Monument inscription
Tom Reedy
In the Sept. 17 edition of the New Yorker, in an article on Latin the author
quotes the tombstone inscription of Raphael (1483-1520):
Ille hic Raphael timuit quo sospote vinci rerum magna parens et moriente
mori.
Here lies the famous Raphael, during whose life the great begetter of things
(Nature) feared lest she be overcome, and at whose death Nature herself
feared lest she die with him.
I was struck by its similarity to the reference to the death of nature in
the inscription on Shakespeare's monument:
Stay, passenger, why goest thou by so fast,
Read, if thou canst, whom envious death hath placed
Within this monument, Shakespeare: with whom
Quick nature died whose name doth deck this tomb,
Far more than cost: sith all that he hath writ,
Leaves living art, but page, to serve his wit.
Like Shakespeare, "Raphael had a precocious talent right from the beginning
and was an innate absorber of influences," to quote a web site about him.
TR
Neuendorffer
Richard the Lion-hearted d. April 6, 1199
Petrarch's Laura (April 6, 1327 - April 6, 1348)
RAPHAEL (April 6, 1483 - April 6, 1520)
Kent earthquake [Nature died?] - April 6, 1580
BRIDGET Vere b. April 6, 1584
----------------------------------------------------------------
Tom Reedy wrote:
> Here's something I thought was interesting.
>
> In the Sept. 17 edition of the New Yorker, in an article on Latin
> the author quotes the tombstone inscription of Raphael (1483-1520):
>
> Ille hic Raphael timuit quo sospote vinci
> rerum magna parens et moriente mori.
>
> Here lies the famous Raphael, during whose life the great begetter of things
> (Nature) feared lest she be overcome, and at whose death Nature herself
> feared lest she die with him.
>
> I was struck by its similarity to the reference to the death of nature
> in the inscription on Shakespeare's monument:
>
> Stay, passenger, why goest thou by so fast,
> Read, if thou canst, whom envious death hath placed
> Within this monument, Shakespeare: with whom
> Quick nature died whose name doth deck this tomb,
> Far more than cost: sith all that he hath writ,
> Leaves living art, but page, to serve his wit.
------------------------------------------------------------
April 6, 1483 RAPHAEL born.
April 6, 1520 RAPHAEL dies on his 37th birthday.
[leaving his 'Transfiguration' unfinished]
April 6, 1528 DURER dies in Nürnberg
April 6, 1584 BRIDGET Vere born.
April 7, 1614 EL GRECO dies.
-----------------------------------------------------------------
Measure for Measure Act 3, Scene 2
LUCIO Does BRIDGET paint still, Pompey, ha?
--------------------------------------------------------------
> Like Shakespeare, "Raphael had a precocious talent right from the beginning
> and was an innate absorber of influences," to quote a web site about him.
Does he paint still, ha?
Art Neuendorffer
Neuendorffer
Nature died?
----------------------------------------------------------------
First chronicled solar eclipse - April 6, 648 BC
Richard the Lion-hearted d. April 6, 1199
Petrarch's Laura (April 6, 1327 - April 6, 1348)
RAPHAEL (April 6, 1483 - April 6, 1520)
Kent earthquake - April 6, 1580
Francis Walsingham d. April 6, 1590
----------------------------------------------------------------
Tom Reedy wrote:
> Here's something I thought was interesting.
>
> In the Sept. 17 edition of the New Yorker, in an article on Latin
> the author quotes the tombstone inscription of Raphael (1483-1520):
>
> Ille hic Raphael timuit quo sospote vinci
> rerum magna parens et moriente mori.
>
> Here lies the famous Raphael, during whose life the great begetter of things
> (Nature) feared lest she be overcome, and at whose death Nature herself
> feared lest she die with him.
>
> I was struck by its similarity to the reference to the death of nature
> in the inscription on Shakespeare's monument:
>
> Stay, passenger, why goest thou by so fast,
> Read, if thou canst, whom envious death hath placed
> Within this monument, Shakespeare: with whom
> Quick nature died whose name doth deck this tomb,
> Far more than cost: sith all that he hath writ,
> Leaves living art, but page, to serve his wit.
------------------------------------------------------------
April 6, 1483 RAPHAEL born.
April 6, 1520 RAPHAEL dies on his 37th birthday.
[leaving his 'Transfiguration' unfinished]
April 6, 1528 DURER dies in Nürnberg
April 6, 1584 BRIDGET Vere born.
April 7, 1614 EL GRECO dies.
-----------------------------------------------------------------
Measure for Measure Act 3, Scene 2
LUCIO Does BRIDGET paint still, Pompey, ha?
--------------------------------------------------------------
> Like Shakespeare, "Raphael had a precocious talent right from the beginning
> and was an innate absorber of influences," to quote a web site about him.
Does he paint still, ha?
Art Neuendorffer
Bob Grumman
**But, Tom, surely the dates are two far apart for Raphael to have
been Shakespeare (although, I certainly don't believe Raphael died
when the authorities claim he did).
--Bob G.
--
Posted from dunk108.nut-n-but.net [205.161.239.137]
via Mailgate.ORG Server - http://www.Mailgate.ORG
Neuendorffer
-------------------------------------------------------
> Here's something I thought was interesting.
>
> In the Sept. 17 edition of the New Yorker, in an article on Latin the author
> quotes the tombstone inscription of Raphael (1483-1520):
>
> Ille hic Raphael timuit quo sospote vinci rerum magna parens et moriente
> mori.
>
> Here lies the famous Raphael, during whose life the great begetter of things
> (Nature) feared lest she be overcome, and at whose death Nature herself
> feared lest she die with him.
>
> I was struck by its similarity to the reference to the death of nature in
> the inscription on Shakespeare's monument:
>
> Stay, passenger, why goest thou by so fast,
> Read, if thou canst, whom envious death hath placed
> Within this monument, Shakespeare: with whom
> Quick nature died whose name doth deck this tomb,
> Far more than cost: sith all that he hath writ,
> Leaves living art, but page, to serve his wit.
>
> Like Shakespeare, "Raphael had a precocious talent right from the beginning
> and was an innate absorber of influences," to quote a web site about him.
Bob Grumman wrote:
>
> **But, Tom, surely the dates are two far apart for Raphael to have
> been Shakespeare (although, I certainly don't believe Raphael died
> when the authorities claim he did).
Does he paint still, Bobby, ha?
------------------------------------------------------------
April 6, 1483 RAPHAEL born.
April 6, 1520 RAPHAEL dies on his 37th birthday.
[leaving his 'Transfiguration' unfinished]
April 6, 1528 DURER dies in Nürnberg
April 6, 1584 BRIDGET Vere born.
April 7, 1614 EL GRECO dies.
-----------------------------------------------------------------
Measure for Measure Act 3, Scene 2
LUCIO Does BRIDGET paint still, Pompey, ha?
--------------------------------------------------------------
Art Neuendorffer
Neuendorffer
http://www.seniorcitizens.com/k/raphael.html
<<There is almost a complete dearth of documentary evidence as to the
facts of the earlier part of Raphael's life. By most accounts, the
painter was born on the 6th of April, 1483. The inscription on his tomb
in the Pantheon composed by Bembo, whose intimacy with the painter was
such as to establish the truth of the statement, says that he died on
the sixth of April, 1520, being exactly thirty-seven years old on that
day. Raphael's mother, Magia Ciarla, died when he was eight years old;
his father, Giovannia Santi, remarried again in the following year, and
died two years subsequently, on August 1, 1494. It was from Giovanni
that Raphael acquired his first instruction in art.>>
----------------------------------------------------------------
On Raphael’s tomb, Cardinal Bembo, a
great scholar of the time, wrote:
“This is Raphael’s tomb, where he lived he made Mother Nature
Fear to be vanquished by him and, as he died, to die too.”
----------------------------------------------------------------
Pietro Bembo
b. of a noble family at Venice, 20 May, 1470;
d. at Rome, 18 January, 1547.
[Catholic Encyclopedia]
<<Pietro Bembo was the son of Bernardo Bembo, whose enthusiasm for
Italian literature led him to raise a monument to Dante at Ravenna. His
early education was received at Florence. He afterwards studied Greek
under Lascaris at Messina and philosophy under Pomponazzo at Padua.
After spending some time at the court of Ferrara, where he met Lucrezia
Borgia, with whom he maintained a Platonic friendship for many years, he
went in 1506 to Urbino, where he became the leading figure among the
brilliant group of men of wit and culture gathered about the court. In
1512 he accompanied his intimate friend, Giuliano de' Medici, to Rome,
where a short time afterwards he was appointed secretary to Pope Leo X.
He remained at Rome for eight years, enjoying the society of many
distinguished men and loved and admired by all who knew him. There he
became enamoured of the beautiful Morosina. It was at her urgent
solicitation that Bembo, in 1520, on the death of Leo X, withdrew from
public affairs and retired with his health impaired by severe sickness
to Padua, where he lived in ease and elegance, devoting himself to
literary pursuits and the society of his learned friends. Here he
collected an extensive library and formed a rich museum of medals and
antiquities. His Paduan retreat became the gathering-place of all the
most cultured and most scholarly men in Italy. In 1529 he accepted the
office of historiographer of the republic of Venice, and shortly
afterwards was appointed librarian of St. Mark's. In 1539 Pope Paul III
recalled him to Rome and conferred on him the cardinal's hat. From the
time of Bembo's ecclesiastical preferment there was a marked change in
his conduct. Heretofore his life had been anything but edifying — in
fact it had been more pagan than Christian. But now he renounced the
study of the classics and applied himself chiefly to the study of the
Fathers and the Holy Scriptures. Two years after he was raised to the
cardinalate, he was made Bishop of Gubbio, and still later he received
the Bishopric of Bergamo. He died more admired and lamented than any man
of letters of his time and was buried not far from Pope Leo in the
Church of the Minerva.
Bembo was a thorough master of elegant diction. He possessed beyond any
contemporary the formal perfection of style, both in Latin and Italian,
demanded by the age in which he lived. In his Latin writings it was his
aim to imitate as closely as possible the style of Cicero. His letters
were masterpieces of Latin style and of the art of letter-writing. He is
said to have passed his compositions through numerous portfolios,
revising them in each one of them. Bembo's works include a history of
Venice, poems, dialogues, criticisms and letters. The most important
are: "Rerum Veneticarum Libri XII" (1551), a history of Venice covering
the period from 1487 to 1513, originally published in Latin, but
afterwards translated by the author into Italian; "Gli Asolani" (Venice,
1505), a dialogue in Italian on Platonic love, composed in imitation of
Cicero's Tusculan Disputations, and dedicated to Lucrezia Borgia; "Le
Prose", a short treatise on the Italian language; "Le Rime" (Venice,
1530); "Carmina" (Venice, 1533), a collection of Latin poems; and
several volumes of letters, written in Latin. Besides these original
works he edited the Italian poems of Petrarch, printed by Aldus (1501),
and the "Terze rime" of Dante (1502). His collected works were published
at Venice in four volumes in 1729.>>
------------------------------------------------------------------------------
http://www.xs4all.nl/~knops/timetab.html
1454 GUTENBERG Gutenberg. publication of Turkenkalender
1456 BIBLE, GUTENBERG Gutenberg. 42-line bible
1457 COLOR PRINTING Colour printing, earliest, (Mainz
Psalter)
1466 ERASMUS Erasmus, Desiderius, d.1536
1468 GUTENBERG Gutenberg dies February 3rd
1471 VULGATE BIBLE Malermi Bible (Italian translation of
Vulgate)
first printed in Venice by Wendelin da
Spira
1471 DÜRER Durer, Albrecht, d.1528
1472 DANTE DIVINE COMEDY, first printed edition
1486 CAXTON Caxton, William prints his first books
in England, in Westminster
1494 NARRENSCHIFF Brant. Sebastian Brant's Narrenschiff
published, illustrated with woodcuts,
among them the famous Bookfool woodcut by Durer
(?)
1494 SHIP OF FOOLS DAS NARRENSCHIFF by Sebastian Brant, first
publication. Within fifteen years the work appeared in one Latin, three
French, one Dutch, one Low German and an English version. One reason
often cited to explain Brant's far-reaching appeal was that he wrote in
short chapters, mixed his *fools* skillfully, and maintained a fluid
style that engaged his readers.
1495 BEMBO First Latin book from the Aldus' press was
Pietro Bembo's dialog about Aetna (roman type)
1495 BALE Bale, John (1563). first bibliography in England
1495 MANUTIUS Manutius, Greek Grammar
1495 LUFFT Lufft, Hans, d.1584, printer-publisher Wittenberg
1495 MANUTIUS Manutius, Edition of Aristotle in 5 volumes,
first complete edition in Greek
1497 HOLBEIN Holbein, Hans, d.1543.
1497 NEUDÖRFER Neudörfer, Johann, d. 1563, writing master
of Nuremberg, his 'Fundament' was the
first writing book to be published.
-----------------------------------------------------------------------
Neuendorffer
Nature died?
----------------------------------------------------------------
First historical solar eclipse: April 6, 648 BC Friday
Birth of Jesus Christ?: April 6, 6 BC Tuesday
the Koran descended to Earth: April 6, 610 AD Monday
Richard the Lion-hearted dies: April 6, 1199 Tuesday
Petrarch meets LAURA April 6, 1327 Monday
LAURA dies of plague April 6, 1348 Sunday
RAPHAEL born April 6, 1483 Sunday
RAPHAEL dies April 6, 1520 Good Friday
Albrecht Durer dies April 6, 1528 Monday
Juliet weaned (Kent EARTHQUAKE): April 6, 1580 Wednesday
BRIDGET Vere's birth: April 6, 1584 Mon/Friday
Sir Francis Walsingham dies: April 6, 1590 Mon/Friday
Historian John Stow dies: April 6, 1605 Sat/Wed.
---------------------------------------------------------------
Portrait of Pietro Bembo 1504-1506
http://gallery.euroweb.hu/html/r/raphael/portrait/bembo.html
<<In earlier catalogs the painting was attributed to Bernardo Luini as a
portrait of Raphael. Later it was recognised as the portrait of Pietro
Bembo, the poet and humanist painted by Raphael when staying at the
Court of Urbino. Bembo was later to become cardinal.>>
-------------------------------------------------
Castiglione, Baldassare
b. Dec. 6, 1478, Casatico, near Mantua [Italy]
d. February 2, 1529, Toledo [Spain]),
http://shakespeare.eb.com/shakespeare/micro/108/88.html
Italian courtier, diplomat, and writer,
best known for his dialogue Il cortegiano (The Courtier).
<<The son of a noble family, Castiglione was educated at the humanist
school of Giorgio Merula and Demetrius Chalcondyles and at the court of
Ludovico Sforza in Milan. He returned to Mantua in 1499 to enter the
service of the marquis, Francesco Gonzaga, transferring to the service
of Guidobaldo da Montefeltro, duke of Urbino, in 1504. Among his duties
was a mission to England to receive the Order of the Garter as a proxy
for Guidobaldo. It was at Urbino that Castiglione collaborated with his
cousin on a pastoral drama, Tirsi, in which the speeches of nymphs and
shepherds conceal references to the court. Castiglione was sent to Rome
in 1513 as ambassador of the new duke of Urbino, Francesco Maria
della Rovere, and later entered papal service. He knew the master
painter and architect Raphael and collaborated with him on a memorandum
regarding the preservation of the city's antiquities. Castiglione was
posted to Spain as papal nuncio (ambassador) in 1525 and apparently
impressed Emperor Charles V as a perfect gentleman.
Il cortegiano (written 1513-18 and published in Venice in 1528) is a
discussion of the qualities of the ideal courtier, put into the mouths
of such friends as Pietro Bembo, Ludovico da Canossa, Bernardo da
Bibbiena, and Gasparo Pallavicino. The dialogue claims to represent
conversations at the court of Urbino on four successive evenings in
1507, with the duchess Elisabetta Gonzaga and her "lieutenant," Lady
Emilia, in the chair. Its main themes include the nature of graceful
behaviour, especially the impression of effortlessness (sprezzatura);
the essence of humour; the best form of Italian to speak and write; the
relation between the courtier and his prince (stressing the need to
speak frankly and not to flatter); the qualities of the ideal court lady
(notably "a discreet modesty"); and the definition of honourable love.
As was common in the Renaissance, the text freely imitates the work of
ancient writers such as Plato (on the ideal republic) and Cicero (on the
ideal orator), as well as discussing the problem of creative imitation.
It also has its place in a late medieval tradition of courtesy books,
manuals of noble behaviour. At the same time, it is a nostalgic
evocation of the court of Urbino as it was in Castiglione's youth, a
"portrait" in the manner of Raphael of the duchess and of his friends,
many of whom were dead by the time the book was published. Further,
Castiglione invests Il cortegiano with an unusual lightness that both
describes sprezzatura and exemplifies it, and a lively dialogue that
brings his leading characters to life.
Il cortegiano was a great publishing success by the standards of the
time. It was written for and read by noblewomen, including the poet
Vittoria Colonna, Isabella d'Este, Marchioness of Mantua, and the
author's mother, as well as by men. In the century after its
publication, it averaged an edition a year and was translated into
Spanish (1534), French (1537), Latin (1561), and German (1565), besides
the English version by Sir Thomas Hoby, The Courtyer (1561), and the
Polish adaptation by Lukasz Górnicki, Dworzanin polski (1566; "The
Polish Courtier"). Copies of the text can be found in libraries from
Portugal to Hungary and from Sweden to Sicily. English readers included
politicians such as Thomas Cromwell and Sir Christopher Hatton,
intellectuals such as Roger Ascham, Robert Burton, and Francis Bacon,
and perhaps writers such as Sir Philip Sidney and William Shakespeare.
The book remains a classic of Italian literature.
The apparent intention of the author was to raise problems (Does a
courtier need to be of noble birth? Is his primary occupation warfare?
and so on), leaving them deliberately unresolved. However, his
16th-century readers, responding to the cues given by editors who
furnished the book with marginal notes and summaries as well as indexes,
appear to have read the book as a treatise on the art of shining in
society. It was studied by lawyers and merchants who wished to appear
well-bred (whether the author would have approved of this use of his
dialogue is doubtful). The underlining in surviving copies suggests that
some readers paid closer attention to the jokes and instructions on how
to ride or dance with elegance than the more philosophical debates.
The text survived the Counter-Reformation with minor expurgations, such
as the deletion of anticlerical jokes and references to the pagan
goddess Fortune. Eclipsed by rival and more up-to-date treatises on
behaviour in the 17th and 18th centuries (despite interest in the book
on the part of Lord Chesterfield, Samuel Johnson, and the actor David
Garrick), Il cortegiano was rediscovered in the late 19th century as a
typical or representative text of the Renaissance.>>
-------------------------------------------------------------
Art Neuendorffer
Alcibiades
wrote:
Yes, and when I read the intro to -- what was it, the third book? --
the bit about the pleasures in the memory and being old, I couldn't
help but think (projecting my memory from then into the future I now
live) Strats are guilty of a bit of that, don't we think? I mean,
they do tend to ossify. They should read what Baldisar has to say
about this, about letting go. Let go, Jimbo! Let go!
Remember that scene with Obi Wan, where Luke's got the blast shield
down over his eyes, and he's trying to defend himself from the flying,
stinging orb?
- Alci
Neuendorffer
>
> Yes, and when I read the intro to -- what was it, the third book? --
> the bit about the pleasures in the memory and being old, I couldn't
> help but think (projecting my memory from then into the future I now
> live) Strats are guilty of a bit of that, don't we think? I mean,
> they do tend to ossify. They should read what Baldisar has to say
> about this, about letting go. Let go, Jimbo! Let go!
>
> Remember that scene with Obi Wan, where Luke's got the blast shield
> down over his eyes, and he's trying to defend himself from the flying,
> stinging orb?
Arguing with the Strats are more like playing chess with Chewbacca.
Art N.
Greg Reynolds
Neuendorffer wrote:
> Arguing with the Strats are more like playing chess with Chewbacca.
>
> Art N.
What an assault on our language
Stephanie Caruana
"Neuendorffer" <ph...@erols.com> wrote in message
news:3BABC930...@erols.com...
Amen to that, brother! The perfect analogy, as usual, Art.
Stephanie
Neuendorffer
The Lie
GO, Soul, the body's guest,
Upon a thankless arrant:
Fear not to touch the best;
The truth shall be thy warrant:
Go, since I needs must die,
And give the world the lie.
Say to the court, it glows
And shines like rotten wood;
Say to the church it shows
What's good, and doth no good:
If church and court reply,
Then give them both the lie.
Tell potentates, they live
Acting by others' action;
Not loved unless they give,
Not strong but by affection:
If potentates reply,
Give potentates the lie.
Tell men of high condition
That manage the estate,
Their purpose is ambition,
Their practice only hate:
And if they once reply,
Then give them all the lie.
Tell them that brave it most
They beg for more by spending,
Who, in their greatest cost,
Seek nothing but commending:
And if they make reply,
Then give them all the lie.
Tell zeal it wants devotion,
Tell love it is but lust;
Tell time it metes but motion,
Tell flesh it is but dust:
And wish them not reply,
For thou must give the lie.
Tell age it daily wasteth;
Tell honour how it alters;
Tell beauty how she blasteth;
Tell favour how it falters;
And as they shall reply,
Give every one the lie.
Tell wit how much it wrangles
In tickle points of niceness;
Tell wisdom she entangles
Herself in over-wiseness:
And when they do reply,
Straight give them both the lie.
Tell physic of her boldness;
Tell skill it is pretension;
Tell charity of coldness;
Tell law it is contention;
And as they all reply,
So give them still the lie.
Tell fortune of her blindness;
Tell nature of decay;
Tell friendship of unkindness;
Tell justice of delay;
And if they will reply,
Then give them all the lie.
Tell arts they have no soundness,
But vary by esteeming;
Tell schools they want profoundness,
And stand too much on seeming:
If arts and schools reply,
Give arts and schools the lie.
Tell faith it's fled the city;
Tell how the country erreth;
Tell manhood shakes off pity
And virtue least preferreth:
And if they do reply,
Spare not to give the lie.
So when thou hast, as I
Commanded thee, done blabbing
--Although to give the lie
Deserves no less than stabbing--
Stab at thee he that will,
No stab thy soul can kill.
Sir Walter Raleigh
-----------------------------------------------------
------------------------------------------------
Nature That Washed Her Hands in Milk
NATURE, that washed her hands in milk,
And had forgot to dry them,
Instead of earth took snow and silk,
At Love's request to try them,
If she a mistress could compose
To please Love's fancy out of those.
Her eyes he would should be of light,
A violet breath, and lips of jelly;
Her hair not black, nor overbright,
And of the softest down her belly;
As for her inside he'd have it
Only of wantonness and wit.
At Love's entreaty such a one
Nature made, but with her beauty
She hath fram'd a heart of stone;
So as Love, by ill destiny,
Must die for her whom Nature gave him
Because her darling would not save him.
But Time, which Nature doth despise
And rudely gives her love the lie,
Makes hope a fool, and sorrow wise,
His hands do neither wash nor dry;
But being made of steel and rust,
Turns snow and silk and milk to dust.
The light, the belly, lips, and breath,
He dims, discolors, and destroys;
With those he feeds but fills not death,
Which sometimes were the food of joys.
Yea, Time doth dull each lively wit,
And dries all wantonness with it.
Oh, cruel Time, which takes in trust
Our youth, or joys, and all we have,
And pays us but with age and dust;
Who in the dark and silent grave
When we have wandered all our ways
Shuts up the story of our days.
Sir Walter Raleigh
---------------------------------------------
Art Neuendorffer
Neuendorffer
King Lear Act 3, Scene 4
EDGAR Who gives any thing to poor Tom? whom the foul
fiend hath led through fire and through flame, and
through ford and whirlipool e'er bog and quagmire;
that hath laid knives under his pillow,
and halters in his pew;
-------------------------------------------------------
Treasure Island - Robert Louis Stevenson
"I knew that blind man too. His name was Pew."
"It was!" cried Silver, now quite excited.
"Pew! That were his name for certain.
Old Pew, as had lost his sight,
and might have thought shame, spends twelve
hundred pound in a year, like a lord in Parliament.
Where is he now? Well, he's dead now and under hatches;
but for two year before that, shiver my timbers, the
man was starving! He begged, and he stole, and he cut
throats, and starved at that, by the powers!"
-----------------------------------------------------
Cudgel, n. [OE. kuggel; cf. G. keule club (with a round end), kugel
ball, or perh. W. cogyl cudgel, or D. cudse, kuds, cudgel.] A staff
used in cudgel play, shorter than the quarterstaff, and wielded
with one hand; hence, any heavy stick used as a weapon.
He getteth him a grievous crabtree cudgel and
. . . falls to rating of them as if they were dogs. --Bunyan.
{Cudgel play}, a fight or sportive contest with cudgels.
"I would cudgel him like a dog." --Shak.
--------------------------------------------------------
Book I : CHAP. II. _Joseph Andrews_ by Henry Fielding
MR. Joseph Andrews, the Hero of our ensuing History, was esteemed
to be the only Son of Gaffar and Gammer Andrews, and Brother to the
illustrious Pamela, whose Virtue is at present so famous. As to his
Ancestors, we have searched with great Diligence, but little Success:
being unable to trace them farther than his Great Grandfather, who, as
an elderly Person in the Parish remembers to have heard his Father say,
was an excellent Cudgel-player. Whether he had any Ancestors before
this, we must leave to the Opinion of our curious Reader, finding
nothing of sufficient Certainty to relie on. However, we cannot omit
inserting an Epitaph which an ingenious Friend of ours hath
communicated.
Stay Traveller, for underneath this Pew
Lies fast asleep that merry Man Andrew;
When the last Day's great Sun shall gild the Skies,
Then he shall from his Tomb get up and rise.
Be merry while thou can'st: for surely thou
Shall shortly be as sad as he is now.
-----------------------------------------------------
STAY PASSENGER, WHY GOEST THOV BY SO FAST?
READ IF THOV CANST, WHOM ENVIOVS DEATH HATH PLAST
WITH IN THIS MONVMENT SHAKSPEARE: WITH WHOME,
QVICK NATVRE DIDE: WHOSE NAME DOTH DECK YS TOMBE,
FAR MORE THEN COST: SIEH ALL, YT HE HATH WRITT,
LEAVES LIVING ART, BVT PAGE, TO SERVE HIS WITT.
-----------------------------------------------------
Stay Passenger, why goest thou by so fast
Read if your canst whome envious death hath plac'd
Within this monument Shakespeare with whome
Quick Nature dy'd whose name doth deck his Tombe
far more then cost, sith all yt hee hath writt
Leaves living Art but page to serve his witt.
-- John Weever _Ancient Funerall Monuments_(1631)
---------------------------------------------------
http://mh.cla.umn.edu/ShakTrin.html
http://www.polarbearandco.com/runes.html
------------------------------------------------------
Deck, v. t. [D. dekken to cover; akin to E. thatch. See {Thatch}.] 1. To
cover; to overspread.
To deck with clouds the uncolored sky. --Milton.
2. To dress, as the person; to clothe; especially, to clothe with more
than ordinary elegance; to array; to adorn; to embellish.
Deck thyself now with majesty and excellency. --Job xl. 10.
The dew with spangles decked the ground. --Dryden.
------------------------------------------------------
King Henry VI, Part iii Act 3, Scene 2
GLOUCESTER I'll make my heaven in a lady's lap,
And deck my body in gay ornaments,
And witch sweet ladies with my words and looks.
---------------------------------------------------------
The Taming of the Shrew Act 1, Scene 1
LUCENTIO It shall become to serve all hopes conceived,
To deck his fortune with his virtuous deeds:
And therefore, Tranio, for the time I study,
Virtue and that part of philosophy
Will I apply that treats of happiness
By virtue specially to be achieved.
--------------------------------------------------
The Rape of Lucrece Stanza 16
He stories to her ears her husband's fame,
Won in the fields of fruitful Italy;
And decks with praises Collatine's high name,
Made glorious by his manly chivalry
With bruised arms and wreaths of victory:
Her joy with heaved-up hand she doth express,
And, wordless, so greets heaven for his success.
Stanza 117
'The nurse, to still her child, will tell my story,
And fright her crying babe with Tarquin's name;
The orator, to deck his oratory,
Will couple my reproach to Tarquin's shame;
Feast-finding minstrels, tuning my defame,
Will tie the hearers to attend each line,
How Tarquin wronged me, I Collatine.
-----------------------------------------------------
King Henry V Prologue
Chorus O, pardon! since a crooked figure may
Attest in little place a million;
And let us, CIPHERs to this great accompt,
On your imaginary forces work.
Suppose within the girdle of these walls
Are now confined two mighty monarchies,
Whose high upreared and abutting fronts
The perilous narrow ocean parts asunder:
Piece out our imperfections with your thoughts;
Into a thousand parts divide on man,
And make imaginary puissance;
Think when we talk of horses, that you see them
Printing their proud hoofs i' the receiving earth;
For 'tis your thoughts that now must deck our kings,
Carry them here and there; jumping o'er times,
Turning the accomplishment of many years
Into an hour-glass: for the which supply,
Admit me Chorus to this history;
--------------------------------------------
Art Neuendorffer
Neuendorffer
Huckleberry Finn by Mark Twain (Samuel L. Clemens)
"Do you go to church, too?"
"Yes -- regular."
"Where do you set?"
"Why, in our pew."
"WHOSE pew?"
"Why, OURN -- your Uncle Harvey's."
"His'n? What does HE want with a pew?"
"Wants it to set in. What did you RECKON he wanted
with it?"
"Why, I thought he'd be in the pulpit."
----------------------------------------------------
Pickwick Papers by Charles Dickens
Then the whole train went to church, where Mr. Benjamin Allen fell fast
asleep; while Mr. Bob Sawyer abstracted his thoughts from worldly
matters, by the ingenious process of carving his name on the seat of the
pew, in corpulent letters of four inches long. 'Now,' said Wardle, after
a substantial lunch, with the agreeable
items of strong beer and cherry-brandy, had been done ample justice to,
'what say you to an hour on the ice? We shall have plenty of time.'
'Capital!' said Mr. Benjamin Allen.
'Prime!' ejaculated Mr. Bob Sawyer.
'You skate, of course, Winkle?' said Wardle.
'Ye-yes; oh, yes,' replied Mr. Winkle. 'I--I--am RATHER out of
practice.'
'Oh, DO skate, Mr. Winkle,' said Arabella. 'I like to see it so much.'
'Oh, it is SO graceful,' said another young lady.
A third young lady said it was elegant, and a fourth expressed her
opinion that it was 'swan-like.'
'I should be very happy, I'm sure,' said Mr. Winkle, reddening;
'but I have no skates.'
This objection was at once overruled. Trundle had a couple of pair, and
the fat boy announced that there were half a dozen more downstairs;
whereat Mr. Winkle expressed exquisite delight, and looked exquisitely
uncomfortable.
Old Wardle led the way to a pretty large sheet of ice; and the fat boy
and Mr. Weller, having shovelled and swept away the snow which had
fallen on it during the night, Mr. Bob Sawyer adjusted his skates with a
dexterity which to Mr. Winkle was perfectly marvellous, and described
circles with his left leg, and cut figures of eight, and inscribed upon
the ice, without once stopping for breath, a great many other pleasant
and astonishing devices, to the excessive satisfaction of Mr. Pickwick,
Mr. Tupman, and the ladies; which reached a pitch of positive
enthusiasm, when old Wardle and Benjamin Allen, assisted by the
aforesaid Bob Sawyer, performed some mystic evolutions, which they
called a reel. All this time, Mr. Winkle, with his face and hands blue
with the cold, had been forcing a gimlet into the sole of his feet, and
putting his skates on, with the points behind, and getting the straps
into a very complicated and entangled state, with the assistance of Mr.
Snodgrass, who knew rather less about skates than a Hindoo. At length,
however, with the assistance of Mr.
Weller, the unfortunate skates were firmly screwed and buckled on, and
Mr. Winkle was raised to his feet.
'Now, then, Sir,' said Sam, in an encouraging tone; 'off vith you, and
show 'em how to do it.'
'Stop, Sam, stop!' said Mr. Winkle, trembling violently, and
clutching hold of Sam's arms with the grasp of a drowning man.
'How slippery it is, Sam!'
'Not an uncommon thing upon ice, Sir,' replied Mr. Weller.
'Hold up, Sir!'
This last observation of Mr. Weller's bore reference to a demonstration
Mr. Winkle made at the instant, of a frantic desire to throw his feet in
the air, and dash the back of his head on the ice.
'These--these--are very awkward skates; ain't they, Sam?'
inquired Mr. Winkle, staggering.
'I'm afeerd there's a orkard gen'l'm'n in 'em, Sir,' replied Sam.
------------------------------------------------------------
[B]ob [J]ones
------------------------------------------------------------
Rictor Norton (Ed.),
"The Latin Epitaph on Bob Jones, July 1773",
Homosexuality in Eighteenth-Century England
<http://www.infopt.demon.co.uk/jones.htm>
<<In July 1772 Robert Jones, a lieutenant in the artillery corps of the
British army, was convicted at the Old Bailey for committing sodomy upon
the person of Francis Henry Hay, aged thirteen. The case was widely
reported in the newspapers, which debated his guilt or innocence. He was
a popular figure, affectionately called Captain Jones, and was much
celebrated for personating the character of Punch at a recent
masquerade. He was the author of a treatise on artificial fireworks, and
a treatise on ice-skating that went through numerous editions and
established it as a popular sport.
Historical pride of place as the first "Queen on Ice" must go to this
gay man responsible for popularizing the art of ice-skating. His book A
Treatise on Skating was first published in London in 1772, possibly in
more than one edition due to the publicity of the trial; reissued with
engravings in 1775; second edition in 1780, with a song, "The Skaters'
March"; and many other editions, e.g. in 1797, 1823, 1825, 1855. (His
book A New Treatise on Artificial Fireworks, 1765, was also frequently
reprinted.)
Skates manufactured to Jones's designs could be bought at Riccard's
Manufactory in London. He was one of the first people to advocate the
firm attachment of the skates to the shoes (by means of screws through
the heels) rather than by means of straps and clips, in effect to make
the skate integral (previously skaters had to keep retying the skates to
their shoes, and they kept falling off). He wrote: "An easy movement and
graceful attitude are the sole objects of our attention."
Jones gives various instructions on how to achieve plain skating,
graceful rolling, and the spiral line, especially its most elegant
attitude — "the flying Mercury" (for which he provides a delightful
illustration).
Jones was sentenced to death, but on the very day that he was due to be
hanged (11 August), the sentence was respited to imprisonment. One month
later he was granted a pardon by King George III. He was clearly guilty,
but a contemporary account reported that "the utmost interest was
exerted in his favour; and such representations were made to the King,
that his Majesty was pleased to grant him his pardon, on the condition
of his transporting himself for the term of his natural life."
The following satiric epitaph was printed in a contemporary newspaper
in July 1773. Earlier, on 15 June 1773, a newspaper reported that "The
famous Capt. Jones lives now in grandeur with a lovely Ganymede (his
footboy) at Lyons, in the South of France."
The Latin Epitaph on Bob Jones
Underneath this stone there lies
A face turn'd downward to the skies;
A captain who employ'd his parts
Upon male b---s [bums?], not female hearts:
Who turn'd his arms not against foes,
But against friends, whence Sodom rose,
And vile Gomorrah horrid fell,
To court th' unnatural flames of hell,
Because he err'd from nature's ways,
Nature despis'd him all his days,
Till being to Jack Ketch [i.e. the hangman] consign'd,
For crime of crimes, and dirty mind,
He was repriev'd from gallows death,
At Tyburn had resign'd his breath;
But George, in vengeance, let him live,
Like Cain, till conscience should forgive.>>
---------------------------------------------------------
Art Neuendorffer
Neuendorffer
> Stay Passenger, why goest thou by so fast
> Read if your canst whome envious death hath plac'd
> Within this monument Shakespeare with whome
> Quick Nature dy'd whose name doth deck his Tombe
> far more then cost, sith all yt hee hath writt
> Leaves living Art but page to serve his witt.
>
> -- John Weever _Ancient Funerall Monuments_(1631)
> Book I : CHAP. II. _Joseph Andrews_ by Henry Fielding
>
> MR. Joseph Andrews, the Hero of our ensuing History, was esteemed
> to be the only Son of Gaffar and Gammer Andrews, and Brother to the
> illustrious Pamela, whose Virtue is at present so famous. As to his
> Ancestors, we have searched with great Diligence, but little Success:
> being unable to trace them farther than his Great Grandfather, who, as
> an elderly Person in the Parish remembers to have heard his Father say,
> was an excellent Cudgel-player. Whether he had any Ancestors before
> this, we must leave to the Opinion of our curious Reader, finding
> nothing of sufficient Certainty to relie on. However, we cannot omit
> inserting an Epitaph which an ingenious Friend of ours hath
> communicated.
>
> Stay Traveller, for underneath this Pew
> Lies fast asleep that merry Man Andrew;
> When the last Day's great Sun shall gild the Skies,
> Then he shall from his Tomb get up and rise.
> Be merry while thou can'st: for surely thou
> Shall shortly be as sad as he is now.
Alcibiades
wrote:
Yes, they do tend to knock all the pieces off the board when they see
they've painted themselves into a corner...
And it's so sad. No one wants to play with you anymore after a few
tricks like that...
- Alci
Alcibiades
wrote:
Greg,
All your base are belong to us.
- Alci
Greg Reynolds
Alcibiades wrote:
Your mom has weirdos.
Alcibiades
wrote:
>
>
>Alcibiades wrote:
>
>> On Fri, 21 Sep 2001 20:03:39 -0500, Greg Reynolds <eve...@core.com>
>> wrote:
>>
>> >
>> >
>> >Neuendorffer wrote:
>> >
>> >> Arguing with the Strats are more like playing chess with Chewbacca.
>> >>
>> >> Art N.
>> >
>> >What an assault on our language
>> >
>>
>> Greg,
>>
>> All your base are belong to us.
>>
>> - Alci
>
>Your mom has weirdos.
>
Stop talking about me in the plural, you bastardizer!
- Alci
Robert Stonehouse
>Here's something I thought was interesting.
>
>In the Sept. 17 edition of the New Yorker, in an article on Latin the author
>quotes the tombstone inscription of Raphael (1483-1520):
>
>Ille hic Raphael timuit quo sospote vinci rerum magna parens et moriente
>mori.
>
>Here lies the famous Raphael, during whose life the great begetter of things
>(Nature) feared lest she be overcome, and at whose death Nature herself
>feared lest she die with him.
It seems odd that 'Raphael' should scan as three long syllables, as
it must do to make a correct elegiac couplet. The lines are
separated after 'vinci'.
ew...@bcs.org.uk
John W. Kennedy
It's been a long time since I've scanned Latin, but I don't see that.
"Hic" is naturally long, isn't it?
--
John W. Kennedy
(Working from my laptop)
Alan Jones
"John W. Kennedy" <jwk...@attglobal.net> wrote in message
news:3BAF7250...@attglobal.net...
Yes, since it means "here" (no, if it meant "this"). I think "Raphael"
is three long syllables because of the "ph" and the "l t" following the
'e'. That leaves the middle vowel, which I can't account for: perhaps
it's always long in these transliterated Hebrew names, or perhaps it
reflects the double consonants in the Italian "Raffaello". I assume that
"ille" is elided into "hic". "Sospote" is a misreading for "sospite".
This extravagant tribute by the humanist scholar Bembo is so gnomically
condensed that I was baffled when I read it on the painter's tomb and
eventually had to resort to the Pantheon guide book. The version by
Alexander Pope runs "Living, great Nature feared he might outvie / Her
works, and dying, fears Herself may die."
Alan Jones
Robert Stonehouse
Yes, I make it scan as follows:
Ill' hic | Rapha-|-el " timu-|-it quo | sospote | vinci
rerum magna parens | et moriente mori.
That is, the hexameter begins with two spondees; then a dactyl, a
spondee, and then a final dactyl and spondee, compulsory in this
position. The 'e' of 'ille' has to be elided before 'hic'.
dah-dah dah-dah dah"dit-dit dah-dah dah-dit-dit dah-dah
(in Morse Code language).
ew...@bcs.org.uk
John W. Kennedy
Ah. There's a thingummy in my brain that refuses to really accept the
notion of elisions in Latin (too sloppy and un-Roman, don'tcha know?),
and it always throws a spanner into my scansions. (My formal education
in Latin was brief, but I've learned enough over the years to be able to
produce my own barbarous hexameters in English.)