Re: PIE are squared
neufer
. After his library fire of 1623 Ben Jonson
. wrote of his loss in "An Execration upon Vulcan":
.
. Thou mightst have had me perish, piece, by piece,
. to light tobacco, or save roasted geese
. Singe capons, or poor pigs, dropping their eyes;
. Condemn'd me to the OVENs with the *PIES* ;
. And so, have kept me dying a whole age,
. Nor ravish'd all hence in a minute's rage.
----------------------------------------------------------
. TOTHEO - [N] l ___{I} _ <E>BE G ____ ETTERO
. FTHESE_- [I] n __-{S} _ U<I>N G ____ SONNET
. SMrWha_- [L] L __ [H]A P_<P> I__ [N] ESSEA
. NDthat___ [E] T __ [E]R N_<I> T__-[I]E<P>ROM
. ISEDB Y O u ___- [R]E _ V <E> R_ [L]I>VING
. <P> OEtW I s h __ [E]T __ H [T] H_- <E] WELLW
. <I> ShIN- G a ___ [d V e] __ N [T] u ______ ReRINS
. <E> tTIN G fort----_______ H [T] t
.
____________ <= 19 =>
----------------------------------------------------------
. Probability of 4 oven PIE's ~ 1/6,300
. 22 P**'s => 4 PIE's
.
. 14 I's: (14/145)*(13/144)*(12/143)*(11/142)
. 23 E's: (23/141)*(22/140)*(21/139)*(20/138)
--------------------------------------------------------------
. _Shakespeare In Fact_ by Irvin Matus p.49
<<Jonson's reference to his papers
"Condemn'd. . .to the OVENs with the PIES;"
is an allusion to the custom of putting paper under the bottom of
*PIES* during baking. In _Naps Upon Parnassus_(1658), a collection of
"voluntary and jovial verses [by] some of the wits of universities,"
its editor related his pains in reclaiming them from the keeper of
an alehouse where an author had left them: " *MUCH ADO*
I had to recover them out of the good woman's hands,
who left the bottoms of her *PIES* in very great jeopardy
for *WANT* of them: yet at last I did get them,
as many as you see there are of them."
John Warburton, the 18th-century Somerset Herald of the College of
Arms, claims to have entrusted the manuscripts of more than fifty
Renaissance plays to his cook, the notorious "Betsy Baker.">>
....................................................................
<<The Least Successful Collector Betsy Baker played a central role in
the history of collecting. She was employed as a servant in the house
of John Warburton (1682-1759) who had amassed a fine collection of
58 1st edition plays, including most of the works of Shakespeare.
One day Warburton returned home to find 55 of them charred
beyond legibility. Betsy had either burned them or used them
as *PIE* bottoms. The remaining three folios are now in the
British Museum. The only comparable literary figure was the
maid who in 1835 burned the manuscript of the first volume
of Thomas Carlyle's "The Hisory of the French Revolution",
thinking it was wastepaper.>> -- Stephen *PI(l)E*
.
. http://hometown.aol.com/clasz/Chap9.html
.
[NOTE- some 60 manuscripts of plays of this period eventually come
into the hands of a collector named John Warburton* (1682-1759). Many
are the only surviving coPIES of plays that had never been printed.
Unfortunately Warburton* was careless with them and his servant,
Betsy Baker*, made use of them to light her stove and line the
bottom of PIES. In the end only three survived. The surviving
plays are the work of Dekker, Ford & Massinger.]>>
-----------------------------------------------------------------
http://en.wikipedia.org/wiki/John_Benson_%28publisher%29
<<John Benson (died 23 January 1667) was a London publisher
who issued Ben Jonson's Execration Against Vulcan in 1640.
Benson entered his edition of Shakespeare's poems in the Stationers'
Register on November 4, 1639. The volume was published in octavo
the following year. The title of the publication reads:
POEMS: VVRITTEN BY WIL. SHAKESSPEARE. Gent.
Printed at London by Tho. Cotes, and are to be sold
by John Benson dwelling in St. Dunstans Church-yard. 1640.
The book opens with engraver William Marshall's portrait of
Shakespeare — a reduced and reversed version of Martin Droeshout's
engraving from the First Folio. This is followed by Benson's preface
"to the Reader", commendatory poems by Leonard Digges and John Warren,
and then the poems themselves. The edition combined most of
Shakespeare's sonnets (numbers 18, 19, 43, 56, 75, and 76 are
omitted), mingled with poems from The Passionate Pilgrim (the corrupt
1612 edition), plus A Lover's Complaint, The Phoenix and the Turtle,
Milton's poem to Shakespeare from the Second Folio, poems
by Ben Jonson, Francis Beaumont, Robert Herrick and others,
and miscellaneous pieces.>>
-------------------------------------------------
An Execration upon Vulcan. by Ben Jonson (1640)
http://hollowaypages.com/jonson1692underwoods.htm
Had I compil'd from Amadis de Gaule,
Th' Esplandians, Arthur's, Palmerins, and all
The learned Library of Don Quixote;
And so some goodlier Monster had begot,
Or spun out Riddles, and weav'd fitty Tomes
Of Logogriphes, and curious Palindromes,
Or pomp'd for those hard Trifles Anagrams,
Or Eteostichs, or those finer Flams
Of Eggs, and Halberds, Cradles, and a Hearse,
A pair of Scisars, and a Comb in Verse;
Acrostichs, and Telestichs, on jump Names,
Thou then hadst had some colour for thy Flames,
On such my serious Follies; But, thou'lt say,
There were some Pieces of as base allay,
And as false stamp there; parcels of a Play,
Fitter to see the Fire-light, than the day;
Adulterate Moneys, such as might not go:
Thou should'st have stay'd, till publick Fame said so.
She is the Judge, Thou Executioner,
Or if thou needs would'st trench upon her Power,
Thou mightst have had {ME} perish, piece by piec[E],
To light Tobacco, or sa[VE RO]asted Geese.
Sindg[E] Capons, or poor Piggs, d[R]oping their Eyes;
Cond{EM}n'd me to the Ovens with the Pies;
........................................
__________ <= 18 =>
. T h o u m i g h t s t h a v e h a d
.{M E}p e r i s h p i e c e b y p i e
. c[E]T o l i g h t T o b a c c o o r
. s a[V]E R O a s t e d G e e s e S i
. n d g[E]C a p o n s o r p o o r P i
. g g s d[R]O p i n g t h e i r E y e
. s C o n d{E M}n d m e t o t h e O v
. e n s w i t h t h e P i e s
---------------------------------------------------
http://shakespeare.palomar.edu/life.htm
Digges commendatory poem to the 1640 edition of Poems:
Written by Wil. Shakespeare, Gent. (1623? - 1635):
......................................................
Vpon Master WillIAM S H A K E S P E A R E,
the Deceased Authour, and his P O E M S .
Poets are borne not {M}ade, when I would prov{E}
This truth, the glad r[E]memberance I must lo[V]e
Of never dying Shak[E]speare, who alone,
Is a[R]gument enough to mak[E] that one.
.....................................................
W I L L I A M S H A K E S P E A __ [R] E
.....................................................
__________ <= 18 =>
P o e t s a r e b o r n e n o t___ {M} a
d e w h e n I w o u l d p r o v__ {E} - T
H i s t r u t h t h e g l a d r______ [E] {M]
E m b e r a n c e I m u s t l o__ [V] {E}
O f n e v e r d y i n g S h a k___ [E] s
p e a r e w h o a l o n e I s a__ [R] g
u m e n t e n o u g h t o m a k [E] - t
h a t o n e
{In the 17th column of 18 Earls of Oxford}
-------------------------------------------------
________ http://1609chronology.blogspot.com/
Robert Sean Brazil wrote:
<<On October 16, 1609, a book was registered at the Stationers’ Hall,
called, “A Funerall Poeme. Upon the death of the most worthie and true
souldier, Sir Francis Vere, Knight. Captaine of Portsmouth, &c. L.
Gouernour of his Maiesties Cautionarie Towne of Briell in Holland,
&c.” The author was Cyril Tourneur (c.1575-1626) whose father,
Captain Richard Turner, served in Holland at the same time as
Sir Francis Vere and Sir Horatio Vere. We have evidence that
Cyril himself saw some service there in 1613. Prior to that
it is assumed he was living in London.
Tourneur has left us with a very limited set of works: one long poem,
The Transformed Metamorphosis (1600), is often described as deeply
imitative of Shakespeare. He wrote elegies for Sir Francis Vere (1609)
and for Prince Henry, the doomed Stuart heir (1613). He is credited
with only two plays, The Revenger's Tragedy (1607) and The Atheist's
Tragedy (1611); Revenger, however, is now often credited to Middleton,
leaving Atheist’s as the principal “certain” dramatic work of
Tourneur.
The 1609 elegy to Francis Vere begins with a one-page dedication. It
is ambiguously written and may be designed to honor Francis, or his
nephew, Henry, the 18th Earl of Oxford, or the 1604-deceased 17th Earl
of Oxford. This dedication has never been discussed before, not by
Miller, the Ogburns, Chiljan, or myself in previous articles. The
principal source for finding and identifying dedications is the book,
Index of dedications and commendatory verses in English books before
1641, by Franklin B. Williams, 1962. In that book, Williams lists
this opening dedication in Tourneur’s 1609 elegy as pertaining to
Henry, 18th Earl of Oxford. My thinking at the moment is that while
Henry is probably the obscure but overt dedicatee, his father,
Edward de Vere (17th Earl) is, in fact, the covert dedicatee.
Consider the layout of the dedication. There are three sections, each
in the shape of a “V” or inverted triangle. This is the exact same
shape as the famous dedication to the 1609 Sonnets. The number of
lines in each triangle differs. In the Sonnets, the sequence is the
famous 6, 2, 4. Here we have 3, 4, 5. Add ‘em up. Each dedication
has twelve lines! Is it possible that Tourneur is drawing readers’
attentions to a similarity? Consider that the typesetter has gone
out of his way to stretch the last section into five
lines and has played with the justification of
letters (kerning) to create the three triangles:>>
........................................
__________ DEDICATED TO *HIS*
____________ LIVING MEMORIE;
____________ WHICH *ASCENDS*
____________ TO THE INHERENT
________ HONOVR *OF* THE HEROYQVE
________ *HOPE* OF NOBILITIE, THE
__________ *EARLE* OF OXFORD, &c.
_______ FROM *WHOSE* NOBLE-FAMILIE ,
__________ THIS *IMMORTALL* WOR-
__________ THIE , HATH THE *HO-
______________ NOVR* TO BE
________________ Descended.
........................................
__ DEDICATEDT -O- H (I)-S [L] IVINGMEMORIEWHICHASCENDSTO
_ THEINHEREN -T- H [O] N [O] VROFTHEHEROYQVEHOPE[O]FN[O]BI[L]
____ ITIETHEEAR [L] E [O]-F [O] XFORDcFR[O]MWHOSEN[O]BLEFAMI[L]I
__- ETHISIMMOR -T- A [L]-L (W) ORTHIEHATHTHEHONOVRTOBEDescended
........................................
Pillicock sat on Pillicock-hill:
HalLOO, halLOO, LOO, LOO!
- EDGAR _King Lear_ Act III, scene IV
........................................
___- DEDICATEDTOHIS[L]IVINGMEMORI
_ EWHICHASCENDST[O]THEINHERENT
. HONOVROFTHEHER[O]YQVEHOPEOFN
_____- OBILITIETHEEAR[L]EOFOXFORD
........................................
__________ DEDICATED *TO* HIS
____________ LIVING *MEMORIE*;
____________ WHICH ASCENDS
____________ TO *THE* INHERENT
________ HONOVR OF THE *HEROYQVE*
________ HOPE OF *NOBILITIE* , THE
__________ EARLE OF *OXFORD* , &c.
........................................
_____ *HIS ASCENDS (sense?) OF HOPE:*
__ *EARLE, WHOSE IMMORTALL HONOVR TO MEMORIE*
_____ *THE HEROYQVE NOBILITIE OXFORD*
-------------------------------------------------------------
______ Hamlet (Q2, 1604) Act I, Scene V
http://internetshakespeare.uvic.ca/Annex/Texts/Ham/Q2/scene/1.5
.
Ghost: No reckning made, but sent to my account
. Withall my {IMPE}R{F}ECTions on my hea[D],
. O h{o}rrible, ô horribl[E], mo{s}t horrible.
. If tho[U] ha{s}t natur{e} in thee b[E]are it not,
. Let not the [R]oyall bed of Denmark[E] be
. A couch for luxury and damned incest.
........................................
No reckning made, but sent to my account
Withall my - <= 18 =>
- (I M P E)R{F}E C T i o n s o n m y h
- e A[D]O h{o}r r i b l e ô h o r r i
- b L[E]M o{s}t h o r r i b l e I f t
. h O[U]h a{s}t n a t u r e i n t h e
- e B[E]a_r{e}i t n o t L e t n o t t
- h E[R]o y a l l b e d o f D e n m a
_ r k[E]b e A c o u c h f o r l u x u
- r Y a n d d a m n e d i n c e s t
........................................
{fosse} 18 : A grave (Old French)
........................................
______ <= 18 =>
.
- G o{o} d {f} r e n d f o(R)I e s u s s
_ a k{e} f-{o} r b e a r(E)T o d i g g t
. h{e d [U]{s} t e n c(L)o s e d h e a r
_- e B l [E]{s} t b e(E)y e m a n t h a t
- s p a [R]{e} s t(H)e s e s t o n e s A
- n d c [U]_r s t b e e h e e t h a t m
_ o v e [S]_M y b o n e s
........................................
Prob. of *UERUS* ~ 1 in 1090 (any skip)
........................................
. {ed}ouard{[U]s} *VERUS* , COMES Oxoniae,
. Vicecomes Bulbeck, Dominus de Scales
. & Badlismer, D. Magnus Angliae Ca-
. merarius: Lectori. S. D.
.
http://comp.uark.edu/~mreynold/aulicus.html
...................................
______ <= 18 =>
.
. L e t t h e b i r d o f l o u d e s
. t l a y O n t h e s o l e A r a b i
. a n t r e e H e r a l d s a d a n d
. t r u m p e t b e T o w h o s e s o
. u n d c h a[S]t e w i n g s o b e y
_ B u t t h o[U]s h r i e k i n g h a
_ r b i n g e[R]F o u l p r e c u r r
__e r o f t h[E]f i e n d A u g u r o
__f t h e f e[V]E R s e n d T o t h i
. s t r o u p{E|C O M E}t h o u n o t
. n e a r
.
Prob. of *EVERUS* ~ 1 in 12,240 (any skip)
---------------------------------------------
- The Phoenix and the Turtle
.
LET the bird of loudest lay,
On the sole Arabian tree,
Herald sad and trumpet be,
To whose sound cha[s]te wings obey.
But tho[u] shrieking harbinge[r],
Foul precurrer of th[e] fiend,
Augur of the *fe{v}er's* end,
To this troupe {COME} thou not near!
-------------------------------------------------
____ Sonnet 18
But thy eternall Sommer shall not fade,
Nor loos[E] po[S]se[S]si[O]n o[F] that faire thou ow'st,
Nor shall death brag thou wandr'st in his shade,
When in eternall lines to time thou grow'st,
...................................
_____ Hamlet: Act V, Scene ii (1604 Q2)
Hamlet: Thy state is the more gracious, for tis a vice to know him,
. He hath much land and fertill: let a beast be Lord of beasts,
. and his crib shall stand at the Kings messe, tis a chough,
. but as I say, spacious in th[E] po[S]se[S]si[O]n o[F] durt.
-------------------------------------------
Bacon, Henry VII., Conclusion pp. 247, 248
He lyeth buried at
W[E]stminster in one of
the [S]tatelyest and Daintie[S]t
Monuments of Europe b[O]th
for the Chappell, and [F]or the
Sepulcher. So that he dwelleth
more richly Dead in the
Monument of his Tomb than
he did Alive in Richmond or
any of his Palaces.
I could wish he did the like,
in this Monument of his *FAME*.
..........................................
w [E] s t m i n s t e r i n o n e o f t h
e [S] t a t e l y e s t a n d D a i n t i
e [S] t M o n u m e n t s o f E u r o p e
b [O] t h f o r t h e C h a p p e l l a n
d [F] o r t h e S e p u l c h e r.
........................................
[FOSSE] -20 : A grave (Old French)
---------------------------------------------------
Romeo and Juliet (Quarto 1, 1597)
...............................................
The Prologu{E}.
. TWo houshold Frends alike in dign{I}tie,
. (In faire Verona, where we lay ou{R} Scen[E])
. From ciuill broyles b[R]oke i{N}to enmitie,
. Whos[E] ciu(I)ll warre mak{E}s ci[V]ill hands vncleane.
. From fort{H} the fatall loynes of these two fo[E]s,
. A paire of starre-c[R]ost Louers tooke th[E]ir life:
. Whose misa[d|V|e]ntures, piteous ou[E]rthrowes,
. (Through t{H}e continuing of the{I}r Fathers strife,
. An{D} death-markt passag{E} of their Parents rage)
. Is now the two howres traffique of our Stage.
. The which if you with patient eares attend,
. What here we want wee'l studie to amend.
...............................................
The Prologu{E} T- <= 17 =>
.
-W o h o u s h o l d F r e n d s a
_l i k e i n d i g n{I}t i e I n f
-a i r e V e r o n a w h e r e w e
-l a y o u{R}S c e n[E]F r o m c i
_u_i_l_l_b r o y l e s b[R]o k e i
{N}t o e n m i t i e W h o s[E]c i
-u(I)l_l_w a r r e m a k{E}s c i[V]
-i(L|L}h a n d s v n c l e a n e F
-r(o)m f{o}r t{H}t h e f a t a{L}l
-l(O)y n e s{O}f t h e s e t w o f
{O|E]s A p a i r e o f s t a r r e
-c[R|O}s t l u e r s t o o k e t
-h[E]i r{L}i f e W h o s e m i s a
[d|V|e]n t u r e s p i t e o u s o
-u[E]r t h r o w e s T h r o u g h
.
_t{H}e c o n t i n u i n g o f t h
_e{I}r F a t h e r s s t r i f e A
-n{D}d e a t h m a r k t p a s s a
-g{E}o f t h e i r P a r e n t s r
.
-a(G)e I s n o w t h e t w o h o w
_r(E)s t r a f f i q u e o f o u r
-S(T)a g e T h e w(H)i c(H)i f y o
_u_w i t h_p a_t_i(E)n t(E)a r e s
_a t t e n d_W h a(T)h e(R)e w e w
_a n t_w e_e l_s t u d i(E)t o
-a m e n d.
----------------------------------------------------------
De Vere was crucified upside down like St. Peter:
.................................................
. TOTHEO - [N] l ___{I} _ <E>BE G ____ ETTERO
. FTHESE_- [I] n __-{S} _ U<I>N G ____ SONNET
. SMrWha_- [L] L __ [H]A P_<P> I__ [N] ESSEA
. NDthat___ [E] T __ [E]R N_<I> T__-[I]E<P>ROM
. ISEDB Y O u ___- [R]E _ V <E> R_ [L]I>VING
. <P> OEtW I s h __ [E]T __ H [T] H_- <E] WELLW
. <I> ShIN- G a ___ [d V e] __ N [T] u ______ ReRINS
. <E> tTIN G fort----_______ H [T] t
.
____________ <= 19 =>
---------------------------------------------------
Romeo and Juliet (Quarto 1, 1597)
The Prologu- <= 29 =>
.
-{E}T W o h o u s h o l d F r e n d s a l-i k e i n d i g n
-{I}t i e I n f a i-r e V e r o n a w h e r e w e l a y o u
-{R}S c e n[E]F r o m c i_u_i_l_l_b r o y l e s b[R]o k e i
-{N}t o e n m i t i e W h o s[E]c i-u(I)l_l_w a r r e m a k
-{E}s c i[V]i(L|L}h a n d s v n c l e a n e F-r(o)m f{o}r t
-{H}t h e f a t a{L}l l(O)y n e s{O}
{HENRIE} -29
---------------------------------------------------
http://en.wikipedia.org/wiki/Henry_de_Vere,_18th_Earl_of_Oxford
<<Henry de Vere, 18th Earl of Oxford (24 February 1593 – June 1625)
was an English aristocrat, courtier and soldier. He was born on 24
February 1593 at Newington, Middlesex, the only son of Edward de Vere,
17th Earl of Oxford, by his second wife, Elizabeth Trentham. He
succeeded his father as on 24 June 1604.
He is said to have been educated at Oxford. He was admitted a member
of the Inner Temple in November 1604, and was created M.A. of Oxford
on 30 August 1605. He was made a knight of the Bath on 3 June 1610,
and keeper of Havering Park on 15 November 1611. In his youth he had a
reputation for debauchery.
On his mother’s death, early in 1613, he inherited a share of her
fortune, and set out on an extended foreign tour. From Brussels he
made his way through France to Italy. At Venice in 1617 he offered to
raise a body of volunteers for the service of the republic, and he
exerted himself to obtain the release of his kinsman Sidney Bertie,
who had fallen into the hands of the Inquisition at Ancona.
While Oxford was still abroad, he was involved vicariously in a
tangled family drama. Against the wishes of Sir Edward Coke, Lady
Hatton, Coke's wife, offered Oxford the hand of her daughter Frances
Coke, whom the king wished to marry to Sir John Villiers, the brother
of George Villiers, 1st Duke of Buckingham. Lady Hatton was in fact
obstructing Coke's plan to improve his standing at court, with
Buckingham; she did this by claiming Frances was already promised to
Oxford, and by placing Frances out of reach in houses of allies. This
failed matchmaking laid the seeds of a future quarrel between
Buckingham and Oxford, though the Villiers marriage for Frances went
ahead in September 1617. Oxford returned to England in October 1618.
On 22 May 1619 he was admitted to the hereditary office of Lord Great
Chamberlain.
Between June and November 1620 he served under his kinsman, Sir
Horatio Vere in the Palatinate, and on his return home was appointed,
in January 1621, to the council of war that was ordered to determine
the aid that England would render Frederick V, Elector Palatine. In
July 1621 an incautious expression of dissatisfaction with the Spanish
match led to a few weeks' imprisonment in the Tower of London. In
December 1621 he was nominated by Buckingham to command the Assurance,
a vessel that was commissioned to guard the Channel. He captured a
Dutch Indiaman, which he had to restore. On returning from sea he
expressed a hope that a time might come when justice should be free
and not pass through the favourite's hands. He was sent to the Tower
on 20 April 1622 for a second time. Friends agitated for a public
trial; but in order to satisfy popular clamour a bill was filed in the
Star Chamber charging him with scandalous attacks on the government in
private conversation. No legal proceedings were taken against him, and
he was released in December 1623, after a twenty months' imprisonment.
Immediately afterwards (1 January 1624) Oxford married Lady Diana
Cecil, daughter of William Cecil, 2nd Earl of Exeter and Elizabeth
Drury, a beauty, who brought him a fortune of £30,000. Francis Bacon
in his disgrace asked favours in an obsequious letter which he
addressed to the Earl in the month of his marriage. Oxford declined a
reconciliation with Buckingham.
Lady Diana Cecil in 1614, portrait by William Larkin.
In June 1624 he went to the Low Countries as colonel of a volunteer
regiment of foot that was raised for the service of the Elector
Palatine. He was present in June at the unsuccessful assault on Ter-
heiden, in connection with the operations to relieve Breda but soon
afterwards died at The Hague of fever. He was buried in Westminster
Abbey on 25 July 1625. He left no issue, and was succeeded by a second
cousin, Robert de Vere.>>
...............................................
Romeo and Juliet (Quarto 1, 1597)
The Prologu-- <= 18 =>
.
{E}T W o h o u s h o l d F r e n d s
a l-i k e i n d i g n{I}t i e I n f
a i-r e V e r o n a w h e r e w e l
a y o u{R}S c e n[E]F r o m c i_u_i
_l_l_b r o y l e s b[R]o k e i{N}t o
e n m i t i e W h o s[E]c i-u(I)l_l
_w a r r e m a k{E}s c i[V]i(L|L}h a
n d s v n c l e a n e F-r(o)m f{o}r
t{H}t h e f a t a{L}l l(O)y n e s{O}
f t h e s e t w o f{O|E]s A p a i r
e o f s t a r r e-c[R|O}s t l o u e
r s t o o k e t-h[E]i r{L}i f e W h
o s e m i s a[d|V|e]n t u r e s p i
t e o u s o-u[E]r t h r o w e s T h
r o u g h_t{H}e c o n t i n u i n g
o f t h_e{I}r F a t h e r s s t r i
f e A-n{D}d e a t h m a r k t p a s
s a-g{E}o f t h e i r P a r e n t s
r-a(G)e I s n o w t h e t w o h o w
_r(E)s t r a f f i q u e o f o u r-S
(T)a g e T h e w(H)i c(H)i f y o_u_w
i t h_p a_t_i(E)n t(E)a r e s_a t t
e n d_W h a(T)h e(R)e w e w_a n t_w
e_e l_s t u d i(E)t o-a m e n d
{Lo.O.} 19, 19, -19
[VERE] -19
[{HIDE} (I Lo.O.) EREVE] -17
---------------------------------------------------
Benson & Cotes's
TO THE READ[E]R. The[R]e presu{M|E] (under f{A|V]our)
to p{R|E]sent to {Y|O)ur view {S|o)me excel(L)ent and
sweete(L)y c(o)mp(O)sed Poems, of Master William Shakespeare, Which
in themselves appeare of the same purity, the Authour himselfe then
living avouched ; they had not the fortune by reason of their Infancie
in his death to have the due accomodatio of proportionable glory with
the rest of his *EVER-living* Workes, yet the lines of themselves will
afford you a more authentick approbation than my assurance any way
can, to invite your allowance, in your perusall you shall find them
Seren, cleere and eligantly plaine, such gentle straines as shall
recreate and not perplexe your braine, no intricate or cloudy stuffe
to puzzell intellect, but perfect eloquence ; such as will raise
your admiration to his praise: this assurance I know will not
differ from your acknowledgment. And certaine I am,
my opinio{N} w{I}l{L} b{E} seconded by the sufficiency
of these ensuing lines ; I have beene somewhat solicitus
to bring this forth to the perfect view of all men ; and
in so doing glad to be serviceable for the continuance
of glory to the *DEsERVEd Author* in these his Poems.
...................................
____ <= 8 =>
. T O T H E R[E]A
. D E R T H e[R]e
__ p r e s u{M|E]u
___n d e r f{A|V]O)
__-u r t o p{R|E]s
___e n t t o{Y|O)u
___r v i e W{S|o)M
___e e x c E(L|L)E
__-n t a n d-s-w-E
__-e t e{L}y c{o}M
__-p{O}s e d P-O-e m s
{MARY S} [(Lo.O.) E. VERE]
...................................
_______ <= 15 =>
-T(O)T H E R[E]A D E R T H e[R]
-e p r e s u{M|E]u_n d e r f{A}
[V|O)u r t o p{R|E]s_e n t t o
{Y|O)u r v i e W{S|o)M_e e x c
-E(L|L)E n t a n d-s-w-E e t e
{L}y c{o}M-p{O}s e d P-O-e m s
{Lo.O.} 3
(LO.O.) -15, -30
---------------------------------------------------
# finds in skips from ±2 to ±1001
..........................................
String NT OT Moby Dick (4,150,000,000)
-------------------------------------------
MARYS 208 583 260 (1 in 4,000,000)
HENRIE 455 1541 477 (1 in 1,680,000)
FOSSE 1234 4225 1659 (1 in 580,000)
EVERE 1697 4951 1773 (1 in 493,000)
FAMA 6078 23740 6596 (1 in 114,000)
VERE 12696 39502 13996 (1 in 63,000)
PIE 158900 491270 281680 (1 in 4,450)
Lo.O. 285000 1175000 443500 (1 in 2,180)
------------------------------------------------
- Hide quoted text -
- Show quoted text -
>>> neufer <acneu...@gmail.com> wrote:
.
>>>> I doubt if ANY of Shake-speare or MAR-L.O.
>>>> was registered under their names.
>>>> Apparently phony people (e.g., Shake-speare or MAR-L.O.)
>>>> just can't register works.
>> .
>> Dominic Hughes <mah...@aol.com> wrote:
>>> The Stationers' Register records that on 26 November 1607, the
>>> stationers John Busby and Nathaniel Butter claimed the right to print
>>> "A booke called Master William Shakespeare his historye of Kinge Lear,
>>> as yt was played before the Kinges maiestie at Whitehall vppon
>>> Sainct Stephens night at Christmas Last, by his maiesties servantes
>>> playinge vsually at the Globe on the Banksyde."
>>> They paid sixpence.
>>> Just an example.
>> -----------------------------------------------
> neufer <acneu...@gmail.com> wrote:
>> Good example, Dom!
>> "A booke called Master William Shakesp[E]are his historye of Kinge
>> Lear, as yt was played befo[R]e the Kinges maiestie at Whitehall
>> vppon Sainct St[E]phens night at Christmas Last, by his maiesties
>> ser[V]antes playinge vsually at the Globe on the Banksy[D E]."
>> ..................................................
>> "A booke called Master William Shakesp- <=43=>
>> . {p-[E] a) r -e- hishistoryeofKingeLearasytwasplayedbef
>> . {o-[R] e) t {H} eKingesmaiestieatWhitehallvpponSainctS
>> - {t_[E] p) h {E} nsnightatChristmasLastbyhismaiestiesse
>> - {r_[V] a) n {T} esplayingevsuallyattheGlobeontheBanksy
>> . [D E]"
>> {Potr} : (Пётр) the Apostle Peter (Russian)
>> (apea) : he removes (Spanish)
>> -----------------------------------------------
Dominic Hughes <mah...@aol.com> wrote:
> Art, that's some really fine mattoid nonsense you've provided in
> response to my excellent example. I hesitate to ask, but what do
> you believe St. Peter and "he removes" have to do with your puzzle?
1) "The Globe on the Banksyde" burned down
(i.e., "was removed") on St. Peter's day.
2) De Vere was crucified upside down like St. Peter:
3) St Peter ad Vincula (London) From Wikipedia,
<<The Chapel Royal of St. Peter ad Vincula ("St. Peter in chains")
is the parish church of the Tower of London, dating from 1520 & is
a Royal Peculiar. The name refers to St. Peter's imprisonment under
Herod in Jerusalem. The Chapel is probably best known as the burial
place of some of the most famous prisoners executed at the Tower.>>
------------------------------------------------------------
San Pietro in Vincoli
http://www.cptryon.org/hoagland/travels/stpeterchains/index.html
http://www.cptryon.org/hoagland/travels/stpeterchains/moses.html
The Church of St Peter in Chains Rome: Michaelangelo's Moses
---------------------------------------
*IN VINCULIS* : "in chains/bonds/fetters"
*NIL VICINUS* : "no neighbor"
*UNCIVIL SIN*
.
("Victorious though in chains") *IN VINCULIS INVICTUS*
Motto in Tower Painting: http://www.gorki.net/Art/fa12.html
http://ladysarafina.home.att.net/wriothesley.JPG
.............................................
http://www.philological.bham.ac.uk/anagrams/
.
<<Even more curious is the [anagramma] for Southampton,
which explicitly states that he had been convicted
of *treason on false testimony inspired by ENVY* .>>
.............................................
. HENRICUS URIOTHESLEUS
. per anagramma
. THESEUS NIL REUS HIC RUO
.
.[I]ure quidem poteras hanc fundere ab ore querelam,
.[S]ors tibi dum ficto crimine dura fuit:
.[N]il reus en Theseus censura sortis iniquae
.[H]ic ruo, livoris traditus arbitrio."
.[A]t nunc mutanda ob mutata pericla querela est.
.[I]nclite, an innocuo pectore teste rues?
.[N]on sane. Hac haeres vacuo dat *VIVERE* cura,
.[C]ollati imperii sub Iove sceptra gerens.
.............................................
. HENRY WRIOTHESLEY by an anagram
. ('HERE I FALL, *THESEUS, GUILTY OF NOTHING* ')
.
Justly you were able to pour forth this complaint from
your mouth, your lot was harsh while a false accusation
prevailed. 'L.O. , Theseus is guilty of *NOTHING ,HERE*
I fall by an unfair lot's censure, betrayed by *ENVY's*
whim.' But now the complaint is to be altered, because
of altered perils. Great man, do you take a fall
with an innocent heart bearing witness? Not at all.
The *HEIR* , wielding the scepter of rule conferred
under Jove's auspices, grants you to live FREE of this
.............................................
http://www.philological.bham.ac.uk/anagrams/text.html
.............................................
______ *ISNHAINC*
______ *IN CHAINS*
..................................................
*Victorious though IN CHAINS* : *In VINCULUS Invictus*
Motto in Tower Painting: http://www.gorki.net/Art/fa12.html
-----------------------------------------------
. Antony and Cleopatra Act 5, Scene 2
.
CLEOPATRA: Shall they hoist me up
. And show me to the shouting varletry
. Of censuring Rome? Rather a ditch in Egypt
. Be gentle grave unto me! rather on *NILUS' mud*
. Lay me stark naked, and let the water-flies
. Blow me into abhorring! rather make
. My country's high PYRAMIDES my *GIBBET*,
. And *HANG me up IN CHAINS* !
----------------------------------------------------------
HELMET, n. [OF. helmet, a dim of helme, F. heaume; of Teutonic origin;
cf. G. helm, akin to AS. & OS. helm, D. helm, helmet, Icel. hj[=a]lmr,
Sw. hjelm, Dan. hielm, Goth. hilms; and prob. from the root of AS.
helan
to hide, to hele; Cf. { *HELE* }, {Hell}, {Helm} a helmet.]
........................................................
But that tale is nat worth a rake-stele [= a rake handle],
Pardee we wommen conne no thing *HELE* (Wife of Bath’s Tale, 1380).
---------------------------------------------
Notes on “Hele”
by Bro. Yoshio Washizu
http://www.freemasonry.bcy.ca/texts/hele.html
<<As far as masonic literature is concerned, *HELE* is found in the
Cooke MS. (c. 1400-1410) for the first time: "... he can *HELE* the
councelle [=counsel] of his felows in logge [=lodge] and in
chambere...."
The combined use of the words, "HELE," "conceal" and "reveal," first
appeared in Samuel Prichard’s Masonry Dissected (1730): "I will Hail
and Conceal, and never Reveal...." Its variations are found in other
early masonic documents: "... to heill and conceall ..." (The
Edinburgh Register House MS., 1696)
----------------------------------------------------------------------
*WILLIAM* *SHAKE-SPEARE*
*HELMET* *SHAKING A SPEARE*
------------------------------------------------------------------------
"The Golden Ass", Adlington's (1566?) translation revised by S.
Gasalee,
published by William Heinemann, London, 1915 (Wordsworth Classic 1996)
Book 10: "then followed another resembling *MINERVA*, for she had
on her head a shining *HELMET*, whereon was bound a garland of
olive-branches, having in one hand a target or shield: and in the
other *SHAKING A SPEARE* as though she would fight.
---------------------------------------------------------------
Art Neuendorffer
Melanie Sands
name, indeed! - John Warburton (1682-1759) 's cook to whom
he either "entrusted his manuscripts" - well more fool he!
- or who meddled with his books and used them to light
the fire and line the baking tins - a very odd story
indeed.
Who in his right mind would entrust manuscripts or
books to a 17th century cook?
What cheek must that cook have to go amongst his
papers and books to tear pages from them to use
for the kitchen?
Which cook would dare to do that - unless of course
she was his lover as well...
I smell a fish here, and it's not baking in a pie!
Melanie
> -----------------------------------------------------------------http://en.wikipedia.org/wiki/John_Benson_%28publisher%29
>
> <<John Benson (died 23 January 1667) was a London publisher
> who issued Ben Jonson's Execration Against Vulcan in 1640.
> Benson entered his edition of Shakespeare's poems in the Stationers'
> Register on November 4, 1639. The volume was published in octavo
> the following year. The title of the publication reads:
>
> POEMS: VVRITTEN BY WIL. SHAKESSPEARE. Gent.
> Printed at London by Tho. Cotes, and are to be sold
> by John Benson dwelling in St. Dunstans Church-yard. 1640.
>
> The book opens with engraver William Marshall's portrait of
> Shakespeare — a reduced and reversed version of Martin Droeshout's
> engraving from the First Folio. This is followed by Benson's preface
> "to the Reader", commendatory poems by Leonard Digges and John Warren,
> and then the poems themselves. The edition combined most of
> Shakespeare's sonnets (numbers 18, 19, 43, 56, 75, and 76 are
> omitted), mingled with poems from The Passionate Pilgrim (the corrupt
> 1612 edition), plus A Lover's Complaint, The Phoenix and the Turtle,
> Milton's poem to Shakespeare from the Second Folio, poems
> by Ben Jonson, Francis Beaumont, Robert Herrick and others,
> and miscellaneous pieces.>>
> -------------------------------------------------
> An Execration upon Vulcan. by Ben Jonson (1640)http://hollowaypages.com/jonson1692underwoods.htm
> ---------------------------------------------------http://shakespeare.palomar.edu/life.htm
> ______ Hamlet (Q2, 1604) Act I, Scene Vhttp://internetshakespeare.uvic.ca/Annex/Texts/Ham/Q2/scene/1.5
> .http://comp.uark.edu/~mreynold/aulicus.html
> ---------------------------------------------------http://en.wikipedia.org/wiki/Henry_de_Vere,_18th_Earl_of_Oxford
>
> The Church of St Peter in Chains Rome: Michaelangelo's Moses
> ---------------------------------------
> *IN VINCULIS* : "in chains/bonds/fetters"
> *NIL VICINUS* : "no neighbor"
> *UNCIVIL SIN*
> .
> ("Victorious though in chains") *IN VINCULIS INVICTUS*
> Motto in Tower Painting: http://www.gorki.net/Art/fa12.htmlhttp://ladysarafina.home.att.net/wriothesley.JPG
> .............................................http://www.philological.bham.ac.uk/anagrams/
> .............................................http://www.philological.bham.ac.uk/anagrams/text.html
> by Bro. Yoshio Washizuhttp://www.freemasonry.bcy.ca/texts/hele.html
>
> <<As far as masonic literature is concerned, *HELE* is found in the
> Cooke MS. (c. 1400-1410) for the first time: "... he can *HELE* the
> councelle [=counsel] of his felows in logge [=lodge] and in
> chambere...."
>
> The combined use of the words, "HELE," "conceal" and "reveal," first
> appeared in Samuel Prichard’s Masonry Dissected (1730): "I will Hail
> and Conceal, and never Reveal...." Its variations are found in other
> early masonic documents: "... to heill and conceall ..." (The
> Edinburgh Register House MS., 1696)
> ----------------------------------------------------------------------
> *WILLIAM* *SHAKE-SPEARE*
> *HELMET* *SHAKING A SPEARE*
> ------------------------------------------------------------------------
> "The Golden Ass", Adlington's (1566?) translation revised by S.
> Gasalee,
> published by William Heinemann, London, 1915 (Wordsworth Classic 1996)
>
> Book 10: "then followed another resembling *MINERVA*, for she had
> on her head a shining *HELMET*, whereon was bound a garland of
> olive-branches, having in one hand a target or shield: and in the
> other *SHAKING A SPEARE* as though she would fight.
> ---------------------------------------------------------------
> Art Neuendorffer- Zitierten Text ausblenden -
>
> - Zitierten Text anzeigen -