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bookburn
Sep 6, 2004, 3:52:01 PM9/6/04
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The Taming of the Shrew
Act 1, Scene 2
Act 1, Scene 2
PETRUCHIO . . . For I will board her, though she chide as loud
As thunder when the clouds in AUTUMN crack.
----------------------------------------------------------------------
----------
A Midsummer Night's Dream
Act 2, Scene 1
TITANIA These are the forgeries of jealousy:
. . . .
And thorough this distemperature we see
The seasons alter: hoary-headed frosts
Far in the fresh lap of the crimson rose,
And on old Hiems' thin and icy crown
An odorous chaplet of sweet summer buds
Is, as in mockery, set: the spring, the summer,
The childing AUTUMN, angry winter, change
Their wonted liveries, and the mazed world,
By their increase, now knows not which is which:
And this same progeny of evils comes
From our debate, from our dissension;
We are their parents and original.
----------------------------------------------------------------------
----------
The Merchant of Venice
Act 1, Scene 3
SHYLOCK No, not take interest, not, as you would say,
Directly interest: mark what Jacob did.
When Laban and himself were compromised
That all the eanlings which were streak'd and pied
Should fall as Jacob's hire, the ewes, being rank,
In the end of AUTUMN turned to the rams,
And, when the work of generation was
Between these woolly breeders in the act,
The skilful shepherd peel'd me certain wands,
And, in the doing of the deed of kind,
He stuck them up before the fulsome ewes,
Who then conceiving did in eaning time
FALL parti-colour'd lambs, and those were Jacob's.
This was a way to thrive, and he was blest:
And thrift is blessing, if men steal it not.
[noun FALL: The lapse of mankind into sinfulness because of the sin of
Adam and Eve]
----------------------------------------------------------------------
----------
Troilus and Cressida
Act 1, Scene 2
CRESSIDA O yes, an 'twere a cloud in AUTUMN.
----------------------------------------------------------------------
----------
Antony and Cleopatra
Act 5, Scene 2
CLEOPATRA . . . . But when he meant to quail and shake the orb,
He was as rattling thunder. For his bounty,
There was no winter in't; an AUTUMN 'twas
That grew the more by reaping: . . .
----------------------------------------------------------------------
----------
Sonnets
Sonnet 97
XCVII.
How like a winter hath my absence been
From thee, the pleasure of the fleeting year!
What freezings have I felt, what dark days seen!
What old December's bareness every where!
And yet this time removed was summer's time,
The teeming AUTUMN, big with rich increase,
Bearing the wanton burden of the prime,
Like widow'd wombs after their lords' decease:
Yet this abundant issue seem'd to me
But hope of orphans and unfather'd fruit;
For summer and his pleasures wait on thee,
And, thou away, the very birds are mute;
Or, if they sing, 'tis with so dull a cheer
That leaves look pale, dreading the winter's near.
----------------------------------------------------------------------
----------
Sonnet 104
CIV.
To me, fair friend, you never can be old,
For as you were when first your eye I eyed,
Such seems your beauty still. Three winters cold
Have from the forests shook three summers' pride,
Three beauteous springs to yellow AUTUMN turn'd
In process of the seasons have I seen,
Three April perfumes in three hot Junes burn'd,
Since first I saw you fresh, which yet are green.
Ah! yet doth beauty, like a dial-hand,
Steal from his figure and no pace perceived;
So your sweet hue, which methinks still doth stand,
Hath motion and mine eye may be deceived:
For fear of which, hear this, thou age unbred;
Ere you were born was beauty's summer dead.
Art Neuendorffer
Sep 6, 2004, 6:08:25 PM9/6/04
to
-------------------------------------------------------
http://comp.uark.edu/~mreynold/aulicus.html
--------------------------------------------------------------
He has hidden his own name, a fair name, William, in the plays,
a SUPER here, a clown there, as a painter of old Italy set his face
in a DARK CORNER of his canvas. He has REVEalED it in the sonnets
where there is Will in O-VER(pl)US. Like John o'Gaunt his name is dear
to him, as dear as the coat and crest he toadied for, on a bend
sable a spear or steeled argent, hoNorificabIlitudiNITatibus,
dearer than his glory of greatest shakescene in the country.
What's in a name? That is what we ask ourselves in childhood
when we write the name that we are told is ours.
--------------------------------------------------------
h_ o N orific
a_ b_ I litudi
N I_ T atibus
--------------------------------------------------------
http://comp.uark.edu/~mreynold/aulicus.html
Edouardus VERUS
The Latin word for OVER: "SUPER"
--------------------------------------------------------------
He has hidden his own name, a fair name, William, in the plays,
a SUPER here, a clown there, as a painter of old Italy set his face
in a DARK CORNER of his canvas. He has REVEalED it in the sonnets
where there is Will in O-VER(pl)US. Like John o'Gaunt his name is dear
to him, as dear as the coat and crest he toadied for, on a bend
sable a spear or steeled argent, hoNorificabIlitudiNITatibus,
dearer than his glory of greatest shakescene in the country.
What's in a name? That is what we ask ourselves in childhood
when we write the name that we are told is ours.
--------------------------------------------------------
h_ o N orific
a_ b_ I litudi
N I_ T atibus
------------------------------------------------------
tinn
= sick (Scottish, Irish)
------------------------------------------------------
VERO NI. VERIUS: tinn
nOVERint UNIVERSI
<<NOVERINT derives form the Third
Person Plural of the perfect subjunctive tense of the verb NESCERE, 'to
know'. In English it occurs as the opening phrase of writs.
Thus NOVERINT UNIVERSI, 'let all men know'. Now then, by
extension this English word NOVERINT
has come to be applied not just to a writ but to the man who writes it- in short
, to any member fo the tribe of legal scriveners.>> - _The Late Mr. Shakespeare_
by Robert Nye
---------------------------------------------------------
"through EVERy art and thrive by none,
"through EVERy art and thrive by none,
to leave the trade of
NOVERINT"
-- Thomas NASH
The Hebrew word
for SERPENT: "NA(ha)SH"
(same as BRASS)
Anglo-Saxon word for SERPENT:
"(wi)VERE"
--------------------------------------------------------
HOW SHAKESPEARE HAS BEEN MADE A LAWYER.
http://www.sourcetext.com/lawlibrary/devecmon/02.htm
The reasons given by Lord Campbell for the faith that was in him,
besides the legalisms in the plays, are as follows:
"Envy does merit as its shade pursue; and rivals whom he surpassed,
not only envied Shakespeare, but grossly libeled him. Of this we have
an example in ‘An Epistle to the Gentlemen Students of the Two
Universities, by Thomas NASH,’ prefixed to the first edition of Robert
GREENE’s Menaphon (subsequently called GREENE’s Arcadia),
according to the title page, published in 1589.
HOW SHAKESPEARE HAS BEEN MADE A LAWYER.
http://www.sourcetext.com/lawlibrary/devecmon/02.htm
The reasons given by Lord Campbell for the faith that was in him,
besides the legalisms in the plays, are as follows:
"Envy does merit as its shade pursue; and rivals whom he surpassed,
not only envied Shakespeare, but grossly libeled him. Of this we have
an example in ‘An Epistle to the Gentlemen Students of the Two
Universities, by Thomas NASH,’ prefixed to the first edition of Robert
GREENE’s Menaphon (subsequently called GREENE’s Arcadia),
according to the title page, published in 1589.
The alleged libel on Shakespeare
is in the words following, viz.:
"‘I will turn back to my first studies of delight, and talk a little in
friendship with a few of our trivial translators. It is a common
practice nowadays, amongst a sort of shifting companions that run
through EVERy art and thrive by none, to leave the trade of NOVERINT
whereto they were born, land busy themselves with the endeavors of art,
that could scarce Latinize their neck-verse if they should have need;
yet English Seneca, read by candle light, yields many good sentences,
"‘I will turn back to my first studies of delight, and talk a little in
friendship with a few of our trivial translators. It is a common
practice nowadays, amongst a sort of shifting companions that run
through EVERy art and thrive by none, to leave the trade of NOVERINT
whereto they were born, land busy themselves with the endeavors of art,
that could scarce Latinize their neck-verse if they should have need;
yet English Seneca, read by candle light, yields many good sentences,
as blood is a beggar, and so forth; and
if you entreat him fair
in a frosty morning, he will
afford you whole
Hamlets;
I should say whole handfuls of
tragical speeches.
But, O grief! Tempus edax rerum—what is it that will
last always?
The sea exhaled by drops will in
continuance be dry;
and Seneca, let blood, line by line and page by page,
and Seneca, let blood, line by line and page by page,
at length must needs die to our
stage.’"
--------------------------------------------------------
What suggested scene was then constructed by Stephen?
Solitary hotel in mountain pass. Autumn. Twilight.
Fire lit. In DARK CORNER young man seated. Young
woman enters. Restless. Solitary. She sits. She goes to
window. She stands. She sits. Twilight. She thinks. On
solitary hotel paper she writes. She thinks. She writes.
She sighs. Wheels and hoofs. She hurries out. He
comes from his DARK CORNER. He seizes solitary paper.
He holds it towards fire. Twilight. He reads. Solitary.
-----------------------------------------------------------------------
<<Ovid's _Metamorphoses_ concludes by describing DaEDALUS' mourning
What suggested scene was then constructed by Stephen?
Solitary hotel in mountain pass. Autumn. Twilight.
Fire lit. In DARK CORNER young man seated. Young
woman enters. Restless. Solitary. She sits. She goes to
window. She stands. She sits. Twilight. She thinks. On
solitary hotel paper she writes. She thinks. She writes.
She sighs. Wheels and hoofs. She hurries out. He
comes from his DARK CORNER. He seizes solitary paper.
He holds it towards fire. Twilight. He reads. Solitary.
-----------------------------------------------------------------------
<<Ovid's _Metamorphoses_ concludes by describing DaEDALUS' mourning
& his burial of his son [Icarus]: "As he was consigning the body
of his
ill-fated son to the tomb, a chattering Lapwing looked out from a muddy
DITCH and clapped her wings uttering a joyful note: Ovid identified
the "lapwing" as DaEDALUS' nephew and apprentice, who showed so much
inventive promise that DaEDALUS grew jealous and threw him from
the Acropolis "with a lying tale that the boy had fallen.">>
-- Don Gifford _Ulysses Annotated_
ill-fated son to the tomb, a chattering Lapwing looked out from a muddy
DITCH and clapped her wings uttering a joyful note: Ovid identified
the "lapwing" as DaEDALUS' nephew and apprentice, who showed so much
inventive promise that DaEDALUS grew jealous and threw him from
the Acropolis "with a lying tale that the boy had fallen.">>
-- Don Gifford _Ulysses Annotated_
--------------------------------------------------------------------
JOYCE: Ulysses, Lestrygonians
Fabulous artificer, the hawklike man. You flew. Whereto?
Newhaven-Dieppe, steerage PASSENGER. Paris and back. Lapwing.
Icarus. Pater, ait. Seabedabbled, fallen, weltering. Lapwing you are.
Lapwing he.
-------------------------------------------------------
http://www.webcom.com/shownet/medea/bulfinch/bull20.html
<<DaEDALUS was so proud of his achievements that he could not bear the
idea of a rival. His sister had placed her son Perdix under his charge
to be taught the mechanical arts. He was an apt scholar and gave
striking evidences of ingenuity. Walking on the seashore he picked up
the spine of a fish. Imitating it, he took a piece of iron and notched
it on the edge, and thus invented the saw. He, put two pieces of iron
together, connecting them at one end with a rivet, and sharpening the
other ends, and made a pair of compasses. DaEDALUS was so envious of his
nephew's performances that he took an opportunity, when they were
together one day on the top of a high tower to push him off. But Minerva
(Athena), who favours ingenuity, saw him falling, and arrested his fate
by changing him into a bird called after his name, the Partridge (or
Lapwing). This bird does not build his nest in the trees, nor take
lofty flights, but nestles in the HEDGES, and avoids high places.>>
JOYCE: Ulysses, Lestrygonians
Fabulous artificer, the hawklike man. You flew. Whereto?
Newhaven-Dieppe, steerage PASSENGER. Paris and back. Lapwing.
Icarus. Pater, ait. Seabedabbled, fallen, weltering. Lapwing you are.
Lapwing he.
-------------------------------------------------------
http://www.webcom.com/shownet/medea/bulfinch/bull20.html
<<DaEDALUS was so proud of his achievements that he could not bear the
idea of a rival. His sister had placed her son Perdix under his charge
to be taught the mechanical arts. He was an apt scholar and gave
striking evidences of ingenuity. Walking on the seashore he picked up
the spine of a fish. Imitating it, he took a piece of iron and notched
it on the edge, and thus invented the saw. He, put two pieces of iron
together, connecting them at one end with a rivet, and sharpening the
other ends, and made a pair of compasses. DaEDALUS was so envious of his
nephew's performances that he took an opportunity, when they were
together one day on the top of a high tower to push him off. But Minerva
(Athena), who favours ingenuity, saw him falling, and arrested his fate
by changing him into a bird called after his name, the Partridge (or
Lapwing). This bird does not build his nest in the trees, nor take
lofty flights, but nestles in the HEDGES, and avoids high places.>>
---------------------------------------------------------------------
FRIAR ANSELM0 - Horatio Alger
THE CHURCH AT STRATFORD-ON-AVON.
One autumn day, when HEDGES yet were GREEN,
And thick-branched trees diffused a leafy gloom,
Hard by where Avon rolls its SILVERy tide,
I stood in silent thought by Shakspeare's tomb.
--------------------------------------------------------------------
Sir James George Frazer (1854-1941). The Golden Bough. 1922.
§ 2. Demeter, the Pig and the Horse
http://www.bartleby.com/196/116.html
<<PASSING next to the corn-goddess Demeter, and remembering that in
European folk-lore the pig is a common embodiment of the corn-spirit, we
may now ask whether the pig, which was so closely associated with
Demeter, may not have been originally the goddess herself in animal
form. The pig was sacred to her; in art she was portrayed carrying or
accompanied by a pig; and the pig was regularly sacrificed in her
mysteries, the reason assigned being that the pig injures the corn and
is therefore an enemy of the goddess. But after an animal
has been conceived as a god, or a god as an animal, it sometimes
happens, as we have seen, that the god sloughs off his animal form and
becomes purely anthropomorphic; and that then the animal, which at first
had been slain in the character of the god, comes to be viewed as a
victim offered to the god on the ground of its hostility to the deity;
in short, the god is sacrificed to himself on the ground that he is his
own enemy. This happened to Dionysus, and it may have happened to
Demeter also. And in fact the rites of one of her festivals, the
Thesmophoria, bear out the view that originally the pig was an
embodiment of the corn-goddess herself, either Demeter or her daughter
and double Persephone. The Attic Thesmophoria was an autumn festival,
celebrated by women alone in October, and appears to have represented
with mourning rites the descent of Persephone (or Demeter) into the
lower world, and with joy her return from the dead. Hence the name
Descent or Ascent variously applied to the first, and the name
Kalligeneia (fair-born) applied to the third day of the festival. Now it
was customary at the Thesmophoria to throw pigs, cakes of dough, and
branches of pine-trees into "the chasms of Demeter and Persephone,"
which appear to have been sacred caverns or vaults. In these caverns or
vaults there were said to be serpents, which guarded the caverns and
consumed most of the flesh of the pigs and dough-cakes which were thrown
in. Afterwards-apparently at the next annual festival-the decayed
remains of the pigs, the cakes, and the pine-branches were fetched by
women called
"drawers," who, after observing rules of ceremonial purity for three
days, descended into the caverns, and, frightening away the serpents by
clapping their hands, brought up the remains and placed them on the
altar. Whoever got a piece of the decayed flesh and cakes, and sowed it
with the seed-corn in his field, was believed to be sure of a good crop.
To explain the rude and ancient ritual of the Thesmophoria the
following legend was told. At the moment when Pluto carried off
Persephone, a swineherd called Eubuleus chanced to be herding his swine
on the spot, and his herd was engulfed in the chasm down which Pluto
vanished with Persephone. Accordingly at the Thesmophoria pigs were
annually thrown into caverns to commemorate the disappearance of the
swine of Eubuleus. It follows from this that the casting of the pigs
into the vaults at the Thesmophoria formed part of
the dramatic representation of Persephone's descent into the lower
world; and as no image of Persephone appears to have been thrown in, we
may infer that the descent of the pigs was not so much an accompaniment
of her descent as the descent itself, in short, that the pigs were
Persephone. Afterwards when Persephone or Demeter (for the two are
equivalent) took on human form, a reason had to be found for the custom
of throwing pigs into caverns at her festival; and this was done by
saying that when Pluto carried off Persephone
there happened to be some swine browsing near, which were swallowed up
along with her. The story is obviously a forced and awkward attempt to
bridge over the gulf between the old conception of the corn-spirit as a
pig and the new conception of her as an anthropomorphic goddess. A trace
of the older conception survived in the legend that when the sad mother
was searching for traces of the vanished Persephone, the footprints of
the lost one were obliterated by the footprints of a pig; originally, we
may conjecture, the footprints of the pig were the footprints of
Persephone and of Demeter herself. A consciousness of the intimate
connexion of the pig with the corn lurks in the legend that the
swineherd Eubuleus was a brother of Triptolemus, to whom Demeter first
imparted the secret of the corn. Indeed, according to one version of the
story, Eubuleus himself received, jointly with his brother Triptolemus,
the gift of the corn from Demeter as a reward for revealing to her the
fate of Persephone. Further, it is to be noted that at the Thesmophoria
the women appear to have eaten swine's flesh. The meal, if I am right,
must have been a solemn sacrament or communion, the worshippers
partaking of the body of the god.
As thus explained, the Thesmophoria has its analogies in the
folk-customs of Northern Europe which have been already described. Just
as at the Thesmophoria-an autumn festival in honour of the
corn-goddess-swine's flesh was partly eaten, partly kept in caverns till
the following year, when it was taken up to be sown with the seed-corn
in the fields for the purpose of securing a good crop; so in the
neighbourhood of Grenoble the goat killed on the harvest-field is partly
eaten at the harvest-supper, partly pickled and kept till the next
harvest; so at Pouilly the ox killed on the harvest-field is partly
eaten by the harvesters, partly pickled and kept till the first day of
sowing in spring, probably to be then mixed with the seed, or eaten by
the ploughmen, or both; so at Udvarhely the feathers of the cock which
is killed in the last sheaf at harvest are kept till spring, and then
sown with the seed on the field; so in Hesse and Meiningen the flesh of
pigs is eaten on Ash Wednesday or Candlemas, and the bones are kept till
sowing-time, when they are put into the field sown or mixed with the
seed in the bag; so, lastly, the corn from the last sheaf is kept till
Christmas, made into the Yule Boar, and afterwards broken and
FRIAR ANSELM0 - Horatio Alger
THE CHURCH AT STRATFORD-ON-AVON.
One autumn day, when HEDGES yet were GREEN,
And thick-branched trees diffused a leafy gloom,
Hard by where Avon rolls its SILVERy tide,
I stood in silent thought by Shakspeare's tomb.
--------------------------------------------------------------------
Sir James George Frazer (1854-1941). The Golden Bough. 1922.
§ 2. Demeter, the Pig and the Horse
http://www.bartleby.com/196/116.html
<<PASSING next to the corn-goddess Demeter, and remembering that in
European folk-lore the pig is a common embodiment of the corn-spirit, we
may now ask whether the pig, which was so closely associated with
Demeter, may not have been originally the goddess herself in animal
form. The pig was sacred to her; in art she was portrayed carrying or
accompanied by a pig; and the pig was regularly sacrificed in her
mysteries, the reason assigned being that the pig injures the corn and
is therefore an enemy of the goddess. But after an animal
has been conceived as a god, or a god as an animal, it sometimes
happens, as we have seen, that the god sloughs off his animal form and
becomes purely anthropomorphic; and that then the animal, which at first
had been slain in the character of the god, comes to be viewed as a
victim offered to the god on the ground of its hostility to the deity;
in short, the god is sacrificed to himself on the ground that he is his
own enemy. This happened to Dionysus, and it may have happened to
Demeter also. And in fact the rites of one of her festivals, the
Thesmophoria, bear out the view that originally the pig was an
embodiment of the corn-goddess herself, either Demeter or her daughter
and double Persephone. The Attic Thesmophoria was an autumn festival,
celebrated by women alone in October, and appears to have represented
with mourning rites the descent of Persephone (or Demeter) into the
lower world, and with joy her return from the dead. Hence the name
Descent or Ascent variously applied to the first, and the name
Kalligeneia (fair-born) applied to the third day of the festival. Now it
was customary at the Thesmophoria to throw pigs, cakes of dough, and
branches of pine-trees into "the chasms of Demeter and Persephone,"
which appear to have been sacred caverns or vaults. In these caverns or
vaults there were said to be serpents, which guarded the caverns and
consumed most of the flesh of the pigs and dough-cakes which were thrown
in. Afterwards-apparently at the next annual festival-the decayed
remains of the pigs, the cakes, and the pine-branches were fetched by
women called
"drawers," who, after observing rules of ceremonial purity for three
days, descended into the caverns, and, frightening away the serpents by
clapping their hands, brought up the remains and placed them on the
altar. Whoever got a piece of the decayed flesh and cakes, and sowed it
with the seed-corn in his field, was believed to be sure of a good crop.
To explain the rude and ancient ritual of the Thesmophoria the
following legend was told. At the moment when Pluto carried off
Persephone, a swineherd called Eubuleus chanced to be herding his swine
on the spot, and his herd was engulfed in the chasm down which Pluto
vanished with Persephone. Accordingly at the Thesmophoria pigs were
annually thrown into caverns to commemorate the disappearance of the
swine of Eubuleus. It follows from this that the casting of the pigs
into the vaults at the Thesmophoria formed part of
the dramatic representation of Persephone's descent into the lower
world; and as no image of Persephone appears to have been thrown in, we
may infer that the descent of the pigs was not so much an accompaniment
of her descent as the descent itself, in short, that the pigs were
Persephone. Afterwards when Persephone or Demeter (for the two are
equivalent) took on human form, a reason had to be found for the custom
of throwing pigs into caverns at her festival; and this was done by
saying that when Pluto carried off Persephone
there happened to be some swine browsing near, which were swallowed up
along with her. The story is obviously a forced and awkward attempt to
bridge over the gulf between the old conception of the corn-spirit as a
pig and the new conception of her as an anthropomorphic goddess. A trace
of the older conception survived in the legend that when the sad mother
was searching for traces of the vanished Persephone, the footprints of
the lost one were obliterated by the footprints of a pig; originally, we
may conjecture, the footprints of the pig were the footprints of
Persephone and of Demeter herself. A consciousness of the intimate
connexion of the pig with the corn lurks in the legend that the
swineherd Eubuleus was a brother of Triptolemus, to whom Demeter first
imparted the secret of the corn. Indeed, according to one version of the
story, Eubuleus himself received, jointly with his brother Triptolemus,
the gift of the corn from Demeter as a reward for revealing to her the
fate of Persephone. Further, it is to be noted that at the Thesmophoria
the women appear to have eaten swine's flesh. The meal, if I am right,
must have been a solemn sacrament or communion, the worshippers
partaking of the body of the god.
As thus explained, the Thesmophoria has its analogies in the
folk-customs of Northern Europe which have been already described. Just
as at the Thesmophoria-an autumn festival in honour of the
corn-goddess-swine's flesh was partly eaten, partly kept in caverns till
the following year, when it was taken up to be sown with the seed-corn
in the fields for the purpose of securing a good crop; so in the
neighbourhood of Grenoble the goat killed on the harvest-field is partly
eaten at the harvest-supper, partly pickled and kept till the next
harvest; so at Pouilly the ox killed on the harvest-field is partly
eaten by the harvesters, partly pickled and kept till the first day of
sowing in spring, probably to be then mixed with the seed, or eaten by
the ploughmen, or both; so at Udvarhely the feathers of the cock which
is killed in the last sheaf at harvest are kept till spring, and then
sown with the seed on the field; so in Hesse and Meiningen the flesh of
pigs is eaten on Ash Wednesday or Candlemas, and the bones are kept till
sowing-time, when they are put into the field sown or mixed with the
seed in the bag; so, lastly, the corn from the last sheaf is kept till
Christmas, made into the Yule Boar, and afterwards broken and
mixed with the seed-corn at sowing in spring. Thus, to put it
generally,
the corn-spirit is killed in animal form in autumn;
part of his flesh is eaten as a sacrament by his worshippers;
and part of it is kept till next sowing-time or harvest as A PLEDGE
& security for the continuance or renewal of the corn-spirit's
energies.
If persons of fastidious taste should object that the Greeks never
could have conceived Demeter and Persephone to be embodied in the form
of pigs, it may be answered that in the cave of Phigalia in Arcadia the
Black Demeter was portrayed with the head and mane of a horse on the
body of a woman. Between the portraits of a goddess as a pig, and the
portrait of her as a woman with a horse's head, there is little to
choose in respect of barbarism. The legend told of the Phigalian Demeter
indicates that the horse was one of the animal forms assumed in ancient
Greece, as in modern Europe, by the cornspirit. It was said that in her
search for her daughter, Demeter assumed the form of a mare to escape
the addresses of Poseidon, and that, offended at his importunity, she
withdrew in dudgeon to a cave not far from Phigalia in the highlands of
Western Arcadia. There, robed in black, she tarried so long that the
fruits of the earth were perishing, and mankind would have died of
famine if Pan had not soothed the angry goddess and persuaded her to
quit the cave. In memory of this event, the Phigalians set up an image
of the Black Demeter in the cave; it represented a woman dressed in a
long robe, with the head and mane of a horse. The Black Demeter,
If persons of fastidious taste should object that the Greeks never
could have conceived Demeter and Persephone to be embodied in the form
of pigs, it may be answered that in the cave of Phigalia in Arcadia the
Black Demeter was portrayed with the head and mane of a horse on the
body of a woman. Between the portraits of a goddess as a pig, and the
portrait of her as a woman with a horse's head, there is little to
choose in respect of barbarism. The legend told of the Phigalian Demeter
indicates that the horse was one of the animal forms assumed in ancient
Greece, as in modern Europe, by the cornspirit. It was said that in her
search for her daughter, Demeter assumed the form of a mare to escape
the addresses of Poseidon, and that, offended at his importunity, she
withdrew in dudgeon to a cave not far from Phigalia in the highlands of
Western Arcadia. There, robed in black, she tarried so long that the
fruits of the earth were perishing, and mankind would have died of
famine if Pan had not soothed the angry goddess and persuaded her to
quit the cave. In memory of this event, the Phigalians set up an image
of the Black Demeter in the cave; it represented a woman dressed in a
long robe, with the head and mane of a horse. The Black Demeter,
in whose absence the fruits of the earth perish, is plainly
a mythical expression for the bare wintry earth
stripped of its summer mantle of GREEN.>>
----------------------------------------------------------------
"bookburn" <book...@yahoo.com> wrote
----------------------------------------------------------------
"bookburn" <book...@yahoo.com> wrote
>----------------------------------------------------------
> The Taming of the Shrew Act 1, Scene 2
>
> PETRUCHIO . . . For I will board her, though she chide as loud
> As thunder when the clouds in AUTUMN crack.
> ----------------------------------------------------------
> A Midsummer
Night's Dream Act 2, Scene 1
>
> TITANIA These are the forgeries of jealousy:
> . . . .
> And thorough this distemperature we see
> The seasons alter: hoary-headed frosts
> Far in the fresh lap of the crimson rose,
> And on old Hiems' thin and icy crown
> An odorous chaplet of sweet summer buds
> Is, as in mockery, set: the spring, the summer,
> The childing AUTUMN, angry winter, change
> Their wonted liveries, and the mazed world,
> By their increase, now knows not which is which:
> And this same progeny of evils comes
> From our debate, from our dissension;
> We are their parents and original.
> ----------------------------------------------------------
>
> TITANIA These are the forgeries of jealousy:
> . . . .
> And thorough this distemperature we see
> The seasons alter: hoary-headed frosts
> Far in the fresh lap of the crimson rose,
> And on old Hiems' thin and icy crown
> An odorous chaplet of sweet summer buds
> Is, as in mockery, set: the spring, the summer,
> The childing AUTUMN, angry winter, change
> Their wonted liveries, and the mazed world,
> By their increase, now knows not which is which:
> And this same progeny of evils comes
> From our debate, from our dissension;
> We are their parents and original.
> ----------------------------------------------------------
> The Merchant
of Venice Act 1, Scene 3
>
> SHYLOCK No, not take interest, not, as you would say,
> Directly interest: mark what Jacob did.
> When Laban and himself were compromised
> That all the eanlings which were streak'd and pied
>
> SHYLOCK No, not take interest, not, as you would say,
> Directly interest: mark what Jacob did.
> When Laban and himself were compromised
> That all the eanlings which were streak'd and pied
> Should FALL as Jacob's hire, the ewes, being
rank,
> In the end of AUTUMN turned to the rams,
> And, when the work of generation was
> Between these woolly breeders in the act,
> The skilful shepherd peel'd me certain wands,
> And, in the doing of the deed of kind,
> He stuck them up before the fulsome ewes,
> Who then conceiving did in eaning time
> FALL parti-colour'd lambs, and those were Jacob's.
> This was a way to thrive, and he was blest:
> And thrift is blessing, if men steal it not.
>
> [noun FALL: The lapse of mankind into sinfulness
> because of the sin of Adam and Eve]
> ----------------------------------------------------------
>
Troilus and Cressida Act 1, Scene 2
>
> CRESSIDA O yes, an 'twere a cloud in AUTUMN.
> ----------------------------------------------------------
>
> CRESSIDA O yes, an 'twere a cloud in AUTUMN.
> ----------------------------------------------------------
>
Antony and Cleopatra Act 5, Scene 2
>
> CLEOPATRA . . . . But when he meant to quail and shake the orb,
> He was as rattling thunder. For his bounty,
> There was no winter in't; an AUTUMN 'twas
> That grew the more by reaping: . . .
> ----------------------------------------------------------
>
> CLEOPATRA . . . . But when he meant to quail and shake the orb,
> He was as rattling thunder. For his bounty,
> There was no winter in't; an AUTUMN 'twas
> That grew the more by reaping: . . .
> ----------------------------------------------------------
> Sonnet
97
> How like a winter hath my absence been
> From thee, the pleasure of the fleeting year!
> What freezings have I felt, what dark days seen!
> What old December's bareness every where!
> And yet this time removed was summer's time,
> The teeming AUTUMN, big with rich increase,
> Bearing the wanton burden of the prime,
> Like widow'd wombs after their lords' decease:
> Yet this abundant issue seem'd to me
> But hope of orphans and unfather'd fruit;
> For summer and his pleasures wait on thee,
> And, thou away, the very birds are mute;
> Or, if they sing, 'tis with so dull a cheer
> That leaves look pale, dreading the winter's near.
> ----------------------------------------------------------
>
Sonnet 104
> To me, fair friend, you never can be old,
> For as you were when first your eye I eyed,
> Such seems your beauty still. Three winters cold
> Have from the forests shook three summers' pride,
> Three beauteous springs to yellow AUTUMN turn'd
> In process of the seasons have I seen,
> Three April perfumes in three hot Junes burn'd,
>
Since first I saw you fresh, which yet are GREEN.
> Ah! yet doth beauty, like a dial-hand,
> Steal from his figure and no pace perceived;
> So your sweet hue, which methinks still doth stand,
> Hath motion and mine eye may be deceived:
> For fear of which, hear this, thou age unbred;
> Ere you were born was beauty's summer dead.
>
----------------------------------------------------------
AUTUMN, n. [L. auctumnus, AUTUMNus,
AUTUMN, n. [L. auctumnus, AUTUMNus,
perh. fr. a root av to satisfy one's self: cf. F. automne. See
{Avarice}.]
1. The third season of the year, or the season
between summer and winter, often called ``the FALL.''
Astronomically, it begins in the northern temperate zone at the
AUTUMNal equinox,
about September 23, and ends at the winter solstice, about December
23;
but in popular language, AUTUMN, in America,
comprises September, October, and November.
Note: In England, according to Johnson,
AUTUMN popularly
comprises August, September, and October.
2. The harvest or fruits of AUTUMN. --Milton.
3. The time of maturity or decline; latter portion; third stage.
Dr. Preston was now entering into the AUTUMN of the duke's favor. --Fuller.
Life's AUTUMN past, I stand on
winter's verge. --Wordsworth.
He is come to his
AUTUMN, i.e. to be hanged, to his
"FALL."
A pun on the plan of "turning a man off"
A pun on the plan of "turning a man off"
by dropping the plank on which he stands.
The drop is the "leaf," and AUTUMN is called the "FALL,"
or "FALL of the
leaf." Source: Brewer's Dictionary.
----------------------------------------------------------
Art
Neuendorffer
bookburn
Sep 6, 2004, 7:10:04 PM9/6/04
to
"Art Neuendorffer" <aneuendor...@comcast.net> wrote in message news:eOWdncfaiqm...@comcast.com...
(snip)
> The Merchant of Venice Act 1, Scene 3
>
> SHYLOCK No, not take interest, not, as you would say,
> Directly interest: mark what Jacob did.
> When Laban and himself were compromised
> That all the eanlings which were streak'd and pied
> Should FALL as Jacob's hire, the ewes, being rank,
> In the end of AUTUMN turned to the rams,
> And, when the work of generation was
> Between these woolly breeders in the act,
> The skilful shepherd peel'd me certain wands,
> And, in the doing of the deed of kind,
> He stuck them up before the fulsome ewes,
> Who then conceiving did in eaning time
> FALL parti-colour'd lambs, and those were Jacob's.
> This was a way to thrive, and he was blest:
> And thrift is blessing, if men steal it not.
___________________________________________Burkert's Theory: cf. "goat song" as tragedy; cf. "scapegoat" & guilt-sacrifice ritual.(quote)In the rural Dionysiac festivals, the he-goats that had passed their prime were sacrificed. Because of the instinctual human respect for life, the sacrifice is viewed as a deed that is both necessary and awful; therefore sacrificers wear MASKS to conceal identity (just like an executioner in days gone by). The sacrificers also give voice to their GUILT in a SONG of lamentation for the GOAT. Thus Burkert accounts for some of the characteristic elements of tragedy: violent bloodshed, guilt, concealed identity (by masks), and song. These performances could have easily developed into a contest among the competitive Greeks. As is evident in the stories of Abraham and Isaac and of Iphigeneia, myth suggests that the sacrificial animal is a stand-in for a human being. At the last minute, God accepts a ram as a substitute for Isaac and Artemis substitutes a deer for Iphigeneia. Therefore it is not difficult to see how the song of lamentation for a sacrificial goat could have been transformed into a song for a dead hero, whose exploits were well known from heroic myth.(unquote)
Peter Farey
Sep 7, 2004, 4:20:12 AM9/7/04
to
"bookburn" wrote:
> SHYLOCK No, not take interest, not, as you would say,
> Directly interest: mark what Jacob did.
> When Laban and himself were compromised
> That all the eanlings which were streak'd and pied
> Should fall as Jacob's hire, the ewes, being rank,
> In the end of AUTUMN turned to the rams,
> And, when the work of generation was
> Between these woolly breeders in the act,
> The skilful shepherd peel'd me certain wands,
> And, in the doing of the deed of kind,
> He stuck them up before the fulsome ewes,
> Who then conceiving did in eaning time
> FALL parti-colour'd lambs, and those were Jacob's.
> This was a way to thrive, and he was blest:
> And thrift is blessing, if men steal it not.
MESSENGER. Mighty lord,
Three hundred thousand men in armour clad,
Upon their prancing steeds, disdainfully
With wanton paces trampling on the ground;
Five hundred thousand footmen threatening shot,
SHAKING their swords, their SPEARS, and iron bills,
Environing their standard round, that stood
As bristle-pointed as a thorny wood;
Their warlike engines and munition
Exceed the forces of their martial men.
SOLDAN. Nay, could their numbers countervail the stars,
Or ever-drizzling drops of April showers,
Or withered leaves that AUTUMN shaketh down,
Yet would the Soldan by his conquering power
So scatter and consume them in his rage,
That not a man should live to rue their FALL.
(1Tam 4.1)
Peter F.
pet...@rey.prestel.co.uk
http://www2.prestel.co.uk/rey/index.htm
Art Neuendorffer
Sep 7, 2004, 7:20:07 AM9/7/04
to
> "bookburn" wrote:
>
> > SHYLOCK No, not take interest, not, as you would say,
> > Directly interest: mark what Jacob did.
> > When Laban and himself were compromised
> > That all the eanlings which were streak'd and pied
> > Should fall as Jacob's hire, the ewes, being rank,
> > In the end of AUTUMN turned to the rams,
> > And, when the work of generation was
> > Between these woolly breeders in the act,
> > The skilful shepherd peel'd me certain wands,
> > And, in the doing of the deed of kind,
> > He stuck them up before the fulsome ewes,
> > Who then conceiving did in eaning time
> > FALL parti-colour'd lambs, and those were Jacob's.
> > This was a way to thrive, and he was blest:
> > And thrift is blessing, if men steal it not.
>
> > SHYLOCK No, not take interest, not, as you would say,
> > Directly interest: mark what Jacob did.
> > When Laban and himself were compromised
> > That all the eanlings which were streak'd and pied
> > Should fall as Jacob's hire, the ewes, being rank,
> > In the end of AUTUMN turned to the rams,
> > And, when the work of generation was
> > Between these woolly breeders in the act,
> > The skilful shepherd peel'd me certain wands,
> > And, in the doing of the deed of kind,
> > He stuck them up before the fulsome ewes,
> > Who then conceiving did in eaning time
> > FALL parti-colour'd lambs, and those were Jacob's.
> > This was a way to thrive, and he was blest:
> > And thrift is blessing, if men steal it not.
"Peter Farey" <Peter...@prst17z1.demon.co.uk>
wrote
> MESSENGER. Mighty lord,
> Three hundred thousand men in armour clad,
> Upon their prancing steeds, disdainfully
> With wanton paces trampling on the ground;
> Five hundred thousand footmen threatening shot,
> SHAKING their swords, their SPEARS, and iron bills,
> Environing their standard round, that stood
> As bristle-pointed as a thorny wood;
> Their warlike engines and munition
> Exceed the forces of their martial men.
> Three hundred thousand men in armour clad,
> Upon their prancing steeds, disdainfully
> With wanton paces trampling on the ground;
> Five hundred thousand footmen threatening shot,
> SHAKING their swords, their SPEARS, and iron bills,
> Environing their standard round, that stood
> As bristle-pointed as a thorny wood;
> Their warlike engines and munition
> Exceed the forces of their martial men.
SOLDAN. Nay, could their numbers countervail the stars,
Or EVER-drizzling drops of April
showers,
Or withered leaves that AUTUMN SHAKEth down,
Or withered leaves that AUTUMN SHAKEth down,
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