting Bosworth Field, now a multistory car park (clearly
an attempt to cover up the evidence of the ruse). Oscar Wilde’s plays
were written by a stable boy named Simon, though Wilde gave them both
a good polish. Chaucer was written by a Frenchman on holiday, while
Simone de Beauvoir wrote all of Balzac and a good deal of “Les
Misérables,” despite the fact that she was not yet born when she did
so. Beau Brummell wrote nearly all of Jane Austen, and two men and a
cat wrote most of Charles Dickens, with the exception of “A Tale of
Two Cities,” which Napoleon wrote while visiting St. Helena.
Incidentally, Napoleon was not Napoleon but a man named Trevor
Francis, who later turned up playing for Birmingham City.
Thomas Jefferson produced the Declaration with the aid of a
ghostwriter, a woman of color named Betty Mae, who was a non-voluntary
worker. “Moby-Dick” was written not by Herman Melville but by Herman
Melbrooks, who wrote most of it in Yiddish on the boat over from Coney
Island. “The Shorter Pepys,” a Penguin paperback, was actually written
by the taller Pepys, a man named Doris Pepys, who was no relation but
worked as a candle cleaner in Wapping (home of the Liar). Henry James
did write all of his own works, because nobody else could be that
boring, and, more significant, no one else has ever bothered
to claim them.
Mere lack of evidence, of course, is no reason to denounce a theory.
Look at intelligent design. The fact that it is bollocks hasn’t
stopped a good many people from believing in it. Darwinism itself is
only supported by tons of evidence, which is a clear indication that
Darwin didn’t write his books himself. They were most likely written
by Jack the Ripper, who was probably King Edward VII, since all
evidence concerning this has been destroyed.
Paranoia? Of course not. It’s alternative scholarship. What’s wrong
with teaching alternative theories in our schools? What are liberals
so afraid of? Can’t children make up their own minds about things like
killing and carrying automatic weapons on the playground? Bush was
right: no child left unarmed. Why this dictatorial approach to
learning, anyway? What gives teachers the right to say what things
are? Who’s to say that flat-earthers are wrong? Or that the Church
wasn’t right to silence Galileo, with his absurd theory (actually
written by his proctologist) that the earth moves around the sun.
Citing “evidence” is so snobbish and élitist. I think we all
know what lawyers can do with evidence. Look at Shakespeare.
Poor bloke. Wrote thirty-seven plays, none of them his.
----------------------------------------------------
http://www.shakespearefellowship.org/etexts/si/11-6.htm
........................................................
. Edmund [SPENSER]'s _Tears of the Muses_ (1590)
.
. "All these, and all that else the Comic Stage,
. With seasoned wit and goodly pleasance graced,
. By which man's life in his likest image
. Was limned *FORTH*, are wholly now defaced;
. And those *SWEET* wits which wont the like to frame
. Are now despised and made a laughing game.
.
. "And he the man whom Nature's self had made
. To mock herself and *TRUTH* to imitate,
. With kindly counter under Mimic shade,
. Our pleasant Willie, ah! is dead {of late}.
. With whom all joy and jolly merriment
. Is also deaded and in doleur drent.
.
. "But that same gentle spirit from whose *PEN*
. Large streams of honey and *SWEET* nectar flow,
. Scorning the boldness of such base-born men,
. Which dare their follies *FORTH* so rashly throw,
. Doth rather choose to sit in *IDLE CELL* ,
. Than so himself to mockery to sell."
---------------------------------------------------
A Defence of Ryme: Against a Pamphlet entituled:
Obseruations in the Art of English Poesie.
.
Wherein is demonstratiuely pro-
ued, that Ryme is the fittest har-
monie of words that comportes
with our Language.
By Sa: D. {Samuel *DANIEL* }
.
Printed by V.S. for Edward Blount.
..................................................
____ *VERDIG* : *WORTHY* (Norwegian)
.................................................
To all the *WORTHie Louers* and learned
Professors of Ryme, within his Maiesties Dominions,
.
S. D. {Samuel Daniel}
TO WILLIAM HEBERT EARLE OF PEMBROOKE.
.
I haue wished there were not that multiplicitie of Rymes as is vsed
by many in Sonets, which yet we see in some so happily to succeed,
and hat{H} beene so farre f[R]om hindering th[E]ir inuentions, a[S]
{I}t hath begot co[N]ceit beyond exp[E]ctation, and com[P]a{R}able
to the be[S]t inuentions of the world: for sure in {A}n eminent
spirit whome Nature hath fitted for that {M}ysterie,
Ryme is no impediment to his conceit, rather giues him
*WINGS TO MOUNT* mount and carries him, not out of his course,
but as it were beyond his power to a farre happier flight.
....................................................
I haue wished there were not that multiplicitie of
Rymes as is vsed by many in Sonets, which yet
we see in some so happily to succeed, and hat-
.
______ <= 14 =>
.
. {H}b e e n e s o f a r r e f
. [R]o m h i n d e r i n g t h
. [E]i r i n u e n t i o n s a
. [S|I}t h a t h b e g o t c o
. [N]c e i t b e y o n d e x p
. [E]c t a t i o n a n d c o m
. [P]a{R}a b l e t o t h e b e
. [S]t i n u e n t i o n s o f
. (T)h e w o r l d f o r s u r
. (E)i n{A}n e m i n e n t s p
. (I)r i t w h o m e N a t u r
. (E)h a t h f i t t e d f o r
. (T)h a t {M} y s t e r i e
.
Prob. of {HIRAM} stuck onto [SPENSER] ~ 1 in 1100
----------------------------------------------------
TOTHEONLI__ *E* BEGETTE *R* OFTHESEINVINGSON
NETSMRWHA *L* LHAPPIN_ *E* SSEANDTHAETERNIT
IEPROMISE-__ *D* BYOVREV *E* RLIVINGPOTWISHET
HTHEWELLW *I* SHINGA_ *DVE* NTVRERINETTING
FORTH <= 35 =>
........................................................
["Edward *DE VEER* , only son of John, born the Twelfth day
of April A 1550, Earle of Oxenforde (Ogburn, 1998, 765).
..............................................
In the name of God Amen. I *Iohn DE VEER* Erle of Oxinforde,
Lorde greate Chamberlayne of Englonde Vicounte Bulbeck &c,
__ *being of hole and parfecte MYNDe*
..............................................
- 1562 Will of the 16th Earl of Oxford (28 July 1562)
http://ist-socrates.berkeley.edu/~ahnelson/DOCS/16will2.html
---------------------------------------------------
*VEER* : *PEN* , feather, spring, plume (Dutch)
.................................................
. The Author(Shelton)'s Preface to the Reader
.
<<I took, oftentimes, my *PEN* in my hand to write it, and as often
set it down again, as not knowing what I should write; and being
once in a muse, with my *PAPER* before me, my *PEN* in mine ear,
.
. *mine elbow on the table, and mine hand on my cheek* ,
.
imagining what I might write, there entered a friend
of mine unexpectedly, who was a *VERy* discreet and
pleasantly-witted man, who, seeing me so pensative,
demanded of me the reason of my musing; and, not concealing
it from him, said that I bethought myself on my preface I was
to make to Don Quixote's history, which did so much trouble me as
I neither meant to make any at all, nor publish the history of the
acts of so noble a knight. 'For how can I choose,' quoth I, 'but be
much confounded at that which the old legislator (the VULGAR) WILL
say, when it sees that, after the end of so many years as are spent
since I first slept in the bosom of oblivion, I come out loaden
with my grey hairs, and bring with me a book as dry as a KEX ,
void of invention, barren of good phrase, poor of conceits,
and altogether empty both of learning and eloquence; without
quotations on the margents, or annotations in the end of
the book, wherewith I see other books are still adorned,
be they *nEVER so IDLE*, fabulous, and profane;>>
---------------------------------------
______ *DE CERVANTES*
________ {anagram}
______ *SCANT DE VERE*
.......................................
QUEEN GERTRUDE: He's fat, and *SCANT* of breath.
- Hamlet, Prince of Denmark Act 5, Scene 2
-----------------------------------------------------
. _Musophilus_ by Samuel *DAnIEL*
.
And therefore, leaue the left and out-worne course
. Of vnregarded wayes, and *LABOUR* how
. To fit the times with what is most in force;
. Be new with mens affections that are new:
. Striue not to runne an *IDLE* counter-course,
. Out from the scent of humours, men allow.
.
Yet oft we see the barres of this restraint
. Holdes goodnesse in, which loose wealth would let flie;
. And fruitlesse riches barriner then *WANT* ,
. Brings *FORTH small WORTH* from *IDLE* Libertie:
. Which when Disorders shall againe make *SCANT* ,
. It must refetch her state from Pouertie.
.
Cleer'd from th'oppressing humours wherewithall
. The *IDLE* multitude surcharge their laies.
. Whenas (perhaps) the words thou scornest now
. May liue, the speaking picture of the minde;
---------------------------------------------------
Probability of *D(???)ANIEL* ~ 1/330
.........................................
________ <= 9 =>
____ TOTHEON-_ {L} __I
____ EBEGETT__ {E} -R
____ OFTHESE__ {I} -_N
____ SVINGSO__ {N} _N
____ ETSMRWH- {A} _L
____ LHAPPINE___ _S
____ SEANDTHA__ _T
____ ETERNITI____- _E
____ PROMISE__- {D} -B
____ YOVR _- EVER L
____ IVIN ___- GPOE T
____ WISH-- [E] THT _ H
____ EWEL [L] WIS _- H
____ INGA_- [D] VEN _ T
____ VRER-- [I] NSE __ T
____ TING _ _ FORTH
............................................
. _Ulysses and the Siren_ by Samuel {D-ANIEL}
.
Ulys. Delicious nymph, suppose there were
. Nor honor nor report,
. Yet manliness would scorn to *WEAR*
. The time *IN IDLE SPORT* .
. For toil doth give a better touch,
. To make us feel our [joy] ;
. And ease finds tediousness, as much
. As *LABOR*, yields [annoy]
............................................
*VEER* : *LABOUR* (Danish)
............................................
http://www.luminarium.org/renlit/cleopatra.htm
.
_The Tragedie of Cleopatra_ by Samuel *DAnIEL*
.
But if that *LABOUR* some mortality
Found this *SWEET* error, only to confine
The curious search of *IDLE* vanity,
That would the depth of darkness undermine:
Or rather, to give rest unto the thought
Of wretched man, with th'after-coming [joy]
Of those conceivèd fields, whereon we dote,
To pacify the present world's [annoy].
----------------------------------------------------------
Letter written by Sir Henry WOttON (former spy for Essex)
. to Edmund Bacon on July 2, 1613:
.
"...STUFF wherewith one of them was stopped , did light
on the *THATCH*, were being thought at first but an
*IDLE SMOAK* , and their eyes more attentive to
the show, it kindled inwardly, and ran round like a train,
-------------------------------------------------------
Greg Reynolds <even...@core.com> wrote:
> thy gift, thy tables, are within my brain
> full character'd witH LASting memory,
> which shall above that *IDLE* rank remain
> beyond all date, even to eternity;
. - Sonnet 122
-------------------------------------------------------
Hank Whittemore’s Shakespeare Blog
http://tinyurl.com/43rtdvu
..................................................
The MONUMENT edition of the Sonnets and SHAKE-SPEARE’S
TREASON the one-man show demonstrate that
“Shakespeare” was a Pen Name used for Royal Politics
http://tinyurl.com/3g9np7m
Below the emblem Peacham writes,
“Who liketh best to live in *IDLEness* ”
– and in an early poem by Oxford in
The Paradise of Dainty Devices in 1576 he wrote:
That nEVER am less *IDLE L.O. * , than when I am alone
-------------------------------------------------------
_______ _The *SCOURGE* of Folly_
. registered Oct. 8, 1610 by JOHN *DaVIEs*
Fucus, the furious Poet writes but Plaies;
So, playing, writes: that’s, *IDLY* writeth all:
Yet, *IDLE PLAIES* , and Players are his Staies;
Which stay him that he can no lower fall:>>
-----------------------------------------
The Faerie Queene Dedicatory Sonnets
http://www.bartleby.com/153/31.html
..........................................
To the right honourable the Lo.
Burleigh, Lo. high Threasur- <= 35 =>
. {E|R]ofEnglandTOyourightnobleLordwhose
. {C|A]refullbrestTomenageofmostgraueaff
. {A|I]resisbentAndonwhosemightieshoulde
. {R|S]mostdothrestTheburdeinofthiskingd
. {O|me]sgouernementAsthewidecompasseoft
. {H|E]firmamentOnAtlasmightyshouldersis
vpstayed;
{HORACE} -35
..........................................
To the right honourable the Lo.
Burleigh, Lo. high Threasur{E}r of England.
TO you, right noble Lord, whose {C}arefull brest
To menage of most graue aff{A}ires is bent,
And on whose mightie shoulde{R}s most doth rest
The burdein of this kingd{O}mes gouernement,
As the wide compasse of t{H}e firmament,
On Atlas mighty shoulders is vpstayed;
.
Vnfitly I these *YDLE RIMES* present,
The *LABOUR* of lost time, and wit vnstayd:
.
Yet if their deeper sence be inly wayd,
And the dim vele, with which from comune vew
The[I]r fairer parts are hid, asi[D]e be layd.
Perhaps not vain[E] the might appeare to you.
S[U]ch as they be, vouchsafe th[E]m to receaue,
And wipe thei[R] faults out of your censur[E] graue.
............................................
The <= 22 =>
_ [I] r f a i r e r p a r t s a r e h i d a s i
. [D] e b e l a y d P e r h a p s n o t v a i n
. [E] t h e m i g h t a p p e a r e t o y o u S
. [U] c h a s t h e y b e v o u c h s a f e t h
. [E] m t o r e c e a u e A n d w i p e t h e i
. [R] f a u l t s o u t o f y o u r c e n s u r
. [E] g r a u e
[I DEUERE] 22
-----------------------------------------------
*VEER* : *LABOUR* (Danish)
............................................
The *MASON* poor, that builds the lordly HALLs,
Dwells not in them, they are for high degree;
His cottage is compact in *PAPER* walls,
And not with brick or stone as others be.
.
The *IDLE DRONE* that *LABOURs* not at all
Sucks up the *SWEET of HONEY* from the bee.
Who worketh most, to their share least doth fall;
With due *DESERT REWARD* will nEVER be.
. -- *EDWARD DE VERE*
............................................
http://www.luminarium.org/renlit/cleopatra.htm
.
_The Tragedie of Cleopatra_ by Samuel *DAnIEL*
.
But if that *LABOUR* some mortality
Found this *SWEET* error, only to confine
The curious search of *IDLE vanity* ,
That would the depth of darkness undermine:
Or rather, to give rest unto the thought
Of wretched man, with th'after-coming [joy]
Of those conceivèd fields, whereon we dote,
To pacify the present world's [annoy].
If it be so, why speak I then to the air?
But 'tis not so, my Antony doth hear:
His *EVER-LIVING* ghost attends my prayer,
And I do know his hovering sprite is near.
And I will speak, and pray, and mourn to thee.
O pure immortal soul that deign'st to hear,
I feel thou answer'st my credulity
With touch of comfort, finding none elsewhere.
Thou know'st these hands entombed thee HERE {of late},
Free and unforc'd, which now must servile be,
Reserv'd for bands to grace proud Caesar's state,
Who seeks in me to triumph over thee.
O if in life we could not *sEVERED* be,
Shall Death divide our bodies now asunder?
Must thine in Egypt, mine in Italy,
Be kept the Monuments of Fortune's wonder?
If any powers be there whereas thou art,
(Sith our country gods betray our case,)
O work they may their gracious help impart,
To save thy woeful wife from such disgrace.
Do not permit she should in triumph show
The blush of her reproach, joined with thy shame:
But (rather) let that hateful tyrant know,
That thou and I had power t'avoid the same.
But what do I spend breath and *IDLE* wind,
In vain invoking a conceivèd aide ?
-----------------------------------------------------------
. T O T H E R I G H T H O N O R A B L E
. Henrie VVriothesley, Earle of Southampton,
. and Baron of Titchfield.
.
. RIght Honourable, I know not how I shall offend in
. dedicating my vnpolisht lines to your Lordship, nor
. how the worlde vvill censure mee for choosing so
. strong a proppe to support so vveake a burthen,
. onelye if your Honour seeme but pleased, I ac-
. count my selfe highly praised,
. and vowe to take aduantage of all *IDLE* houres,
.
TILL I
[H]AU[E] HO[N]OU[R]ED [Y]OU [W.]I T[H.] SO[M]E G[r.]AUER
LABOUR.
............................................................
--- "[T] I L
---- [L] I [H]
-- [A] V [E]
- [H] O [N]
- [O.] U [R]
-- [E.] D [Y]
.
. O U [W.]
---- I T [H.]
.
. S O [M]
- E G [r.]
.
. -AVER LABOUR"
.
. The chance of finding *HENRY W.H. Mr.*
. (or something roughly to that effect)
. within one of the two Shak. poetry dedications
. to *Henry* Wriothesley is about 1 in 4,000,000
-----------------------------------------------------------
The only other **NRY**** with a skip of 13 or less:
..............................................
_ n e [V] e r A f t
__ e r [E] a r [E] [S] o
_ [B] a [R] r e [N] [A] l
_ [A] n [D] f o [R] [F] e
_ [A] r _[E] i_ t [Y] [E] e
..........................................................
*ne[V]er after [E]are so ba[R]ren a lan[D], for fear[E] *
- it [Y]eeld me still so bad a harvest."
-----------------------------------------------------------
. Othello, The Moor of Venice Act 1, Scene 3
.
IAGO: Our bodies are our *G-ARDENs* , to the which
. *OUR WILLS are G-ARDENers* : so that if we will plant
. nettles, or sow lettuce, set hyssop and weed up
. *THYME* , supply it with one gender of herbs, or
. distract it with many, either to have it sterile with
. *IDLE-ness* , or manured with *IN-DUSTry* , why, the
. power & corrigible authority of this *LIES in OUR WILLS*
---------------------------------------------------
WASHINGTON IRVING, 1819 - p.48, Stratford-On-Avon, Sketch Book.
.
<<A flat stone marks the spot where the bard is buried. There are
FOUR lines inscribed on it, said to have been written by himself,
. and which have in them something extremely AWFUL.>>
...............................................
http://library.thinkquest.org/5175/images/grave1.jpg
. GOOD FREND FO{R} [IE]{SUS}'_S(AKE)__ FOR[BE]ARE,
___ TO DIGG THE D{U}[ST] ___ EN(CLO)ASED [HE]ARE:
............................................
_. BLESTE BE Ye MA_{N} Yt___ SPA[RE]S THES STONES,
__ AND CVRST BE H_{E} Yt___ MO[VE]S MY BONES.
...............................................
<<The inscription on the tombstone has not been without its effect. It
has prevented the removal of his remains from the bosom of his native
place to Westminster Abbey, which was at one time contemplated. A few
years since also, as some *LABORERs* were digging to make an adjoining
vault, the earth caved in, so as to leave a vacant space almost *like
an ARCH* through which one might have reached into his grave.>>
...............................................
*BUE* : *BOW, ARCH* (Danish, Norwegian)
*BUE* : *OX* (Italian)
...............................................
____ *WRIOTHESLEY / BUE*
______ {anagram}
____ *BE WHERE YOU LIST* - Sonnet 58
...............................................
No one, howEVER, presumed to meddle with
his remains so awfully guarded by a malediction;
and lest any of the *IDLE* or the curious or any collector
of relics should be tempted to commit depredations,
the old sexton kept watch over the place for two days,
until the vault was finished and the aperture closed again.
He told me that he had made bold to look in at the hole,
but could see neither coffin nor BONES -
- *NOTHING BUT DUST* . It was something, I thought,
to have seen the *DUST* (*POLVERE*) of Shakespeare.>>
--------------------------------------------------------------
. _EVERy Man in His Humour_ by Ben Jonson (1598)
...........................................
[A theatre legend first recorded in 1709 by Nicholas Rowe has it that
Shakespeare advocated production of the play at a point when the
company was about to reject it. The folio also gives a cast list for
the original 1598 production. After Shakespeare, the main players are
given in the following order: Richard Burbage, Augustine Phillips,
John Heminges, Henry Condell, Thomas Pope, William Sly, Christopher
Beeston, William Kempe, and John Duke.]
...........................................
H: Aye Lorenzo, but election is now gouernd altogether by the
. influence of humor, which insteed of those holy flames that
should direct and light the soule to eternitie, *hurles FOORTH*
nothing but *SMOOKE* & congested vapours, that stifle her up, and
bereaue her of all sight and motion. But she must have store of
Ellebore, given her to *PURGE* these grosse obstructions: o that
is well sayd, give me thy torch, come lay this STUFFE together.
.
So, give fire? there, *SEE, SEE* , how
OUR Poets *GLORY* shines brighter, and brighter, still,
still it increaseth, o now it is at the highest,
and now it declines as fast: you may see gallants,
*SIC TRANSIT GLORIA MUNDI* . Well now my two Signior out
sides, stand FOORTH, and *LEND ME YOUR LARGE EARES* ,
................................................................
. The Second Part of the Return from Parnassus, 1601,
.
Kempe: Few of the UnIVERSity *PEN* plays well,
they smell too much of that writer *OVID*
and that writer Metamorphosis, and talk too much of
Proserpina & Jupiter. Why, here's our fellow Shakespeare puts them
all down, aye and Ben Jonson too. O that Ben Jonson is a pestilent
fellow, he brought up Horace giving the poets a pill, but our fellow
Shakespeare HATH given him a *PURGE* that made him bewray his credit.
-------------------------------------------------------
http://en.wikipedia.org/wiki/The_Isle_of_Dogs_%28play%29
<<The Isle of Dogs is a play by {T}homas {NASHE} & Ben [JONSON] which
was performed in 1597. It was immediately suppressed, and no copy of
it is known to exist. The play was performed, probably by Pembroke's
Men, at the Swan Theatre in Bankside in July or August, 1597. A
satirical comedy, it was reported to the authorities as a "lewd plaie"
full of seditious and "slanderous matter". While existing records do
not indicate what gave offence, a reference in The Returne from
Parnassus (II) suggests that the Queen herself was satirised.
Other evidence suggests that Henry Brooke, 8th Lord Cobham
may have been the target.
The Isle of Dogs is a location in London on the opposite bank of the
Thames to Greenwich, home of a royal palace, Placentia, where indeed
the Privy Council met. However, the title alone does not indicate the
play's content, since this area was also known as an unhealthy swamp
where river sewage would accumulate. The Isle is also mentioned in
Eastward Hoe (1605), another play for which Jonson was arrested. Nashe
also referred to the location in Summers Last Will: "Here's a coyle
about dogges without wit. If I had thought the ship of fooles would
have stayed to take in fresh water at the Ile of dogges I would have
furnished it with a whole kennel of collections to the purpose."
Whatever the cause, Richard Topcliffe informed Robert Cecil, who
raised the issue to the Privy Council. Three of the players (Gabriel
Spencer, Robert Shaa, and Ben Jonson) were arrested and sent to
Marshalsea Prison. Nashe's home was raided (he was then at Yarmouth)
and his papers seized, but he escaped imprisonment. He later wrote
that he had given birth to a monster — "it was no sooner borne but I
was glad to runne from it." Nashe was later to call it "an imperfit
Embrion of my *IDLE houres* " and claimed to have written only the
introduction and first act. For his part, Jonson recalled that he
said nothing but "yes and no". Authorities placed two informers
(Robert Poley and Parrot) with him; those two are referred
to in his Epigram 59 Of Spies.>>
--------------------------------------------------------------
<<Among Daniel's most characteristic works, _Musophilus_ is
a dialogue between a courtier and a man of letters addressed
to Fulke Greville, and is a general defence of learning, and
in particular of poetic learning as an instrument in the
education of the perfect courtier or man of action.>>
..............................................
. _Musophilus_ (1599) by Samuel *DAnIEL*
.
Philocosmus: Fond man Musophilus, that thus dost spend,
. In an vngainefull Arte thy deerest dayes,
. Tyring thy wits, and toyling to no end,
. But to attaine that *IDLE SMOAKE of PRAISE* :
. Now when this busie world cannot attend
. Th'vntimely Musicke of neglected layes.
. Other delights then these, other desires
. This wiser profit-seeking Age requires.
. Poore *IDLE h(on)ours* that can ill defend
. Your memories that cannot keepe their owne.
. And whereto serue that wondrous Trophei now,
. That on the goodly Plaine neere Wilton stands?
. That huge dumbe heape, that cannot tell vs how,
. Nor what, nor whence it is, nor with whose hands,
. Nor for whose *GLORY*, it was set to shew
. How much our pride mocks that of other lands?
----------------------------------------------------------
___ POETASTER, OR HIS ARRAIGNEMENT.
___ A Comicall Satyre. by Ben Jonson
http://fly.hiwaay.net/~paul/jonson/poetaster.html
......................................
LVSC.: God be with you, sir, I'le leaue you to your
. poeticall fancies, and furies. I'le not be guiltie, I.
.
*OVID* : Be not, good ignorance : I'm glad th'ART gone :
. For thus alone, our eare shall better judge
. The hastie errours of our morning muse.
.
*ENUIE* , why tWITSt thou me, my time's spent ill ?
And call'st my verse, fruits of an *IDLE quill* ?
Or that (vnlike the line from whence I sprung)
.
Wars *DUSTic honours* I pursue not young ?
Or that I studie not the tedious lawes ;
*And prostitute my voyce in EUERie cause* ?
Thy scope is mortall ; mine eternall fame :
Which through the world shall *EUER chaunt my name* .
HOMER will liue, whil'st TENEDOS stands, and IDE,
Or, to the sea, fleed SIMOIS doth slide :
And so shall HESIOD too, while vines doe beare,
Or crooked sickles crop the ripened eare.
CALLIMACHVS, though in inuention lowe,
Shall still be sung : since he in art doth flowe.
No LOSSE shall come to SOPHOCLES proud vaine.
With sunne, and moone, ARATVS shall remaine.
Whil'st slaues be false,
. fathers hard, and bawdes be whorish,
Whil'st harlots flatter, shall MENANDER flourish.
ENNIVS, though rude, and ACCIVS high-reard straine,
A fresh applause in EUERie age shall gaine.
Of VARRO'S name, what eare shall not be told ?
Of IASONS ARGO ? and the fleece of gold ?
Then shall LVCRETIVS loftie numbers die,
When earth, and seas in fire and flames shall frie.
TYTIRVS, Tillage, ÆNEE shall be read,
Whil'st ROME of all the conquer'd world is head.
Till CVPIDS fires be out, and *his BOWE broken* ,
Thy VERsEs ( *NEATE TIBVLLVS* ) shall be spoken.
Our GALLVS shall be knowne from east to west :
So shall LYCORIS, whom he now loues best.
The *SUFFERING PLOUGH-SHARE* , or the flint may *WEARE* :
But heauenly poesie no death can FEARE.
-----------------------------------------------------------
*ALL IS TRUE* : *TUTTE E VERE* (Italian)
........................................................
Letter written by Sir Henry WOttON (former spy for Essex)
. to Edmund Bacon on July 2, 1613:
.
"Now, to let matters of State sleep, I will entertain you at
the present with what hath happened this week at the banks side.
The Kings Players had a new Play, called *ALL IS TRUE* ,
representing some principall pieces of
the raign of Henry 8. which was *SET FORTH* with
many extraordinary circumstances of Pomp & Majesty,
even to the matting of the stage; the Knights of the Order,
with their Georges & Garter, the Guards with their embroidered
Coats, and the like: sufficient in TRUTH within a while to make
greatness VERy familiar, if not ridiculous. Now, King Henry
making a Masque at the Cardinal Wolsey's house, and certain
Chambers being shot off at his entry, some of the *PAPER* ,
and other STUFF wherewith one of them was stopped , did light
on the thatch, were being thought at first but an *IDLE SMOAK*
, and their eyes more attentive to the show, it kindled
inwardly, and ran round like a train, consuming withing
less than an hour the whole house to the *VERy* grounds."
.
This was the fatal period of that virtuous FABRIC ; wherein yet
nothing did perish but wood & straw, and a few forsaken *CLO-AKS*
. only one man had his *Breeches* set on fire, that would
. perhaps have broiled him, if he had not by the benefit
. of a provident wit put it out with bottle ale.
.........................................
_____ Henry Wotton's fEVERED DEath:
. 4 Dec 1639 => First observed Venus TRANSIT
................................................
"the influence of humor, which ... hurles FOORTH
*NOTHING but SMOOKE* and congested vapours" -- Jonson
.........................................
And let our crooked *SMOKES* climb to their nostrils
And *SMOKE the TEMPLE* with our sacrifices. Cymbeline: V, v
---------------------------------------------------------
Terry Ross wrote:
> In 1610, John Davies of *HERE-FORD* published a volume
> entitled The *SCOURGE* of Folly, consisting mostly of
> poems to famous people and Davies's friends.
> One of these poems was addressed to Shake-speare:
> To our English Terence, Mr. Will. Shake-speare.
>.
> Some say (good Will) which I, in sport, do sing,
> Had'st thou not plaid some Kingly parts *IN SPORT* ,
> Thou hadst bin a companion for a King;.
> And, beene *A KING AMONG THE MEANER SORT* .
.............................................................
JOHN 19:1 Then Pilate therefore took *JESUS, and SCOURGEd him*
.
19:19 And * * Pilate wrote a title, and put it on the *CROSS*
And the writing was, *JESUS OF NAZARETH THE KING OF THE JEWS*
.............................................................
_________________ <= 19 =>
.
. 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 =>
-------------------------------------------------------
. "[E]dwardus [C]omes [O]xon{iensis}"
. [ECO]: [HERE] (Venetian)
.............................................................
1616, March 6, 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:>>
--------------------------------------------------------------
. David Kathman's spellings of Shake-speare:
1. 1594: in Willobie His Avisa
2. 1598: Q2 Richard III (for Andrew WISE Grand Prior 1593-1631)
3. 1598: Q2 Richard II (for Andrew WISE Grand Prior 1593-1631)
4. 1599: Q2 Henry IV, Pt 1 (for Andrew WISE Grand Prior 1593-1631)
5. 1601: Phoenix and the Turtle
6. 1603: Q1 Hamlet
7. 1609: Sonnets
8. 1610: The Scourge of Folly
9. 1612: Epistel to The White Devil
10: 1612-37: Romeo and Juliet
-----------------------------------------------------
Art Neuendorffer
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