Rose-cheekt Adonis

[Arthur Neuendorffer]

---------------------------------------------------
. In his Frontline essay, William Murphy
. mentions *THOMAS LODGE* once & only once:
......................................................
Thirty-Six Plays in Search of an Author: http://tinyurl.com/296qhc
by William M. Murphy, Union College Symposium 1964
....................................................................
<<All the known evid[E]nce points to the Stratfo[R|D} *SHAKESPEARE*
. as t(HE W)rit[E|R} of (HAMLET), Macbeth, Henry [V], {A}nd the
. other plays an(D) p{O|E|M}s that have kept t(HE W)(O)r{L|D|A}t
. the author's knees *f(O)r almost four hundred yea(R)s* .>>
....................................................
. . . . . . . . . . . . <= 22 =>
.
. k .n. o. w n e .v. i .d [E] n. c e p o i n t s t o t
. h .e. S. t r a .t. f .o [R]{D}*S H A K E S P E A R E*
. a (S) t (H E W) r. i .t [E]{R} o f(H A M{L}E T)M a c
. b .e. t. h,H e .n. r .y [V]{A} n d t h e{O}t h e r p
. l .a. y. s a n (D) p {O}[E]{M} s t h a t h a v e k e
. p .t. t (H E W)(O) r {L}[D]{A} t t h e a u t h o r's
. k .n. e. e s f (O) r *A. L .M. O S T F O U R H U N D
. R .E. D. Y E A (R) S*
.............................
{L.O.} . -22
[DEVERE] -22
{DRAMA} . 22
(ROOD). .-22
(HEWS). . -4
..................................................................
<<It should be apparent to anyone possessing normal common sense,
then, that {Shakespeare's authorship} of the works is not merely
"pro[B]able" or "likely," as some softhe[A]ds have put it, but
absolutely [C]ompelling. Yet it is common kn[O]wledge that after
Delia [BACON] published her vague notions about authorship in
1856 defenders of her unorthodox views and creators of others
multiplied like rabbits, and any reader of the modern
newspaper knows that the tribe increases every year.>>
....................................................
________ . . . . . . . . . . . . . . <= 25 =>
.
. {S h a k e s p e a r e's a u t h o r s h i .p} o f t
. .h e w o r k s i s n o t m e r e l y"p r o [B] a b l
. .e"o r"l i k e l y"a s s o m e s o f t h e [A] d s h
. .a v e p u t i t,b u t a b s o l u t e l y [C] o m p
. .e l l i n g.Y e t i t i s c o m m o n k n [O] w l e
. .d g e t h a t a f t e r D e l i a [B A C O N] p u b
. .l i s h e d h e r v a g u e n o t i o n s
.
[BACON] 25 : Prob. stuck on [BACON] ~ 1 in 325
.............................................................
There are those, like Delia Bacon, who are afflicted with what
has been called the "Corporation Syndrome," holding that such
distinguished literature mu(S)t be the work of a com{M}i[T]tee.
Its members w{O}u[L]d include, in addi{T}i[O]n to BACON and Oxfor[D],
Robert GREENE, Geor[G]e PEELE, Samuel DANI[E]L, Thomas NASHE,
*THOMAS LODGE*, Michael Drayton, and Thomas Dekker.
....................................................
_____ . . <= 17 =>
.
. .m u (S) t .b. e t h e w o r k o f a c
. .o m {M} i [T] t e e.I t s m e m b e r
. .s w {O} u [L] d i n c l u d e,i n a d
. .d i {T} i [O] n t o B a c o n a n d O
. .x f .o. r [D] R o b e r t G r e e n e,
. .G e .o. r [G] e P e e l e,S a m u e l
. .D a .n. i [E] l,T h o m a s N a s h e,
. *T H .O. M .A. S L O D G E*

[T.LODGE] 17 : Prob. stuck on *THOMAS LODGE* ~ 1 in 100,000
{TOM(S)} -17
-----------------------------------------------------
Ben Jonson (1623) _To the Memory of Shakespeare_
........................................
. My Shakespeare, rise ; I Will no[T LODGE] THee by
. Chaucer, or Spenser, or bid Beaumont lye
. A little further to make thee a roome ;
. Thou art a Moniment, without a tombe,
........................................
. Shine forth, thou StarrE Of Poets, and wi[T]h rage,
. Or inf[L]uence, chide, [O]r cheere the [D]rooping Sta[G]e;
. Which, sinc[E] thy flight fro' hence, hath mourn'd like night,
. And despaires day, but for thy Volumes light.
........................................
. . . . . . . <= 11 =>

. S h i n e f o r t h, t
. h o u S t a r r E O. f
. P o e t s,a n d w i [T]
. h r a g e.O r i n f [L]
. u e n c e,c h i d e,[O]
. r c h e e r e t h e [D]
. r o o p i n g S t a [G]
. e;W h i c h,s i n c [E]
. t h y f l i g h t
.
[T LODGE] 11
..................................................
. Epilogue _ROSALYNDE OR, EUPHUES' GOLDEN LEGACY_
.
. If you grace me with that favor, you encourage
. . me to be more forward; and as soon as I have
. overlooked my labors, expect the Sailor's Calendar.
.
. *T. LODGE. FINIS*
------------------------------------------------------------
Was THOMAS LODGE the "PAGE that sERVED Oxford's WIT" in 1623?
........................................................
david kathman wrote:

<<In 1596, in his *WITS MISERy* THOMAS LODGE mentioned
the "ghost which cried so MISERably at the Theatre,
*like an OISTER-WIFE* , 'HAMlet, REVEnge'.">> -
........................................................
http://en.wikipedia.org/wiki/Thomas_Lodge

<<THOMAS LODGE (c. 1558 - September 1625) was an English dramatist
and writer of the Elizabethan % Jacobean periods. He was born about
1558 at West HAM, the second son of Sir Thomas Lodge, who was Lord
Mayor of the City of London in 1562-1563. His mother's stepfather
was Sir William Laxton, another Lord Mayor of the City of London.
Thomas' brother, William, married Mary, the daughter
of the Master of the REVEls, Thomas Blagrave.

Young Thomas served as PAGE to the Stanleys, Earls of Derby,
until ~1571, when he enrolled in the Merchant-Taylors'
School. From there he went on to Trinity College,
Oxford, where he took his degree in 1577.>>
-----------------------------------------------
http://www.bartleby.com/331/186.html
.
. Rosalynde (1590) by *THOMAS LODGE*
_Phoebe's Sonnet, a Reply to Montanus' Passion_

. When Love was first begot,
. And by the *moVER's WILL*
. Did fall to human lot
. His solace to fulfil,
. Devoid of all deceit,
. A chaste and holy fir(E)
. Did quick[E]n (M)an's conce[I]t,
.(A)nd women's [B]r(E)ast inspi[R]e.
.(T)he gods th[A]t (S)aw the goo[D]
. That mortal{S} did approve,
.{W}ith kind and holy mood
. Began to talk of Love.
...................................
. . . . . . . <= 11 =>
.
. a n d h o l y f .i. r (E)
. D i d q u i c k [E] n (M)
. a n's c o n c e [I] t,(A)
. n d w o m e n's [B] r (E)
. a s t i n s p i [R] e.(T)
. h e g o d s t h [A] t (S)
. a w t h e g o o [D] T. h
. a t m o r t a l {S} d. i
. d a p p r o v e,{W} i. t
. h k i n d a n d (H) o. l
. y m o o d
.
[{W.S.} DARBIE] -11 : Prob. in song ~ 1 in 3,650,000
. . . .(STEAME) -11
.......................................................
. But during this accord,
. A wonder *STRANGE* to hear,
. Whilst Love in deed and word
. Most faithful did appear,
. False-semblance came in place,
. By Jealousy attended,
. And with a double face
. Both love and fancy blended;
. Which made the gods forsake,
. And men from fancy fly,
. And maidens scorn a make,
. Forsooth, and so *WILL I*
-----------------------------------------------
. . . Venus and Adonis Stanza 10
.
. So soone was she along, as he was downe,
. Each *LEANING on their ELBOWES* and their hips:
. Now doth she stroke his cheek, now doth he frown,
. And gins to chide, but soone she stops his lips,
. And kissing speaks, with lustful language broken,
. If thou wilt chide, thy lip[S] shall neuer open.
. He burnes with bashfull shame, she wi[T]h her teares
. Doth quench the maiden burning of his *CHE[E]KES*,
. Then with her windie sighes, and golden heares,
. To f[A]n, and blow them drie againe she seekes.
. He saith, she is i[M]modest, blames her misse,
. What followes more, she murth[E]rs with a kisse.
.......................................................
. . . . . . . . . . . <= 45 =>
.
. Ifthouwiltchidethy. l i (P) [S] sha .llneueropenHeburnesw
. ithbashfullshamesh. e w (I) [T] hhe .rtearesDothquenchthe
. maidenburningofhis *C H (E) [E] KES* Thenwithherwindiesig
. hesandgoldenheares. T o. f. [A] nan .dblowthemdrieagaines
. heseekesHesaithshe. i s. i. [M] mod .estblameshermisseWha
. tfollowesmoreshemu. r t. h. [E] rsw .ithakisse
.
[STEAME] 45 : Prob. in ELBOWES/CHEEKES/STEAME section ~ 1 in 215
................................................................
. Euen as an emptie *EAGLE* sharpe by fast,
. Tires with her beake on *FEATHER*, flesh, and bone,
.*SHAKING her WINGS* deuouring all in hast,
. Till either gorge be stuft, or pray be gone:
. Euen so she kist his brow, his *CHEEKE*, his chin,
. And where she ends, she doth anew begin.
. Forst to content, but *nEUER TO OBEY*,
. Panting he lies, and breatheth in her face;
.
. She feedeth on the [STEAME], as on a pray,
.
. And calls it heauenly moisture, aire of grace,
. Wishing her *CHEEKS* were gardens full of flowers,
. So they were dew'd with such distilling showers.
.......................................................
.......................................................
. The sillie boy beleeuing she is d[E]ad,
. Claps her pale *CHEEKE*, till clapping [M]akes it red.
. And all amaz'd, brake off his l[A]te intent,
. For sharply he did thinke to r[E]prehend her,
. Which cunning loue did wit[T]ily preuent,
. Faire-fall the wit that can [S]o well defend her:
.......................................................
. . . . . . . . . . . <= 33 =>
.
. Thesillie. boybel .eeuingsheisd [E] adCla
. psherpale *CHEEKE* tillclapping [M] akesi
. tredAndal. lamazd .brakeoffhisl [A] teint
. entForsha. rplyhe .didthinketor [E] prehe
. ndherWhic. hcunni .nglouedidwit [T] ilypr
. euentFair. efallt .hewitthatcan [S] owell
.
[STEAME] -33
--------------------------------------------------
1580: Dedication to Oxford by Anthony Munday
. . . in Zelauto. The fountaine *OF FAME*.
.
. . . TO THE RIGHT HONORABLE, HIS
. singuler good Lord and Maister, Edward de Vere,
.
... Antony Munday, visbeth *ALL HAPPINES* in this
. Honorable estate, and after death *ETERNALL LIFE* .
.
. And loe Right Honourable, among suct commendable
. writers, as preferre to your seemely selfe,
. woo{R}k{E|S] {W}o{O}r{T}hy of [E]tern[A]ll me[M]ory:
.
[STEAM]. 5
{TOWER} -2
............................................................
1588: Dedication to Oxford in Anthony Munday's Palmerin d'Oliva.
.
AMong the Spartane[S] righ[T] nobl[E] Lord, [A]nd so[M]etim[E]
. my honorable Maister, *NOTHING* was accounted mor odious,
. then to forgetfulnes of the seruaunt towardes his Maister:
.
[STEAME] 5
-----------------------------------------------------------
. “Fain Would I Sing But Fury Makes Me Fret”
. . https://sourcetext.com/oxfords-poems/
........................................
Poems of the 1576 crisis and after as
authentic by Dr. Grosart & Steven W. May
........................................
. {F}ain would I sing, but fury makes me fret,
. {A}nd Rage hath sworn to seek revenge of wrong;
. {M}y mazed mind in malice so is set,
. {A}s Death shall daunt my deadly dolours long;
.
. Patience perforce is such a pinching pain,
. *As die I Will, or suffer wrong again* .
.
. I am no sot, to suffer such abuse
. A[S] do[T]h b[E]{R E}[A]{V E} [M]y h[E]art of his delight;
. No quiet sleep shall once possess mine eye,
. Till wit have wrought his will on injury.
...................................................
. . <= 3 =>
.
. . . A [S]
. . d o [T]
. . h b [E]
. .{R E}[A]
. .{V E}[M]
. . y h [E]
. . a r. t
. . o f. h
. . i s. d
. . e l. i
. . g h. t
-----------------------------------------
All probably written by 1576. They were all accepted as authentic
by Dr. Grosart & published in the Fuller Worthies' Library (1872)
........................................
. . . Aske the[M] th[A]t f[E]el!"
Thi[S] discord it begot atheists, that honour not.
.
[STEAM] -3
........................................
Prof. May lists this poem as "wrongly attributed" to Oxford.
-----------------------------------------
Poems of the 1576 crisis and after
as authentic by Dr. Grosart & Steven W. May
........................................
To entertain my thought[S], and [T]her[E] my h[A]p to [M]oan,
That *nEVER am LESS IDLE* , lo, than when I am alone. - E. Ox.
.
[STEAM] 4
------------------------------------------------------------
https://www.historyofinformation.com/detail.php?id=10

<<In Heron of Alexandria's numerous surviving writings are designs for automata—machines operated by mechanical or pneumatic means. These included devices for temples to instill faith by deceiving believers with "magical acts of the gods," for theatrical spectacles, and machines like a statue that poured wine. Among his inventions were:

♦ A windwheel operating a pipe organ—the first instance of wind powering a machine.

♦ The first automatic vending machine. When a coin was introduced through a slot on the top of the machine, a set amount of holy water was dispensed. When the coin was deposited, it fell upon a pan attached to a lever. The lever opened up a valve which let some water flow out. The pan continued to tilt with the weight of the coin until the coin fell off, at which point a counter-weight would snap the lever back up and turn off the valve.

♦ Mechanisms for the Greek theater, including an entirely mechanical puppet play almost ten minutes in length, powered by a binary-like system of ropes, knots, and simple machines operated by a rotating cylindrical cogwheel. The sound of thunder was produced by the mechanically-timed dropping of metal balls onto a hidden drum.

More illustrated technical treatises by Heron survived than those of any other writer from the ancient world. His Pneumatica, which described a series of apparatus for natural magic or parlor magic, was definitely the most widely read of his works during the Middle Ages; more than 100 manuscripts of it survived. However, the earliest surviving copy of this text, Codex Gr. 516 in the Bibliotheca Marciana in Venice, dates from about the thirteenth century— a later date than one might expect. Conversely, the complete text of Heron's other widely known work, the Mechanica, survived through only a single Arabic translation made by Kosta ben Luka between 862 and 866 CE. This manuscript is preserved in Leiden University Library (cod. 51).

The first printed edition of the complete text of the Pneumatica was the Latin translation from the Greek by mathematician and humanist Federico Commandino. The second work of Heron to be published in print was the translation from the Greek into Italian of Heron's work on automata by Commandino's pupil, the scientist and writer Bernardino Baldi, first issued from Venice in 1589.>>
------------------------------------------------------------
The book "About automata by Hero of Alexandria (1589 edition)"
https://tinyurl.com/bvpn6u77
..............................................
Pneumatica (Πνευματικά), a description of machines working on air, steam or water pressure, including the hydraulis or water organ. The Pneumatica, in two books, describes a menagerie of mechanical devices, or “toys”: singing birds, puppets, coin-operated machines, a fire engine, a water organ, and his most famous invention, the aeolipile, the first steam-powered engine.

Automata, a description of machines which enable wonders in banquets and possibly also theatrical contexts by mechanical or pneumatical means (e.g. automatic opening or closing of temple doors, statues that pour wine and milk, etc.)
----------------------------------------------
. And Shakspeare thou, whose honey-flowing vein,
.(Pleasing the world,) thy praises doth contain,
. Whose Venus, and whose Lucrece, sweet and chaste,
.{THY NAME} in *FAME's immortal book* hath plac'd,
.*LIVE EVER* you, at least in *FAME LIVE EVER* !
. Well may the *BODY* die , but *FAME die nEVER* .
............................................
. A Remembrance of some English Poets.
. . . . By Richard Barnefield, 1598.
-----------------------------------------------------------
The Tragedie of King Richard the third. Containing his
treacherous Plots against his brother Clarence : the pittifull
murther of his innocent Ne-phewes : his tyrannicall usurpa-
tion : with the whole course of his detested life, and most
dese[R]ved of death. A(S) it hath been(E) lately Act[E|D) by
the Kings {M}aiesties servants. Newl[Y] {A}ugmented, By William
Shak{E}-speare. Lon[D]on, Printed by {T}homas Creede, and are
to b[E] {S}old by Mathew Lawe, dwelling in Pauls Churchyard,
at the Signe of the Foxe, neare S. Austins gate, 1612.
.................................................
. . . . . . . . <= 11 =>
.
. m o s t d e s e [R] v .e
. d o f d e a t h. A (S) i
. t h a t h b e e. n {E} l
. a t e l y A c t [E](D) b
. y t h e K i n g. s {M} a
. i e s t i e s s. e .r .v
. a n t s N e w l [Y]{A} u
. g m e n t e d,B. y. W .i
. l l i a m S h a. k {E} s
. p e a r e L o n [D] o .n,
. P r i n t e d b. y {T} h
. o m a s C r e e. d. e, a
. n d a r e t o b [E]{S} o
. l d b y M a t h. e .w .L
. a w e
.
(S.E.D.). 11
[EDYER]. -33
{STEAME} -22
-------------------------------------------------------
<<The {U}nfortunate {T}raveller (1594) by Thomas Nashe
is a picaresque novel about [I]ack [WILTON]'s adventures
through the European continent in which he finds himself
swept up in the currents of 16th-century history.>>
.
. https://www.youtube.com/watch?v=zWQgR8_b9rU
........................................................
https://en.wikipedia.org/wiki/The_Unfortunate_Traveller

<<Henry Howard, {E}arl of {S}urrey (1516/1517 – 19 January 1547) functions as a sustained travel partner for [I]ack [WILTON], and the two journey to Italy to fulfill the Earl's pledge to defend the honor of his beloved Geraldine in a tournament. Although the poet was in truth married to Frances de Vere, Nashe fashions Geraldine into the beloved object of the poet's courtly affections. Surrey and Jack pass through Rotterdam, where they meet both Erasmus & Sir Thomas More. The pair reaches the university city of Wittenberg, which enables Nashe to mock the customs of Renaissance academia. Cornelius Agrippa reveals in an enchanted mirror the image of Surrey's beloved, "weeping on her bed" which causes Surrey to burst into poetry. Passing into Italy Jack and Surrey exchange identities as a security measure and because the earl means "to take more liberty of behaviour." The two engage in acts of deceit and trickery with pimps, prostitutes, and counterfeiters.>>
------------------------------------------------------------
. The Tempest: Act IV, scene I
.
CALIBAN:
. Th{E} drop{S|I]e dro[W]ne th[I]s foo[L]e, wha[T] doe y[O]u mea[N]e
. To doate thus on such luggage? let's alone
. And doe the murther first: if he awake,
. From toe to crowne hee'l fill our skins with pinches,
. Make us *STRANGE* stuffe.
..............................
. . <= 5 =>
.
. T h {E} d .r
. o p {S}[I] e
. d r .o [W] n
. e t .h [I]{S}
. f o .o [L]{E},
. w h .a [T]{D}
. o e .y [O] u
. m e .a [N] e
.
{E.S.} 5
[I.WILTON] 5
{S.E.D.} 5
-------------------------------------------------
____ (1939) Encyclopedia Britannica on "Drama"
.
____ *HERODOTUS* had a lot to say
_ about *TRAGEDY* (i.e., a *GOAT-SONG*) being a PATHOS
_____ (i.e., the violent death of Dionysus/Osiris
_______ by *SPARAGMOS* or dismemberment):
.
<<...we have the express testimony of *HERODOTUS* that the ritual
_worship of Dionysus (the god of Drama) was the same as the ritual
___ worship of Osiris such that it involved a "sparagmos"
_ (dismemberment), mourning, search, discovery & resurrection.>>
.
____ HowEVER, *HERODOTUS* avoided directly mentioning
____ Dionysus OR Osiris in this regard:
.
____ "When the Egyptians lament the god
___ whom I may not name in this connection"
_ "They lament but whom they lament I must not say" -- *HERODOTUS*
.
__ For in the manner of ancient religion, it was always necessary
____ that Dionysus or Osiris be represented by some surrogate.
.......................................................
In fact, ALL TRAGIC HEROS are simply surrogates of Dionysus/Osiris:
.
<<We find a frequent sparagmos of beings who have committed some sin:
.
____ Actaeon by hounds
____ Dirce by a bull
____ Orpheus by Maenads
____ Lycurgus by horses
____ Pentheus by Maenads
____ HYPPOLYTUS by horses
.
This use of a surrogate was made easier by the fact that both at
Eleusis & in the Osiris rite the myth was conveyed by *tableaux*
____ (i.e., 'things shown') rather than by words.
.
___ Thus the death of Pentheus, wearing Dionysiac dress,
_ would be shown by exactly the same tableau as that of Dionysus.
.
____ THE TRUTH COULD BE SHOWN TO THE WISE
_ AND AT THE SAME TIME *VEILED FROM THE UNKNOWING*
.
____ Such facts help to explain the charge of
_ "profaning the mysteries" brought against Aeschylus.>>
------------------------------------------------------------
. Sylvie and Bruno by Lewis Carroll

“And I don’t believe the Goat sang it at all!”

“It did, though!” said Bruno. “It singed it right froo.
I sa[W]ed it singing with its long beard--”

“It couldn’t sing w[I]th its beard,” I said, hoping
to puzzle the little fel[L]ow: “a beard isn’t a voice.”

“Well then, oo couldn’t walk wi[T]h Sylvie!”
Bruno cried triumphantly. “Sylvie isn’t a f[O]ot!”

I thought I had better follow Sylvie’s example,
a[N]d be silent for a while. Bruno was too sharp for us.
......................................................
. . . . . . . . . . . <= 42 =>
.
. ItsingeditrightfrooIsa [W] editsingingwithitsl
. ongbeardItcouldntsingw [I] thitsbeardIsaidhopi
. ngtopuzzlethelittlefel [L] owabeardisntavoiceW
. ellthenoocouldntwalkwi [T] hSylvieBrunocriedtr
. iumphantlySylvieisntaf [O] otIthoughtIhadbette
. rfollowSylviesexamplea [N] dbesilentforawhileB
. runowastoosharpforus
.
[WILTON] 42
-------------------------------------------------------------------
. SYLVIE AND BRUNO CONCLUDED by Lewis Carroll
.
“The sun is setting,” said Lady Muriel, rising and leading the way to
the open windo[W]. “Just look at the western sky! What lovely crimson
t[I]nts! We shall have a glorious day to-morrow——” We had fo[L]lowed her
across the room, and were standing in a li[T]tle group, talking in low
tones in the gathering gl[O]om, when we were startled by the voice of
the sick ma[N], murmuring words too indistinct for the ear to catch.
......................................................
. . . . . . . . . . . <= 42 =>
.
. ThesunissettingsaidLady .M. urielrisingandlead
. ingthewaytotheopenwindo [W] Justlookattheweste
. rnskyWhatlovelycrimsont [I] ntsWeshallhaveaglo
. riousdaytomorrowWehadfo [L] lowedheracrossther
. oomandwerestandinginali [T] tlegrouptalkinginl
. owtonesinthegatheringgl [O] omwhenwewerestartl
. edbythevoiceofthesickma [N] murmuringwordstooi
. ndistinctfortheeartocat c h
.
[WILTON] 42
--------------------------------------------------------------------
https://en.wikipedia.org/wiki/42_(number)#Works_of_Lewis_Carroll
...............................................
Examples of Lewis Carroll's use of 42:

1) Alice's Adventures in Wonderland has 42 illustrations.

2) Alice's attempts at multiplication (chapter 2 of Alice in Wonderland)
work if one uses base 18 to write the first answer, and increases the base
by threes to 21, 24, etc. (the answers working up to 4 × 12 = "19" in base
39), but breaks" precisely when one attempts the answer to 4 × 13 in base 42,
leading Alice to declare "oh dear! I shall never get to twenty at that rate!"

3) Rule Forty-two in Alice's Adventures in Wonderland
("All persons more than a mile high to leave the court").

4) Rule 42 of the Code in the preface to The Hunting of the Snark
("No one shall speak to the Man at the Helm").

5) In "fit the first" of The Hunting of the Snark the Baker had
"forty-two boxes, all carefully packed, With his name painted clearly on each."

6) The White Queen's age is "one hundred and one, five months and a day"
or 37,044 days. If the Red Queen is regarded as the same age,
their combined age is 74,088 days, or 42 × 42 × 42.
...............................................
In 1966, mathematician Paul Cooper theorized that the fastest, most efficient way to
travel across continents would be to bore a straight hollow tube directly through the
Earth, connecting a set of antipodes, remove the air from the tube and fall through.
Even if the tube does not pass through the exact center of the Earth, the time for
a journey powered entirely by gravity (known as a gravity train) always works out
to be 42 minutes, so long as the tube remains friction-free, as while the force
of gravity would be lessened, the distance traveled is reduced at an equal rate.

The same idea was proposed, without calculation by
Lewis Carroll in 1893 in Sylvie and Bruno Concluded:
.......................................................
“Can you explain the process?” said Lady Muriel.
“Without using that language, that I ca’n’t speak fluently?”

“Easily,” said Mein Herr. “Each railway is in a long tunnel, perfectly
straight: so of course the _middle_ of it is nearer the centre of
the globe than the two ends: so EVERy train runs half-way _down_-hill,
and that gives it force enough to run the _other_ half _up_-hill.”
--------------------------------------------------
. Sylvie and Bruno Concluded by Lewis Carroll
.. The Beggar's Return
.
"What's the matter with the Prince?"
.
"He's--what you said," Bruno replied looking at the Professor.
"That hard word." And he looked to Sylvie for assistance.
.
" *PORCUPINE* ," said Sylvie.
.
"No, no!" the Professor corrected her. Pre-occupied, you mean."
.
"No, it's *PORCUPINE* ," persisted Sylvie. "Not that other word
at all. And please will you come? The house is all in an uproar."
("And oo'd better bring an uproar-glass wiz oo!" added Bruno.)
.
We got up in great *HASTE* , and followed the children upstairs.
No one took the least notice of me, but I wasn't at all surprised
at this, as I had long realized that I was quite invisible
to them all--even to Sylvie and Bruno.
.
All along the gallery, that led to the Prince's apartment, an excited
crowd was surging to and fro, and the Babel of voices was deafening:
against the door of the room three strong men were leaning, vainly
trying to shut it--for some great animal inside was constantly
bursting it half open, and we had a glimpse, before the men could
push it back again, of the head of a furious wild beast, with great
fiery eyes and gnashing teeth. Its voice was a sort of mixture-
-there was *the roaring of a LION , and the bellowing of a BULL* ,
and now and then a scream like a gigantic PARROT.
"There is no judging by the voice!"
the Professor cried in great excitement. "What is it?''
he shouted to the men at the door. And a general chorus
of voices answered him " *PORCUPINE* !
Prince UGGUG has turned into a *PORCUPINE* !"
.
"A new Specimen!" exclaimed the delighted Professor.
"Pray let me go in. It should be labeled at once!"
-----------------------------------------------------
“So this Boy——”

“But it wasn’t _me_, oo know!” Bruno interru{P}ted.
“And oo needn’t try to look as if it was, Mi{S}ter Sir!”

I represented, respectfully, that {I} was trying to
look as if it wasn’t. “—he was a mi{D}dling good Boy——”

“He were a _welly_ good Boy!” Bru{N}o corrected her.
“And he never did nothing h{E} wasn’t told to do——”

“_That_ doesn’t make a good Bo{Y}!”
Sylvie said contemptuously.
...........................................
. . . . . . . . . . . . <= 35 =>
.
. ButitwasntmeooknowBrunointerru {P} tedA
. ndooneednttrytolookasifitwasMi {S} terS
. irIrepresentedrespectfullythat {I} wast
. ryingtolookasifitwasnthewasami {D} dlin
. ggoodBoyHewereawellygoodBoyBru {N} ocor
. rectedherAndheneverdidnothingh {E} wasn
. ttoldtodoThatdoesntmakeagoodBo {Y}

{P.SIDNEY} 35 : Prob. in S & B ~ 1 in 60
-----------------------------------------------------
Quote from: "Shadowplay" Asquith, Clare
http://catholicforum.fisheaters.com/index.php?topic=3422942.0;wap2

<<England was not a free society. The precarious Tudor regime made
sophisticated use of propaganda and exercised tight control over
the country's small number of licensed printing presses..... A
contemporary ballad survives lamenting "little John Nobody, that
durst not speak"-the silenced voice of the Catholic opposition.

...The first surprise is the size of the Catholic opposition to the
new Protestant order. It was in a majority right up to the end of
the 16th century. A powerful group, it was easily capable of removing
the regime that oppressed it. Yet there was no organised opposition:
most religious dissidents chose the path of passive resistence.
Even at the time, the extent of John Nobody's silence was puzzling.

Earlier in the book Asquith describes the martyrdom of Richard
Whiting, last abbot of Glastonbury Abbey. She mentions the
chapel that once stood there, dedicated to Our Lady and built
out of *REEDS* , when the area was still surrounded by sea and
called Ynys-witrin, "the Island of Glass" ["l'îlE DE VERRE"].
Asquith goes on to describe the subsequent theft of Catholic
land and treasures, the sale of Abbey stones for use in
new buildings and the ruthless dismantling of an intricate
Christian culture at the hands of political reformers.>>
-----------------------------------------------------
Hamlet = Sidney in _Shadowplay_ by Clare Asquith
....................................................
1) Hamlet's hair is compared to the
. *QUILLS upon the FRETFUL PORCUPINE*
....................................................
. Joseph Hall: (Virgidemiarum, V, 3, 1-4.)
.
. The *SATYR* should be like the *PORCUPINE*,
. That shoots sharpe QUILS out in each angry line,
. And wounds the blushing CHEEKE, and fiery eye,
. *Of him that HEARES, and READETH guiltily* .>>
...................................................
*HYPERION to a SATYR* ; so loving to my mother - Hamlet: I, ii
.
How oft from
. *PHOEBUS do they flee to PAN* - Earle of Oxenforde.
......................................................
2) Hamlet is thirty while Sidney, who had to work hard to
over come his boyish appearance, died at the age of 32.
At 30, he was writing a new version of his Arcadia, in
which: "the problems and dilemmas faced by the characters
are often insoluble; there is no right course of action "
.
3) Sidney's role as patron & practitioner of literature
[e.g., _A Defence of Poesie_] is recalled when Hamlet
reproves Polonius for failing to show respect to actors.
.
4) Ophilia uses the word *RICH* ; to describe Hamlet's
letters, a reminder of the famous puns on the word
*RICH* in Sidney's love poems to Penelope *RICH* .
......................................................
. Hamlet > Act III, scene I
.
OPHELIA: My lord, I have remembrances of yours,
. That I have longed long to *RE-DEliVER* ;
. I pray you, now receive them.
.
HAMLET: No, not I; I nEVER gave you aught.

OPHELIA: My honour'd lord, you know right well you did;
. And, with them, words of so *SWEET BREATH* composed
. As made the things more *RICH* : their perfume lost,
. Take these again; for to the noble mind
. *RICH* gifts wax poor when givers prove unkind.
.........................................................
5) Fulke Greville = Horatio.
.
6) Osric = Oxford ("ridiculously foppish Italianate courtier")
.
7) Sidney "was wont even while hunting...to take his Table book out
of his pocket, & write down his notions as they came into his head."
................................................................
HAMLET: My tables,--meet it is I set it down,
. That one may smile, and smile, and be a villain;
. At least I'm sure it may be so in Denmark:
.
. [Writing]
.
. So, uncle, there you are. Now to my word;
. It is 'Adieu, adieu! remember me.'
. I have sworn 't.
...................................................................
8) "Peculiar volatility" of Sidney's temperament in which "periods
of melancholy lethargy alternated with bursts of manic energy."
.
9) Sidney is "wonderfully beloved & admired by his countrymen"
.
10) Sidney dies of an infected wound
. and is accorded the honor of a soldier's funeral.
.
11) *THE REST IS* silence" =
___ *THE REST IS FAME* " [ *CÆTERA FAMA* ]
.
http://www.artfund.org/artwork/2234/portrait-of-sir-PHILIP-sidney
-------------------------------------------------------------------
http://www.sirbacon.org/links/spenser2.html
http://www.sirbacon.org/links/spenser.html
.
<<The title page [of Edmund SPENSer's Faerie Queen (1617)].
.
The bear & staff identify the Earl of Leicester.
Opposite is Queen Elizabeth with the
*LION RAMPANT* and the scepter at her side.
These figures represent 'supporters' in heraldic parlance
& sustain between them a shield bearing
[PHILIP Sidney's Family crest, a *PORCUPINE* ].
.
. In the bottom oval we again see
. the *BOAR* regarding a ROSEBUSH.
.
___ *NON TIBI SPIRO*
. ( *NOT OF THY BREATHE* )
____ is on the scroll,>>
.
The title page is IDENTICAL to the title-page of Sir PHILIP Sidney's
1598 _The Countess of Pembroke's Arcadia_ (London, William
Ponsonbie) on page 110 _The Shakespeare Legacy_ by Jean Wilson.
---------------------------------------------------------
. Troilus and Cressida Act 2, Scene 1
.
AJAX: Do not, *PORPENTINE*, do not: my fingers itch.
--------------------------------------------------------
. The Comedy of Errors Act 3, Scene 1
.
ANTIPHOLUS OF EPHESUS: [To ANGELO] Get you home
. And fetch the *CHAIN*; by this I know 'tis made:
. Bring it, I pray you, to the *PORPENTINE*;
. For there's the house: that *CHAIN* will I bestow--
. Be it for nothing but to spite my wife--
. Upon mine hostess there: good sir, make *HASTE* .
.
. Act 3, Scene 2
.
ANGELO: I know it well, sir, lo, here is the *CHAIN*.
. I thought to have ta'en you at the *PORPENTINE*:
. The *CHAIN* unfinish'd made me stay thus long.
.
. Act 4, Scene 1
.
ANTIPHOLUS OF EPHESUS: [To ANGELO]
. Good Lord! you use this dalliance to excuse
. Your breach of promise to the *PORPENTINE*.
. I should have chid you for not bringing it,
. But, like a *SHREW* , you first begin to brawl.
.
. Act 5, Scene 1
.
DROMIO OF EPHESUS: Sir, he dined with her there, at the *PORPENTINE*.
----------------------------------------------------------
17th-century References to Shakespeare's Stratford Monument
by David Kathman
.
In 1693, a Mr. Dowdall visited Stratford and wrote down some of his
observations in a letter. He wrote [Shakspere Allusion Book, II, 391]:

"The 1st Remarkable place in this County that I visit(T)ed was
S{T}ratf(O)rd supe{R} avon, (W)here I s{A}w the (E)ffigie{S}
of ou(R) Englis{H} tragedian, mr. Shakspeare."
..................................................
___ <= 12 =>
.
. T h e 1 s t R e m a r k
. a b l e p l a c e i n t
. h i s C o u n t y t h a
. t I v i s i t(T)e d w a
. s S{T}r a t f(O)r d s u
. p e{R}a v o n(W)h e r e
. I s{A}w t h e(E)f f i g
. i e{S}o f o u(R)E n g l
. i s{H}t r a g e d i a n,
. m r.S h a k s p e a r e."
.
{TRASH} 12
(TOWER) 12
---------------------------------------------------
Sweet swan of Avon! what a fight it were
To see thee in our waters ye{T} appea{R}e,
And m{A}ke tho{S}e flig{H}ts upon the bankes of Tha[M]es,
.
___ <= 6 =>
.
. .s. w a n o f
. .A. v o n!w h
. .a. t a f i g
. .h. t i t w e
. .r. e T o s e
. .e. t h e e i
. .n. o u r w a
. .t. e r s y e
. {T} a p p e a
. {R} e,A n d m
. {A} k e t h o
. {S} e f l i g
. {H} t s u p o
. .n. t h e b a
. .n. k e s o f
. .T. h a[M]e s,

That so did t[A]ke Eliza, and ou[R] James !
But stay, [I] see thee in the [He]misphere
Advanc'd, and made a Constellation there !
.
____ <= 13 =>
.
. T h a [M]e s T h a t s o d
. i d t [A]k e E l i z a a n
. d o u [R]J a m e s B u t s
. t a y [I]s e e t h e e i n
. t h e [H e]m i s p h e r e
..................................................
THE LA. [MARI]e [He]rbert COUNTESSE OF PEMBROOKE.
----------------------------------------------------
TO THE ONLIE BEGETTER OF THESE INSVING SONNETS
________ <= 17 =>
.
. [M] R W H A L L H A P P I N E S S E
. [A] N D T H A T E T E R N I T I E P
. [R] O M I S E D B Y O V R E V E R L
. [I] V I N G P O E T W I S H E T H T
. [H e]
.
WELL WISHING ADVENTVRER IN SETTING FORTH -TT
---------------------------------------------------------
. [WIT-RIN] = *of Glass* = *DE VERRE*
..........................................................
[WIT]ts Rec[R]eat[I]o[N] Selected from the Finest Fancies
of Moderne Muses, with a Thousand Outlandish Proverbs
.
1640 *Witts Recreation*: To Mr. William Shake-spear
.
To Mr, William Shakspeare.
.
Shakspeare, we must be silent in thy praise,
'Cause our [E]n[CO]mions will but bla{S}t thy bays.
Which env{Y} could not ; that thou {D}idst do well,
Let thi{N}e own histories prove thy chronicle.
........................................
____ <= 17 =>
.
. C a u s e o u r[E]n[C O]m i o n s
. w i l l b u t b l a{S}t t h y b a
. y s.W h i c h e n v{Y}c o u l d n
. o t;t h a t t h o u{D|i)d s t d o
. w e l l,L e t t h i{N|e)o w n h i
. s t o r i e s p r o v e t h y c h
. r o n i c l e.
........................................
. [E]n[CO]mions
. [ECO] nomin(i)s
...........................................................
"[E]dwardus [C]omes [O]xon{iensis}"

Brincknell Inquest 1567
http://ist-socrates.berkeley.edu/~ahnelson/DOCS/brinck.html
--------------------------------------------------------
. EPIGRAMS. BOOK I. The Author B. J.

64. To [Robert (Cecil) Earl of Salisbury. (May 4, 1608)]
. Upon the Accession of the Treasurership to him.
.........................................................
NOt glad, like those that have new Hopes, or Suits,
With thy *NEW PLACE* , bring I [T]hese ear[L]y Fruits
[O]f Love, an[D] what the [G]olden Ag[E] did hold
A Treasure, Art: Condemn'd in th' Age of Gold.
...............................
. . . <= 8 =>

. *N E W P L A .C. E*
. .b r i n g I [T] h
. .e s e e a r [L] y
. .F r u i t s [O] f
. .L o v e,a n [D] w
. .h a t t h e [G] o
. .l d e n A g [E] d
. .i d h o l d .A T
. .r e a s u r .e,
.
[T LODGE] 8
-----------------------------------------------------------
Concluding nine lines of Ovid's _Metamorphoses_ translated:

Now have I brought a worke to end which neither Jove's
fierce wrath Nor sword nor fire nor *FRETting age* , with
all the force it hath Are able to abolish quite, &c.
-----------------------------------------------------------------
For a Tablet at Penshurst
Robert Southey (1774-1843)

ARE days of old familiar to thy mind,
O Reader? Hast thou let the midnight hour
Pass unpercei{V|E}d, whilst thou in fancy lived
With high-born beauties and enamor{E|D} chiefs,
Sharing their hopes, and, with a breathless joy
Whose exp{E}ctation touched the VERGE of pain,
Following their dangerous fo{R}tunes? If such lore
Hath ever thrilled thy bosom, thou wilt tread
As with a pilgrim's reverential thoughts
The groves of Penshurst. Sidney here was born,--
Sidney, than whom no gentler, braver man
His own delightful genius e{V|E}r feign{E|D},
Illust{R}ating th{E} vales of Arcady
With courteous courage and with loyal loves.
Upon his natal day an acorn here
Was plante{D}; it gr{E}w up a {S}tate[L]y oak,
[A]nd in [T]he be[A]uty o[F] its strength it stood
And flourished, when his {P|E|R}ishable part
Had mould{E|R|E}d dust to dust. That stat{E|L|Y} oak
Itself hath moulde{R|E|D} now, but Sidney's *FAME*
Endureth in his own immortal works.

{VEER|ED} 54
{VERE|ED} 8
[FATA|L{SED}] -5
{PEER|ERLE|DYER} 22
----------------------------------------------------
A Lover's Complaint
(Published in 1609 with "Sonnets")
.
{F}rom off a hill whose concave womb re-worded
{A} plaintful story from a sistering vale,
{M}y spirits to attend this double voice accorded,
{A}nd down I laid to list the sad-tuned tale;
[E]re long espied a fickle maid full pale,
[T]earing of papers, breaking rings a-twain,
[S]torming her world with sorrow's *WIND and RAIN* .
---------------------------------------------------------------
. ODYSSEY - Homer (tr. Samuel Butler)
.
<<ULYSSES struck the son of Damastor with a *SPEAR* in close fight,
while Telemachus hit Leocritus son of Evenor in the belly, and
the DART went clean through him, so that he fell forward full
on his face upon the ground.>>
.
<<I can *throw a DART*
farther than any one else can shoot an arrow.>>
-------------------------------------------------------------
On The Countesse Dowager of Pembroke : Mary (Sidney) Herbert,
.
_ (U)nderneath this sable Herse
_ (LYES) the subiect of all verse:
_ (SYD)ne(YES) sister, Pembroke's Mother:
_ Death, ere thou hast slaine another,
_ Faire, & Learn'd, & good as she,
_ Tyme shall *throw a DART* at thee.
-----------------------------------------------------------
. King Henry VI, Part ii Act 3, Scene 1
.
YORK: And fought so long, till that his thighs with *DARTs*
. Were almost like a *sharp-QUILL'd PORPENTINE* ;
. And, in the end being rescued, I have seen
. Him caper upright like a wild Morisco,
. *SHAKING* the bloody *DARTs* as he his bells.
.......................................................
*PHEON* , n. (Her.) A bearing representing the head of a
*DART* or javelin, with long barbs engrailed on the inner edge.
------------------------------------------------------------
. http://home.freeuk.net/sidsoft/pensinfo.html
.
<<The *PORCUPINE* is used as the Sidney Family crest. The family arms
show a *PORCUPINE* and a lion on either side of the Sidney *PHEON*>>
--------------------------------------------------------------
<<On 30 March 1741, after a one-year courtship, Sterne
married Elizabeth Lumley (1714-1773). Sterne's biographer
Arthur H. Cash quotes a characterization of her
by a cousin, the famous bluestocking Elizabeth Montagu:
.
'Mrs. Sterne is a Woman of great integrity & has many virtues,
but they stand *like QUILLS upon the fretfull PORCUPINE* '
.........................................................
The Penshurst village pub the Leicester Arms, was once
called the *PORCUPINE* & Sir PHILIP Sidney's funeral
helm (on display at Penshurst Place) is surmounted by
a *PORCUPINE* now, sadly, missing most of it's *QUILLS* .>>
-------------------------------------------------------
. Hamlet (Quarto 1, 1603) Act I, scene V
.
Ghost: Nay pitty me not, but to my vnfolding
. *Lend thy listning EARE* , but that I am forbid
. To tell the secrets of my prison house
. I would a tale vnfold, whose lightest word
. Would harrow vp thy soule, freeze thy yong blood,
. Make thy two eyes like stars start from their spheres,
. Thy knotted and combined locks to part,
. And each particular haire to stand on end
. *Like QUILS vpon the FRETFULL PORPENTINE* ,
. But this same *BLAZON* must not be, to EARS of flesh and blood
. Hamlet, if *EUER* thou didst thy deere father loue.
------------------------------------------------------------
.http://shakespeareauthorship.com/wds1.html
.
. Some interesting 5-letter Rollett strings
. "found in arrays based on the first 144 letters
. of the dedication to Shakespeare's Sonnets.":
.
. *PHEON* : 1106d (Sidney *PHEON* crest)
.......................................................
http://www.heraldica.org/topics/famous/pics/sidney.jpg
-------------------------------------------------------
. . . Sonnet 87
.
[F]or how do I hold thee but by thy granting,
[A]nd for that *RItCHES* where is my DEsERUing?
[T]he cause of this *FAIRE* guift in me is [WANT]ing,
[A]nd so my pattent back againe is sweruing.
--------------------------------------------------------
Wm Shaxpere & Anna *WHATEley* of *TEMPLE GRAFTON*
.................................................
<<There is an old English word *WHATE* ,
. meaning fortune, *FATE* , or destiny,
. I think that in a desperate moment of inspiration,
. confused before the clerk, Shakespeare reached into
. his heart and came out with the name of that Anne
. who would have been his choice, his *FATE* , his destiny.>>
.
. . . - _The Late Mr. Shakespeare_ by Robert Nye
------------------------------------------------------
. Sonnet 29
.
WHen in disgrace with Fortune and mens eyes,
I all alone beweepe my out-cast state,
And trouble *DEAFE* heauen with my bootlesse cries,
And looke vpon my selfe and *curse my FATE* .
Wishing me like to one more *RICH* in hope,
.................................................
27 [F]or thee, and for my selfe, noe quiet finde.
28 [A]nd night doth nightly make greefes length seeme stronger.
29 [T]hat then I skorne to change my state with Kings.
30 [A]ll losses are restord, and sorrowes end.
---------------------------------------------------------
<<Michelangelo Florio (1515-1572) became Italian tutor to Lady Jane
Grey and in the family of William Herbert, 1st Earl of Pembroke,
father of Henry Herbert, 2nd Earl of Pembroke who would become the
husband of Mary Sidney, sister of PHILIP Sidney. He dedicated a book
to Henry Herbert and Jane Grey. John Florio (1553-1625) lived some
years with the Henry Wriothesley. William Herbert, 3rd Earl of
Pembroke, also befriended him. In his will, Florio left gifts to the
Earl of Pembroke, clearly on condition that he looked after his second
wife, Rose. Florio was named French and Italian tutor to Prince Henry
and afterwards became a gentleman of the privy chamber and Clerk of
the Closet to the Queen Consort Anne of Denmark, whom he also
instructed in languages.>>
.........................................................
Florio (John) Florio's Second Frutes.

* On the verso of signature A 6 will be found th{E} poem
"Phaeto{N} to his frien{D} Florio," ascr{I}bed to Shake{S}peare
(see Mr. {SIDNE}y Lee's Life of the Poet, page 73 ) :
---------------------------------------------------------
. [FATE] : {PHAET}
.........................................................
"{PHAET}on to his friend Florio."

"Sweete friend, whose name agrees with t{H}y incre(A|S}e
. How fi(T) {A} riuall (A|R}t thou o(F) {T}he Spring?
. <F|O]r when ea[C]h branch[E] hath left his flourishing
. And GREEN-lockt Sommer's shadie pleasure's cease ;
.
(FATA) -8
{TRASH} -8
[ECO] -8
.
She makes the Winters stormes repose in peace
. <A>nd spends her franchise on [E]ach livin[G] thing,
. <T>he [D]azies spr[O]ut, (t)he li(T|L]e birds doo sing,
Hearbes gummes and plant(E)s doo vaunt of their release.
.........................................
__ <= 9 =>

.<A>n d s p e n d s
. h e r f r a n c h
. i s e o n [E] a c h
. l i v i n [G] t h i
. n g<T>h e [D] a z i
. e s s p r [O] u t(t)
. h e l i (T|L] e b i
. r d s d o o s i n g,
.
(T)[LODGE] -9 Prob. ~ 1 in 800
......................................................
. So when that all our E(N)glish *WI(t)TS* lay dead
.(<E>xce{P}t t{H}e l{A}ur{E}ll {T}hat is *(E|V)ER GREEN(E)* )
. Thou with thy Frutes our barre(N)esse o'ers{P}read
. <A|N)d set t{H}y flowrie ple{A}s(U)ance to be s{E}ene.

[S]utch fr(U|T}es, sutch flowr(R)ets of moralitie
[W]ere nere befo(R)e brought out of Italy. --
...............................................
{PHAET} 3, 12 Prob. ~ 1 in 50,000
.
(RVNEt) -41
(RUNEt) -41
(RUNE) -35 Prob. 3(RU/VNE)s neg. skip ~ 1 in 240
----------------------------------------------------
. Romeo and Juliet (Quarto 1, 1597) The Prologue.
.
Tvvo houshold Frends alike in dignitie,
(In faire VEROna, where we lay our Scene)
From ciuill broyles broke into enmitie,
VVhose ciuill warre makes ciuill hands vncleane.
.
[F]rom forth the *FATAll* loynes of these two foes,
[A] paire of starre-crost Louers tooke their life:
. {VV}hose misaduentures, piteous ouerthrowes,
[T]hrough the continuing of their Fathers strife,
[A]nd death-markt passage of their Parents rage
.
Is now the two howres traffique of our Stage.
The which if you with patient EARES attend,
. {VV}hat *HERE we [WANT]* wee'l studie to amend.
----------------------------------------------------
. http://home.freeuk.net/sidsoft/pensinfo.html
.
The Sidney Family arms shows a *PORCUPINE* & a lion
. . . on either side of the Sidney PHEON.
.
"Whither the *FATES CALL* " is the meaning of Sidney's motto:
.
____ *QUO FATA VOCANT*
----------------------------------------------------
. Hamlet > Act I, scene IV
.
HAMLET: My *FATE CRIES OUT* ,
. And makes each petty artery in this body
. As hardy as the Nemean lion's nERVE.
. *STILL am I CALL'D* .
-----------------------------------------------------------
William Marshall engraving of of William Shakespeare on 1640 Sonnets
http://www.william-shakespeare.info/william-shakespeare-marshall%20en...
.
<<Both the image of William Shakespeare by William Marshall,
adapted by from the Martin Droeshout engraving on the First Folio,
and the words of Ben Jonson have considerably changed from the
First Folio to the second, 1640 edition of Shakespeare's sonnets.
.
. . The lines below the Marshall image of William Shakespeare:
.
. This *SHADOW* is renowned Shakespear's? Soule of th' age
. The applause? Delight? The wonder of the Stage.
. Nature her selfe, was proud of his designs

[A]nd joy'd to weare the dressing of his lines,
[T]he learned will confess his works as such
[A]s neither man, nor Muse can praise to much
[F]or *EVER live thy FAME* , the world to tell,

Thy like, no age, shall *EVER* paralell >>
--------------------------------------------------
. [ON *POET-APE* ] EPIGRAMS by Ben Jonson
.
Poor *POET-APE* , that would be thought our chief,
. Whose works are e'en the frippery of wit,
[F]rom brokage is become so bold a thief,
. As we, the robb'd, leave rage, and pity it.
[A]t first he made low shifts, would pick and glean,
. Buy the rEVERsion of old plays ; now grown
[T]o a little wealth, and credit in the scene,
. He takes up all, makes each man's wit his own :
[A]nd, told of this, he slights it. Tut, such crimes
. The sluggish gaping auditor devours ;
. He marks not whose 'twas first : and after-times
. May judge it to be his, as well as ours.
. Fool ! as if half eyes will not know a fleece
. From locks of wool, or shreds from the whole piece ?
----------------------------------------------------
http://www.philological.bham.ac.uk/anagrams/text.html
____ *EDOUARUS VEIERUS*
_____ per anagramma
____ *AURE SURDUS VIDEO*
.
[A]uribus hisce licet studio, Fortuna, susurros
[PE]rfidiae et technas efficis esse procul,
. Attamen accipio (quae mens horrescit et auris)
. Rebus facta malis corpora surda tenus.
. Imo etiam cerno Catilinae¶ fraude propinquos
. Funere solventes *FATA* aliena suo.
.............................................
_______ *EDWARD VERE*
______ by an anagram
____ *DEAF IN MY EAR, I SEE*
.
Though by your zeal, FORTUNE, you keep perfidy's
murmurs & schemings at a distance, nonetheless I learn
(at which my mind & ear quake) that our bodies have
been deafened with respect to evil affairs. Indeed,
I perceive men who come close to Catiline* in deception,
freeing other men's *FATES* by their death.
.
¶ Catiline was the rabble-rouser suppressed by Cicero.
His name became a watchword for incendiary troublemakers.>>
----------------------------------------------------
. . . . . . Sonnet 60
.
.[A]nd Time that gave doth now his gift confound.
.[T]ime doth transfix the flourish set on youth
.[A]nd delves the parallels in beauty's brow,
.[F]eeds on the rarities of *NATURE'S TRUTH* ,
. And *nothing* stands but for his scythe to mow:
. And yet to times in hope my VERsE shall stand,
. Praising thy *WORTH*, despite his cruel hand.
-------------------------------------------------
. . . Sonnet 70
.
. . That thou are blam'd shall not be thy defect,
. {F}or slanders marke was EUER yet the *FAIRE* ,
. . The [ORNAMENT] of beauty is suspect,
. {A} Crow that flies in heauens sweetest ayre.
. . So thou be good, slander doth but approue,
. {T}heir *WORTH* the greater beeing woo'd of time,
. [F]or Canker vice the sweetest buds doth loue,
. {A}nd thou present'st a pure vnstayined prime.
. [T]hou hast past by the ambush of young daies,
. [E]ither not assayld, or victor beeing charg'd,
.
. . Yet this thy praise cannot be soe thy PRAISE,
. . To tye vp ENUY, EUERmore inlarged,
. . If *some SUSpect of ill maskt* not thy show,
. . Then thou alone kingdomes of hearts shouldst owe.
..............................................
. {E}douardus *VERUS* , {COMES} Oxoniae,
. . Vicecomes Bulbeck, Dominus de Scales
. . & Badlismer, D. Magnus Angliae Ca-
. . merarius: Lectori. S. D.
.
. . http://comp.uark.edu/~mreynold/aulicus.html
.
Quae si sapientissimorum principum clarissima insignia,
si florentis reip. certissima praesidia, si optimorum
ciuium *ORNAMENTa maxima* , & suo merito, & omnium iudicio,
..
- Edward de Vere's introduction to 1577 translation
of *BALTHASAR* Castiglione's The Book of the Courtier,
----------------------------------------------------------------
http://socrates.berkeley.edu/~ahnelson/ARMADA/1589Engl.html

. . Armada Pamphlets Commissioned by Burghley

An Answer to the vntruthes, pvblished and printed in Spaine, in glorie
of their svpposed victorie atchieued against our English Navie, and
the Right Honorable Charles Lord Howard, Lord high Admiral of England,
&c. Sir Francis Drake, and the rest of the Nobles and Gentlemen,
Captaines, and Soldiers of our said Navie. First written and published
in Spanish By a Spanish Gentleman; who came hither out of the Lowe
Countries from the service of the prince of Parma, with his wife
and familie, since the overthrowe of the Spanish Armada, forsaking
both his countrie and Romish religion; as by this Treatise
(against the barbarous impietie of the Spaniards; and
dedicated to the Queenes most excellent Majestie, may appeere.

Faithfully translated by I. L. [Ihon Lyllie?/Iames Leigh?]

London, Printed by Iohn Iackson, for Thomas Cadman. 1589.

. . (L. Admirall)
. .The Admirall with Lion on his creast,
. {l}ike to Alcides on the strond of Troy:
. [A]rmd at assaie, to battell is addreast:
. [T]he sea that sawe his frownes, waxt calme and coy,
. [A]s when that Neptune with threeforked mase,
. [F]or Trojans sake, did keepe the winds in chase.
.
. . (Earle of Oxford)
. . De-Vere whose *FAME* , and loyaltie hath pearst,
. . The Tuscan clime, and through the Belgike lands,
. . By winged *FAME* , for valor is rehearst:
. . Like warlike Mars upon the hatches stands,
. . His tusked Bore gan fome for inwarde ire,
. . While *PALLAS* fild his breast, with warlike fire.
-------------------------------------------------------
<<On the titlepage of the first edition
. of Venus & Adonis is the Ovidian phrase
.
. *Vilia miretur vulgus* ... "
.
or, "allow the public to admire that which is sordid.">>
. - Rowse, A.L. ed., The Annotated Shakespeare, 1984.
....................................................
. . P. Ovidius Naso, Amores
http://www.thelatinlibrary.com/ovid/ovid.amor1.shtml
.
XV *VILIA miretur VULGUS* ; mihi flavus APOLLO+
. Pocula Castalia plena ministret aqua,
. Sustineamque coma metuentem frigora myrtum,
. Atque a sollicito multus amante legar!
. Pascitur in vivis Livor; post *FATA* quiescit+,
. Cum suus ex merito quemque tuetur honos.
. Ergo etiam cum me supremus adederit ignis++,
. Vivam, parsque mei multa superstes erit.
--------------------------------------------------------------
. . Moby Dick (1851) - Melville
.
For an instant, the tranced boat's crew stood still; then turned.
"The ship? Great God, where is the ship?" Soon they through dim,
bewildering mediums saw her sidelong *fading PHANTOM* ,
as in the gaseous *FATA* Morgana; only the uppermost
masts out of water; while fixed by in[FAT]u[A]tion,
or fidelity, or *FATE*, to their once lofty perches, the
pagan harpooneers still maintained their sinking look-outs on
the sea. And now, concentric circles seized the lone boat itself,
and all its crew, and each floating *OAR, & EVERY LANCEPOLE*
and spinning, animate & inanimate, all round & round in one
vortex, carried the smallest chip of the Pequod out of sight.
----------------------------------------------------------
*DELIA* and Rosamond Augmented. Cleopatra.
. . . . (1594) *Samuel Daniel*
.
. . To the Right Honourable,
the Lady MARIe COUNTESSE OF PEMBROOKE.
.
O why may not some after-comming hand,
Unlock these limits, open our confines:
And *breake a sunder* this imprisoning band,
T' inlarge our spirits, and publish our dissignes;
Planting our *ROSES* on the Apenines?
And teach to Rhene, to Loyre, and *Rhodanus* ,
Our *ACCENTS, and the WONDERS* of our Land,
That they might all admire and honour us.
.
Whereby great *SYDNEY* and our *SPENCER* might,
With those Po-singers beeing equalled,
Enchaunt the world with such a SWEET delight,
That theyr *ETERNALL* songs ( *for EVER read* ,)
May shew what great ELIZAS raigne hath bred.
What musique in the kingdome of her peace,
Hath now beene made to her, and by her might,
Whereby her *glorious FAME shall nEVER* cease.
-----------------------------------------------
- . 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 troup{E| COME} thou not near!
........................................
. . . . . .<= 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
.
[E.VERUS] -18 : Prob. ~ 1/12,240 (any skip)
..............................................
. {E}douardus *VERUS*, {COME}S Oxoniae,
. . Vicecomes Bulbeck, Dominus de Scales
. . & Badlismer, D. Magnus Angliae Ca-
. . . merarius: Lectori. S. D.
.
http://comp.uark.edu/~mreynold/aulicus.html
.
Quae si sapientissimorum principum clarissima insignia,
si florentis reip. certissima praesidia, si optimorum
ciuium *ORNAMENTa maxima* , & suo merito, & omnium iudicio,
........................................................
- Edward de Vere's introduction to 1577 translation
of *BALTHASAR* Castiglione's The Book of the Courtier,
-----------------------------------------------------
. . . . http://tinyurl.com/46f4htt
.
. _Summers Last Will and Testament_ -Thomas Nashe
..................................................
ORION: *SIRRAH* , wast thou that called us from our game?
____ How dared thou (being but a petty God)
____ Disturb me in the entrance of my sports?
.
SUMMER: It I, Orion, caused thee to be called.
.
ORION: It I, dread Lord, that humbly *WILL OBEY* .
------------------------------------------------------------
<<The 6th rule of the Rosicrucians,
. as laid down in the *FAMA* Fraternitatis
. of 1604 demanded anonymity for 100 years">>
..............................................
<<Gnostic device: "Learn to know all but keep thyself unknown">>
..............................................
. . ROS(icru)CIAN *NIC(hol)AS RO(we)* simply
. . . refused to play ball when the time came.
.
http://en.wikipedia.org/wiki/Nicholas_Rowe_(dramatist)
-------------------------------------------------------------
"-Éste es el día, ¡oh Sancho!, en el cual *SE HA DE VER* el bien que
me tiene guardado mi suerte; éste es el día, digo, en que se ha de
mostrar, tanto como en otro alguno, el valor de mi brazo, y en el que
tengo de hacer obras que queden escritas en *EL LIBRO DE LA FAMA*
por todos los venideros siglos. ¿Ves aquella *POLVAREDA* que allí
se levanta, Sancho? Pues toda es cuajada de un copiosísimo ejército
que de diversas e innumerables gentes por allí viene marchando.
.
-A esa cuenta, dos deben de ser -dijo Sancho-, porque desta parte
contraria se levanta asimesmo otra semejante *POLVAREDA*.
.
Volvió a mirarlo don Quijote, y vio que así era la *VERDAD* ;
y, alegrándose sobremanera, pensó, sin duda alguna, que
eran dos ejércitos que venían a embestirse y a encontrarse
en mitad de aquella espaciosa llanura (...)"
---------------------------------------------------------
Shelton's Don Quixote, Part 1. The Third Book
. http://www.bartleby.com/14/304.html
.
IV. Wherein Are Rehearsed the Discourses Passed between Sancho Panza
and His Lord, Don Quixote, with Other Adventures Worthy the Recital
.................................
'This is, Sancho, the day wherein *SHALL BE MANIFEST* the good which
fortune hath reserved for me. This is the day wherein the force of
mine arm must be shown as much as in any other whatsoEVER; and in
it I will do such feats as shall for EVER remain recorded in the
*BOOKS OF FAME*. Dost thou see, Sancho the *DUST* which ariseth
there? Know that it is caused by a mighty army, and sundry and
innumerable nations, which come marching there.'
.
'If that be so,' quoth Sancho, 'then must there be *two armies*;
. . . for on this other side is raised as great a *DUST*.'
.
Don *Quixote* turned back to behold it, and
seeing it was *SO INDEED*, he was marvellous glad,
thinking that they were doubtlessly *two armies*, which came
to fight one with another in the midst of that spacious plain
.
[for he had his *FANTASY EVER* replenished with these battles,
enchantments, successes, ravings, loves, and challenges which
are rehearsed in books of knighthood, and all that EVER he spoke,
thought, or did, was addressed and applied to the like things.
And the *DUST* which he had seen was raised by two great
. . flocks of sheep, that came through the same field
by two different ways, and could not be discerned, by reason
of the *DUST*, until they were VERy near. Don Quixote did
affirm that they were two armies with so VERy good earnest
as Sancho believed it, and demanded of him,]
-----------------------------------------------------------
. .GOOD FREND FO {R} [IE]{SVS}'_S(AKE)_ FOR[BE]ARE,
. .TO DIGG THE D {V} [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.
....................................................
. PHILIP Sidney = 1576 [HEBE] royal cupbearer.
. Edward Dyer = . 1576 [HEBE] license to PARDON
. . . . . . . . and diSPENSE with *TANNING LEATHER* .
..................................................
Nor will I frame myself to such as use,
With calm consent, to suffer such despite;
No quiet sleep shall once possess mine eye
Till Wit have wrought his will on Injury.
.
[M]y heart shall fail, and hand shall lose his force,
. . But some device shall pay Despite his due;
[A]nd Fury shall consume my careful corse,
[O]r raze the ground whereon my sorrow grew.
. . Lo, thus in rage of ruthful mind refus'd,
[I] rest reveng'd on whom I am abus'd. - Earle of Oxenforde.
--------------------------------------------------
. . . . King Lear > Act V, scene III
.
KING LEAR: She's gone *for EVER* !
. I know when one is dead, and when one lives;
. She's dead as earth. Lend me a looking-glass;
. If that her *breath Will MIST* or stain the stone,
. Why, then she lives.
--------------------------------------------------
. . . . . John Milton -- (1641)
.
<<At last a soft and solemn breathing sound
.*ROSE like a STEAM* of rich distill'd Perfumes,
. And stole upon the Air, that even Silence
, Was took e're she was ware, and wish't she might
. Deny her nature, and be nEVER more
. Still to be so displac't.>>
--------------------------------------------------
Anon.: The Epitaph on the Admirable Dramatic Poet
*Mr. William* Shakespeare (2nd, 3rd, & 4th Folios)
.
. What needs my Shakespeare for
. His Hallowed Bones?
. A pyramid of earth in piled stones,
. Or that his mortal relics should be hid
. Beneath some starre-y-pointing pyramid?
. Dear Son of Memory, great *Heir of FAME*
. Why needs the world such witness of {THY NAME} ?
.
. Thou in *our WONDER and ASTONISHMENT*
.
. Hast built thyself a lasting monument,
. And so sepulchred in such state dost lie,
. That Kings for such a tomb would wish to die.
----------------------------------------------
. . "On Shakspeare" (1630) John Milton
.
. What needs my Shakspeare for his honor'd Bones
. The labor of an age in piled Stones,
. Or that his hallow'd relics should be hid
. Under a Star-ypointing Pyramid?
.
. Dear son of memory, great *HEIR OF FA{M}E* ,
. . . Wh{A}t ne{E}d'st {T}hou {S}uch.....
.
. . . . . . . . {STEAM} -4
.
.............. weak witness of {THY NAME}?
. Thou in *our [W]ONDER and ASTON[I]SHMENT*
. Hast bui[L|T} thyself a live[L|O}ng Monument.
. Fo(r) {W}hilst to th'sha(M|E} of slow-endeavo{R}ing art,
.............................................
. . . <= 14 =>
.
. .{T H. Y N .A M E}T h o u i n o
. . u r [W]o .n d e r a n d a s t
. . o n [I]s .h m e n t H a s t b
. . u i [L|T} t h y s e l f a l i
. . v e [L|O} n g M o n u m e n t
. . F o (r|W} h i l s t t o t h s
. . h a (M|E} o f s l o w e n d e
. . a v -o{R} i n g a r t
.
(Mr.) [WILL.] / {TOWER} 14
.
____ Sonnet 17x8
.
. Make but {MY NAME} thy love, and love that still,
. And then thou lovest me, for {MY NAME} is '[WILL].'
................................
. Thy easy numbers flow, and that each heart
. Hath from the leaves of *THY unvalu'd Book*
. Those Delphic lines with *DEEP* impression took,
. Then thou our fancy of itself bereaving,
. Dost make us Marble with too much conceiving;
. And so Sepulcher'd in such pomp dost lie,
. That Kings for such a Tomb would wish to die.
------------------------------------------------
http://www.lordverulam.org/bacon_epitaph.html
.
. . Bacon's epitaph to Shakespeare
.
<<In Bacon's Life of Henry VII., published in 1622, there
appears as the concluding sentence an epitaph upon that King and
in the Second Folio of Shakespeare, published in 1632, appears the
"epitaph on the Admirable Dramatick Poet, Mr. William Shakespeare."
Both passages have, as their author's last thought, and as their
closing line, the reflection that a man is more richly sepulchred
in a written monument of his fame, than in any material tomb,
however sumptuous or even regal it may be.
.
The idea is Horace's: "Exegi monumentum aere perennius."
..........................................
. . Bacon's _Henry VII, Conclusion_
.
. He lyeth buried at
. Westminster in one of
. the Statelyest and Daintiest
. Monuments of Europe both
. for the Chappell, and for 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* .
. As Musaeus, who wrote the love of Hero
. . and Leander, had two .excellent schollers,
. . Thamaras and Hercules: so hath he in England
. . two excellent Poets, imitators of him in
. . the same argument and [S]ubject,
. . Chr[I]stopher Ma[R]low and Geo[R]ge Chapman.
. . [A]s Ovid sait[H] of his worke;
................................
. . . . <= 10 =>

. [S] u b j e c t,C h r
. [I] s t o p h e r M a
. [R] l o w a n d G e o
. [R] g e C h a p m a n.
. [A] s O v i d s a i t
. [H] o f h i s w o r k e;

[HARRIS] -10 {770,000}
.................................................
. Jamq opus exegi, quod nec Jovis ira, nec ignis
. Nec poterit ferrum, nec edax abolere vetustas.
-------------------------------------------------
*WILL DUGDALE*
*GUILDED WALL*
................................................
. NOt marble, nor the *GUILDED* monument,
. Of Princes chall out-liue this powrefull rime,
. But you shall shine more bright in these contents
. Then vnswept stone, besmeer'd with sluttish time.
.[W]hen wastefull warre shall Statues ouer-turne,
.[A]nd broiles roote out the worke of masonry,
.[N]or Mars his sword,nor warres quick fire shall burn :
.[T]he liuing record of your memory.
. Gainst death,and all obliuious emnity
. Shall you pace forth,your praise shall stil find roome,
. Euen in the eyes of all posterity
. That weare this world out to the ending doome.
. So til the iudgement that your selfe arise,
. You liue in this,and dwell in louers eies.
..........................................................
. SONNET 55 http://www.shakespeares-sonnets.com/55comm.htm
.
. A famous sonnet which rings changes on the theme
. celebrated by Horace - Exegi monumentum aere perennius
. (I have built a monument more lasting than bronze...)
-------------------------------------------------------
____ Palladis Tamia. (continued)

And as Horace saith of his;

. Exegi monumentum aere perennius;
. Regalique *PYRAMIDUM* altius; Quod non imber edax;
. Non Aquilo impotens possit DI(r)UERE;
. aut innumerabilis annorum series and fuga temporum:
.......................................................
Concluding lines of Horace's _Odes_ translated:
.
. I have builded a monument more lasting than *BRASS*,
. Loftier than the *PYRAMIDS* their regal throne,
. Which neither the wasting rain nor the North wind in its fury
. Could ever raze to the ground, nor the innumerable
. Sequence of the years, nor the swift feet of time.
......................................................
so say I sEVERally of Sir PHILIP *SIDNEYS* , Spencers,
*DANIELS* , Draytons, Shakespeares, and Warners workes;
--------------------------------------------------------------
. . . . Francis Meres
.
. And as Horace saith of his;
. Exegi momumentum aere perennius;
. Regalique; fitu pyramidum altius;
. Quod non imber edax; Richard Barnfield's
. Non Aquilo impotens possit diruere; 1598
. aut innumerabilis annorum series "A Remembrance
. of &c. fuga temporum : some English Poets"
. so say I seuerally of in Poems in Divers Humors.

. sir PHILIP Sidneys,
. Spencers, --- Live Spenser. . .
. Daniels, --- And Daniell. . .
. Draytons, --- And Drayton. . .
.
(honey-tongued) Shakespeares, --- And Shakespeare
thou, and Warners workes; whose hony-flowing Vaine,
...........................................................
JOHN 6:5 When Iesu[S] then lif[T] vp his ey[E]s, and
. saw [A] great co[M]pany com[E] vnto him, he saith vnto
. PHILIP, Whence shall we buy bread, that these may eate?

[STEAME] 8
-------------------------------------------------------------
/SHENE/ = Henry VII's /RICHMOND/
...........................................
. . T O T H/E/ O /N/ LIEB/E/G . E . TTER *oF* THES /E/ IN
. \S\U I N/G/ S /O/ NNET ß MRW. \H\ ALLH. *A* PPI /N/ ESS
.. \E\A N/D/ T /H/ ATET/E/RNITI .\E\ PRO. *M* IS /E/ DBYO
. . \U\R/E/ V /E/ RLIV/I/NGPOETW. \I\ SH. *E* T /H/ THEWE
. . .\L L/ W /I/ SHIN/G/ADVENTURE. \R\ IN ____ /S/ ETTING
. . . \F/ O /R/ THTT . . . . . . . TOTH
..
. . . . . . . . . . <= 2 x 14 =>
------------------------------------------------------------------
"Are you a child or a teetotum?" the Sheep said as she
took up another pair of needles. "You'll make me giddy soon,
if you go on turning round like that." She was now working
with *FOURTEEN PAIRS* at once, and Alice couldn't help
looking at her in great astonishment.
.
"How can she knit with so many?" the puzzled child thought to
herself. She gets more & more like a *PORCUPINE EVERy* minute!"
.
. . . "Can you row?" the Sheep asked, handing her
. . . . a pair of knitting-needles as she spoke.
.
"Yes, a little--but not on land--and not with needles---" Alice
was beginning to say when suddenly the needles turned into OARS in
her hands, and she found they were in a little boat, gliding along
between banks: so there was NOTHING for it but to do her best.
.
"FEATHER!" cried the Sheep, as she took up another pair of needles.
----------------------------------------------
. . . . . . Sonnet 72
.
O Least the world should taske you to recite,
What merit liu'd in me that you should love
After my death (deare love) for get me quite,
For you {IN ME} can *NOTHING WORTHY* proue.
.
Vnlesse you would *deuise some VERtuous LYE* ,
To doe more for me then {MINE} owne desert,
And hang more *PRAISE* vpon deceased I,
Then nigard *TRUTH* would Willingly impart:
.
O least your *TRUE* love may see{M}e f{A}lc{E} in {T}hi{S},
That you for love speake well of me *vnTRUE*,
.................................................
{STEAM} -3
.................................................
{M-Y NAME} be buried wher[E] my *BODY* is,
(A)nd li[V]e no more to sham[E] nor me, nor you.
(F)o[R] I am shamd by that which I bring *FORTH* ,
(A)nd so should you, to love things *nothing WORTH* .
................................................
_ {BY ME} SHAKESPEARE {YB NV} (atbash code)
.
______ <= 14 =>
.
. {M Y N (A) M E} .B e b u r i e d
. .w h e (R) [E] M Y b o d y i s A
. .n d{L (I)_[V] E}n o m o r e t o
. .s h a (M) [E] N o r m e n o r y
. .o u F -o- [R]_I a m s h a m d b
. .y t h -a- .t. w h i c h I b r i
. .n g f -o- .r. t h
.
*MENI* : *Take or lead (someone to a place)* (Italian)
*MIRA* : *WONDERFUL, ASTONISHING* (Latin)
*FaLeN* : *to fail, abort* (Dutch)
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Art Neuendorffer