The inscription explained
Tom Reedy
Here is my interpretation of the inscription on Shakespeare's monument that
seems to be so puzzling to so many people.
Now, when somebody says they don't understand something, I believe they mean
it (I learned that from John Baker, who upbraided me about it on hlas once).
But just because they don't understand it doesn't mean there's some hidden
meaning or that there's no real meaning there.
Let's face it: we're all deficient in some areas, and arcane Elizabethan
language is not all that understandable to a generation that thinks that old
rock and roll music is "classic" music.
Most people aren't interested, and let's face another fact: some people are
just not as smart as others. (In my job I meet lots of politicians, both
local, state and national, and if you knew how stupid most-not just some--of
them are, you'd be frightened. Trouble is, there's no place to go to get
away from them; the politicians in the rest of the world are worse.)
And I've met too many academics with PhDs to believe they've all got high
IQs and are smarter than I am (although a goodly portion of them do and
are), so I don't expect too much from people, especially those with faulty
logic skills such as antistratfordians.
Anyway, here goes. This certainly is not intended to be a complete
explication.
Here's the original inscription with the Latin translated, another with the
archaic spelling corrected, and a repunctuated version of the body of the
inscription using modern spelling followed by a paraphrase and comments:
IVDICIO PYLIVM, GENIO SOCRATEM, ARTE MARONEM: TERRA TEGIT, POPVLVS MÆRET,
OLYMPVS HABET.
(In judgement a Nestor, in genius a Socrates, in art a Virgil; the earth
covers him, the people mourn him, Olympus has him.)
STAY PASSENGER, WHY GOEST THOV BY SO FAST,
READ IF THOV CANST, WHOM ENVIOVS DEATH HATH PLAST
WITHIN THIS MONVMENT SHAKSPEARE: WITH WHOME
QVICK NATVRE DIDE WHOSE NAME DOTH DECK YS TOMBE
FAR MORE THEN COST: SIEH ALL YT HE HATH WRITT,
LEAVES LIVING ART, BVT PAGE, TO SERVE HIS WITT
OBIIT ANO DO 1616
ÆTATIS 53 DIE 23 AP.
(Died 1616 A.D.
53rd year, 23rd day of April.)
Stay, passenger, why goest thou by so fast,
Read, if thou canst, whom envious death hath placed
Within this monument, Shakespeare: with whom
Quick nature died whose name doth deck this tomb,
Far more than cost: sith all that he hath writ,
Leaves living art, but page, to serve his wit.
Stay, passenger, why goest thou by so fast?
<Wait, passenger of the earth, why are you hurrying by so fast?>
Read, if you can, whom envious death has placed within this monument:
<Read (if you can take the time) the name of the person whom envious death
has placed into this monument>
Some may argue with my interpretation of "read," but in context with the
first line it makes sense.
So far this is pretty straight-forward stuff. Here's come the "cryptic"
part.
Shakespeare; with whom quick nature died
<When Shakespeare died, quick nature (the untutored basis of genius; "quick"
also contrasts with "died" and resonates with "living" in the next line)
died also.>
whose name decks this tomb far more than cost:
<and whose name adorns this tomb far more than costly decorations ever
could>
since all that he has written leaves living art, but page, to serve his wit.
<And the reason for all this praise is that Shakespeare's works forces
living art (drama) into the role of a mere servant to display his genius.>
"Living art" serves his wit (like a young boy servant, who runs errands).
The inscription implies that there will never be a greater playwright.
Also there is a comparison with "quick nature" (untutored genius) and
"living art" (studied craftsmanship).
Now are there double meanings in the poem? Certainly. "Living art" also
refers to the artists he left behind when he died. And the inscription is
true: poets, dramatists, writers-they all dip into the natural genius of
Shakespeare's works for inspiration. And that shows just what a genius
Shakespeare was.
Another pun: his death leaves the living art world nothing but his works (a
page) to show what a genius he was (instead of the poet himself).
As most of us on hlas know, Shakespeare was criticized for lacking art. He
was known as a natural genius. Jonson complained of how slap-dash
Shakespeare was in comparison to himself, who had to write and rewrite to
hammer the words into place.
The inscription can also mean that Shakespeare (quick nature) has died,
leaving the more scholarly (living art) to serve his wit. And they have done
so, from Jonson in the FF right down to the present day.
If you read Jonson, you know that he's pretty good, very entertaining and
witty. He sometimes-a lot of times, really--overworks his material and
complicates his language, making it difficult to understand if you don't
have a program, the very opposite of Shakespeare.
And who do we read today? We read the genius, Shakespeare, not Jonson the
pretentious craftsman.
Jonson was the type of person who believed that producing art that only the
literati could appreciate indicated what a genius he was. Shakespeare
probably didn't think about it all that much.
Nobody ever read Jonson and said to himself, "I've known that all along, but
I just didn't know how to say it!" That type of epiphany is the very essence
of Shakespeare and is what makes his works timeless.
When I was much younger, I pretty much agreed with Jonson, that intelligence
demanded exclusion. Now I believe that true genius renders the difficult
transparent, and is inclusive.
Who wrote the inscription? My guess is Jonson, for several reasons I won't
go into right now, but the pretentious and convoluted language is one.
TR
Art Neuendorffer
_Joseph Andrews_ by Henry Fielding
Stay Traveller, for underneath this Pew
Lies fast asleep that merry Man Andrew;
When the last Day's great Sun shall gild the Skies,
Then he shall from his Tomb get up and rise.
Be merry while thou can'st:
for surely thou Shall shortly be as sad as he is now.
-----------------------------------------------------------
Tom Reedy wrote:
> Stay, passenger, why goest thou by so fast?
>
> <Wait, passenger of the earth, why are you hurrying by so fast?>
>
> Read, if you can, whom envious death has placed within this monument:
>
> <Read (if you can take the time) the name of the person
> whom envious death has placed into this monument>
>
> Some may argue with my interpretation of "read,"
> but in context with the first line it makes sense.
>
> So far this is pretty straight-forward stuff.
-----------------------------------------------------------
STay Passenger, why goest thou by so fast,
Read if thou canst whom envious death hath PLaST,
within this MONVMENT SHAKSPEARE ,.
-----------------------------------------------------------
Beowulf introduction by William Alfred:
<<Fidelity to that proud and violent ideal brought glory, "dom" as
the Anglo-Saxons called it, the judgment of men on the deeds of their
lifetime. In that glory, Beowulf lives and dies. But, tempering the
expression of that ideal in Beowulf, is the Christian coloring of the
poem, the point of view of the Christian poet who composed it.
The best embodiment of that point of view is the epitaph of the
Abbot Alcuin (735-804), a friend and advisor of Charlemagne,
and a near contemporary of the Beowulf-poet:
Busy as you are, do not go yet. Please. Stay with me a moment.
Study these lines I wrote you when my blood beat.
Learn what life holds for men in these words set in order.
Looks go. They go. Yours will go as mine did.
What you are now, hurrying past this gravestone,
I was; and my name was known in every country.
And what I am now, you yourself must come to.
I looked for the world to be sweet with my heart like a spoiled child's
Now frail as paper ash and spotted with wet dust
My blind skull hangs from the spine which is all that the worms left
Of the nerves my imagination made such demands on.
Worry about your soul, not about your body,
For the will to love remains when the starved nerves stiffen.
Why clear yourself new fields? You can see as I do
How I must rest content with this pocket of clay here.
Why do you long, moist-eyed, for the day when your body
Will cuddle in silks died by snails' guts the color of sunset
When vermin mangles tough skin as moths do soft damask?
Flowers blacken with cold when the wind turns ugly;
And the flesh on your bones will bruise when death blows the will out.
Will you do me a good turn for this song I have made you?
Will you please say, "Christ, be good to your dead servant"?
No man break into this tomb God cedes me to lie in,
Waiting for it to explode, that bugle beyond where the stars end,
Reveille rousing the dead, and that shout from the mustering angels:
"No matter how deep you may lie, get up from the dirt now;
Your great judge is at hand amidst troops without number."
Alcuin was my name. I was always in love with wisdom.
Say a prayer for me that you mean when you read this writing. >>
..................................................
(Epitaph freely translated from the Latin:)
..................................................
ALCUIN: EPITAPHIUM
http://www.noctes-gallicanae.org/Epitaphes/latines.htm
http://www.thelatinlibrary.com/alcuin/alcuin.epitaphium.shtml
Hic, rogo, pauxillum veniens subsiste, viator.
et mea scrutare pectore dicta tuo,
ut tua deque meis agnoscas fata figuris:
vertitur o species, ut mea, sique tua.
quod nunc es fueram, famosus in orbe, viator,
et quod nunc ego sum, tuque futurus eris.
delicias mundi casso sectabar amore,
nunc cinis et pulvis, vermibus atque cibus.
quapropter potius animam curare memento,
quam carnem, quoniam haec manet, illa perit.
cur tibi rura paras? quam parvo cernis in antro
me tenet hic requies: sic tua parva fiet.
cur Tyrio corpus inhias vestirier ostro
quod mox esuriens pulVERE vermis edet?
ut flores pereunt vento veniente minaci,
sic tua namque, caro, gloria tota perit.
tu mihi redde vicem, lector, rogo, carminis huius
et dic: 'da veniam, Christe, tuo famulo.'
obsecro, nulla manus violet pia iura sepulcri,
personet angelica donec ab arce tuba:
'qui iaces in tumulo, terrae de pulVERE surge,
magnus adest iudex milibus innumeris.'
Alchuine nomen erat sophiam mihi semper amanti,
pro quo funde preces mente, legens titulum.
Hic requiescit beatae memoriae domnus Alchuinus abba,
qui obiit in pace XIV. Kal. Iunias.
Quando legeritis, o vos omnes, orate pro eo et dicite,
'Requiem aeternam donet ei dominus.' Amen.
---------------------------------------------------------------
_Washington Irving_ by Charles Dudley Warner
<<It was not until 1797 that Irving's career as an author began,
by the publication of "Alcuin: a Dialogue on the Rights of Women."
This and the romances which followed it show the powerful influence
upon him of the school of fiction of William Godwin, and the
movement of emancipation of which Mary Wollstonecraft was the
leader. The period of social and political ferment during which
"Alcuin" was put forth was not unlike that which may be said to
have reached its height in extravagance and millennial expectation
in 1847-48. In "Alcuin" are anticipated most of the subsequent
discussions on the right of women to property and to self-control,
and the desirability of revising the marriage relation.
The injustice of any more enduring union than that founded
upon the inclination of the hour is as ingeniously
urged in "Alcuin" as it has been in our own day.>>
-------------------------------------------------------
Art Neuendorffer
bookburn
"Tom Reedy" <tomr...@verizon.net> wrote in message
news:31FKf.12680$p13.6905@trnddc08...
I notice that the first sentence is grammatically subject--"passenger," with
an understood "You"; verb-- "read"; object--Shakespeare. What catches my
attention is the verb "read," which raises anticipation that the epitaph may
have a figurative meaning other than the literal "read," as in reading the
epitaph. Then the sense of "read" as a figure is supported by the sense of
what you are labeling "double meanings," including "death", "nature", "writ",
"art," and "page" in a minimalist sort of masque acting out a drama.
If Jonson is being pretentious and convoluted--he was the writer of court
masques, not Shakespeare-- he captures the idea of "reading" more than the
literal very well, in the sense that, in addition to reading words, reading
nature and life is what Shakespeare and we "passengers" do. So Jonson may
have have studied how to put this in an inscription wittily and aptly, but
it's also poetic and pithy, IMO.
bookburn
Peter Groves
>
> Stay, passenger, why goest thou by so fast?
>
>
> <Wait, passenger of the earth, why are you hurrying by so fast?>
>
Just a small correction here: there's no need to take the writer of the
epitaph for a closet Copernican. "Passenger" here just means ' A person who
passes by or through a place; a traveller, esp. a traveller on foot' (OED).
Peter G.
Elizabeth
Tom Reedy wrote:
> Repost.
>
> Here is my interpretation of the inscription on Shakespeare's monument that
> seems to be so puzzling to so many people.
What should be puzzling Strats is the fact that not
one contemporary noticed the 'greatest playwrights'
passing in 1616.
Sure, Jonson can make a trip down to Stratford and
put up another round of funeral parody but why did not
one poet, friend, or admirer memorialize the death
of this 'greatest playwright.' All that was heard was
dead silence (I'm having a bad pun day).
What makes this incredibly puzzling is that
Bacon's friends and relatives were literally smothering the
author of the Shakespeare works with verses and epigrams
before 1616.
Since none of them could have direct knowledge of whether
the Stratford broker was a playwright and all are literary
allusions these verses are not real authorship evidence but
it's very odd, almost eerie that the accolades to 'Our Shakespeare'
dry up at his death.
When Bacon died, Rawley printed about forty encomia to
(several, maybe as many as eight or ten make allusions
to Bacon as a playwright and/or poet) and says that he had
to hold back many more.
Spenser got one of Jonson's parody funerals (as a Catholic
he could not be buried in Westminster nor could Beaumont)
but in addition to the funeral jokes, Spenser, Beaumont,
and all other English poets were celebrated at death
by their peers.
Ignoto
Elizabeth wrote:
> Tom Reedy wrote:
> > Repost.
> >
> > Here is my interpretation of the inscription on Shakespeare's monument that
> > seems to be so puzzling to so many people.
>
>
> What should be puzzling Strats is the fact that not
> one contemporary noticed the 'greatest playwrights'
> passing in 1616.
Actually, what *is* puzzling is no matter how many times nonsense like
this is refuted, it is reposted as a 'puzzling mystery'.
Art Neuendorffer
_Joseph Andrews_ by Henry Fielding
Stay Traveller, for underneath this Pew
Lies fast asleep that merry Man Andrew;
When the last Day's great Sun shall gild the Skies,
Then he shall from his Tomb get up and rise.
Be merry while thou can'st:
for surely thou Shall shortly be as sad as he is now.
---------------------------------------------------------------
*PASSAGER* : a young bird taken into captivity during its first
migration. [Stay *Passenger* , why goest thouu by so fast.]
-----------------------------------------------------------
Tom Reedy wrote:
> Stay, passenger, why goest thou by so fast?
> <Wait, passenger of the earth, why are you hurrying by so fast?>
> Read, if you can,
> whom envious death has placed within this monument:
> <Read (if you can take the time) the name of the person
> whom envious death has placed into this monument>
> Some may argue with my interpretation of "read,"
> but in context with the first line it makes sense.
> So far this is pretty straight-forward stuff.
---------------------------------------------------------------
*HAGGARD* : a young bird that has reached its full plumage.
[JAGGARD published the First Folio(1623)- ACN.]
------------------------------------------------------
XIX. Woman's Changeableness.
http://www.shakespeare-oxford.com/poemslny.htm
To mark the choice they make, and how they change,
How oft from Phacbus do they flee to Pan,
Unsettled still like *HAGGARDS* wild they range,
These gentle birds that fly from man to man;
Who would not scorn and *SHAKE* them from the fist
And let them fly *FAIRE* *FOOLS* which way they list.
Yet for disport we fawn and flatter both,
To pass the time when nothing else can please,
And train them to our lure with subtle oath,
Till, weary of their wiles, ourselves we ease;
And then we say when we their fancy try,
To play with *FOOLS* , O *WHAT A FOOL was I*
Earle of *OXENFORCLE*
-------------------------------------------------------
_____ *OXENFORCLE*
_____ *FLORENCE OX*
-----------------------------------------------------
The Taming of the Shrew Act 1, Scene 1
LUCENTIO: Vincetino's son brought up in *FLORENCE*
It shall become to serve all hopes conceived,
To deck his *FORTUNE* with his virtuous deeds:
Act 3, Scene 2
PETRUCHIO: But *WHAT A FOOL am I* to chat with you,
Act 4, Scene 2
Pedant: For I have bills for money by exchange
From *FLORENCE* and must here DEliVER them.
-------------------------------------------------------
STay *Passenger* , why goest thou by so fast,
Read if thou canst whom envious death hath PLaST,
within this MONVMENT SHAKSPEARE ,.
-------------------------------------------------------
*No man break into this tomb God cedes me to lie in
Waiting for it to explode*
that bugle beyond where the stars end, Reveille
rousing the dead, and that shout from the mustering angels:
"No matter how deep you may lie, get up from the dirt now;
Your great judge is at hand amidst troops without number."
Alcuin was my name. I was always in love with wisdom.
Say a prayer for me that you mean when you read this writing. >>
..................................................
(Epitaph freely translated from the Latin:)
..................................................
ALCUIN: EPITAPHIUM
http://www.noctes-gallicanae.org/Epitaphes/latines.htm
http://www.thelatinlibrary.com/alcuin/alcuin.epitaphium.shtml
Hic, rogo, pauxillum veniens subsiste, viator.
et mea scrutare pectore dicta tuo,
ut tua deque meis agnoscas *FATA* figuris:
vertitur o species, ut mea, sique tua.
quod nunc es fueram, famosus in orbe, viator,
et quod nunc ego sum, tuque futurus eris.
delicias mundi casso sectabar amore,
nunc cinis et pulvis, vermibus atque cibus.
quapropter potius animam curare memento,
quam carnem, quoniam haec manet, illa perit.
cur tibi rura paras? quam parvo cernis in antro
me tenet hic requies: sic tua parva fiet.
cur Tyrio corpus inhias vestirier ostro
quod mox esuriens pulVERE vermis edet?
ut flores pereunt vento veniente minaci,
sic tua namque, caro, gloria tota perit.
tu mihi redde vicem, lector, rogo, carminis huius
et dic: 'da veniam, Christe, tuo famulo.'
*obsecro, nulla manus violet pia iura sepulcri*
personet angelica donec ab arce tuba:
'qui iaces in tumulo, terrae de pulVERE surge,
magnus adest iudex milibus innumeris.'
Alchuine nomen erat sophiam mihi semper amanti,
pro quo funde preces mente, legens titulum.
-----------------------------------------------------------
_Washington Irving_ by Charles Dudley Warner
<<It was not until 1797 that Irving's career as author began, by
the publication of *ALCUIN* : a Dialogue on the Rights of Women.
This and the romances which followed it show the powerful influence
upon him of the school of fiction of William Godwin, and the
movement of emancipation of which Mary Wollstonecraft was the
leader. The period of social and political ferment during which
"Alcuin" was put forth was not unlike that which may be said to
have reached its height in extravagance and millennial expectation
in 1847-48. In "Alcuin" are anticipated most of the subsequent
discussions on the right of women to property and to self-control,
and the desirability of revising the marriage relation.
The injustice of any more enduring union than that founded
upon the inclination of the hour is as ingeniously
urged in "Alcuin" as it has been in our own day.>>
----------------------------------------------------------------
<<Alcuin transmitted to the Franks the knowledge of Latin culture
which had existed in England. We still have a number of his works.
His letters have already been mentioned; his poetry is equally
interesting. Besides some graceful epistles in the style of
*FORTUNATUS* , he wrote some long poems, and notably a whole
history in verse of the church at York: Versus de patribus,
regibus et sanctis Eboracensis ecclesiae.
We owe to him, too, some manuals used in his educational work;
a grammar and works on rhetoric and dialectics. They are written
in the form of dialogues, and in the two last the interlocutors
are Charlemagne and Alcuin. He also wrote several theological
treatises: a De fide Trinitatis, commentaries on the Bible, etc.>>
Wikipedia
<<Flaccus Albinus Alcuinus or Ealhwine (c. 735-May 19, 804) was a
monk from York, England. He was related to Willibrord, Anglo-Saxon
missionary to the Frisians and the first bishop of Utrecht,
whose biography he afterwards wrote. Alcuin of York had a long career
as a teacher and scholar first at the school at York (now known as St
Peters School, York, founded AD 627) and lastly as Charlemagne's
leading advisor on ecclesiastical and educational affairs. From 796
until his death he was abbot of the great monastery of St. Martin of
Tours. He was educated at the cathedral school of York, under the
celebrated master Ethelbert of York, with whom he also went to Rome
seeking manuscripts. When Ethelbert was appointed Archbishop of York
in 766, Alcuin succeeded him in the headship of the episcopal school.
He again went to Rome in 780, to fetch the pallium for Archbishop
Eanbald I of York, and at Parma met Charlemagne. Charlemagne
persuaded him to come to his court and gave him the possession
of the great abbeys of Ferrieres and Saint-Loup at Troyes.
From 782 to 790, Alcuin had as pupils the king of the Franks, his
kinsmen, the young men sent for their education to the court, and the
young clerics attached to the palace chapel; he was the life and soul
of the Academy of the palace, and we have still, in the Dialogue of
Pepin (son of Charlemagne) and Alcuin, a sample of the intellectual
exercises in which they indulged. One surviving tool of the drive to
reform education is Charlemagne's circular letter De Litteris
Colendis, "On the Study of Letters", which Alcuin wrote.
In 790 Alcuin went back to England, to which he had always been
greatly attached, and dwelt there for some time; but Charlemagne
invited him back to help in the fight against the Adoptionist heresy,
which was at that time making great progress in Toledo Spain, the
old capital town of the Visigoths and still a major city for the
Christians under Islamic rule in Spain. He is believed to have had
contacts with Beato de Liébana, from the Kingdom of Asturias, who
fighted against Adoptionism. At the Council of Frankfurt in 794,
Alcuin upheld the orthodox doctrine, and obtained the condemnation of
the heresiarch Felix of Urgel. After this victory he again went back
to England, but on account of the disturbances which broke out there,
and which led to the death of King Ethelred (796), he left it forever.
Charlemagne had given him the great abbey of St. Martin at Tours,
where he was to pass his last years.
He made the abbey school into a model of excellence, and many students
flocked to it; he had many manuscripts copied, the calligraphy of
which is of outstanding beauty. He wrote many letters to his friends
in England, to Arno, bishop of Salzburg, and above all to Charlemagne.
These letters, of which 311 are extant, are filled mainly with pious
meditations, but they further form a mine of information as to the
literary and social conditions of the time, and are the most reliable
authority for the history of humanism in the Carolingian age.
He also trained the numerous monks of the abbey in piety.
Alcuin is the most prominent figure of the Carolingian Renaissance,
in which three main periods have been distinguished: in the first of
these, up to the arrival of Alcuin at the court, the Italians occupy
the central place; in the second, Alcuin and the Anglo-Saxons are
dominant; in the third, which begins in 804, the influence of the
Visigoth Theodulf is preponderant.>>
------------------------------------------------------------
Art Neuendorffer
Art Neuendorffer
http://www2.prestel.co.uk/rey/epitaph.htm
" READ IF THOU *GANST* "
may imply reading some of the words backwards:
*aGAiNST* , prep. [OE. agens, ageynes, AS. ongegn. The 's' is
adverbial, orig. a genitive ending.] From an opposite direction
-----------------------------------------------------------
*N(a)TUREDIDE* : WHo-SE@NAM-E DOth
________________ : SI-eH all
..................................................
________________ : He-IS all
(E. So)uthampton - (H)enry(W)riothesley *EDIDERUT(a)N*
*EDO* , edere, EDIDI, EDITum, *EDIDERUNT* :
give out, put forth; bring forth, beget, produce;
relate, tell, utter; publish,
-----------------------------------------------------------
QUICK NATURE DIDE
WHO- SE@NAM -E,DO-TH DECK YS TOMBE,
*MAN@ES E,DO*
*EDO-uardus veierus*
-------------------------------------------------------------
*MAN@ES E,DO*
--------------------------------------------------------------
<<Whenever a town was founded a round hole would first be dug.
In the bottom of it a STONE, LAPIS manalis, which represented
a gate to the Underworld, would then be embedded.
On August 23rd, this STONE would be removed
to permit the *MANES* to pass through.>>
-------------------------------------------------------------------
On August 23, 1600, Shakespeare 1st appears in Stationer's Register
when *ANDREW WISE* enters "II Henry IV"
and "[M]uch ADO [A]bout [N]othing".
----------------------------------------------------------
Art Neuendorffer
Art Neuendorffer
http://www.ancientlanguages.org/bios/pvmaro.html
<<Virgil spent about 7 Years in writing the first 6 Books of the
Æneid, some Part of which Augustus & Octavia longed to hear him
rehearse, and hardly prevailed with him, after many Intreaties.
Virgil to this Purpose pitches on the Sixth, which, not without
Reason, he thought would affect them most; as in it he had, with
his usual Dexterity, inserted the Funeral Panegyric of young
Marcellus (who died a little before that) whom Augustus designed
for his Successor, and was the Darling of his Mother Octavia:
For after he had raised their Passions by reciting
their inimitable Lines. He at last surprizes them with:
Heu miserande puer! si qua *FATA* aspera rumpas, Tu Marcellus eris.
At which affecting Words the Emperor & Octavia burst both into Tears,
and Octavia feel into a Swoon. Upon her Recovery she ordered the Poet
ten Sesterces for EVERy Line, each Sesterce making about £78 in our
Money. A round Sum for the whole! but they were Virgil's Verses.
In about 4 Years more he finished the Aeneid, and then set out for
Greece, where he designed to revise it as a Bye-work at his Leisure>>
--------------------------------------------------------
___ TERRA TEGIT, __ POPVLVS MAERET, ______ OLYMPVS HABET.
The earth buries him, the people mourn him, Olympus possesses him
--------------------------------------------------------
Virgil's tomb (like that of Oxford) has 'disappeared'
However, Virgil's epitaph supposedly read:
_ MANTVA ME GENVIT, _ CALABRI *RAPVERE* , _ TENET NVNC PARTHENOPE
Mantua gave me birth, the Calabrians took me, now Naples holds me;
---------------------------------------------------------------
*CALABRI RAP-VERE* (Latin)
_____ {anagram}
*PARCA LIBRA-VERE* (Italian)
*FATE WEIGHS-VERE*
-------------------------------------------------------------
<<ACROSTICKS, & Tellesticks, or jumpe names,>> -- B. Jonson
------------------------------------------------------------
E P I G R A M S . by Ben Jonson
ON POET-APE.
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
.............................................
_____ ( *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 *DEAF* -ened 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.>>
.....................................................
________ AURE SURDUS VIDEO
[A]uribus hisce licet studio, F0RTUNA, SUSurros
[PE]rfidiae et technas efficis esse procul,
{A}ttamen accipio (quae mens horrescit et auris)
{R}ebus facta malis corpora surda tenus.
{I}mo etiam cerno *CATiLiNAE* fraude propinquos
{F}unere solventes *FATA* aliena suo.
*FIRA* : *FAIRE* ( *CATaLaN* )
-----------------------------------------------
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 wanting,
[A]nd so my pattent back againe is sweruing.
-------------------------------------------------------
Sonnet 70
That thou are blam'd shall not be thy defect,
For 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,
Their 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.
------------------------------------------------------------
<<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.
Marlowe translation:
Let base conceited wits admire vilde things,
*FAIRE* Phoebus leade me to the Muses springs.
About my head be QUIVERING Mirtle wound,
And in sad lovers heads let me be found.
The living, not the dead can ENVIE bite,
For after death all men receive their right:
Then though death rackes my bones in funerall fler,
lie live, and as he puls me downe, mount higher
Ben Jonson translation:
Kneele hindes to trash: me let bright Phoebus swell,
With cups full flowing from the Muses well.
The frost-drad myrtle shall impale my head,
And of sad lovers Ile be often read.
ENUY the living, not the dead, doth bite.
For after death all men receive their right.
Then when this body falls in funeral fire,
*MY NAME SHALL LIVE* , and my best part aspire.
---------------------------------------------
Sonnet 60
Like as the waves make towards the pebbled shore,
[S]o do our minutes hasten to their end;
[E]ach changing place with that which goes before,
[I]n sequent toil all forwards do contend.
[N]ativity, once in the main of light,
Crawls to maturity, wherewith being crown'd,
Crooked elipses 'gainst his glory fight,
[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.
----------------------------------------------------------
Moby Dick - 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* , and EVERY LANCEPOLE,
and spinning, animate & inanimate, all round & round in one
vortex, carried the smallest chip of the Pequod out of sight.
----------------------------------------------------------
_______ The Tempest Act 1 Scene 1
GONZALO: I have great comfort from this fellow: methinks
he hath no drowning mark upon him; his complexion
is perfect gallows. Stand fast, good *FATE* , to his
hanging: make the ROPE of his destiny our CABLE,
for our own doth little advantage. If he be not
born to be hanged, our case is miserable.
-----------------------------------------------------
Sir John Davies published a book of poems in 1621.
In it is the following anagram to Bacon:
"To the Right Honorable Sir Francis Bacon, Knight,
Lord High Chancellor of England.
Thy VERtuous Name and Office joyne with *FATE* ,
To make thee the bright BeACON of the State."
Anagram.
{Bacone.
{
{BeACON.
http://home.att.net/~mleary/pennl9.htm
-------------------------------------------------
Troilus and Cressida Act 5, Scene 3
TROILUS: Who should withhold me?
Not *FATE* , obedience, nor the hand of Mars
BECKoning with fiery truncheon my retire;
-------------------------------------------------------
Beowulf introduction by William Alfred:
<<Fidelity to that proud & violent ideal brought glory, "dom" as
the Anglo-Saxons called it, the judgment of men on the deeds of their
lifetime. In that glory, Beowulf lives & dies. But, tempering the
expression of that ideal in Beowulf, is the Christian coloring of
the poem, the point of view of the Christian poet who composed it.
The best embodiment of that point of view is the epitaph of the
Abbot Alcuin (735-804), a friend and advisor of Charlemagne,
and a near contemporary of the Beowulf-poet:
..................................................
ALCUIN: EPITAPHIUM
http://www.noctes-gallicanae.org/Epitaphes/latines.htm
http://www.thelatinlibrary.com/alcuin/alcuin.epitaphium.shtml
Hic, rogo, pauxillum veniens subsiste, viator.
et mea scrutare pectore dicta tuo,
ut tua deque meis agnoscas *FATA* figuris:
*obsecro, nulla manus violet pia iura sepulcri*
personet angelica donec ab arce tuba:
'qui iaces in tumulo, terrae de pulVERE surge,
magnus adest iudex milibus innumeris.'
Alchuine nomen erat sophiam mihi semper amanti,
pro quo funde preces mente, legens titulum.
..................................................
(Epitaph freely translated:)
..................................................
Busy as you are, do not go yet. Please. Stay with me a moment.
Study these lines I wrote you when my blood beat.
Learn what life holds for men in these words set in order.
*No man break into this tomb God cedes me to lie in
Waiting for it to explode*
that bugle beyond where the stars end, Reveille
rousing the dead, and that shout from the mustering angels:
"No matter how deep you may lie, get up from the dirt now;
Your great judge is at hand amidst troops without number."
Alcuin was my name. I was always in love with wisdom.
Say a prayer for me that you mean when you read this writing. >>
---------------------------------------------------
Art Neuendorffer
Art Neuendorffer
>>Stay, passenger, why goest thou by so fast?
>><Wait, passenger of the earth, why are you hurrying by so fast?>
Peter Groves wrote:
> Just a small correction here: there's no need to take the writer of the
> epitaph for a closet Copernican. "Passenger" here just means ' A person who
> passes by or through a place; a traveller, esp. a traveller on foot' (OED).
-----------------------------------------------------
_Joseph Andrews_ by Henry Fielding
[S]tay [T]raveller, for underneath this [P]ew
[L]ies fast asleep that merry Man Andrew;
When the last Day's great Sun shall gild the Skies,
Then he shall from his Tomb get up and rise.
Be merry while thou *can'st* :
for surely thou Shall shortly be as sad as he is now.
---------------------------------------------------------------
*PASSAGER* : a young bird taken into captivity during its first
migration. [Stay *Passenger* , why goest thouu by so fast.]
-----------------------------------------------------------
Tom Reedy wrote:
>> Read, if you can,
>> whom envious death has placed within this monument:
>> <Read (if you can take the time) the name of the person
>> whom envious death has placed into this monument>
>> Some may argue with my interpretation of "read,"
>> but in context with the first line it makes sense.
>> So far this is pretty straight-forward stuff.
Act 3, Scene 2
Act 4, Scene 2
-------------------------------------------------------
Beowulf introduction by William Alfred:
<<Fidelity to that proud and violent ideal brought glory, "dom" as
the Anglo-Saxons called it, the judgment of men on the deeds of their
lifetime. In that glory, Beowulf lives and dies. But, tempering the
expression of that ideal in Beowulf, is the Christian coloring of
the poem, the point of view of the Christian poet who composed it.
The best embodiment of that point of view is the epitaph of the
Abbot Alcuin (735-804), a friend and advisor of Charlemagne,
and a near contemporary of the Beowulf-poet:
Busy as you are, do not go yet. Please. Stay with me a moment.
Study these lines I wrote you when my blood beat.
Learn what life holds for men in these words set in order.
Looks go. They go. Yours will go as mine did.
What you are now, hurrying past this gravestone,
I was; and my name was known in every country.
And what I am now, you yourself must come to.
I looked for the world to be sweet
with my heart like a spoiled child's
Now frail as paper ash and spotted with wet dust
My blind skull hangs from the spine which is all that the worms left
Of the nerves my imagination made such demands on.
Worry about your soul, not about your body,
For the will to love remains when the starved nerves stiffen.
Why clear yourself new fields? You can see as I do
How I must rest content with this pocket of clay here.
Why do you long, moist-eyed, for the day when your body
Will cuddle in silks died by snails' guts the color of sunset
When vermin mangles tough skin as moths do soft damask?
Flowers blacken with cold when the wind turns ugly;
And the flesh on your bones will bruise when death blows the will out.
Will you do me a good turn for this song I have made you?
Will you please say, "Christ, be good to your dead servant"?
*No man break into this tomb God cedes me to lie in
Waiting for it to explode*
that bugle beyond where the stars end, Reveille
rousing the dead, and that shout from the mustering angels:
"No matter how deep you may lie, get up from the dirt now;
Your great judge is at hand amidst troops without number."
Alcuin was my name. I was always in love with wisdom.
Say a prayer for me that you mean when you read this writing. >>
..................................................
(Epitaph freely translated from the Latin:)
..................................................
ALCUIN: EPITAPHIUM
http://www.noctes-gallicanae.org/Epitaphes/latines.htm
http://www.thelatinlibrary.com/alcuin/alcuin.epitaphium.shtml
Hic, rogo, pauxillum veniens subsiste, viator.
et mea scrutare pectore dicta tuo,
ut tua deque meis agnoscas *FATA* figuris:
vertitur o species, ut mea, sique tua.
quod nunc es fueram, famosus in orbe, viator,
et quod nunc ego sum, tuque futurus eris.
delicias mundi casso sectabar amore,
nunc cinis et pulvis, vermibus atque cibus.
quapropter potius animam curare memento,
quam carnem, quoniam haec manet, illa perit.
cur tibi rura paras? quam parvo cernis in antro
me tenet hic requies: sic tua parva fiet.
cur Tyrio corpus inhias vestirier ostro
quod mox esuriens pulVERE vermis edet?
ut flores pereunt vento veniente minaci,
sic tua namque, caro, gloria tota perit.
tu mihi redde vicem, lector, rogo, carminis huius
et dic: 'da veniam, Christe, tuo famulo.'
*obsecro, nulla manus violet pia iura sepulcri*
personet angelica donec ab arce tuba:
'qui iaces in tumulo, terrae de pulVERE surge,
magnus adest iudex milibus innumeris.'
Alchuine nomen erat sophiam mihi semper amanti,
pro quo funde preces mente, legens titulum.
Art Neuendorffer
>> Repost.
>> Stay, passenger, why goest thou by so fast?
>> <Wait, passenger of the earth, why are you hurrying by so fast?>
Peter Groves wrote:
> Just a small correction here: there's no need to take the writer of
> the epitaph for a closet Copernican. "Passenger" here just means
> ' A person who passes by or through a place; a traveller,
> esp. a traveller on foot' (OED).
-----------------------------------------------------
_Joseph Andrews_ by Henry Fielding
[S]tay [T]raveller, for underneath this
[P]ew [L]ies fast asleep that merry Man Andrew;
When the last Day's great Sun shall gild the Skies,
Then he shall from his Tomb get up and rise.
Be merry while thou *can'st* :
for surely thou Shall shortly be as sad as he is now.
--------------------------------------------------------------
*PASSAGER* : a young bird taken into captivity during its first
migration. [Stay *Passenger* , why goest thouu by so fast.]
-----------------------------------------------------------
Tom Reedy wrote:
>> Read, if you can,
>> whom envious death has placed within this monument:
>> <Read (if you can take the time) the name of the person
>> whom envious death has placed into this monument>
>> Some may argue with my interpretation of "read,"
>> but in context with the first line it makes sense.
>> So far this is pretty straight-forward stuff.
Art Neuendorffer
>>>Here is my interpretation of the inscription on Shakespeare's
>>> monument that seems to be so puzzling to so many people.
> Elizabeth wrote:
>
>> What should be puzzling Strats is the fact that not one
>> contemporary noticed the 'greatest playwrights' passing in 1616.
Ignoto wrote:
> Actually, what *is* puzzling is no matter how many times nonsense
> like this is refuted, it is reposted as a 'puzzling mystery'.
----------------------------------------------------------
*PUZZLING MYSTERY*
*STYMYING PUZZLER*
----------------------------------------------------------
Stymie or Stymy, Noun
1. A situation in golf where an opponent's ball blocks
the line between your ball and the hole.
2. A thwarting and distressing situation.
Verb: Hinder or prevent the progress or accomplishment of.
----------------------------------------------------------
I was reminded of the post WW II strength of Oxfordianism at the 2004
SF Conference in Baltimore when I picked up a circa 1950's edition of
Collier's Encyclopedia in the hotel library and read Dartmouth Prof.
Benezet's article on Edward de Vere. What had the Strats done since
then to *stymie* such a head start (besides, of course,
infiltrating Dartmouth with Goon Squad stooges)?
At the top of the list must be *the historical rag* :
_The Victoria History of Warwick County_ (1951)
Ed. by L.F.Salzman, London:
which denied Oxford his rightful place as the Swan of Avon:
------------------------------------------------------------
T O T H E O N _ *L I[E]B* E G E T T E R
O F T H E S E__I N_ [S] U I N G S O N N
E T S 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 U{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 W E L L W I S H (I)N G A{d v e)N T
U R E R I N S E T_ (T)I N G F O R T H
-------------------------------------------------------------
*IN BILESLEY HALL* , T.T.
-------------------------------------------------------------
<<There is in Billesley Hall, three and a quarter miles from Stratford,
a room long known as "the Shakespeare room." Billesley in the 1580s
had been owned for more than 400 years by the *TRUSSEL* family,
of which Oxford was an offshoot through his maternal grandmother,
Elizabeth *TRUSSEL* , who had married the 15th Earl.
It is asserted that BILESLEY was part of her inheritance
as an heiress of the wealthy Edward *TRUSSEL* , and
by some that it passed to Edward de Vere. According to a local rumor,
_As You Like It_ was written in Billesley Hall.It would perhaps
not be surprising if Thomas Trussel had offered the hospitality of
his home to his illustrious kinsman or that Oxford had found in it
at times a welcome escape from the Court and its demands & intrigues.
The owner, however, "made conveyances of the manor in 1585," and "on 6
August of that year...committed robbery and felony on the at Bromley,
Kent, and was in 1588 attainted and sentenced to death," according to
_The Victoria History of Warwick County_ (1951), which further states
that "Billesley manor passed tot he Crown and was granted in 1590 to
John Willes and others". [However,] the Dictionary of National
Biography does NOT mention the indiscretion at Bromley,
[and] has Thomas living until 1625, having sold Billesley
"before 1619" and written _The Souldier pleading his own cause_.
The subject would have given him a bond with Oxford, as, for
that matter, would the hold-up on the highway.>>
- p.712-3 _The Mysterious William Shakespeare_ Ogburn
------------------------------------------------------------
<<One property in the neighborhood of the Avon that definitely belonged
to Elizabeth Trussel and passed form her to her grandson Edward was
Bilton Manor, situated on the outskirts of Rugby on a tableland rising
from the south bank. Bilton Hall, as far as I know, is the only one of
Oxford's houses that he may have occupied which is still standing
today. It is a long, low building predominantly of muted red brick
beneath a high, sloping roof, the chimneys much higher still, with
three-story, gabled extensions. Closing your eyes to the lofty annex
dated 1623 that overshadows it now, you see it probably much as it
would have appeared to Oxford and enter through the shallow-arched
doorway through which he would have passed.
We read of Bilton manor in _The Victoria History of Warwick County_
(1951) that "In 1574 Edward, Earl of Oxford, leased it to John, Lord
Darcye, and in 1580 he sold it to John Shuckburgh, who immediately
leased it to Edward Cordell." [However] Sir William Dugdale's
_Antiquities of Warwickshire_ states of Bilton that "by Edward, Earl of
Oxford, towards the latter end of Qu. Eliz. reign was it sold unto John
Shugborough, Esq., then one of six Clerks in Chancery, which John dyed
seized thereof in 42 Eliz." That would have made it one of the last of
his properties that Oxford relinquished. In 1711, Bilton would be
purchased by another literary figure, Joseph Addison.
- p.713-4 _The Mysterious William Shakespeare_ Ogburn
-------------------------------------------------------------------
> Art Neuendorffer wrote
>> ----------------------------------------------------
>> http://www.connectotel.com/rennes/shug.html
>> Shugborough Hall
>> <<The Holy Blood & the Holy Grail mentions a monument at Shugborough
>> Hall, Staffordshire, England, which reproduces Nicolas Poussin's Les
>> Bergers d'Arcadie (also known as Et in Arcadia Ego) in mirror image.
>> The building of this monument was commissioned by
>> Admiral Lord Anson in the18th century.
>> The following letters appear on an inscription below the picture :
>>_ O.U.O.S.V.A.V.V.
>> D _____________ M
>> The meaning of these letters
>> has never been satisfactorily explained>>
"lyra" <mountain_qu...@RockAthens.com> wrote
> A quick visit to Shugborough Hall!...
> http://www.bbc.co.uk/stoke/360/shugborough_1.shtml
> A nice 360 degree vista.
------------------------------------------------
<<The broker-heartened shugon! Hole affair is rotten
muckswinish porcupig's draff. Enouch!>> - FW p. 535.
------------------------------------------------
Shug v. i. 1. To writhe the body so as to produce friction
against one's clothes, as do those who have the itch.
2. Hence, to crawl; to sneak. [Obs.]
"There I 'll shug in and get a noble countenance." - Ford.
------------------------------------------------
Shugborough Hall
http://www.bbc.co.uk/stoke/features/2003/01/tolkien.shtml
"A Shug is a little mischievous imp."
<<Tolkien enlisted in the army and in 1916, was stationed at Cannock
Chase in south Staffordshire. His wife, Edith, whom he married in March
of that year took a cottage at the village of Great Haywood, near
Stafford, just to be close to him. But, in June, he was sent to France,
where he saw action on the Western Front, just in time for the Somme
offensive. Though he survived that terrible battle, after four months
in and out of the trenches, he succumbed to "trench fever"
- a form of typhus-like infection - and in early November 1916,
was sent back to England.
He spent that winter convalescing with Edith in the cottage at Great
Haywood. The Staffordshire surroundings can thus lay claim to inspiring
Tolkien's early fantasy writings. During his leave in Great Haywood, in
January and February 1917, Tolkien started to write the 'Book of Lost
Tales'. This book was the basis of a much more famous publication and
indeed the book which describes the early history of Tolkien's mythical
Middle-Earth - the Silmarillion.
Tavrobel
The Staffordshire connection can also be found in Tolkien's writings
after a careful reading of these Tales. In "The Tale of the Sun And The
Moon", there is reference to the village of Tavrobel. Christopher
Tolkien, JRR's son and literary executor, says this village is based on
Great Haywood. In evidence, Tavrobel has a bridge where two rivers (the
Gruir and the Afros) meet. In Great Haywood, the Trent and the Sow meet
at its "Essex" bridge. In the same tale, there is a gnome, Gilfanon,
"whose ancient house - the House Of A Hundred Chimneys - stands nigh
the bridge of Tavrobel". Could this be Shugborough Hall, the nearby
ancestral home of the Earls of Lichfield? A count of the chimneys in
the Hall reveals that, in all, there are eighty chimneys! Even if he
never visited the Hall, it is likely he saw the numerous blazing fires
through the windows, as he walked along the adjacent public footpath.
And in these months of romance, could there have been an even stranger
connection? Tolkien and Edith had married in early 1916, but had only
had a few months together, so to all intents, were still newlyweds in
the winter of 1916/17. Exactly nine months later, their first son John
was born. And Father John Tolkien - conceived in the hideaway
cottage - went on to work for over thirty years in the county
as a parish priest in Stoke on Trent.>>
--------------------------------------------------------------
The only Oxford house still standing today:
Bilton Manor (on the south bank of the Avon near
the forest of Arden on the outskirts of Rugby)
Oxford inherited Bilton Manor from his grandmother
Elizabeth TRUSSELL (1496-1527).
The most Ancient grant of a TRUSSELL Crest found:
"A BLACK ASS HEAD emerging from a crown."
--------------------------------------------------------------
_Black dogs_ in folklore by Bob Trubshaw
Why is the death-hound of Arthur Conan Doyle's The Hound of
the Baskervilles such a vigorous archetypal beast? Conan Doyle's
inspiration was the folk tale of a phantom black dog on Dartmoor.
Such beasts recur throughout Britain:
Rev Worthington-Smith's book on
the folklore of Dunstable, published in 1910:
'Another belief is that there are ghostly black dogs, the size
of large retrievers, about the fields at night, that these
dogs are generally near gates and stiles, and are of such
a forbidding aspect that no one dare venture to pass them,
and that it means death to shout at them. In some places
the spectral dog is named "Shuck" and is said to be headless.'
------------------------------------------------------------
<<"The source for Charles Wisner Barrell's facts is Dugdale's
Antiquities of Warwickshire Illustrated, where he found that this
'literary hideaway' [i.e., Bilton Manor on the Avon) was kept by
the 17th Earl until 'Towards the latter end' of Elizabeth's reign.
The surviving records, summarized in the Victoria History of the
County of Warwick, are somewhat more precise. Of its article on
Bilton, Ogburn relays the information that, 'In 1574 Edward, Earl
of Oxford, leased it to John, Lord Darcye, and in 1580 he sold it
to John Shuckburgh, who immediately leased it to Edward Cordell.'
Despite this straightforward language, Ogburn thinks it is not
entirely clear as to precisely what was leased and sold. If he had
read on past the lease to Cordell his doubts would have been answered:
'John Shuckburgh died in 1599, having by deed of 8 November 1595
settled the manor on his sons Henry and Francis in tail male
successively, with a jointure for Christian, the wife of Henry,
who in 1599 was 35 years of age. Henry Shuckburgh in turn sold
the manor to Edward Boughton (who already held the portion of
Bilton that had belonged to Pipewell Abbey) in 1610.' - Irvin Matus
-------------------------------------------------------------------
Sat. November 8, 1595, John Shuckburgh's deed to Bilton Manor
Sat. November 8, 1623, 16 of Shakespeare's plays registered
in the First Folio by Blount & Jaggard
Sat. November 8, 1656, Edmund Halley born.
Sat. November 8, 1740, Samuel Richardson's _Pamela_
_________________________ 1st English novel.
--------------------------------------------------------------------
The Dictionary of Classical Mythology, Religion, Literature, & Art',
Oskar Seyffert, 1995 edition by Gramercy Books.
<< The LAPIS manALIS was lifted up three times a year
(August 24th, October 5th, November 8th), and the MANES
were then believed to RISE to the upper world: on this account
those days were religiosi, i.e. no serious matter might be undertaken
on them. Sacrifices were offered to them as to the dead; water, wine,
warm milk, honey, oil, and the blood of BLACK sheep, PIGS & OXEN,
were POURED on the grave; ointments & incense were offered; and
the grave was DECKED with flowers, roses & violets by preference.>>
--------------------------------------------------------------------
November 8, 1602, Bodleian Library at Oxford opens to public.
November 8, 1610, Strachey's True Declaration published
November 8, 1623, "The Twelfth Night."
"Two Gentlemen of Verona."
"I Henry VI."
"Comedy of Errors."
"Julius Caesar."
"All's Well That Ends Well."
"Measure For Measure."
"Macbeth."
"Anthony and Cleaopatra."
"Coriolanus."
"Timon of Athens."
"Cymbeline."
"The Winter's Tale."
"The Tempest."
"Henry VIII."
"As You Like It."
November 8, 1674, John Milton dies.
November 8, 1793, Louvre Museum in Paris opens to public.
--------------------------------------------------------------------
Art Neuendorffer
Art Neuendorffer
Elizabeth
> Elizabeth wrote:
> Actually, what *is* puzzling is no matter how many times nonsense like
> this is refuted, it is reposted as a 'puzzling mystery'.
It's never been refuted, Francis Langley's partner
in crime died in 1616 and no member of the literati cared
to take note because he wasn't a poet or playwright.
Tom Reedy
news:1140560410.1...@g43g2000cwa.googlegroups.com...
>
> Elizabeth wrote:
>> Tom Reedy wrote:
>> > Repost.
>> >
>> > Here is my interpretation of the inscription on Shakespeare's monument
>> > that
>> > seems to be so puzzling to so many people.
>>
>>
>> What should be puzzling Strats is the fact that not
>> one contemporary noticed the 'greatest playwrights'
>> passing in 1616.
>
> Actually, what *is* puzzling is no matter how many times nonsense like
> this is refuted, it is reposted as a 'puzzling mystery'.
Because it doesn't take much to puzzle an antiStratfordian, obviously.
They're puzzled by almost everything.
TR
<snip>
>> Spenser, Beaumont,
>> and all other English poets were celebrated at death
>> by their peers.
Sure they were, as was Shakespeare, but their panegyrics weren't published
as soon after their deaths as Shakespeare's.
TR
bobgr...@nut-n-but.net
this matter has been shown to be utter nonsense--by, among others,
Diana Price. No contemporary writer took notice of the deaths of
SEVENTEEN of the men on her list of 25 considered to have been writers
in Shakespeare's time. Who wrote their works, Elizabeth? Lyly, Kyd,
Massinger, Chapman, Peele, Webster, etc., all dying without notice.
What a puzzle!
--Bob G.
Jim KQKnave
"Tom Reedy" <tomre...@verizon.net> wrote:
>
>
>
> As most of us on hlas know, Shakespeare was criticized for lacking art. He
> was known as a natural genius. Jonson complained of how slap-dash
> Shakespeare was in comparison to himself,
I have to disagree with this. He complained that
Shakespeare's may have had too much facility,
that he may not always have been in control
of it. In the Folio poem (see below) he
says that Shakespeare worked hard to craft
his work.
>who had to write and rewrite to hammer the words into place.
That's actually how Jonson characterized
Shakespeare in his Folio poem:
"Yet must I not give Nature all: thy art,
My gentle Shakespeare, must enjoy a part.
For though the poet's matter nature be,
His art doth give the fashion; and, that he
Who casts to write a living line, must sweat,
(Such as thine are) and strike the second heat
Upon the Muses' anvil; turn the same
(And himself with it) that he thinks to frame,
Or, for the laurel, he may gain a scorn;
For a good poet's made, as well as born;
And such wert thou. Look how the father's face
Lives in his issue, even so the race
Of Shakespeare's mind and manners brightly shines
In his well-turned, and true-filed lines;"
So Jonson says that Nature was not all that
Shakespeare benefited from, he also had
"art" (the ability to craft something), and
that art involved striking "the second heat",
i.e., rewriting his lines to polish them,
that Shakespeare "made" himself a poet
(through hard work), that he was not
just born to it, and that his lines
were "true-filed" (again, polished
to perfection).
See my demolition of Monsarrat's RES paper!
http://hometown.aol.com/kqknave/monsarr1.html
The Droeshout portrait is not unusual at all!
http://hometown.aol.com/kqknave/shakenbake.html
Agent Jim
-=-
This message was sent via two or more anonymous remailing services.
Roundtable
passer-by to pause and
reflect and read the inscription.
I always thought
"since all that he has written leaves living art, but page, to serve
his wit"
meant the theatre plays, acted live, with living, breathing people were
now just pages.
As in, "all that is left of the live performance are just words on
paper".
When the curtain falls, what is left of the whole performance, of those
emotions actors and
audience felt, of the story created on stage?
Memories - and words on paper.
(The costumes belonged to the actors, presumably, and there were no
sets in his day.)
RT http://roundtable.iwarp.com
Art Neuendorffer
> Apparently quite a few gravestones in French churchyards
> ask the passer-by to pause and
> reflect and read the inscription.
>
> I always thought
> "since all that he has written leaves living art, but page, to serve
> his wit"
> meant the theatre plays, acted live, with living, breathing people were
> now just pages.
> As in, "all that is left of the live performance are just words on
> paper".
>
> When the curtain falls, what is left of the whole performance, of those
> emotions actors and
> audience felt, of the story created on stage?
> Memories - and words on paper.
> (The costumes belonged to the actors, presumably, and there were no
> sets in his day.)
>
> RT http://roundtable.iwarp.com
songbook for the 100th Bomb Group.
http://www.immortalia.com/html/books-OCRed/1945-songs-of-the-century-bomber-group/index.htm
Passengers will please refrain
From flushing toilets while the train
Is standing in the Station, I love you.
We encourage constipation
While the train is in the Station
While the train is moving, so can you.
If you must water, please call the porter
And he will place a vessel in the vestibule
Tramps who're riding underneath
Will catch it in the face and teeth
The running water makes me think of you. - - - -
We like to go out after dark
And goose the statues in the dark
If Sherman's horse can take it -
So can you.
Chorus girls and dancing ladies
Must take douches or have babies -
How do you like the way I part my hair
- - - -
Little birds that fly the ocean
When their bowels receive the motion
Drop their little droplets in the sea.
That is how they formed Great Britain -
It was by the seagull shittin'
And the evidence is here for all to see.
----------------------------------------
Art N.
Tom Reedy
news:QJUDJ3RK38770.0724421296@anonymous...
> In article <31FKf.12680$p13.6905@trnddc08>
> "Tom Reedy" <tomre...@verizon.net> wrote:
>>
>>
>>
>> As most of us on hlas know, Shakespeare was criticized for lacking art.
>> He
>> was known as a natural genius. Jonson complained of how slap-dash
>> Shakespeare was in comparison to himself,
>
> I have to disagree with this. He complained that
> Shakespeare's may have had too much facility,
> that he may not always have been in control
> of it. In the Folio poem (see below) he
> says that Shakespeare worked hard to craft
> his work.
>
>>who had to write and rewrite to hammer the words into place.
>
> That's actually how Jonson characterized
> Shakespeare in his Folio poem:
In private conversation, Jonson said that Shakespeare "wanted art." Most
people -- even Jonson -- would use some discretion in a memorial poem and
withhold their bald opinion.
Here's what he said about him in the privacy of his own common-place book:
I remember, the Players have often mentioned it as an honour to Shakespeare,
that in his writing, (whatsoever he penn'd) hee never blotted out line. My
answer hath beene, Would he had blotted a thousand. Which they thought a
malevolent speech. I had not told posterity this, but for their ignorance,
who choose that circumstance to commend their friend by, wherein he most
faulted. And to justifie mine owne candor, (for I lov'd the man, and doe
honour his memory (on this side Idolatry) as much as any.) Hee was (indeed)
honest, and of an open, and free nature : had an excellent Phantsie ; brave
notions, and gentle expressions : wherein hee flow'd with that facility,
that sometime it was necessary he should be stop'd : Sufflaminandus erat ;
as Augustus said of Haterius. His wit was in his owne power ; would the rule
of it had beene so too. Many times hee fell into those things, could not
escape laughter : As when hee said in the person of Caesar, one speaking to
him ; Caesar, thou dost me wrong. Hee replyed : Caesar did never wrong, but
with just cause : and such like ; which were ridiculous. But hee redeemed
his vices, with his vertues. There was ever more in him to be praysed, then
to be pardoned.
TR
Robert Stonehouse
This line uses classical attitudes and expressions which are
not really appropriate to the 17th century context.
In antiquity, burials within a town were not allowed. So a
kind of ribbon-development necropolis grew up, with tombs
starting on the city boundary and going on for some way on
both sides of the road.
So the typical reader of the inscriptions was a traveller
and it was common for epitaphs to begin by asking the
traveller to pause long enough to read them and think of the
dead. The Thermopylae inscription is an example:
'Stranger, take news to the Lacedaemonians that here
we lie, in obedience to their orders.'
This 17th century memorial is in a church - people do not
travel through a church, though they are in a sense
visitors. So the classicising verse does not quite fit, but
that kind of thing was often said because people were used
to it and did not notice the anomaly.
Incidentally, the plain name 'Shakespeare' does look odd. It
is a way of naming an outstandingly famous man - 'Do you
mean THE Shakespeare?' This is an elaborate monument,
intended to express the highest degree of honour, but
apparently carried out rather clumsily by the contractor.
--
Robert Stonehouse
To mail me, replace invalid with uk. Inconvenience regretted
bookburn
news:d65ov1t2vsqc23sg6...@4ax.com...
> On Tue, 21 Feb 2006 21:43:22 GMT, "Peter Groves"
> <Montiverdi...@bigpond.com> wrote:
>>"Tom Reedy" <tomr...@verizon.net> wrote in message
>>news:31FKf.12680$p13.6905@trnddc08...
>>> Repost.
>>>
>>> Stay, passenger, why goest thou by so fast?
>>>
>>>
>>> <Wait, passenger of the earth, why are you hurrying by so fast?>
>>>
>>
>>Just a small correction here: there's no need to take the writer of the
>>epitaph for a closet Copernican. "Passenger" here just means ' A person who
>>passes by or through a place; a traveller, esp. a traveller on foot' (OED).
But, but, but, I sputter, as I hasten to catch up to going in several
directions at once. (Might be something in Alice in Wonderland about this, but
I don't remember where.)
> This line uses classical attitudes and expressions which are
> not really appropriate to the 17th century context.
>
> In antiquity, burials within a town were not allowed. So a
> kind of ribbon-development necropolis grew up, with tombs
> starting on the city boundary and going on for some way on
> both sides of the road.
>
> So the typical reader of the inscriptions was a traveller
> and it was common for epitaphs to begin by asking the
> traveller to pause long enough to read them and think of the
> dead. The Thermopylae inscription is an example:
> 'Stranger, take news to the Lacedaemonians that here
> we lie, in obedience to their orders.'
It seems you are saying that "passenger" here references classical, not
Elizabethan or 17th Century sources; yet I would note there has been a
continuous tradition of metaphors referring to "passenger" in allegory that
continues to today, as important as pilgrimage was to Chaucer, moral fable to
Bunyan, quest to Spencer, and Everyman to More. Scientists must have been very
aware of consequences in the religious sector when describing man as a
"passenger" on Planet Earth. Fuller's "spaceship earth" must be shocking to
some, possibly why he was denied implementation of his World Fair exposition
in the early '60s.
At the risk of going over the top, I suppose that metaphors of travel and
"passenger" would include "ship," of which there are many references alluding
to the author's book that he sends off to sail the public ocean. "Ship of
Fools" does a great job with the metaphor. We speak of life as a metaphor,
assuming that the physical is a sort of garment worn by the numinous, and
should be studied as we progress; such as did Forest Gump's mother, who told
him, "Life is like a box of chocolates: you never know what you're going to
get." Pertaining to life as a journey, we have for kids "The Yellow School
Bus," and "Life is a Balloon Ride" (approximate titles). I think children's
books are good about presenting the "journey" metaphor without explaining.
>
> This 17th century memorial is in a church - people do not
> travel through a church, though they are in a sense
> visitors. So the classicising verse does not quite fit, but
> that kind of thing was often said because people were used
> to it and did not notice the anomaly.
By now, I am a little worried I'm a fish and you are trolling, Robert, because
church is exactly where people are reminded about life as a journey, and
"passenger" no doubt has been a stock theme in sermons. In the English Bible,
which is probably the logical alternative to your classics sourcing, we have
the examples of "passenger" in both the OT and NT. I can think of Jonah,
Jesus, and Paul as "passengers." Nice short story, "Celestial Omnibus," by
Christopher Morley.
> Incidentally, the plain name 'Shakespeare' does look odd. It
> is a way of naming an outstandingly famous man - 'Do you
> mean THE Shakespeare?' This is an elaborate monument,
> intended to express the highest degree of honour, but
> apparently carried out rather clumsily by the contractor.
I read that typically the stone mason was given copy to follow which used dots
to show spaces between words, that sometimes the stone mason confused these
signs with periods at end of sentences or literally translated everything s/he
saw as text; but then it became fashionable to keep in the extra dots. I hope
that in our interpretation we are not similarly dependent on what's literally
on the surface. bookburn
Art Neuendorffer
>>>
>>> As most of us on hlas know, Shakespeare was criticized for
>>> lacking art. He was known as a natural genius. Jonson complained
>>> of how slap-dash Shakespeare was in comparison to himself,
> "Jim KQKnave" <Anonymous...@See.Comment.Header> wrote
>>I have to disagree with this. He complained that
>>Shakespeare's may have had too much facility,
>>that he may not always have been in control
>>of it. In the Folio poem (see below) he
>>says that Shakespeare worked hard to craft his work.
>>"Tom Reedy" <tomre...@verizon.net> wrote:
>>>
>>>who had to write and rewrite to hammer the words into place.
> "Jim KQKnave" <Anonymous...@See.Comment.Header> wrote
>>That's actually how Jonson characterized
>> Shakespeare in his Folio poem:
Tom Reedy wrote:
> In private conversation, Jonson said that Shakespeare "wanted art."
> Most people -- even Jonson -- would use some discretion
> in a memorial poem and withhold their bald opinion.
>
> Here's what he said about him in the privacy of his own common-place book:
>
> I remember, the Players have often mentioned it as an honour to Shakespeare,
> that in his writing, (whatsoever he penn'd) hee never blotted out line. My
> answer hath beene, Would he had blotted a thousand. Which they thought a
> malevolent speech. I had not told posterity this, but for their ignorance,
> who choose that circumstance to commend their friend by, wherein he most
> faulted. And to justifie mine owne candor, (for I lov'd the man, and doe
> honour his memory (on this side Idolatry) as much as any.) Hee was (indeed)
> honest, and of an open, and free nature : had an excellent Phantsie ; brave
> notions, and gentle expressions : wherein hee flow'd with that facility,
> that sometime it was necessary he should be stop'd : Sufflaminandus erat ;
> as Augustus said of Haterius. His wit was in his owne power ; would the rule
> of it had beene so too. Many times hee fell into those things, could not
> escape laughter : As when hee said in the person of Caesar, one speaking to
> him ; Caesar, thou dost me wrong. Hee replyed : Caesar did never wrong, but
> with just cause : and such like ; which were ridiculous. But hee redeemed
> his vices, with his vertues. There was ever more in him to be praysed, then
> to be pardoned.
-----------------------------------------------
Hamlet (Quarto 2, 1604-5): Act 5, Scene 2
Ham. Giue me your *PARDON* sir, I haue done you *WRONG* ,
But *PARDON* 't as you are a gentleman, this presence knowes,
Laer. Exchange *FORGIUENESSE* with me noble Hamlet,
----------------------------------------------------
<< {HEBE} was worshipped as a goddess of *PARDONs* or
*FORGIVENESS* ; freed prisoners would hang their chains
in the sacred grove of her sanctuary at Phlius.>>
http://www.perseus.tufts.edu/Herakles/hebe.html
----------------------------------------------------
_DiscoVERiEs_ by Ben Jonson (1640)
De Shakespeare *NOSTRAT*
http://my.execpc.com/~berrestr/jon-sha.html
<<But hee redeemed his vices, with his *VERtuEs*
There was *EVER* more in him to be praysed,
then to be *PARDONed* .>>
--------------------------------------------------------
http://westminster-abbey.org/library/burial/jonson.htm
<<One story says that he begged ' *18* inches of square
ground in Westminster Abbey' from King Charles I.
(At this period the design on the Nave floor included
several lines of stones measuring *18* inches square.)
The simple inscription '{O RARE} Ben Johnson', was said to have
been done at the expense of JACK *YOUNG* who was walking by when
the grave was cOVERed & gave the *MASON 18 pence* to cut it.>>
----------------------------------------------------
*HEBE* is the *YOUNG* -est daughter of Zeus & Hera and was
the goddess of YOUTH and the servant of the Greco-Roman gods.
http://homepage.mac.com/cparada/GML/Hebe.html
---------------------------------------------------
_______________ <= 18 =>
T O T H E O N L___ I E B E G E T T E R
O F T H E S E I N___ S U I N G S O N N
E T S 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 U(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 W e L L W I S H i_ N_G_A____d(V)e N T
U r E R I N S E T t I_N_G_ f o r T H
------------------------------------------------------
PUCK: Who *IS HERE* ? WEEDS of Athens he doth *WEAR*
-------------------------------------------------------
[ECO]: *HERE* (Venetian)
"[E]dwardus [C]omes [O]xon{iensis}"
----------------------------------------------------------
March 6, 1616 Francis Beaumont's non-Tomb in Westminster:
<<MORTALITY, behold and FEAR!
_____ What a change of flesh ____ *IS HERE* !
__ Think how many royal ____ [BO]NES
____ Sleep within this heap of ____ [STON]ES:>>
-------------------------------------------------------
April 23, 1616 William Shakspere grave in Stratford:
<<Good friend for Iesus sake F(orb)EAR(e)
__ To digg the dust encloased ____ HE(a)RE:
_______ Blest be ye man yt spares thes__[STON]ES
__ And CURST be he yt moves my [BO]NES.>>
------------------------------------------------------------
On the 14th anniversary of Anne Hathaway's death [August 6, 1637].
Ben Jonson was BURIED UPRIGHT leaning against the WALL
of his Westminster Abbey crypt as requested:
'TWO FEET BY TWO FEET WILL do for all I WANT'. - Ben Jonson
http://westminster-abbey.org/library/burial/images/jonson.
__________ [BE] [RE]
__________ [HE] [VE]
http://home.att.net/~mleary/gifs/GRAVE.GIF
__ GOOD FREND FOR IESVS' SAKE F{OR}[BE]{ARE},
___ TO DIGG THE DVST ENCLOASED ____ [HE]{ARE}:
.
_- BLESTE BE Ye MAN TY SPA[RE]S THES *STONES* ,
__ AND CVRST BE HE TY MO[VE]S MY BONES.
--------------------------------------------------------------
[EDWARD VERE CAIRN S-ong]
[CAESAR NEVER DID WR-ong]
-------------------------------------------------------------------
<<[Shakespeare] was (indeed) honest, and of an open, and free nature:
had an excellent Phantsie ; brave notions, and gentle expressions :
wherein hee FLOW'D with that facility,
that sometime it was necessary he should be stop'd :
Sufflaminandus erat ; as *AUGUSTUS* said of Haterius.
His wit was in HIS OWNE power ; would the rule of it had beene so too.
Many times he fell into those things [that] could not
escape laughter, as when he said in the person of Caesar,
one speaking to him, "Caesar thou dost me wrong".
He replied, "CAESAR NEVER DID WR-ong,
but with just cause",
and such like, which were ridiculous. But hee redeemed his vices,
with his vertues. There was EVER more in him to be praysed,>>
-------------------------------------------------------------
_The Ritual Fallacy_ - James Frazer's Tree of Priesthood
http://herkos.artsfac.csuohio.edu/daemon/texts/rf2.html
<<The title is a Virgilian gloss on an arboreal detail
of ritual from the ancient Latin cult of DIANA at Aricia
in the Alban hills, the birthplace of Caesar *AUGUSTUS* .>>
--------------------------------------------------------------
_DIANA & DIANUS_ (Wicca - Book of Shadows)
<<The most common names found associated with The Old Religion, in
Italy, are DIANA & Dianus. Dianus is the nature god, associated with
the woods, herds, fertility, and so on. He was present in the rites
of DIANA at the sacred grove of Nemi. He is also known as VERbius,
and is linked to the title *REX NEMORENSIS*. *Oaks were sacred* to
Dianus, which were present in the groves at Nemi. It seems likely
that, in time, he was also associated with the god Janus. Janus was
a god of doorways/ PORTALS (and of beginnings in general). In this
aspect, Janus was a guardian who kept non-initiates away from the
Mystery Traditions. He carried a WHIP and a rod, which could usher
in, or drive away. Dianus, as the guardian *REX NEMORENSIS*, is
easily linked to Janus, in this aspect. In the Aridian Tradition,
DIANA & Dianus would be two parts of the Divine One Great Spirit.
Usually, Dianus is visualized as a stag god, or a man with antlers.
He can also be associated with the forest god, known as KERN.>>
-----------------------------------------------------
Love's Labor's Lost (Folio) 1.1]
Ber. : .... to clime in the *MERRINESSE*
-------------------------------------------------------
*REX NEMORENSIS*
____________ O
____________ X
MERRINESSE
____________ N
------------------------------------------------------------
King of the Woods [Robin HOOD & MERRYMEN]
http://www.themystica.com/mystica/articles/k/king_of_the_woods.html
<<The..main character in the Mystery Tradition at Lake Nemi, Italy.
Otherwise known as *REX NEMORENSIS* who is the guardian of the
Sacred Grove of goddess DIANA. Traditionally he was challenged
through ritual combat EVERy year to fight for the right to rule.
This demanded that his opponent *BREAK A BRANCH* from
the sacred tree in the grove. According to legend, only a man
possessing great inner & outer strength would be able to do this.>>
----------------------------------------------------------
*WILLOW* , n. [OE. wilowe, AS. wilig, welig; Cf. *WILLY* ]
*WILL-L.O.* *to BEND* or *to yield*
-------------------------------------------------------
QUEEN GERTRUDE: There is a *WILLOW* grows aslant a BROOK,
That shows his hoar leaves in the GLASSy stream;
There with fantastic GARLANDS did she come
There, on the PENDENT BOUGHs her *CORONET* weeds
CLAMBERING TO HANG, AN ENVIOUS SLIVER *BROKE*
--------------------------------------------------------
________ NIL VE(R)O VERIUS
________ ENVIOU(S) SLIVER
--------------------------------------------------------
"CLAMBERING TO HANG, AN *ENVIOUS SLIVER* BROKE"
V E R O N I L V E R I U S
_________ L
_________ E
_________ N
_________ K
_________ C
_________ N
_________- I
_________ R
_________ B
__- A G N E S B O G A
_________ A
_________ M
_________ O
_________ H
_________ T
------------------------------------------------------
BOW, v. i. [OE. BOWe, boge, AS. *BOGA* ]
*To BEND* the head, knee, or body, in token of submission;
The U-shaped piece which embraces
the neck of an OX and fastens it to the YOKE.
"The OX HATH therefore stretch'd his YOKE in vain"
-Titania, AMND, II, i
--------------------------------------------------------
It is the *very* core of the moon
She *comes* more near the earth than she was wont
And makes men mad.-Othello 5/2/109
http://www.witchery.ca/stregheria/DIANAandrex.htm
<<In central Italy lies the lake once known as Lacus Nemorensis.
This lake was also known as the Speculum DIANAe (Mirror of DIANA).
Here on the northeast shore of this ancient lake, once stood the
temple of DIANA. Here too was the sacred grove of DIANA. In ancient
times the followers of DIANA gathered at the Temple to give worship,
and to be healed by the water, which was said to flow into a pool
within the Temple. At Nemi, in the Alban Hills, DIANA was worshipped
in many forms. At the new moon She was the chaste Huntress and the
crescent moon was her *BOW* . In this aspect She was seen as the
*eternal virgin* free from the need for men. At the time of the
full moon, DIANA was the Enchantress, the Queen of Magic. At the
dark of the moon (or solar eclipse) DIANA was vengeful, secretive,
and somewhat dangerous. As the chaste, Her name was pronounced
Dye-anna. As the Queen it was pronounced Dea-nah, and at dark
of moon it was pronounced Dee-anna. These are essentially the
same aspects commonly referred to as Maiden, Mother, Crone.>>
---------------------------------------------------------------
<<"Thou art in the right of it, Sancho," said Don QuiXOte; "and
the bachelor SAMSON CARRASCO, if he enters the pastoral fraternity,
as no doubt he will, may call himself the shepherd SAMSONino,
or perhaps the shepherd CARRASCOn; Nicholas the barber may call
himself Niculoso, as old Boscan formerly was called *NEMOROSO* >>
...........................................................
Early Freemasons were frequently known as Sam's Sons (i.e. Solomon's
Sons), and *SAMSON* , who held up the two pillars of the temple.)
*CARRASCO* : hangman, headsman, tormentor, torturer (Portuguese)
*VERDugo* : hangman, BUTCHER, torturer (Spanish)
...........................................................
Don QuiXOte beheld his opposite, and perceived that his helmet was
on and drawn, so that he could not see his face; but he saw that he
was well set in his body, though not tall: upon his armour he wore
an upper garment or cassock, to see to, of pure cloth of gold,
*with many MOONs of shining LOOKING-GLASSes spread about it*
which made him appear VERY brave and gorgeous; a great plume
of GREEN FEATHERS waved about his helmet, with others white and
yellow; his lance, which he had reared up against a tree, was
VERY long & thick, and with a steel pike above a handful long.>>
VERDE: green (Spanish, Portuguese, Italian, Romanian)
VEER: feather (Dutch)
----------------------------------------------------------
*BOW*, n. [OE. BOWe, boge, AS. BOGA]
The U-shaped piece which embraces
the neck of an *OX* and fastens it to the *YOKE*
"The *OX* HATH therefore stretch'd his *YOKE* in vain"
-Titania, AMND, II, i
------------------------------------------------------------
To our English Terence, Mr. Will. Shake-speare.
.
Some say (good Will) which I, in sport, do sing,
Had'st thou not plaid some Kingly parts in sport,
Thou hadst bin a companion for a King;.
And, beene A KING AMONG THE MEANER SORT.
------------------------------------------------------------
King of the Woods [ *REX NEMORENSIS* ]
http://www.themystica.com/mystica/articles/k/king_of_the_woods.html
<<The legend of *REX NEMORENSIS* is similar to Aeneas who had to
break the golden BOUGH from the tree of the Underworld in order
to complete his sacred quest. Aeneas encounters Charon the
guardian who refuses to let him cross the Underworld lake.
Charon & the King of the Woods are parallel figures as the
latter is guardian of Lake Nemi. The King of the Woods also
is referred to by names such as a type of GREEN MAN figure,
in Italian Witchcraft as the Hooded One since
he is covered with greenery of Nature, and in DIANA's
sacred grove at Nemi he is called VIRBIUS.>> - A.G.H.
--------------------------------------------------------
What, lofty Shakespeare, art again REVIVED,
And VIRBIUS-like now show'st thyself twice lived?
'Tis Benson's love that thus to thee is shown,
The labour's his, the GLORY still thine own.
--- John Warren (1640)
-------------------------------------------------
The Merry Wives of Windsor (Folio) Act 5, Scene 5
M.Ford.: Sir Iohn, we haue had ill lucke:
wee could nEUER meete:
I will nEUER take you for my Loue againe,
but I will alwayes count you my Deere.
Fal.: I do begin to perceiue that I am made an Asse.
Ford.: I, and an Oxe too: both the proofes are ex-tant.
*Ford : I, and an Oxe* ...
--------------------------------------------------------
*FORD : I, AND AN OXE*
___ {anagram}
*DIANA : OXENFORD*
--------------------------------------------------------
<<Proud of [DIANA's] divine society, *VIRBIUS* spurned the love of
women, and this proved his bane. For APHRODITE, stung by his scorn,
inspired his stepmother Phaedra with love of him; and when he
disdained her wicked advances she falsely accused him to his father
Theseus. DIANA hid VIRBIUS from the angry god in a thick CLOUD,
disguised his features by adding years to his life, and then bore
him far away to the dells of Nemi, where she entrusted him to
the nymph Egeria, to live there, UNKNOWN & SOLITARY, under
the name of *VIRBIUS* in the depth of the Italian forest.>>
Sir James George Frazer. The Golden BOUGH. 1922.
----------------------------------------------------------
The Ritual Fallacy - James Frazer's Tree of Priesthood
http://herkos.artsfac.csuohio.edu/daemon/texts/rf2.html
<<"In the sacred grove (of DIANA Nemorensis) there grew a certain tree
round which at any time of the day, and probably far into the night,
a grim figure might be seen to prowl. In his hand he carried a drawn
sword, and he kept peering warily about him as if at EVERy instant he
expected to be set upon by an enemy. He was a priest and a murderer;
and the man for whom he looked was sooner or later to murder him and
hold the priesthood in his stead. Such was the rule of the sanctuary.
A candidate for the priesthood could only succeed to office by slaying
the priest, & having slain him, he retained office till he was
himself slain by a stronger or a craftier. ...Within the sanctuary
at Nemi grew a certain tree of which *NO BRANCH MIGHT BE BROKEN*
Only a runaway slave [or undercook] was allowed to break off,
if he could, one of its BOUGHs. Success in the attempt
entitled him to fight the priest in single combat, and
if he slew him he reigned in his stead with the title
King of the Wood (*REX NEMORENSIS*)."
---------------------------------------------------------
ENVIOU(S) SLIVER
NIL VE(R)O VERIUS
---------------------------------------------------------
http://www.witchery.ca/stregheria/DIANAandrex.htm
<<There is a very interesting myth about the worship of DIANA,
which I would like to share here. Long ago, in the Alban hills,
there came a runaway slave [e.g., Brincknell/Shakspere] who
was favored by the Goddess DIANA. Because She had freed him,
he desired to worship Her, and She gave him sanctuary. One
day DIANA appeared to him beneath a large tree which stood in the
center of a clearing, within a large grove. Then just after sunset
she proclaimed Her love for him, but at the same time demanded that
he prove himself worthy of Her favors. So DIANA brought before him
a mighty warrior, who was Guardian of the Grove. Then She told the
runaway slave to challenge the Guardian. But the Guardian would not
accept the challenge, unless the former slave could prove his strength
and courage. So the runaway climbed the great tree, and broke off a
large branch with his hands. The branch was so strong that no ordinary
man could break it. So the Guardian accepted the challenge, and the
two battled for the favor of DIANA. The Guardian was defeated and met
his end at the hands of the runaway slave. Then DIANA touched his
shoulders, placed a wreath upon his head, and said "Thou art *REX
NEMORENSIS* (King of the Woods)". This is one of the mystery texts,
and deals with parts of our inner self. Look at the characters
in the Myth as yourself, and at DIANA as Enlightenment.
Another term for *REX NEMORENSIS*, was the Hooded One. It is
interesting, because a cult formed in the Groves of Nemi around
this theme, and was comprised of outlaws and runaway slaves from Rome.
There is a similarity between this mythos, and the Robin Hood legend.
Especially when you consider that runaway slaves and outlaws from
Rome gathered in the forests of Nemi. The Hooded One was a title
for the representative of the God (usually referred to as KERN).
-------------------------------------------------------------
Art Neuendorffer
Art Neuendorffer
>>>> Stay, passenger, why goest thou by so fast?
>>>>
>>>> <Wait, passenger of the earth, why are you hurrying by so fast?>
>> On Tue, 21 Feb 2006 21:43:22 GMT, "Peter Groves" wrote:
>>
>>> Just a small correction here: there's no need to take the writer
>>> of the epitaph for a closet Copernican.
>>> "Passenger" here just means ' A person who passes by or
>>> through a place; a traveller, esp. a traveller on foot' (OED).
bookburn wrote:
> But, but, but, I sputter, as I hasten to catch up to going in several
> directions at once. (Might be something in Alice in Wonderland about
> this, but I don't remember where.)
----------------------------------------------------------------
There was a Beetle sitting next to the Goat (it was a very queer
carriage-full of *passengers* altogether), and, as the rule
seemed to be that they should all speak in turn, HE went
on with 'She'll have to go back from here as luggage!'
----------------------------------------------------------------
Lewis Carroll, Introduction and Notes by Martin Gardner
The Annotated Alice
Finally, we have the Reverend Duckworth's account,
to be found in Collingwood's The Lewis Carroll Picture Book:
I rowed stroke and he rowed bow in the famous Long Vacation voyage
to Godstow, when the three Miss Liddells were our *passengers*,
and the story was actually composed and spoken over my shoulder for
the benefit of Alice Liddell, who was acting as 'cox' of our gig.
I remember turning round and saying,
"Dodgson, is this an extempore romance of yours?"
And he replied, "Yes, I'm inventing as we go along."
I also well remember how, when we had conducted the three children
back to the Deanery, Alice said, as she bade us good-night,
"Oh, Mr. Dodgson, I wish you would write out Alice's adventures for me."
He said he should try, and he afterwards told me that he sat up nearly
the whole night, committing to a MS. book his recollections of the
drolleries with which he had enlivened the afternoon. He added
illustrations of his own, and presented the volume, which used
often to be seen on the drawing-room table at the Deanery.
It is with sadness I add that when a check was made in 1950 with
the London meteorological office (as reported in Helmut Gernsheim's
Lewis Carroll: Photographer) records indicated that the weather
near Oxford on July 4, 1862, was "cool and rather wet."
This was later confirmed by Philip Stewart, of Oxford University's
Department of Forestry. He informed me in a letter that the
Astronomical and Meteorological Observations Made at the Radcliffe
Observatory, Oxford, Vol. 23, gives the weather on July 4 as rain
after two p.m., cloud cover 10/10, and maximum shade temperature
of 67.9 degrees Fahrenheit. >>
----------------------------------------------------------------
> "Robert Stonehouse" <ew...@bcs.org.invalid> wrote:
>
>> This line uses classical attitudes and expressions which are
>> not really appropriate to the 17th century context.
>>
>> In antiquity, burials within a town were not allowed. So a
>> kind of ribbon-development necropolis grew up, with tombs
>> starting on the city boundary and going on for some way on
>> both sides of the road.
>>
>> So the typical reader of the inscriptions was a traveller
>> and it was common for epitaphs to begin by asking the
>> traveller to pause long enough to read them and think
>> of the dead. The Thermopylae inscription is an example:
>> 'Stranger, take news to the Lacedaemonians that here
>> we lie, in obedience to their orders.'
bookburn wrote:
> It seems you are saying that "passenger" here references classical, not
> Elizabethan or 17th Century sources; yet I would note there has been a
> continuous tradition of metaphors referring to "passenger" in allegory
> that continues to today, as important as pilgrimage was to Chaucer,
> moral fable to Bunyan, quest to Spencer, and Everyman to More.
> Scientists must have been very aware of consequences in the religious
> sector when describing man as a "passenger" on Planet Earth. Fuller's
> "spaceship earth" must be shocking to some, possibly why he was denied
> implementation of his World Fair exposition in the early '60s.
The Galaxy Song
(from Monty Python's The Meaning of Life, 1983)
http://www.gecdsb.on.ca/d&g/astro/music/Galaxy_Song.html
Composers: Eric Idle & John Du Prez
Whenever life gets you down, Mrs. Brown,
And things seem hard or tough,
And people are stupid, obnoxious or daft,
And you feel that you've had quite eno-o-o-o-o-ough...
Just remember that you're standing on a planet that's evolving
And revolving at nine hundred miles an hour,
That's orbiting at nineteen miles a second, so it's reckoned,
A sun that is the source of all our power.
The sun and you and me and all the stars that we can see
Are moving at a million miles a day
In an outer spiral arm, at forty thousand miles an hour,
Of the galaxy we call the "Milky Way".
Our galaxy itself contains a hundred billion stars.
It's a hundred thousand light years side to side.
It bulges in the middle, sixteen thousand light years thick,
But out by us, it's just three thousand light years wide.
We're thirty thousand light years from galactic central point.
We go 'round every two hundred million years,
And our galaxy is only one of millions of billions
In this amazing and expanding universe.
The universe itself keeps on expanding and expanding
In all of the directions it can whizz
As fast as it can go, at the speed of light, you know,
Twelve million miles a minute, and that's the fastest speed there is.
So remember, when you're feeling very small and insecure,
How amazingly unlikely is your birth,
And pray that there's intelligent life somewhere up in space,
'Cause there's bugger all down here on Earth.
bookburn wrote:
> At the risk of going over the top, I suppose that metaphors of travel
> and "passenger" would include "ship," of which there are many references
> alluding to the author's book that he sends off to sail the public
> ocean. "Ship of Fools" does a great job with the metaphor.
That's NO METAPHOR...you ARE on the "Ship of Fools" right now!
bookburn wrote:
> We speak of life as a metaphor,
> assuming that the physical is a sort of garment worn
> by the numinous, and should be studied as we progress; such as did
> Forest Gump's mother, who told him, "Life is like a box of chocolates:
> you never know what you're going to get."
Chocolate?
bookburn wrote:
> Pertaining to life as a
> journey, we have for kids "The Yellow School Bus," and "Life is a
> Balloon Ride" (approximate titles). I think children's books are
> good about presenting the "journey" metaphor without explaining.
Are we there yet?
> "Robert Stonehouse" <ew...@bcs.org.invalid> wrote:
>
>> This 17th century memorial is in a church - people do not
>> travel through a church, though they are in a sense
>> visitors. So the classicising verse does not quite fit, but
>> that kind of thing was often said because people were used
>> to it and did not notice the anomaly.
bookburn wrote:
> By now, I am a little worried I'm a fish and you are trolling, Robert,
> because church is exactly where people are reminded about life as a
> journey, and "passenger" no doubt has been a stock theme in sermons. In
> the English Bible, which is probably the logical alternative to your
> classics sourcing, we have the examples of "passenger" in both the OT
> and NT. I can think of Jonah, Jesus, and Paul as "passengers."
> Nice short story, "Celestial Omnibus," by Christopher Morley.
'Do you mean THE Christopher Morley?'
> "Robert Stonehouse" <ew...@bcs.org.invalid> wrote:
>
>> Incidentally, the plain name 'Shakespeare' does look odd. It
>> is a way of naming an outstandingly famous man - 'Do you
>> mean THE Shakespeare?' This is an elaborate monument,
>> intended to express the highest degree of honour, but
>> apparently carried out rather clumsily by the contractor.
It is a way of naming an infamous monument: *MONVMENT SHAKSPEARE*
bookburn wrote:
> I read that typically the stone mason was given copy to follow which
> used dots to show spaces between words, that sometimes the stone mason
> confused these signs with periods at end of sentences or literally
> translated everything s/he saw as text; but then it became fashionable
> to keep in the extra dots. I hope that in our interpretation we are not
> similarly dependent on what's literally on the surface. bookburn
MASONS always kept track of their *DOTS*
-----------------------------------------------------------
http://web.uvic.ca/shakespeare/Library/SLT/life/shactor.html
------------------------------------------------------------
Ben Jonson puts him at the top of the list of the "principall
Comoedians" in _Every Man in his Humour_ , 1st acted in 1598:
Will Shakespeare. Ric. Bvrbadge.
Avg. Philips. Ioh. Hemings.
Hen. Condel. Tho. Pope.
Will.Sly. Chr. Beeston.
Will.Kempe. Ioh. Dvke.
----------------------------------------------------------------
19 periods...................
----------------------------------------------------------------
<= 19 =>
____ WillS hake spea [r] eAvgP
____ hilip sHen Cond [e] lWill
__ SlyWi llKe mpeR [i] cBvrb
__ adgeI ohHe ming [s] ThoPo
peChr *BEES* tonI [o] hDvke
----------------------------------------------------------------
25 periods.........................
----------------------------------------------------------------
<= 25 =>
THESEINSUINGSONNETSM [r] WHALL
__ HAPPINESSEANDTHATET [E] RNITI
_ EPROMISEDBYOUREVERL [I V} INGP
_ OETWISHETHTHEWELLWI [S]h{I} NGA
___ DVENTURERINSETTINGF [O]r t{H} TT
-------------------------------------------------------------
There's a 1 in 54 x 2370 (~ 1 in 128,000) chance
of finding an *OSIER* in both arrays
--------------------------------------------------------------
# T. Maccius PLAUTUS, Epidicus, or The Fortunate DiscoVERt
THES-PRIO: You shall know; two lictors two *OSIER* bundles of twigs.
*OSIER*, n. [F. OSIER: cf. {Prov}. F. *oISIS* ]
"The rank of *OSIER* s by the murmuring stream." --Shak.
-------------------------------------------------------------
Art Neuendorffer
Tom Reedy
news:d65ov1t2vsqc23sg6...@4ax.com...
This is interesting. If this was a classical conceit, then it strengthens
the case for Jonson's authorship of the inscription.
>
> Incidentally, the plain name 'Shakespeare' does look odd. It
> is a way of naming an outstandingly famous man - 'Do you
> mean THE Shakespeare?' This is an elaborate monument,
> intended to express the highest degree of honour, but
> apparently carried out rather clumsily by the contractor.
Well, I've never thought it looked odd, for the very reason you cite. How
mean how many other famous Shakespeares were there?
TR
bookburn
>
> Here is my interpretation of the inscription on Shakespeare's monument that
> seems to be so puzzling to so many people.
The Monument inscribes:
> Read, if you can, whom envious death has placed within this monument:
>
>
> has placed into this monument>
>
>
> Some may argue with my interpretation of "read," but in context with the
> first line it makes sense.
My reading favors much more latitude in associating "read" than with the name
of the person, or even reading the enscription. Jonson also addresses reading
the literal vs. figurative Shakespeare in his Commendation of the Droeshout
engraving.
To the Reader.
This Figure, that thou here seest put,
It was for gentle Shakespeare cut,
Wherein the Graver had a strife
with Nature, to out-doo the life :
O, could he but have drawne his wit
As well in brasse, as he hath hit
His face ; the Print would then surpasse
All, that was ever writ in brasse.
But, since he cannot, Reader, looke
Not on his Picture, but his Booke.
bookburn
Elizabeth
> Elizabeth wrote"
> >> Spenser, Beaumont,
> >> and all other English poets were celebrated at death
> >> by their peers.
>
> Sure they were, as was Shakespeare, but their panegyrics weren't published
> as soon after their deaths as Shakespeare's.
You've to that exactly backward, Reedy.
Basse's panegyric was written 'sometime between
1616 and 1623' to quote you.
That's the ONLY eulogy written in those seven
years so you're essentially concealing the facts.
The fact is, the only peer of this character was
his partner, the criminal entrepreneur Francis Langley,
and not even Langley wrote him a poem when he died.
John Skelton
> "Robert Stonehouse" <ew...@bcs.org.invalid> wrote in message
> news:d65ov1t2vsqc23sg6...@4ax.com...
>> On Tue, 21 Feb 2006 21:43:22 GMT, "Peter Groves"
>> <Montiverdi...@bigpond.com> wrote:
>>>"Tom Reedy" <tomr...@verizon.net> wrote in message
>>>news:31FKf.12680$p13.6905@trnddc08...
>>>> Repost.
>>>>
>>>> Stay, passenger, why goest thou by so fast?
>>>>
>>>>
>>>> <Wait, passenger of the earth, why are you hurrying by so fast?>
>>>>
>>>>
>>>Just a small correction here: there's no need to take the writer of the
>>>epitaph for a closet Copernican. "Passenger" here just means ' A
>>>person who
>>>passes by or through a place; a traveller, esp. a traveller on foot'
>>>(OED).
>>
>> This line uses classical attitudes and expressions which are not really
>> appropriate to the 17th century context.
>>
>> In antiquity, burials within a town were not allowed. So a kind of
>> ribbon-development necropolis grew up, with tombs starting on the city
>> boundary and going on for some way on both sides of the road.
That's interesting. It makes me wonder why they put the graves in a ribbon
along the road; why didn't they say to themselves: "well, boys, we can't
bury people in town, why don't we clear a good patch of land outside of
town - let's say 50 acres, and bury people there; or maybe we could buy
Smith's meadow and use that as the burial ground".
What was it about towns and people in antiquity that made them go for the
ribbon technique instead of the meadow technique?
Was it a lack of meadows to buy, a lack of labour to do the clearing? Was
clearing land associated in some way with deeper feelings than the
utilitarian? Was it something about the attitude toward graves - keep them
near? Something else?
Did the making of the ribbons become a habit, a ritual? Something that
carried them down long past the time when a non-ritualized activity would
have been changed?
bobgr...@nut-n-but.net
read what this says. I think no one was any more aware of the
absurdity of this than people even today are aware, as I've said
before, of the absurdity of Shakespeare's "remembrance of things past."
--Bob G.
Peter Farey
Whilst this is no doubt the impression the author
intended, the grammatical meaning of his words is
"If you can read whom Death has placed here, do
so". In your interpretation, the single word 'read'
is used both intransitively *and* transitively.
Peter F.
pet...@rey.prestel.co.uk
http://www2.prestel.co.uk/rey/index.htm
Robert Stonehouse
I am saying that 'passenger' is part of a conventional
expression that came down from long ago. It isn't really a
classical reference except that it shows off the writer's
learning (knowledge of ancient practice in epitaphs). In the
17th century context it doesn't really refer to anything,
but people accept it because it is conventional. there's
nothing deep or profound about it, certainly nothing
philosophical or theological. (Similarly, perhaps, Venus and
Adonis is not theology.)
>
>At the risk of going over the top, I suppose that metaphors of travel and
>"passenger" would include "ship," of which there are many references alluding
>to the author's book that he sends off to sail the public ocean. "Ship of
>Fools" does a great job with the metaphor. We speak of life as a metaphor,
>assuming that the physical is a sort of garment worn by the numinous, and
>should be studied as we progress; such as did Forest Gump's mother, who told
>him, "Life is like a box of chocolates: you never know what you're going to
>get." Pertaining to life as a journey, we have for kids "The Yellow School
>Bus," and "Life is a Balloon Ride" (approximate titles). I think children's
>books are good about presenting the "journey" metaphor without explaining.
>
The Ship of Fools was the container into which Brant packed
all his sinners - because of hell-fire, sin was folly. So
far as I can tell (very sketchy German) it wasn't going
anywhere. But this isn't about life anyway, just a literary
convention.
>>
>> This 17th century memorial is in a church - people do not
>> travel through a church, though they are in a sense
>> visitors. So the classicising verse does not quite fit, but
>> that kind of thing was often said because people were used
>> to it and did not notice the anomaly.
>
>By now, I am a little worried I'm a fish and you are trolling, Robert, because
>church is exactly where people are reminded about life as a journey, and
>"passenger" no doubt has been a stock theme in sermons. In the English Bible,
>which is probably the logical alternative to your classics sourcing, we have
>the examples of "passenger" in both the OT and NT. I can think of Jonah,
>Jesus, and Paul as "passengers." Nice short story, "Celestial Omnibus," by
>Christopher Morley.
I don't think he wrote Shakespeare, but I can accept he
wrote that! On the other hand, while we can say life is a
journey (even that is conventional) I don't see any
compulsion to read a philosophy of life into the
conventional opening for a literary epitaph.
>> Incidentally, the plain name 'Shakespeare' does look odd. It
>> is a way of naming an outstandingly famous man - 'Do you
>> mean THE Shakespeare?' This is an elaborate monument,
>> intended to express the highest degree of honour, but
>> apparently carried out rather clumsily by the contractor.
>
>I read that typically the stone mason was given copy to follow which used dots
>to show spaces between words, that sometimes the stone mason confused these
>signs with periods at end of sentences or literally translated everything s/he
>saw as text; but then it became fashionable to keep in the extra dots. I hope
>that in our interpretation we are not similarly dependent on what's literally
>on the surface. bookburn
Well, that's where we have to start! And if it's enough,
Occam's Razor cuts short our further imaginings.
--
bookburn
"Robert Stonehouse" <ew...@bcs.org.invalid> wrote in message
(snip)
>>At the risk of going over the top, I suppose that metaphors of travel and
>>"passenger" would include "ship," of which there are many references
>>alluding
>>to the author's book that he sends off to sail the public ocean. "Ship of
>>Fools" does a great job with the metaphor. We speak of life as a metaphor,
>>assuming that the physical is a sort of garment worn by the numinous, and
>>should be studied as we progress; such as did Forest Gump's mother, who told
>>him, "Life is like a box of chocolates: you never know what you're going to
>>get." Pertaining to life as a journey, we have for kids "The Yellow School
>>Bus," and "Life is a Balloon Ride" (approximate titles). I think children's
>>books are good about presenting the "journey" metaphor without explaining.
>>
> The Ship of Fools was the container into which Brant packed
> all his sinners - because of hell-fire, sin was folly. So
> far as I can tell (very sketchy German) it wasn't going
> anywhere. But this isn't about life anyway, just a literary
> convention.
(snip)
Here's what I find about Ship of Fools, plus there is a song by the Grateful
Dead with that title not included, from:
http://arts.ucsc.edu/gdead/agdl/ship.html
Also, I turned up description of an existential movie, "The Passenger," with
Jack Nicholson, that sounds intrigueing. bb
Ship of Fools
Hieronymus Bosch's painting from the Louvre, "Ship of Fools" (ca. 1490)
Woodcut, attributed to Albrecht Durer, from Sebastian Brant's Das
Narrenschiff (1494)
From The Dictionary of the Middle Ages' article on Sebastian Brant
(1457-1521):
"Brant's fame stems from Das Narrenschiff (The ship of fools), published in
1494. The book became so popular that within the first year it went through
three editions. ...
In concept and style Das Narrenschiff belongs to the satiric genre of the
Middle Ages, and stands in an old tradition, to a degree biblical in origin.
...
Brant sees follies as sins. This concept makes up the framework of his book:
a ship--an entire fleet at first--sets off from Basel to the paradise of
fools. ...
Each chapter chastizes a type of fool who is depicted graphically in the
accompanying woodcut."
This note from a reader:
Subject: ship of fools
Date: Fri, 24 Mar 2000 13:20:17 -0500
From: James Molenda
I read in Michael Foucault's Madness and Civilization that a ship of fools
referred to the practice of putting the local 'insanes' onto ships to help as
crew people; supposedly, 'regular' people thought that the fools, shipmen, and
the sea all had an affinity for each other. so, when a new ship would port in
a town, people would come and have a chuckle at the expense of the kind
'fools.' so, the sea was an escape for these well-wishing souls from the cruel
sea of humanity on the mainland.
the excerpt comes from the intro, written by Jose Barchilon, m.d., of
foucault's madness and civilization. on page vi:
Renaissance men developed a delightful, yet horrible way of dealing with
their mad denizens: they were put on a ship and entrusted to mariners because
folly, water, and sea, as everyone then "knew," had an affinity for each
other. Thus, "Ship of Fools" crisscrossed the sea and canals of Europe with
their comic and pathetic cargo of souls. Some of them found pleasure and even
a cure in the changing surroundings, in the isolation of being cast off, while
others withdrew further, became worse, or died alone and away from their
families. The cities and villages which had thus rid themselves of their
crazed and crazy, could now take pleasure in watching the exciting sideshow
when a ship full of foreign lunatics would dock at their harbors . . .
Translation by Richard Howard, Vintage Books, a Division of Random House,
1988
if there is anything else i can help you out with on your project, just ask.
adios, james
Katherine Anne Porter's novel Ship of Fools (1962) uses the metaphor of the
ship Vera to represent the entire world as it drifts into World War II. Her
note at the start of the novel states:
"The title of this book is a translation from the German of Das
Narrenschiff, a moral allegory by Sebastian Brant first published in Latin as
Stultifera Navis in 1494. I read it in Basel in the summer of 1932 when I had
still vividly in mind the impressions of my first voyage to Europe. When I
began thinking about my novel, I took for my own this simple almost universal
image of the ship of thie world on its voyage to eternity. It is by no means
new--it was very old and durable and dearly familiar when Brant used it; and
it suits my purpose exactly. I am a passenger on that ship. -- K.A.P."
Porter's book was made into a memorable movie with an all-star cast in 1965.
Gary Larson had a wonderful cartoon on the topic.
Art Neuendorffer
It would be more absurd if it said: "dont read this."
Art
Art Neuendorffer
>> The Ship of Fools was the container into which Brant packed
>> all his sinners - because of hell-fire, sin was folly. So
>> far as I can tell (very sketchy German) it wasn't going
>> anywhere. But this isn't about life anyway, just a literary
>> convention.
>
-------------------------------------------------------------------
*BEDLAM YACHT*
____ {anagram}
*LADY MACBETH*
-----------------------------------------------------------------
IV. RISE OF BOURGEOIS LITERATURE (1300-1500)
http://www.newadvent.org/cathen/06517a.htm
<<Of the many didactic poems of this period, the most famous was
the "Narrenschiff" (Ship of Fools) of the learned humanist SEBASTIAN
Brant (d. 1521), which appeared in 1494 and achieved a European
reputation. This is a satire of all the vices and follies of the age,
of which no less than 110 kinds are enumerated.>>
http://www.xs4all.nl/~knops/timetab.html
1494 NARRENSCHIFF Brant. SEBASTIAN Brant's Narrenschiff
published, illustrated with woodcuts,
among them the famous Bookfool woodcut by Durer(?)
1494 SHIP OF FOOLS DAS NARRENSCHIFF by SEBASTIAN Brant,
first publication. Within 15 years the work appeared in one Latin,
three French, one Dutch, one Low German and an English version.
One reason often cited to explain Brant's far-reaching appeal was
that he wrote in short chapters, mixed his *fools* skillfully,
and maintained a fluid style that engaged his readers.>>
1494 SEBASTIAN Brandt _The ship of fools_ discussed methods
used by cheating alchemists
---------------------------------------------------------------
*STRACHEY*
__ {anagram}
*YACHTERS*
*YACHT* , n. [D. jagt, jacht; OHG. g[=a]hi QUICK, sudden]
-----------------------------------------------------------------
For *YACHTERS* : _Romance of YACHTing_
http://www.english.uiuc.edu/baym/essays/delia_bacon.htm
<<[The first person to argue in print against Shakespeare's authorship
of the plays] seems to have been a [New York lawyer], Colonel Joseph
C. Hart, who claimed in his Romance of YACHTing: Voyage the First
(New York: Harper & Bros., 1848) that the plays were collaboratively
authored by diverse hands, the best parts written by Ben Jonson
and the stage-manager Shakespeare's occasional contributions
identifiable by their vulgarity. Shakespeare 'purchased or
obtained surreptitiously' other men's plays which he then
'spiced with obscenity, blackguardism and impurities'.>>
"What the DEUCE does it mean?" - Herman Melville review
--------------------------------------------------------------
Samuel Pepys Diary August 1665
17th. Up and to the office, where we sat all the morning, and at noon
dined together upon some victuals I had prepared at Sir W. Batten's
upon the King's charge, and after dinner, I having dispatched some
business and set things in order at home, we down to the water and by
boat to Greenwich to the Bezan *YACHT*, where Sir W. Batten, Sir J.
Minnes, my Lord Bruncker and myself, with some servants (among others
Mr. Carcasse, my Lord's clerk, a very civil gentleman), embarked in
the *YACHT* and down we went most pleasantly, and noble discourse I
had with my Lord Bruneker, who is a most excellent person. Short of
Gravesend it grew calme, and so we come to an anchor, and to supper
mighty merry, and after it, being moonshine, we out of the cabbin to
laugh and talk, and then, as we grew sleepy, went in and upon velvet
cushions of the King's that belong to the *YACHT* fell to sleep,
which we all did pretty well till 3 or 4 of the clock, having
risen in the night to look for a new comet which is said
to have lately shone, but we could see no such thing.
-----------------------------------------------------------------
Samuel Pepys Diary September 1662
5th. Up by break of day at 5 o'clock, and down by water to Woolwich:
in my way saw the *YACHT* lately built by our virtuosoes (my Lord
Brunkard and others, with the help of Commissioner Pett also) set
out from Greenwich with the little Dutch bezan, to try for mastery;
and before they got to Woolwich the Dutch beat them half-a-mile
(and I hear this afternoon, that, in coming home, it got
above three miles); which all our people are glad of.
-------------------------------------------------------------
Samuel Pepys Diary August 1660
http://www.pepys.info/1660/1660aug.html
15th. To the office, and after dinner by water to White Hall, where
I found the King gone this morning by 5 of the clock to see a Dutch
pleasure-boat below bridge, [A *YACHT* which was greatly admired,
and was imitated and improved by Commissioner Pett, who built
a yacht for the King in 1661, which was called the "Jenny." Queen
Elizabeth had a *YACHT* and one was built by Phineas Pett in 1604.]
-------------------------------------------------------------
Phineas Pett (From Wikipedia)
Phineas Pett (November 1, 1570 - August, 1647)
was a shipwright and a member of the Pett dynasty.
Born at "Deptford Strond", he was the second son of Peter Pett
of Deptford, his elder brother being named Joseph.
Fuller, in his Worthies of England states: "I am credibly informed
that the mystery of Shipwrights for some descents hath been preserved
successfully in families, of whom the Petts about Chatham are of
singular regard."
It is likely that Robert Holborn, cited as working with Peter Pett of
Deptford at this time was a relative of Richard Hoborn, 'Cousin of
Commissioner Pett'. Peter Pett of Deptford was the son of Peter of
Harwich (d.1554). His sister married John Chapman, Master Shipwright,
whose own son Richard was born in 1620 and Master Shipwright of
Woolwich and Deptford. the shipwright who was to build the 'Ark',
raised in the Pett household, 'as in all probability was
Mathew Baker' with whom, from 1570, Peter Pett was
associated in the works at Dover.?
--------------------------------------------------------------
November 22, 1633, Irish Catholic Cecil Calvert, 27,
sends two ships (the Ark & the Dove) from Ireland
to establish a Catholic colony in America.
<<Not until the spring of 1907 did Jack [London] desperately decide to
sail the still unfinished *YACHT* [Snark] to Hawaii. When, on April 23,
1907, the Snark sailed out the Golden Gate, she carried three people on
board who would chronicle the voyage.>>
November 22, 1916, Jack London took his life at the age of 40.
-------------------------------------------------------------
St Cecilia's Day. She is the patron saint of musicians.
November 22, 1497, 28-year-old Vasco da Gama left Lisbon
with four ships to find a shorter route to India.
November 22, 1594, Pirate Martin Frobisher dies from wounds
November 22, 1621, John Donne became dean of old St Paul's
Cathedral. He asked for a burial place in the
cathedral yard, in an anonymous grave.
November 22, 1710, Wilhelm Friedemann Bach born
November 22, 1718, Blackbeard the Pirate (Edward Teach) dies
British soldiers cornered him aboard his ship & killed him.
November 22, 1819, Marian Evans (George Eliot) born.
November 22, 1869, French writer André Gide was born
November 22, 1888, Tarzan born
November 22, 1890, Charles de Gaulle born.
November 22, 1898, Wiley Post born in Texas. His plane crashed
_________ in Alaska in 1935, killing both him & Will Rogers.
November 22, 1899, Hoagy Carmichael born in Bloomington, Indiana.
November 22, 1906, the International Radio Telegraphic Convention
in Berlin adopted the SOS distress signal: 'Save Our Souls.'
November 22, 1916, Jack London took his life at the age of 40.
November 22, 1921, Rodney Daingerfield born
November 22, 1932, Robert Vaughn (The Man from UNCLE) born
November 22, 1940, Terry Gilliam born
November 22, 1941, Actor Tom Conti born in Paisley, Scotland.
November 22, 1942, Annette Funicello born
---------------------------------------------------------------
Friday(week 1), August 3rd, 1492, Columbus starts on his voyage.
Friday(week 11), October 12th, 1492, first sights land.
Friday(week 23), January 4th, 1493, starts on his return journey.
Friday(week 33), March 15th, 1493, safely arrives at Palos.
Friday was the day of our Lord's crucifixion;
accordingly a fast-day in the Roman Catholic Church.
Friday(week 62), June 13th, 1494, discovers the continent of America.
Friday(week 7 x 7), Nov. 22, 1493, Hispaniola on 2nd expedition.
-------------------------------------------------------------------
Friday, November 22, 1963, Catholic Jack Kennedy assassinated.
Friday, November 22, 1963, C.S. (Jack) LEWIS dies
Friday, November 22, 1963,, Aldous Huxley dies
----------------------------------------------------------------
Life of Phineas Pett (From Wikipedia)
On his father's death in 1589, Phineas was left destitute. He had been
sent to the Free School at Rochester for three years and then moved
to a private school in Greenwich, until in 1586 aged 16 he entered
Emmanuel College, Cambridge. By 1601 Phineas had been appointed
assistant to the Master Shipwright at Chatham; over the years his good
services, particularly in fitting out the Fleet in six weeks, won
support for him at court. Phineas Pett first met the King (James I of
England) in 1607, through the good graces of the Earl of Nottingham,
William Howard, the Lord High Admiral, to whom he had presented a
model of a ship intended for the young prince Henry Stuart.
Howard thought the mould good enough for the direct attention of the
King and arranged for a presentation in the presence of James, and his
son the Prince, at Richmond. The model was presented to the Prince at
St. James's, "who entertained it with great joy, being purposely made
to disport himself withal." King James being likewise impressed and
?exceedingly delighted with the sight of the model? placed the task
of constructing a full-size replica of the ship in Pett?s charge.
In 1610, Phineas's wife gave birth to their son, Peter, and in the
same year, his (step) Aunt Lydia died. In his diary for 1616, he
records that he was ?elected and sworn Master of the Corporation of
Shipwrights at our common hall and meeting place at Redriff.? From
sometime around March 27, 1616, Pett expected to profit from a
commission by Sir Walter Raleigh to build him a vessel of 500 tons
for £500. Admiral Howard permitted Pett to lay her keel on
the galley dock at Woolwich, with the consent of King James.
In 1631, he was appointed a commissioner of the King for making "a
general survey of the whole navy at Chatham." For this and other works
Pett was promoted by Charles to be a principal officer of the Navy,
receiving £200 per annum. His patent was sealed on January 16, 1631.
In the same year the King, Charles I of England, visited Woolwich to
view the launch of the 'Vanguard', which Pett had built. The king
honoured Phineas by participating in a banquet at his lodgings.
Pett was later the First Commissioner at Chatham and
held this same post from 1630 until his death in 1647.
Phineas lived for ten years after the Sovereign of the Seas
was launched. In the burial register of the parish of Chatham
it is recorded,
"Phineas Pett, Esqe. and Capt., was buried 21st August, l647."
Besides his obvious skill as a shipwright, Phineas wrote an
autobiography and some poetry, being the author of a poem he
named "Time's Journey to seek his daughter Truth,"
dedicated to Admiral Howard.
Peter Pett, son of Phineas.
Pett's innovations were perhaps to be finally realized in the
designs of his son Peter Pett for the Frigate: a design of
English shipwrightry worthy of Baker. Sir Peter Pett was almost
as distinguished as his father. He was the builder of the first
frigate, The Constant Warwick.
Sir William Symonds says of this vessel: "She was an incomparable
sailer, remarkable for her sharpness and the fineness of her lines;
and many were built like her." Pett "introduced convex lines on
the immersed part of the hull, with the studding and sprit sails;
and, in short, he appears to have fully deserved his
character of being the best ship architect of his time."
---------------------------------------------------------
David Copperfield. II. I Observe
One autumn morning I was with my mother in the front garden,
when Mr. Murdstone (I knew him by that name now) came by, on
horseback. He reined up his horse to salute my mother, and
said he was going to Lowestoft to see some friends who were
there with a *YACHT*, and merrily proposed to take me
on the saddle before him if I would like the ride.
---------------------------------------------------------
Sir Walter Scott. (1771?1832). Guy Mannering.
Chapter III
Do not the hist'ries of all ages
Relate miraculous presages,
Of strange turns in the world's affairs,
Foreseen by Astrologers, Sooth-sayers,
Chaldeans, learned Genethliacs,
And some that have writ almanacks'
Hudibras.
They live, Mr. Mannering, by the shoreside, at Annan, and a mair
decent, orderly couple, with six as fine bairns as ye would wish to
see plash in a salt-water dub; and little curlie Godfrey''that's the
eldest, the come o' will, as I may say'he's on board an excise
*YACHT*; I have a cousin at the board of excise'that's Commissioner
Bertram;
Chapter LVI
'''''' How like a hateful ape,
Detected grinning 'midst his pilfered hoard,
A cunning man appears, whose secret frauds
Are opened to the day!
Count Basil.
'I ask who you say this young man is?'
'Why, I say,' replied Glossin, 'and I believe that gentleman'
(looking at Hatteraick) 'knows, that the young man is a natural son
of the late Ellangowan by a girl called Janet Lightoheel, who was
afterwards married to Hewit the shipwright, that lived in the
neighbourhood of Annan. His name is Godfrey Bertram Hewit, by which
name he was entered on board the Royal Caroline excise *YACHT*.'
'Aye?' said Pleydell,?'that is a very likely story!'
Chapter LII
And, Sheriff, I will engage my word to you,
That I will by to-morrow dinner time,
Send him to answer thee, or any man,
For any thing he shall be charged withal.
First Part of Henry IV.
'Ellangowan had him placed as cabin-boy or powder-monkey on board
an armed sloop or *YACHT* belonging to the revenue, through the
interest of the late Commissioner Bertram a kinsman of his own.'
-------------------------------------------------------------------
http://www.walterscott.lib.ed.ac.uk/works/novels/mannering.html
Guy Mannering; or The Astrologer. By the Author of "Waverley."
In Three Volumes. Vol. I (II-III). Edinburgh: Printed by James
Ballantyne and Co. For Longman, Hurst, Rees, Orme, and Brown,
London; and Archibald Constable and Co. Edinburgh 1815.
<<Guy Mannering was written in the space of six weeks around
Christmas, primarily to repay a loan provided by his publishers,
Charles Erskine and Longman's. When the novel appeared on February 24,
1815, the title page attributed it to 'the author of Waverley'.
The phrase 'by the author of Waverley' would be used for all
Waverley novels until Scott cast off his disguise in 1827.
Little information about Scott's thoughts and feelings while writing
the novel has been documented. His concern, though, was to produce a
novel that differed substantially from Waverley. He did not want to
become typecast, and therefore chose a tale in which private lives are
intertwined with the exploits of smugglers. The original spark for the
novel may have come from a local story, sent to him by the exciseman
and amateur antiquarian Joseph Train, of a Galloway astrologer who,
predicting the future of a newborn child, accurately warned of great
dangers that would befall him on his twenty-first birthday. Scott had
heard the same story in his childhood and used it as the basis for the
novel's opening chapters. As he worked on the novel, though, the
astrological motif, which jarred with Scott's rationalism, became
increasingly marginal.
The hero, Harry Bertram, son of the Laird of Ellangowan, is kidnapped
as a boy by the smuggler Dirk Hatteraick and carried off to Holland.
Hatteraick is acting in league with the Bertrams' lawyer, Guilbert
Glossin, who hopes to acquire the family property in the absence of a
male heir. Adopted by a Dutch merchant, Bertram is kept in ignorance
of his true identity and brought up under the name Vanbeest Brown.
Upon reaching adulthood, he travels to India and enlists in the army
under Colonel Guy Mannering. Mannering, an enthusiastic amateur
astrologer, has in a previous guise visited the Bertrams' castle of
Ellangowan, and predicted the newborn Harry's future. Bertram falls
in love with Mannering's daughter, Julia, but Mannering imagines that
the attentions paid to his daughter are intended for his wife. He
challenges Bertram to a duel, seriously wounds him, and leaves him for
dead. On recovery, Bertram finds that Julia has returned to Britain.
In disguise, he follows her to the neighbourhood of Ellangowan.
Glossin, now sole owner of Ellangowan, detects his true identity, and
again plots with Hatteraick to abduct him. However, Meg Merrilies,
Bertram's gypsy nurse recognizes him too, and with the help of Bertram
and Dandie Dinmont (a Lowland farmer whom Bertram has rescued from
footpads), attempts to thwart their scheme. This she succeeds in
doing but at the expense of her own life. As a result of her efforts,
Bertram is acknowledged, regains his estates, and marries Julia.
Guy Mannering was an immediate success with the reading public,
the entire first edition being sold out the day after publication.
Within three months the second and third impressions were similarly
exhausted. The reviewers, though, harboured reservations. The British
Critic felt that the genius shown in Waverley had already flickered
out. The Critical Review and the Quarterly feared that the extensive
use of Scots would prove incomprehensible to an English audience.
The former complained too that it encouraged superstition, condoned
duelling, and was irreverent in matters of religion. There was
widespread praise, however, of the vividly portrayed minor characters,
Dandie Dinmont and Meg Merrilies, the latter bringing comparisons
with Shakespeare.>>
--------------------------------------------------------------
Life of Robert Louis Stevenson by Alexander Harvey
<<WHEN Robert Louis Stevenson was 33, he surprised his old
nurse, 'Cummie,' with the announcement that he meant to dedicate to
her his first volume of poetry. She, he told her, in the letter from
Nice containing this news, was the only person who would really
understand it. 'He must have felt that he was doing a piece of work
altogether admirable,' is the comment of Professor William P. Trent
upon this pretty incident, and, adds this subtle critic, 'he made a
wonderfully successful book because he based it on real experience' '
he had taken walks in 'A Child's Garden of Verses,' swung in its
trees, peeped over its wall. Marred as his boyhood had been by
illness, adds Professor Trent, 'it had been that rare thing in these
modern days,' a true childhood. For that one reason was it possible
for him to produce such a masterpiece of verse for the young as that
beginning: 'We built a ship upon the stairs.' 'Underwoods' was a book
of poetry for older readers, brought out simultaneously in London and
New York. It went into a second edition speedily, and thus cheered
Stevenson in the gloom of his illness among the Adirondacks. 'In the
verse business I can do just what I like better than anything else,'
wrote Stevenson to a friend. Yet Professor Trent doubts if Stevenson's
verses represent him fully. They are sane, their strong point, said
Stevenson again, and to this Professor Trent subscribes. They were a
wholesome and pleasant contrast to the rondeaux and delicate decadence
of which healthy readers had grown sick. Yet many of the poems were
the work of an invalid, a dying man in some flashes of inspiration.
For it had begun to be evident to a vast and loving constituency that
Robert Louis Stevenson was under sentence of death. His health did not
improve although his work had never been more brilliant. His wife
travelled to San Francisco and chartered a *YACHT* for those long
cruises through the South Seas, of which he had dreamed as a child.
For when little Louis played with his toy ships at Cummie's knee in
the long ago, as Miss Catherine T. Bryce words it, in her 'Robert
Louis Stevenson Reader,' he always wanted to sail to the far-away
lands. 'When I am a man,' he told Cummie, 'I shall visit the far-away
lands.' Just a week before he died Cummie, in Scotland, got a letter
from her Master Lou, signed 'your laddie, with all love,' and
announcing that he was getting fat.
The histrionic instinct of a David Garrick could scarcely have
heightened the scenic effect of Robert Louis Stevenson's departure
with his whole household upon that cruise through the remote Pacific
isles, which was to end after three years of circumnavigation in a
still newer and more surprising existence. Had the Stevensonian
Odyssey been projected by an author of mere talent for the
exploitation of his own personality, it might have compared not
unfavourably with the loftiest flight of self-advertising inspiration
for which the late Phineas T. Barnum ever manifested a capacity. The
more genuine spectacle of the greatest living artist in the use of
English words, with the hand of death already raised to strike him,
sailing for three adventurous years with his entire household among
archipelagos of savages, imparted to the name of Robert Louis
Stevenson an interest not less weird than that attaching to 'The
Strange Case of Dr. Jekyll and Mr. Hyde.' His vicissitudes were now
part of the news of the day. When in the year 1890 he fixed his abode
among the Samoan Islands on the hills overlooking Apia and for the
next four years played a prominent part in the affairs of a Pacific
outpost of the first strategic importance, for the possession of which
three great powers had strained their mutual diplomatic relations, it
looked for a time as if the author of 'The Master of Ballantrae' must
prove as original a personality in world politics as he had become in
English literature.
But he had resolved to involve himself in no diplomatic intrigue. He
strove from the very first to render his presence a source of uplift
to the natives of the islands he learned to love. His three hundred
cres in a mountain cleft were the setting of a big abode comprising
a hall fifty feet long, wherein he dined in state, a great stairway
leading to a library upstairs, and rooms sufficient to accommodate
a patriarchal establishment. Such was Vailima, source of the famous
'Vailima Letters.' And to this Vailima period belong 'David Balfour'
as we know him, 'Weir of Hermiston,' and 'st. Ives.' They sustain to
the other books of Robert Louis Stevenson somewhat the artistic
relation of 'Little Dorrit' to the novels of Charles Dickens which
preceded it. There is evidence everywhere of a growth of power
distinguishing the writer of the highest genius from the mere author
of popular books. We see evidence of Stevenson's new attitude toward
his own work when he thinks regretfully of 'st. Ives' as 'a mere
tissue of adventures.' In 'Weir of Hermiston' he cultivates what
Mr. John Kelman impressively terms, 'a solemnising and sometimes
terrifying seriousness in dealing with grave moral subjects,' not
discernible in 'Prince Otto,' for instance, or, to go back to a work
suggestive of his earliest manner, 'The Black Arrow.' One might think
the great performances of the Vailima days inspired by the beautiful
prayers he composed for his household ' an atavistic tendency being at
work here surely, for his father and his grandfather and his great
grandfather held family worship a thing as divinely ordained as the
appointment of a definite number of the human race to eternal glory.
The climate of Samoa, says Mr. Graham Balfour, had apparently
answered the purpose of sustaining Stevenson in his long resistance
of disease. His great embarrassment was on the score of expense.
Prodigious as were his royalties, his mode of life consumed them
ruthlessly. But his ambitious projects promised an adequate revenue
for years. 'Weir of Hermiston' and 'st. Ives' grew in splendour from
his pen, and he had actually formed some plan of a lecture tour in
the United States. Of this last project his mind was full when on a
certain afternoon at sunset he descended the wide staircase with its
posts flanked by Burmese idols. He made light of some presentiment
of his wife's, yet, while gaily chatting, he cried out, putting his
hands to his head: 'What's that?' His last words were spoken almost
immediately afterward: 'Do I look strange?' He died that night.>>
--------------------------------------------------------------
Art Neuendorffer
Tom Reedy
You'll have to be patient with bookburn for the next decade or so. He's been
studying literary criticism and I know by personal experience it takes some
time to get over it.
TR
Tom Reedy
"bookburn" <book...@yahoo.com> wrote in message
news:11vr102...@corp.supernews.com...
bookburn! Stop! This is the beginning of a career like Art's!
One of the best satires of Jungarian psychology/literary criticism was a
short story by Phillip Jose Farmer in the early '60's. I can't remember the
title.
TR
Tom Reedy
I meant to say "I mean . . ."
TR
Jim KQKnave
"Tom Reedy" <tomre...@verizon.net> wrote:
>
> "Jim KQKnave" <Anonymous-Remai...@See.Comment.Header> wrote in message
> news:QJUDJ3RK38770.0724421296@anonymous...
> > In article <31FKf.12680$p13.6905@trnddc08>
> > "Tom Reedy" <tomre...@verizon.net> wrote:
> >>
> >>
> >>
> >> As most of us on hlas know, Shakespeare was criticized for lacking art.
> >> He
> >> was known as a natural genius. Jonson complained of how slap-dash
> >> Shakespeare was in comparison to himself,
> >
> > I have to disagree with this. He complained that
> > Shakespeare's may have had too much facility,
> > that he may not always have been in control
> > of it. In the Folio poem (see below) he
> > says that Shakespeare worked hard to craft
> > his work.
> >
> >>who had to write and rewrite to hammer the words into place.
> >
> > That's actually how Jonson characterized
> > Shakespeare in his Folio poem:
>
> In private conversation, Jonson said that Shakespeare "wanted art." Most
> people -- even Jonson -- would use some discretion in a memorial poem and
> withhold their bald opinion.
But why would say what he did in the memorial poem rather
than outright praise? It's a little odd to
say that Shakespeare had to work at it if he was
withholding his true opinion. All that "wanted art"
means is "lacked sophistication", and "sophistication"
was simply relative to Jonson's erudition. Erudition
is not the ability to create a beautiful sentence.
(For example, as far as I can tell, there is no
erudition in Frost's poem "Stopping by woods on
a snowy evening").
So what Jonson said there doesn't mean that Shakespeare
didn't polish his lines by rewriting.
>
> Here's what he said about him in the privacy of his own common-place book:
>
> I remember, the Players have often mentioned it as an honour to Shakespeare,
> that in his writing, (whatsoever he penn'd) hee never blotted out line. My
> answer hath beene, Would he had blotted a thousand. Which they thought a
> malevolent speech. I had not told posterity this, but for their ignorance,
> who choose that circumstance to commend their friend by, wherein he most
> faulted. And to justifie mine owne candor, (for I lov'd the man, and doe
> honour his memory (on this side Idolatry) as much as any.) Hee was (indeed)
> honest, and of an open, and free nature : had an excellent Phantsie ; brave
> notions, and gentle expressions : wherein hee flow'd with that facility,
> that sometime it was necessary he should be stop'd : Sufflaminandus erat ;
> as Augustus said of Haterius. His wit was in his owne power ; would the rule
> of it had beene so too. Many times hee fell into those things, could not
> escape laughter : As when hee said in the person of Caesar, one speaking to
> him ; Caesar, thou dost me wrong. Hee replyed : Caesar did never wrong, but
> with just cause : and such like ; which were ridiculous. But hee redeemed
> his vices, with his vertues. There was ever more in him to be praysed, then
> to be pardoned.
Right, which I condensed. He doesn't say
that Shakespeare did not write and rewrite,
he says that Shakespeare had so many ideas
that he was not in control of all of them.
Note: I am now in the process of substituting "Pope"
for "shit" in my vocabulary. ("Holy Pope",
"I don't give a Pope", "You don't know
Pope from Peoria" etc.)
For example, when I went to Google today
to look at this thread, I thought, "Holy
Pope, I can't believe all the long Neuendoofus
Pope that's in this thread!"
The Historian
>
> Note: I am now in the process of substituting "Pope"
> for "shit" in my vocabulary.
PLONK!
bookburn
Your comment may refer to what I quoted, as I tried to limit myself to matters
at hand. I can save Jerry Garcia's lyrics to "The Ship of Fools" for an
appropriate down time, perhaps while I read K.A.P.'s novel.
The psychology angle is pretty interesting, considering that the reference
suggests comparing the human condition to us already being on The Ship of
Fools in sad conditions of humour but taking ourselves seriously. When the
speaker says, "Stay, passenger," evidently representing the interred poet,
the angle of vision seems like a common address in a community using "comrad",
"brother," or "spectator," with all kinds of sociological, philosophical, and
spiritual ramifications. On that basis, maybe the Jungian psychology would
work. Don't know about Jonson's concept of Fool. Interesting that the
community is literate and into advanced "reading" methods, perhaps suggesting
something about fools' therapy, how to pass your time aboard ship, etc... bb
Tom Reedy
You know, I've thought about this, and I think Jonson probably had the
sonnets in mind when he wrote that. there's no doubt the sonnets were worked
and reworked, and Jonson's comment about what the players said obviously
referred to plays, not poetry.
It's a little odd to
> say that Shakespeare had to work at it if he was
> withholding his true opinion. All that "wanted art"
> means is "lacked sophistication",
I don't agree with that definition.
and "sophistication"
> was simply relative to Jonson's erudition. Erudition
> is not the ability to create a beautiful sentence.
> (For example, as far as I can tell, there is no
> erudition in Frost's poem "Stopping by woods on
> a snowy evening").
> So what Jonson said there doesn't mean that Shakespeare
> didn't polish his lines by rewriting.
Well, he certainly said that in his commetn about blotting lines.
Well, I think the comment, "Would he had blotted a thousand" indicates
Jonson thought Shakespear was kinda sloppy, at least in his plays.
> he says that Shakespeare had so many ideas
> that he was not in control of all of them.
>
> Note: I am now in the process of substituting "Pope"
> for "shit" in my vocabulary. ("Holy Pope",
> "I don't give a Pope", "You don't know
> Pope from Peoria" etc.)
>
> For example, when I went to Google today
> to look at this thread, I thought, "Holy
> Pope, I can't believe all the long Neuendoofus
> Pope that's in this thread!"
I am happily ignorant of what Art posts to hlas, having long ago Pope-canned
him.
TR
Jim KQKnave
"Tom Reedy" <tomre...@verizon.net> wrote:
> I am happily ignorant of what Art posts to hlas, having long ago Pope-canned
> him.
AHAHAHAHAHAHAHAAAAA!! I hadn't thought of that
one! What a Popehead he is!
Art Neuendorffer
>>> I am now in the process of substituting
>>>"Pope" for "shit" in my vocabulary.
>>> ("Holy Pope", "I don't give a Pope",
>>> "You don't know Pope from Peoria" etc.)
>>>
>>> For example, when I went to Google today
>>> to look at this thread, I thought,
>>> "Holy Pope, I can't believe all the long
>>> Neuendoofus Pope that's in this thread!"
> "Tom Reedy" <tomre...@verizon.net> wrote:
>
>>I am happily ignorant of what Art posts to hlas,
>> having long ago Pope-canned him.
Jim KQKnave wrote:
> AHAHAHAHAHAHAHAAAAA!! I hadn't thought
> of that one! What a Popehead he is!
Here I am thinking that an anti-Pope "MAR-STONE" bunch of Freemasons
started a 400 year old conspiracy to hide the fact that Shakespeare
was actually written by a Knight of Malta and now latter day members
of that very conspiracy are trying to convince me otherwise.
Art Neuendorffer
Robert Stonehouse
<grang...@muras.uk> wrote:
>On Wed, 22 Feb 2006 23:29:55 +0000, Tom Reedy wrote:
>> "Robert Stonehouse" <ew...@bcs.org.invalid> wrote in message
>> news:d65ov1t2vsqc23sg6...@4ax.com...
>>> On Tue, 21 Feb 2006 21:43:22 GMT, "Peter Groves"
>>> <Montiverdi...@bigpond.com> wrote:
>>>>"Tom Reedy" <tomr...@verizon.net> wrote in message
>>>>news:31FKf.12680$p13.6905@trnddc08...
>>>>Just a small correction here: there's no need to take the writer of the
>>>>epitaph for a closet Copernican. "Passenger" here just means ' A
>>>>person who
>>>>passes by or through a place; a traveller, esp. a traveller on foot'
>>>>(OED).
>>>
>>> This line uses classical attitudes and expressions which are not really
>>> appropriate to the 17th century context.
>>>
>>> In antiquity, burials within a town were not allowed. So a kind of
>>> ribbon-development necropolis grew up, with tombs starting on the city
>>> boundary and going on for some way on both sides of the road.
>
>That's interesting. It makes me wonder why they put the graves in a ribbon
>along the road; why didn't they say to themselves: "well, boys, we can't
>bury people in town, why don't we clear a good patch of land outside of
>town - let's say 50 acres, and bury people there; or maybe we could buy
>Smith's meadow and use that as the burial ground".
>
>What was it about towns and people in antiquity that made them go for the
>ribbon technique instead of the meadow technique?
>
>Was it a lack of meadows to buy, a lack of labour to do the clearing? Was
>clearing land associated in some way with deeper feelings than the
>utilitarian? Was it something about the attitude toward graves - keep them
>near? Something else?
>
>Did the making of the ribbons become a habit, a ritual? Something that
>carried them down long past the time when a non-ritualized activity would
>have been changed?
I'll use the work of someone who is a professional and
plainly knows a lot more about this than I do! My quotations
are from 'Memorials to the Roman dead' by Susan Walker,
British Museum 1985.
p.13 "In 1868 the British architect and engineer John Turtle
Wood excavated one of the gates of the wealthy city of
Ephesus, the major port of the Roman province of Asia. He
found two roads leading out of it. That leading south to the
city of Magnesia wound, he recorded, 'amongst the
substructures of monuments, some of which are of large
proportions and very massive and are evidently raised over
persons of distinction. These are to be traced for more than
two miles from the gates'. The other road, to Ayasoluk, the
modern Seljuk, was to lead Wood to his goal, the lost Temple
of Artemis, one of the Seven Wonders of the ancient world.
The road was lined 'with tombs of every description, but
chiefly sarcophagi of white marble ... On the side of the
mountain near this road an upper road for foot passengers
had been constructed with arched recesses where they were
required by the irregularities of the natural formation.
Many of these recesses had been used as _columbaria_'
(literally, dove-cots: chamber-tombs with niches for
cinerary chests and urns)."
This gives an idea of the appearance. Perhaps my 'ribbon
development' was frivolous; we could say it was a
far-extended cemetery. (Mind, I would translate 'columbaria'
as 'pigeon-holes' - the ones at Rome look just like that.)
Obviously wealth and ostentation played a big part. If you
could afford it, you got a splendid construction beside the
road. If not, then you might get a pigeon-hole farther off.
Emperors, contrary to the general rule, could be buried in
Rome. The tomb of Augustus was even within the walls, half a
mile north of the Pantheon. Hadrian's (now the Castel S.
Angelo) is across the river.
The reason for prohibiting burials within towns was
hygienic, I think, and not religious. Also, tombs were the
property of the Di Manes, and it would be inconvenient to
have so many more sacrosanct and inviolable sites within a
town.
Here we have to consider the more literary kind of epitaph,
which followed Greek forms. In Hellenistic Greek poetry, the
epigram was a very common form, and that was a kind of
epitaph. (The word 'epigramma' means something written on a
tomb; 'epitaphios' was a funeral speech.)
Most of the ones we have were probably never inscribed;
there are 5,938 lines of them in Page's Oxford Text.
Consider Callimachus (no.34 Page), on the death of
Heracleitus, translated by Ernest Dowson beginning 'They
told me, Heracleitus, they told me you were dead' where the
poet did not hear of the death until some time after.
But some were, and moreover there were warnings against
violation - p.58:
"The inscription set up on the tomb of Aurelia Felicissima
.. includes a stern warning to those who used the tomb
without the right to do so. Such admonitions were very
common, especially in Asia Minor, where the violation of
tombs seems to have been a recurrent problem. Another text
from Halicarnassus cursed the violator: 'May the land not be
fruitful for him nor the sea navigable. May he have no
profit from his children nor a hold on life but may he
encounter utter destruction'."
That custom (though not that particular inscription) may be
the basis for the curse at the end of Shakespeare's epitaph.
I should not be surprised if some time someone found an
ancient source for the whole epitaph, more or less loosely
followed by the writer. But this is surely not a good enough
writer to be Jonson.
--
Robert Stonehouse
To mail me, replace invalid with uk. Inconvenience regretted
Art Neuendorffer
_____ {anagram}
__ *MORTE F[hoRAce]NS* T:
{FRANS : FRANCIS Dutch)}
---------------------------------------
Sir *FRANCIS* Vere (1560-1609)
and his brother [ *hoRAce* ] (1565-1635)
are buried in the chapel of St John the Evangelist in the Abbey.
--------------------------------------------
STAY PASSENGER, WHY GOEST THOV BY SO FAST,
READ IF THOV CANST, WHOM ENVIOVS *DEATH* HATH PLAST
WITHIN THIS MONVMENT SHAKSPEARE: WITH WHOME
QVICK NATVRE DIDE WHOSE NAME DOTH DECK YS TOMBE
*FAR MORE TheN COST* : SIEH ALL YT HE HATH WRITT,
LEAVES LIVING ART, BVT PAGE, TO SERVE HIS WITT
----------------------------
__ *FAR MORE TheN COST* :
_____ {anagram}
__ *MORTE FARheNCOS T* :
----------------------------
__________ he => I
----------------------------
__ *MORTE FRANCOIS T* :
__ *DEATH FRANCIS T* : (French)
----------------------------
Did [ *hoRAce* ] Vere bury Edward de VERE
in *FRANCIS* VERE's TOMBE?
----------------------------
Art Neuendorffer
Art Neuendorffer
lariadna
>__ *FAR MORE TheN COST* :
>_____ {anagram}
>__ *MORTE FARheNCOS T* :
>----------------------------
>__________ he => I
>----------------------------
>__ *MORTE FRANCOIS T* :
>__ *DEATH FRANCIS T* : (French)
>----------------------------
>Did [ *hoRAce* ] Vere bury Edward de VERE
> in *FRANCIS* VERE's TOMBE?
>----------------------------
>Art Neuendorffer
"Far more...." 'quoth the raven', 'ominous bird of yore'.
Art Neuendorffer
>>__ *FAR MORE TheN COST* :
>>_____ {anagram}
>>__ *MORTE FARheNCOS T* :
>>----------------------------
>>__________ he => I
>>----------------------------
>>__ *MORTE FRANCOIS T* :
>>__ *DEATH FRANCIS T* : (French)
>>----------------------------
>>Did [ *hoRAce* ] Vere bury Edward de VERE
>> in *FRANCIS* VERE's TOMBE?
>>----------------------------
lariadna wrote:
> "Far more...." 'quoth the raven', 'ominous bird of yore'.
>
Didn't he say something else on the bust
of (spear shaker) PALLAS MINERVA?
Art N.
Art Neuendorffer
>>__ *FAR MORE TheN COST* :
>>_____ {anagram}
>>__ *MORTE FARheNCOS T* :
>>----------------------------
>>__________ he => I
>>----------------------------
>>__ *MORTE FRANCOIS T* :
>>__ *DEATH FRANCIS T* : (French)
>>----------------------------
>>Did [ *hoRAce* ] Vere bury Edward de VERE
>> in *FRANCIS* VERE's TOMBE?
>>----------------------------
lariadna wrote:
> "Far more...." 'quoth the raven', 'ominous bird of yore'.
----------------------------------------------------
[H]e's gone and with him what a world are dead,
[W]hich he *revived* , to be *revivèd* so.
No *more* young Hamlet, old Jeronimo,
King Lear, the grievèd *Moor*, and *more* beside,
That lived in him have now *for EVER* died.
- eulogy to Richard *BUR-BAGE* (i.e., *BOAR-BADGE* ).
----------------------------------------------------
Romans 7:4 Wherefore, my brethren, ye also are become dead to the law by
the body of Christ; that ye should be married to another, even to him
who is raised from the dead, that we should bring forth fruit unto God.
For when we were in the flesh, the motions of sins, which were by the
law, did work in our members to bring forth fruit unto death. But now we
are DEliVERED from the law, that being dead wherein we were held; that
we should sERVE in newness of spirit, and not in the oldness of the
letter. What shall we say then? Is the law sin? God forbid. Nay, I had
not known sin, but by the law: for I had not known lust, except the law
had said, Thou shalt not covet. But sin, taking occasion by the
commandment, wrought in me all manner of concupiscence. For without the
law sin was dead. For I was alive without the law once: but when the
commandment came, sin revived, and I died. And the commandment, which
was ordained to life, I found to be unto death. For sin, taking occasion
by the commandment, deceived me, and by it slew me.
----------------------------------------------------
Art Neuendorffer
Art Neuendorffer
lariadna wrote:
commandment came, sin *revived* , and I died. And the commandment, which
lariadna
Your ideas are interesting, but you're likely reading into
it 'far more' than is there...
...
'The question now arose as to the character of the word. Having made up
my mind to a refrain, the division of the poem into stanzas was of
course a corollary, the refrain forming the close to each stanza. That
such a close, to have force, must be sonorous and susceptible of
protracted emphasis, admitted no doubt, and these considerations
inevitably led me to the long o as the most sonorous vowel in
connection with r as the most producible consonant.
The sound of the refrain being thus determined, it became necessary
to select a word embodying this sound, and at the same time in the
fullest possible keeping with that melancholy which I had
pre-determined as the tone of the poem. In such a search it would
have been absolutely impossible to overlook the word "Nevermore."
In fact it was the very first which presented itself.'
...
' I made the bird alight on the bust of Pallas, also for the effect of
contrast between the marble and the plumage- it being understood
that the bust was absolutely suggested by the bird- the bust of
Pallas being chosen, first, as most in keeping with the scholarship
of the lover, and secondly, for the sonorousness of the word, Pallas,
itself.'
---Poe, from 'The Philosophy of Composition'
<http://www.poedecoder.com/Qrisse/works/philosophy.php>
>From an interesting summary about Friedman
(don't know how accurate this article is):
' In particular, Friedman enjoyed Poe's short story "The Gold Bug," in
which the author used an enciphered message as a clue to the discovery
of buried treasure.'
<http://www.bradherzog.com/cornell_codecracker.htm>
C.
Art Neuendorffer
>>
>>>>__ *FAR MORE TheN COST* :
>>>>_____ {anagram}
>>>>__ *MORTE FARheNCOS T* :
>>>>----------------------------
>>>>__________ he => I
>>>>----------------------------
>>>>__ *MORTE FRANCOIS T* :
>>>>__ *DEATH FRANCIS T* : (French)
>>>>----------------------------
>>>>Did [ *hoRAce* ] Vere bury Edward de VERE
>>>> in *FRANCIS* VERE's TOMBE?
>>>>----------------------------
>>>
>>lariadna wrote:
>>
>>>"Far more...." 'quoth the raven', 'ominous bird of yore'.
> Art Neuendorffer wrote:
>
>> Didn't he say something else on the bust
>> of (spear shaker) PALLAS MINERVA?
lariadna wrote:
> Your ideas are interesting, but you're likely
> reading into it 'far more' than is there...
I'm actually reading *far less* but it's a learning process
and I'm bound to make mistakes along the way.
lariadna wrote:
-----------------------------------------------------
buried treasure
-----------------------------------------------------
... the best for Comedy amongst vs bee,
Edward Earle of Oxforde,
Doctor Gager of Oxforde,
Maister Rowley once a rare Scholler of learned Pembrooke Hall,
Maister Edwardes one of her Maiesties Chappell,
eloquent and wittie Iohn Lilly,
Lodge,
Gascoyne,
Greene,
Shakespeare,
Thomas Nash,
Thomas Heywood,
Anthony Mundye OUR BEST PLOTTER,
Chapman,
Porter,
*WILSON, HATHWAY* , and Henry Chettle.
-----------------------------------------------------------------
A January 17, 1579 entry in the Stratford Church Register:
marriage of
*William WILLSONNE and Anne HATHAWAY of Shotterye*
November 27, 1582 Wm Shaxpere & Anna Whateley of Temple Grafton
November 28, 1582 William Shagspere & Anne Hathwey of Stratford
--------------------------------------------------------------------
*WILLIAM WILSON* (1839) by Edgar Allan Poe
LET me call myself, for the present, *William Wilson* The *FAIR* page
now lying before me need not be sullied with my real appellation.
This has been already too much an object for the scorn --for
the *HORROR* --for the detestation of my race. To the uttermost
regions of *THE GLOBE* have not the indignant winds bruited its
unparalleled infamy? Oh, outcast of all outcasts most abandoned!
Perhaps it was this latter trait in Wilson's conduct, conjoined with
our identity of name, and the mere accident of our having entered
the school upon the same day, which set afloat the notion that we
were BROTHERS, among the senior classes in the academy. These do
not usually inquire with much strictness into the affairs of their
juniors. I have before said, or should have said, that Wilson was not,
in the most remote degree, connected with my family. But assuredly
if we had been brothers we must have been twins; for, after leaving
Dr. Bransby's, I casually learned that my namesake was born on the
*nineteenth of January* , 1813 --and this is a somewhat remarkable
coincidence; for the day is precisely that of my own nativity.
-----------------------------------------------------------------
__ OVR.EVER-LIVING.POET.
_____ WISHETH.
__ THE. *WELL-WISHING*
___ ADVENTVRER.IN.
______ SETTING.
_______ FORTH.
---------------------------------------------------------------
St. Fillian's day January 19
http://www.ntin.net/McDaniel/0119.htm
St. Fillian was a Scottish abbot who treated the insane by dunking
them in a holy *WELL* & tying them by the foot to his bed.
January 19, 570, Islamic prophet Mohammed was born.
January 19, 1547, Henry Howard, earl of Surrey (& Ed Vere's uncle),
beheaded at age 29
because of his enmity with the Seymours.
Surrey & Thomas W(y)att introduced
the sonnet into English verse.
____________ +29
----------------------
January 19, 1576, Hans Sachs (cobbler/meistersinger) dies.
January 19, 1729, William CongREVE, restoration dramatist, dies
January 19, 1736, James Watt born.
January 19, 1813, William Wilson's born.
-------------------------------------------------------------
Miles CoVERdalE died on January 19, 1568.
Miles Coverdale, publisher of the first printed English Bible.
He completed the translation of the Old Testament which
William Tyndale had left unfinished at his death in 1536.
-----------------------------------------------------------
THE CONQUEROR WORM (1843)
by Edgar Allan Poe
Lo! 'tis a gala night
Within the lonesome latter years!
An angel throng, bewinged, bedight
In VEILS, and drowned in tears,
Sit in a THEATRE, to see
A play of HOPES and FEARs,
While the orchestra breathes fitfully
The music of the SPHERES.
Mimes, in the form of God on high,
Mutter and mumble low,
And hither and thither fly-
Mere puppets they, who come and go
At bidding of vast formless things
That shift the scenery to and fro,
Flapping from out their Condor wings
Invisible Woe!
That motley drama- oh, be sure
It shall not be forgot!
With its PHANTOM chased for EVERmore,
By a crowd that seize it not,
Through a circle that EVER returneth in
To the self-same spot,
And much of Madness, and more of Sin,
And *HORROR* the soul of the plot.
But see, amid the mimic rout
A crawling shape intrude!
A blood-red thing that writhes from out
The scenic solitude!
It writhes!- it writhes!- with mortal pangs
The mimes become its food,
And seraphs sob at vermin fangs
In human gore imbued.
Out- out are the lights- out all!
And, over each quivering form,
The curtain, a funeral pall,
Comes down with the rush of a storm,
While the angels, all pallid and wan,
Uprising, unVEILing, affirm
That the play is the tragedy, "Man,"
And its hero the Conqueror WORM.
-------------------------------------------------
Art Neuendorffer
David L. Webb
Art Neuendorffer <aneuendor...@comcast.net>
(aneuendor...@comicass.nut) wrote:
[...]
> I'm actually reading *far less* but it's a learning process
> and I'm bound to make mistakes along the way.
Reading is a learning process for you, Art? I should have guessed.
But perseVERE -- eventually you might even learn to write. Then you
should have another go at Lehigh.
[...]
David L. Webb
Art Neuendorffer <aneuendor...@comcast.net>
(aneuendor...@comicass.nut) wrote:
[...]
> Didn't he say something else on the bust
> of (spear shaker) PALLAS MINERVA?
But Art -- "Pallas Minerva" is an anagram of
Ver mania palls.
If you prefer, the text is also an anagram of
I'm A.N., all sap. -- Ver.
This surely constitutes decisive evidence that the Earl of Oxford wrote
the posts of Art Neuendorffer -- at least the latter are more creative
and far more entertaining than the Earl's unmemorable epistolary
sequence on tin mining.
> Art N.
Art Neuendorffer
>> Didn't he say something else on the bust
>> of (spear shaker) PALLAS MINERVA?
David L. Webb wrote:
> But Art -- "Pallas Minerva" is an anagram of
>
> Ver mania palls.
>
> If you prefer, the text is also an anagram of
>
> I'm A.N., all sap. -- Ver.
Too many words, to low a INPNC.
PALLAS MINERVA
SPEARMAN VILLA
Art Neuendorffer
Peter Farey
Robert Stonehouse wrote:
>
> I should not be surprised if some time someone found
> an ancient source for the whole epitaph, more or less
> loosely followed by the writer. But this is surely
> not a good enough writer to be Jonson.
It rather depends upon whether you assume that the
epitaph has only the one meaning or not. If it was
intended to have two, as I believe, then it would
certainly have needed someone of Jonson's talent to
achieve it.
Ivdicio Pylivm, genio Socratem,arte Maronem,
Terra tegit ,popvlvs mæret, Olympvs habet
Stay Passenger, why goest thov by so fast?
read if thov canst, whom enviovs Death hath plast,
with in this monvment Shakspeare: with whome,
qvick natvre dide: whose name doth deck y\s Tombe,
Far more, then cost: Sieh all, y\t He hath writt,
Leaves living art, bvt page, to serve his witt.
obiit an(n)o do(min)i 1616
Ætatis.53 die 23ap(rilis).
Just for the record, again, here's the second:
The country hides a Nestor in judgement,
the nation mourns a Socrates in inspiration,
the gods esteem him a Virgil in art.
Stay passer-by, why go by so fast? Make out, if you
can, whom envious Death has placed in this monument
*with* Shakespeare (with whom 'living' Nature died):
Christopher Marlowe - he is returned in spite of all.
That *he* did the writing leaves Art still alive
without a page to serve up his wit.
The 'author' died in the year of our Lord 1616
(in *their* 53rd year) on the 23rd day of April.
Peter F.
pet...@rey.prestel.co.uk
http://www2.prestel.co.uk/rey/index.htm
David L. Webb
Art Neuendorffer <aneuendor...@comcast.net>
(aneuendor...@comicass.nut) wrote:
[...]
> >> Didn't he say something else on the bust
> >> of (spear shaker) PALLAS MINERVA?
> David L. Webb wrote:
>
> > But Art -- "Pallas Minerva" is an anagram of
> >
> > Ver mania palls.
> >
> > If you prefer, the text is also an anagram of
> >
> > I'm A.N., all sap. -- Ver.
> Too many words, to [sic] low a INPNC.
Is English your native tongue, Art?
> PALLAS MINERVA
> SPEARMAN VILLA
INPNC score zero.
> Art Neuendorffer
seaker
bobgr...@nut-n-but.net
Peter Farey wrote:
> Bob Grumman wrote:
> >
> > I think "read if thou canst" means just that: if you
> > know how to read, read what this says. I think no
> > one was any more aware of the absurdity of this than
> > people even today are aware, as I've said before, of
> > the absurdity of Shakespeare's "remembrance of things
> > past."
>
> Whilst this is no doubt the impression the author
> intended, the grammatical meaning of his words is
> "If you can read whom Death has placed here, do
> so". In your interpretation, the single word 'read'
> is used both intransitively *and* transitively.
Right, which would mean that the passer-by should read the works of
Shakespeare. Which seems out of context. So we go with
intransitive/transitive, or a kind of poetic elision.
--Bob G.
Robert Stonehouse
<Peter...@prst17z1.demon.co.uk> wrote:
>Robert Stonehouse wrote:
...
>> I should not be surprised if some time someone found
>> an ancient source for the whole epitaph, more or less
>> loosely followed by the writer. But this is surely
>> not a good enough writer to be Jonson.
>
>It rather depends upon whether you assume that the
>epitaph has only the one meaning or not. If it was
>intended to have two, as I believe, then it would
>certainly have needed someone of Jonson's talent to
>achieve it.
> Ivdicio Pylivm, genio Socratem,arte Maronem,
> Terra tegit ,popvlvs m?t, Olympvs habet
(maeret - it has not come over to me unscathed.)
...
>Just for the record, again, here's the second:
>
> The country hides a Nestor in judgement,
> the nation mourns a Socrates in inspiration,
> the gods esteem him a Virgil in art.
...
What I assume (or rather opine) is that we need to find one
meaning before we start looking for a second! But taking the
Latin:
'The country' must mean something like 'the political
organisation and the people who comprise it', if it is to do
things like hiding. 'The territorial extent' will not do,
because that has no will and takes no actions. Now, if
'terra' is to mean 'country', it must refer to the
territory. It would more easily mean 'district' or 'attached
farm-land', and using it to mean the territory of a
particular political entity, without naming that entity
('the country of the Gadarenes' or were they the
Gergesenes?) is a severe stretch, though perhaps not an
impossible one.
'Tegit' means 'covers'. It can be used as a synonym of
'celat' (hides) only by another extension. 'To hide with
earth' would be clearer, but I think that is not what you
mean.
In the context of burial, since after all this is an
epitaph, 'the earth covers ...' is a much more natural
interpretation - to the extent that 'the country hides' is
improbable and misleading.
Taking the three phrases in each line as respectively
corresponding, why is it Nestor who is hidden, Socrates who
is mourned and Virgil who is esteemed by Olympus? Why should
not any one of the three do all three of these things? What
is the point of the distinction?
I would claim that in elegiac verse the change from the
hexameter to the pentameter imposes a break and invites us
to set one line against the other, not to analyse both into
two-word phrases and set each phrase from one against the
equal-numbered phrase in the other.
Peter Farey
"seaker" wrote:
Well, I did say
"And any time you feel like having what you consider
a scholarly and well-researched discussion on anything
I have said, please do so",
so I guess I got what I asked for.
Peter Farey
Robert Stonehouse wrote:
>
> Peter Farey wrote:
>
> > It rather depends upon whether you assume that the
> > epitaph has only the one meaning or not. If it was
> > intended to have two, as I believe, then it would
> > certainly have needed someone of Jonson's talent to
> > achieve it.
>
> > Ivdicio Pylivm, genio Socratem,arte Maronem,
> > Terra tegit ,popvlvs m?t, Olympvs habet
> (maeret - it has not come over to me unscathed.)
Sorry! As it seemed to work with my rather ancient set-up,
I wrongly assumed that it would travel well elsewhere.
> ...
> > Just for the record, again, here's the second:
> >
> > The country hides a Nestor in judgement,
> > the nation mourns a Socrates in inspiration,
> > the gods esteem him a Virgil in art.
> ...
> What I assume (or rather opine) is that we need to find
> one meaning before we start looking for a second!
Fair point. (Although I rather suspect that it might
be a difficult task).
> But taking the Latin:
>
> 'The country' must mean something like 'the political
> organisation and the people who comprise it', if it is
> to do things like hiding. 'The territorial extent' will
> not do, because that has no will and takes no actions.
Agreed, but I think that I would have said "and/or the
the people who comprise it".
> Now, if 'terra' is to mean 'country', it must refer to
> the territory. It would more easily mean 'district' or
> 'attached farm-land', and using it to mean the territory
> of a particular political entity, without naming that
> entity ('the country of the Gadarenes' or were they the
> Gergesenes?) is a severe stretch, though perhaps not an
> impossible one.
This is what John W.Kennedy and I have been discussing.
I have just cited the use of 'land' in Jeremiah 23:
10. For the land is full of adulterers; for because of
swearing the land mourneth;
(Quia adulteris repleta est terra quia a facie
maledictionis luxit terra)
We might well say that precisely which land it is must
be understood, but I would claim that it is equally
obvious here.
> 'Tegit' means 'covers'. It can be used as a synonym of
> 'celat' (hides) only by another extension. 'To hide with
> earth' would be clearer, but I think that is not what you
> mean.
>
> In the context of burial, since after all this is an
> epitaph, 'the earth covers ...' is a much more natural
> interpretation - to the extent that 'the country hides'
> is improbable and misleading.
I don't disagree that the obvious meaning is 'the earth
covers', or that that it is what the designer intended
people to read it as. What I was saying is that he has
deliberately written it in such a way that this different
meaning would be available too. Misleading is what it is
all about.
An interesting aspect of this is, I think, that if I
'hide' someone, it may be either by finding a cupboard
for them to hide in (celo?) or by standing in front of
them so that they can't be seen (tego?). Shakespearean
examples might be
"Go bid her hide him quickly from the Duke"
and
"And, by the ground they hide, I judge their number"
In the case of the land or country it would presumably
be performing the equivalent of both functions.
> Taking the three phrases in each line as respectively
> corresponding, why is it Nestor who is hidden, Socrates
> who is mourned and Virgil who is esteemed by Olympus?
> Why should not any one of the three do all three of
> these things? What is the point of the distinction?
To be honest, I have no preference either way, and it
really doesn't have any effect on my argument. It is
something you might like to consider for your 'one
meaning', however. I see, for example, that Katherine
Duncan-Jones went for:
"The earth covers, the people mourn, Olympus holds (a
man who was) a Pylius (=Nestor) in judgement, a Soc-
rates in wisdom, a Virgil in literary skill"
whereas Park Honan preferred:
"The earth covers one who is a Nestor in judgement;
the people mourn for a Socrates in genius;
Olympus has a Virgil in art"
> I would claim that in elegiac verse the change from
> the hexameter to the pentameter imposes a break and
> invites us to set one line against the other, not to
> analyse both into two-word phrases and set each phrase
> from one against the equal-numbered phrase in the other.
Yes, that certainly makes sense. Thanks. I know you
prefer not to get involved in authorship matters, so I'm
happy to leave it at that!
Peter Groves
news:du1ati$o1e$1$8302...@news.demon.co.uk...
If I may interject, what one might call 'distributed respective
modification' is a standarad figure in Elizabethan poetry:
Hoo, Hearts, Tongues, Figure, Scribes, Bards, Poets, cannot
Thinke[,] speake, cast, write, sing, number: hoo, His loue
To Anthony.
(A&C)
Peter G.
Peter Farey
Peter Groves wrote:
>
> Peter Farey wrote:
> >
> > To be honest, I have no preference either way, and it
> > really doesn't have any effect on my argument. It is
> > something you might like to consider for your 'one
> > meaning', however. I see, for example, that Katherine
> > Duncan-Jones went for:
> >
> > "The earth covers, the people mourn, Olympus holds (a
> > man who was) a Pylius (=Nestor) in judgement, a Soc-
> > rates in wisdom, a Virgil in literary skill"
> >
> > whereas Park Honan preferred:
> >
> > "The earth covers one who is a Nestor in judgement;
> > the people mourn for a Socrates in genius;
> > Olympus has a Virgil in art"
>
> If I may interject, what one might call 'distributed
> abethan poetry:
>
> Hoo, Hearts, Tongues, Figure,
> Scribes, Bards, Poets, cannot
> His loue to Anthony.
>
> (A&C)
So that's what it's called. Thank you!
My own (MND) example would be:
Ile follow you, Ile leade you about a Round,
Through bogge, through bush, through brake, through bryer,
Sometime a horse Ile be, sometime a hound:
A hogge, a headlesse beare, sometime a fire,
And neigh, and barke, and grunt, and rore, and burne,
Like horse, hound, hog, beare, fire, at euery turne.
Art Neuendorffer
>>>> Didn't he say something else on the bust
>>>> of (spear shaker) PALLAS MINERVA?
>> David L. Webb wrote:
>>> But Art -- "Pallas Minerva" is an anagram of
>>> Ver mania palls.
>>> If you prefer, the text is also an anagram of
>>> I'm A.N., all sap. -- Ver.
>> Too many words, too low an INPNC.
>> *PALLAS MINERVA*
>> *SPEARMAN VILLA*
David L. Webb wrote:
> INPNC score zero.
-----------------------------------------------------------
Rosanna *SPEARMAN* 's secret at the *ShiVERing Sand*
------------------------------------------------------------
Wilkie Collins: Moonstone
<<The man came down again with an impenetrable face, and informed me
that *Miss VERinDEr* was out. . . Devoting myself once more to the
elucidation of the impenetrable puzzle which my own position presented
to me, I now tried to meet the difficulty by investigating it from a
plainly practical point of view. The events of the memorable night
being still unintelligible to me, I looked a little farther back,
and searched my memory of the earlier hours of the birthday for
any incident which might prove of some assistance to me in finding
the clue. . . ` There rose the horrible fact of the Theft --
the one visible, tangible object that confronted me, in the
midst of the impenetrable darkness which enveloped all besides!
Not a glimpse of light to guide me, when I had possessed myself
of Rosanna *SPEARMAN* 's secret at the *ShiVERing Sand* .>>
------------------------------------------------------------------
Alexander SELKIRK was found in the DESERT island of Juan Fernandez,
where he had been left by Captain Stradling.
He remained on the island 52 months, when he was rescued
by Captain ROGERS (*SPEARMAN*), and brought to England.
The embryo of De Foe's _Robinson Crusoe_
may be seen in Captain Burney's narrative.
---------------------------------------------------------
________ *SPEARMAN ECHO*
________ *ANCHORA SPEME*
-------------------------------------------------------
The Shepheardes Calender: January
Vp, Lad, of thy selfe fashion a selfe;
*ANCHORA SPEME* be thine embleme now.
His Embleme or Poesye is here
vnder added in Italian, *ANCHORA SPEME* :
-------------------------------------------------------------------
<<The grounds of Cecil House were probably acres in extent, though
they were to be dwarfed by those of the great mansion of Theobalds.
Built of brick trimmed with stone Theobalds (pronounced Tibbals) was
approached by a mile-long avenue of CEDARS. While nothing remains of
it today but a few stones, full plans survive. It was built about two
principal quadrangles, respectively 86 and 110 feet on a side, and
among its many apartments was a gallery 113 feet long, "wainscoted
with *OAK* & paintings over the same of divers cities, rarely painted
and set forth." Gardens were laid out on three sides of the mansion
by John GERARD [ *SPEARMAN* ] the horticulturalist.">> -- Ogburn
-----------------------------------------------------------------
EDGAR = *GREAT SPEARMAN* = *GERARD Groote*
------------------------------------------------------------------
Thomas à Kempis
http://www.age-of-the-sage.org/sources/a_kempis.html
<<The historical personality known to the English speaking areas as
Thomas a Kempis was originally known as Thomas Haemerken. He was born
in Kempen (hence à Kempis) near Krefeld in the then Duchy of Cleves in
1379 or 1380. Thomas a Kempis' father may well have been an artisan
worker in metals, the name Haemerken is suggestive of a "little
hammer" and Kempen was known for it's metal working. In the seven
years Thomas a Kempis was attending school at Deventer he was much
influenced by the "new devotion" encouraged by the Brothers of the
Common Life. This "devotio moderna" looked to the enthusiam and
sincerity associated with Christianity in the first century after
Christ [and was] much influenced by *GERARD Groote* . All were
expected to work in support of the community but monies were held in
common. At Deventer Thomas a Kempis proved to be a good and attentive
pupil who developed skills in the accurate and neat transcription of
manuscripts. In 1399, upon completion of his schooling at *DEVEntER*
Thomas a Kempis sought admission to a faith community, the Canons
Regular of Mount St. *AGNES* , [which] had Thomas' brother John for
it's prior. The foundation of Mount St. AGNES is seemingly
attributable to the respect & friendship that *GERARD Groote* had for
mystic John Ruysbroeck. Thomas a Kempis' brother John passed away in
1432. TDear Peter,
If you simply wish to debate with the
'Stratfordian stooges' on HLAS that is your option.
I simply want to know if you have kill filed me; OR ...
are otherwise unwilling to debate someone competent.
I'm sorry if I am speaking overDear Peter,
If you simply wish to debate with the
'Stratfordian stooges' on HLAS that is your option.
I simply want to know if you have kill filed me; OR ...
are otherwise unwilling to debate someone competent.
I'm sorry if I am speaking over---------------------
1) Shakspere named the twins after neighbors: Hamnet & Judith Sadler.
<<The Apocryphal 'Judith' & 'Susanna' were both invoked by the
Bishop of Ross in describing the virtues of Mary Queen of Scots
during her 1586 trial ( & de Vere was there).>>
- p.89 Shakespeare a life by Park Honan.
2) Oxford's BROOKE House was once owned (1547-8) by Sir Ralph Sadler.
<<In April 1808 _The Gentleman's Magazine_ printed an engraving by
John Jordan, the early myth-making Stratford antiquarian, showing
a 'View of the BROOK HOUSE, in which it is generally admitted that
Shakspeare was really born'.>> - p. 63 _Who Wrote Shakespeare?_
3) John Harvard's wife/widow Ann was a Sadler.
November 29, 1607 Birth of John Harvard.
November 29, 1489 Birth of Margaret (mother of Mary Queen of Scots)
November 29, 257 St. SATURNIN dragged by Bull at CAPITOLe TEMPLE.
http://www.stratford-upon-avon.co.uk/soaharv.htm
a) Mother: Kate *Rogers* (=> *SPEARMAN*)
[a source of Stratfordian wealth & prestige]
b) Father: a lowly butcher
c) Wife/Widow: Anne
<<Harvard died, after a short illness, on 14 September 1638, aged 31.
He left NO WRITTEN WILL but made a verbal disposition of his property:
half his estate and all his library he left to the proposed new
college at Cambridge, the rest he left to his wife who, married
the new teacher at the church, Rev. Thomas Allen [who handled
Harvard's estate [i.e., the library plus £779-12-2d].>>
--------------------------------------------------------------------
Spear-Shaker Óðinn's 233 other names:
--------------------------------------------------------------------
http://www.angelfire.com/on/Wodensharrow/odennamn.html
<<Óðinn is a God whose depth & complexity are reflected in the
multitude of names, titles, & descriptive kennings for Him that have
survived from ancient times. He is far from merely being a God of
battle, though unfortunately there are some who call themselves
Heathens who know him Him solely in this guise. However, it is clear
that this is an extremely narrow view to hold of a God whose
manifestations are so inclusive & varied, as is evidenced by Óðinn's
multitude of surviving names & titles. The simplistic take on Óðinn
began with the early Christians in Europe, who, determined to convert
the indigenous Heathen peoples, played up Óðinn's most terrible
aspects at the expense of His beneficent ones: for they demonised all
the Old Gods in the name of their new religion. This is the main
reason the formidable "God of Death and War"aspects of Óðinn were
remembered while many of His benevolent masks passed out of
folk-memory. An examination of Óðinn's Heiti (descriptive names)
however, gives one an intriguing glimpse into the many forgotten
aspects of a God who is as elusive, variable, and impossible to define
as reality itself. I have gathered these names and translations of
names from various sources. This is not a comprehensive or "official"
list, but my personal one. However, most known heiti are included:
over 235 names so far. Most of these names are Icelandic, but some are
kennings in English, and some are various forms of German. Names with
* before them are the most likely postulated form in Proto-Germanic,
the theoretical source language of all the Germanic tongues.
Here are Óðinn's names organised by aspect.
Óðinn's Heiti
Unless otherwise indicated, names are in Old Norse ( Old Icelandic)
Aldaföðr........."Father of Men"
Aldagautr........."Gautr of Men" 1
Aldingautr........."The Ancient Gautr" 1
Alfaðir, Alföðr........."All-Father"
Angan Friggjar........."Delight of Frigg"
Arnhöfði........."Eagle-headed One"
Atriði, Atriðr........."Attacking Rider"
or "Attacker by Horse" 2
Auðun........."Wealth Friend"
Bági ulfs ........."Enemy of the Wolf " 3
Baldrsfaðir........."Father of Balder"
Báleygr........."Feeble Eye" or "Flame Eyed"
Biflindi........."Shield Shaker" or "Spear Shaker"
Bileygr........."Feeble Eye" or "One Eyed"
Björn........."Bear"
Blindi, Blindr........."Blind One"
Bölverkr........."Bale-worker"
Böðgæðir........."Battle Enhancer"
Bragi........."Chieftain"
Bróðir Vilis / Vilja........."Brother of Vili" 4
Bruni, Brunn........."Brown One" 5
Burr Bors........."Son of Borr"
Darraðr, Dorruðr......... *SPEARMAN*
Draugadróttin........."Lord of Ghosts"
Ein sköpuðr galdra...."Sole Creator of Magical Songs"
Ennibrattr........."One with a Straight Forehead"
Eyluðr........."Island Vessel?" or "Ever-Booming" 2
Faðmbyggvir Friggjar....."Dweller in Frigg's Embrace"
Frumverr Friggjar........."First Husband of Frigg"
Faðir galdrs........."Father of Magical Songs"
Farmaguð, Farmatýr........."Cargo God"
Farmoguðr........."Journey-Empowerer"
Farmr arma Gunnlaðar........."Burden of Gunnlöð's Arms"
Farmr galga........."Gallows' Burden"
Fengr........."Snatch" or "Gain"
Fimbultýr........."Mighty God"
Fimbulþulr........."Mighty Thule (Poet)"
Fjölnir........."Very-Wise" or "Concealer"
Fjölsviðr, Fjölsvinnr........."Much Wise"
Foldardróttinn........."Lord of the Earth"
Frariðr........."One Who Rides Forth"
Frumverr Friggjar........."First husband of Frigg"
Fundinn........."The Found"
Gagnráðr........."Contrary Advisor" or "Gainful Council"
Galdraföðr........."Father of Galdor (Magical Songs)"
Gallow's Lord
Gangleri........."Wanderer", "Waywont" or "Wayweary"
Gangráðr........."Journey Advisor"
Gapthrosnir........."One in a Gaping Frenzy"
Gauti, Gautr........."One from Gotland"
Gausus........."Gautr" (Latinized Langobardic version) 1
Geiguðr........."Dangler" 7
Geirloðnir........."Spear Inviter"
Geirtýr........."Spear God"
Geirvaldr........."Spear Master"
Geirölnir........."Spear Charger"
Geldnir........."?"
Gestr........."Guest"
Gestumblindi........."The Blind Guest"
Ginnarr........."Deceiver"
Gizurr........."Riddler" 2
Gizurr Grýtingaliði ..."Companion of the Greutungi "
Glapsviðr........."Seducer"
Goði hrafnblóts...."Goði (priest) of the Raven-offering"
Godjaðarr........."God Protector"
Gods' Atoner, The
Gollnir, Gollor, Gollungr........."Yeller"
Göndlir........."Wand Bearer"
Gramr Hliðskjalfar.........King of Hliðskjalf
Grímnir, Grímr..."The Masked One" or "The Hooded One"
Grímr........."Masked", "Grim"
Gunnlod's Embracer
Gunnar........."Warrior"
Gunnblindi........."Battle Blinder"
Guodan........."Master of Fury" (Romanised Langobardic )
Guodan, Gudan........."Master of Fury" (Westphalian)
Hagvirkr........."Skillful Worker"
Hangaguð........."Hanged God"
Hangagoð........."God of the Hanged"
Hangi........."Hanged One"
Haptabeiðir........."Ruler of Gods"
Haptaguð...."God of Gods", "God of Men"
or "God of Prisoners"
Haptasnytrir........."Teacher of gods"
Haptsönir........."Fetter Loosener"
Hár........."High One"
Hárbarðr........."Hoar Beard" or "Grey Beard"
Hárr........."One Eyed"
Harri Hliðskjalfar........."Lord of Hliðskjalf"
Hávi........."High One"
Heimþinguðr hanga........."Visitor of the Hanged"
Helblindi........."Blinder With Death" or "Host Blinder"
Helmet-capped Educator
Hengikjopt........."Hang Jaw"
Herföðr, Herjaföðr........."Host Father"
Hergautr........."Host Gautr"
Herjan, Herran.."Lord", "Raider","The One of the Host"
Herteitr.."Host Glad", "Glad of War","Glad in Battle"
Hertyr........."Host God"
Hildolfr........."Battle Wolf"
Hjaldrgoð........."God of battle"
Hjaldrgegnir........."Engager of Battle"
Hjálmberi........."Helm Bearer"
Hjarrandi........."Screamer"
Hlefreyr........."Famous Lord" or "Mound Lord"
Hild's Noise Maker (hild = battle)
Hnikarr, Hnikuð.."Inciter", "Thruster" or "Shaker"
Hoarr........."One Eyed"
Hotter........."Hatter"
Hovi........."High One"
Hrafnfreistuðr........."Raven-tester"
Hrafnáss........."Raven God"
Hrammi........."Fetterer" or "Ripper"
Hrani........."Blusterer"
Hrjotr........."Roarer"
Hroptatýr.."Lord of Gods","God of Gods","Tumult God"
Hroptr..."God" or "The Maligned One" or "The Hidden One"
Hrossharsgrani........."Horse-hair Mustache"
Hvatmoðr........."Whet Courage (Mood)"
Hveðrungr........."Roarer"
Itreker........."Splendid Ruler"
Jafnhár........."Just As High"
Jalfaðr........."Yellow-brown Back" 5
Jálg, Jálkr........."Gelding" 9
Jarngrimr........."Iron Grim"
Jolfr........."Horse-wolf" or "Bear"
Jölföðr........."Yule-father"
Jölnir........."Yule"
Jormundr........."Mighty One"
Karl........."Old Man"
Kjalarr........."Nourisher" or "Keel Ruler"
Langbarðr........."Long Beard"
Loðungr........."Shaggy Cloak Wearer"
Lord of Light
Lord of the Wild Hunt , Wilde Jaeger
Niðr Bors........."Son of Borr"
Njotr........."User" or "Enjoyer"
Óðinn........."Frenzied One" (Old Norse)
Óðr........."Frenzy", "Divine Inspiration", "Breath"
Odroerir's Gainer
Ofnir....."Opener", "Entangler", "Weaver", "Inciter"
Olgir........."Protector?" or "Hawk" 2
Ómi........."Boomer" or "One Whose Voice Resounds"
Óski........."Wished For" or "Fulfiller of Desire"
Ouvin........."Master of Fury" (Faroese)
Rauðgrani........."Red Moustache"
Reiðartyr........."Wagon God"
Rognir........."Chief"
Runatyr........."God of Runes"
Runni vagna........."Mover of Constellations" 2
Sanngetall..."Truth Getter" or "He Who Guesses Right"
Sannr, Saðr, Sath........."Truth", "The Truthful"
Siðgrani........."Longbeard"
Siðhottr...."Slouch Hat" or "Broad Brim", "Deep Hood"
Siðskeggr........."Long Beard", or "Broad Beard"
Sigðir........."Victory Bringer"
Sigföðr........."Father of Victory"
Siggautr........."Victory Gautr"
Sigmundr........."Victory Protection"
Sigrhofundr........."Victory Author"
Sigrúnnr........."Victory Tree"
Sigthror........."Victory Successful"
Sigtryggr........."Victory Sure"
Sigtýr........."Victory God"
Skilving, Skilfing........."King", or "Trembler" 11
Skollvaldr........."Treachery Ruler"
Sonr Bestlu........."Son of Bestla"
Spjalli Gauta........."Friend of the Goths"
Speedy One, The
Sváfnir.."Luller to Sleep (or Dreams)", or "Closer"
Sveigðir........."Reed Bringer"
Svipall........."Fleeting" or "Changeable"
Sviðrir........."Wise One"
Sviðurr........."Wise One"
Svolnir........."Cooler" or "Sweller"
Thekkr..."Clever" or "Pleasant One" or "Welcome One"
Thrasarr......... "Quarreler" or "Raging, Furious"
Thriði........."Third"
Thriggi........."Triple"
Thrór........."Burgeoning" or "Inciter to Strife" 12
Throttr........."Strength"
Thrundr, Þund ........."Sweller"
Thunnr, Þuðr........."Lean" or "Pale"
Tveggi........."Double"
Tviblindi........."Twice Blind"
Unnr, Uðr........."Beloved", "Lover" or "Wave"
Váði vitnis ........."Foe of the Wolf " 3
Váfoðr, Vafuðr........."Dangler", "Swinger" 7 or:
Váfuðr........."Wayfarer"
Váfuðr Gungnis........."Swinger of Gungnir"
Vakr........."Awakener" or "Vigilant"
Valdr galga........."Ruler of Gallows"
Valdr vagnbrautar........."Ruler of Heaven"
Valföðr........."Father of the Slain"
Valgautr........."Slain Gautr" or "Gautr of the Slain" 1
Valkjosandi........."Chooser of the Slain"
Valtamr, Valtam........."Slain Tame" or "The Warrior"
Valtýr........."Slain God"
Valthognir........."Slain Receiver"
Vegtamr........."Wayfarer" or "Waytamer"
Veratýr........."God of Men" or "God of Being"
Viðrir........."Stormer" or "Ruler of Weather"
Viðrimnir........."Contrary Screamer"
Viðurr........."Killer"
Vingnir........."Swinger" 7
Vinr Lopts........."Friend of Loptr"
Vinr Lóðurs........."Friend of Lóðurr"
Vinr Míms........."Friend of Mímir"
Vinr stalla........."Friend of Altars"
Vodans........."Master of Fury" (Gothic)
Vofuðr........."Dangler" 7
Völsi........."Lingam"
Völundr rómu........."Smith of Battle"
Vut........."Master of Fury" (Allemanic, Burgundian)
Weda........."Master of Fury" (Frisian)
Wild Huntsman, Wilde Jaeger (German)
Wise Victory Tree
Wôdan.......(*Proto-Western Germanic) "Master of Fury"
Woden.........(Anglo-Saxon) "Master of Fury"
*Wôðanaz......(*Protogermanic ) "Master of Fury"
Wolfe........."Wolf" (German)
Wolf's Danger, The
Wuotan/Wuodan.........(Langobardic)"Master of Fury"
Wunsch........."Wish" (German)
Yggiungr.........( Terrible ? )
Yggr........."Terrible One"
Yrungr........."Stormy" >>
-------------------------------------------------------
Dave Kathman wrote HLAS:
> The records relating to the [Edmund Shakespeare's]
> ILLEGITIMATE child give the father's name as "Edward",
> but "Edward" & "Edmund" were considered virtually
> interchangeable names, and in context it's clear
> that "Edmund" was meant.
> (No person named "Edward Shakespeare" can be traced
> in England at that time.) Similarly, it's pretty clear
> in context that "Shakesbye" in the St. Leonard's
> record is a careless rendering of "Shakespeare".
> From the parish register of St. Leonard's, Shoreditch:
1607, July 12. "Edward Shakesbye the sonne of
Edward Shakesbye was baptized the same day -- morefilds."
----------------------------------------------------------------
St. VEROnica Feastday: July 12
<<Woman of Jerusalem who wiped the face of Christ with a VEIL
while he was on the way to Calvary. According to tradition,
the cloth was imprinted with the image of Christ's face.">>
July 12, 1549 : Edward de Vere conceived (Mars/Regulus conj.)
July 12, 1549 : Edward Manners born (Mars/Regulus conj.)
Christmas 1584 : Hamnet Shakspere born___ (Mars/Regulus conj.)
Candlemas 1585 : Hamnet Shakspere baptized (Mars/Regulus conj.)
July 12, 1607 : Edward Shakspere's St. LEOnard baptism
___________________________________________
(Mars/Sun conj.)
July 12, 1955 : American Shakespeare Festival Theatre
______________ opens a building resembled The Globe (mundus)
--------------------------------------------------------------------
http://www.shu.ac.uk/emls/01-2/godsshak.html
<<(4) The Quarto exists in one issue with two states of issue. (A) The
first state (A--L4, M2 [M2 is blank]) has the title "THE / Historie of
Troylus / and Cresseida." followed by "As it was acted by the Kings
Maiesties / seruants at the Globe." (B) The second state (|P2 A2--4,
B--L4, M2[ M2 blank]) cancels the first title page with the half-sheet
remainder of M. The cancelling title page only partially alters the
title page of the first issue: "THE / Famous Historie of / Troylus
and Cresseid./ Excellently expressing the beginning /of their loues,
with the conceited wooing / of Pandarus Prince of Licia." >>
<<[The second state includes] an epistle: "A Never Writer, to an
Ever Reader. News" . . . Then there is the reference on _The Famous
History_ title page to *Pandarus as Prince of Licia* . Whereas
this is his title in Homer's _Iliad_ he is never so called
in Shakespeare's play.>> - _Shakespeare, In Fact_ by Matus.
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*Pandarus as Prince of Licia*
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<<In Greek mythology, Pandarus was the leader of the forces of
Zeleia in Lycia at the Trojan War. He was the second best Greek
archer (next to Paris) and fought in the Trojan War as an archer.
Athena went down into the Trojan crowd,
looking like Laodocus, Antenor's son,
a strong *SPEARMAN* , seeking godlike Pandarus.
She met Pandarus, Lycaon's powerful son,
a fine man, standing there with his sturdy regiment,
shield-bearing troops who'd come from the River Aesopus.
Standing near him, Aphrodite spoke. Her words had wings.
"Fiery hearted son of Lycaon,
why not do as I suggest: prepare yourself
to fire a swift arrow at Menelaus.
You'd earn thanks and glory from all Trojans,
most of all from prince Alexander.
He'd be the very first to bring fine gifts,
if he could see warlike Menelaus,
son of Atreus, mounted on his bier,
his bitter funeral pyre, killed by your arrow.
So come, then, shoot an arrow at glorious
Menelaus. Promise Apollo,
illustrious archer born in Lycia,
you'll make fine sacrifice, new-born lambs,
once you return to your city, holy Zeleia."
Athena spoke--and so swayed his foolish wits,
Pandarus took up his bow of polished horn,
made from a nimble wild goat he himself once shot
under the chest, as it leapt down from a rock.
He'd waited in ambush, hit it in the front.
The goat tumbled down onto the rocks on its back.
Horns on its head were sixteen palm widths long.
A man skilled in shaping horn had worked on them,
so as to fit the horns together to form a bow.
He'd polished it well all over, adding gold caps
to fit onto the tips. Pandarus stooped down,
strung the bow, then set it on the grouDear Peter,
If you simply wish to debate with the
'Stratfordian stooges' on HLAS that is your option.
I simply want to know if you have kill filed me; OR ...
are otherwise unwilling to debate someone competent.
I'm sorry if I am speaking overDear Peter,
If you simply wish to debate with the
'Stratfordian stooges' on HLAS that is your option.
I simply want to know if you have kill filed me; OR ...
are otherwise unwilling to debate someone competent.
I'm sorry if I am speaking overtch, the ox-gut bowstring,
he pulled back, drawing the string right to his nipple,
iron arrow head against the bow. Once he'd bent
that great bow into a circle, the bow twanged,
the string sang out, the sharp-pointed arrow flew off,
eager to bury itself in crowds of men.
But, Menelaus, the immortal sacred gods
did not forget you. Zeus' daughter Athena,
goddess of war's spoils, was first to stand before you,
ward off the piercing arrow, brushing it from your skin,
as a mother brushes a fly away from her child,
as he lies sweetly sleeping. Athena led the arrow
to the spot where gold buckles on the belt
rest on the joint in the double body armour.
The keen arrow dug into the leather strap,
passed right through the finely decorated belt,
through the richly embossed armour, the body mail,
his most powerful guard, worn to protect his flesh,
to deflect spears and arrows. The arrow pierced
that mail, its tip grazing Menelaus' skin.
Dark blood at once started flowing from the wound.
Just as when some woman of Meonia or Caria
stains white ivory with purple dye, making a cheek piece
for a horse, and leaves it in her room--an object
many riders covet for themselves, a king's treasure,
with double value: horse's ornament and rider's glory--
that's how, Menelaus, your strong thighs, shins, fine
ankles were stained with your own blood below the wound.
When Agamemnon saw dark blood flowing from the wound,
that king of men shuddered. And Menelaus,
who loved war, shuddered, too. But when Menelaus saw
barbs of the arrow head, its binding, still outside,
not underneath the skin, his spirits rose, and courage
flowed back into his chest. Mighty Agamemnon
took Menelaus by the hand and, with a bitter groan,
spoke to his comrades, all grieving with him:
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<<A titular see in Lycia, suffragan of Myra. Pinara was one of the
chief cities of the Lycian confederation. The Lycian hero, Pandarus,
was held there in great honour. It was supposed to have been founded
by Pinarus, who embarked with the first Cretans. According to another
tradition, it was a colony of Xanthus & was first called Artymnessus.
As in Lycian Pinara signifies "round hill", the city being built on
a hill of this nature would have derived its new name from this fact.
It is now the village of Minara or Minareh in the vilayet of Koniah.
It contains magnificent ruins: walls, a theatre, an acropolis,
sarcophagi and tombs, rare inscriptions (often Lycian), and the
remains of a church.>> http://www.newadvent.org/cathen/12101a.htm
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Art Neuendorffer
Robert Stonehouse
Now, both these exemplify what I meant in asking what the
distinction was. Plainly hearts think and tongues speak,
horses neigh and hounds bark - the distinction is clear.
Indeed it would be hard to make out the sense without it.
But why should the earth cover Nestor, the people mourn
Socrates and the gods hold the poet to be a Virgil? How do
we tick off the subjects and objects against one another -
is there any rationale beyond numerical sequence?
Peter Farey
Robert Stonehouse wrote:
It does seem to me that the 'portmanteau' version makes
more sense with the orthodox interpretation of what the
whole inscription is about. For example, Olympus would
seem to be less appropriate as a location for Virgil
than for either of the other two (unless, despite what
Tertullian says, it can mean Heaven - see Dante). Not
that Socrates would have got much of a welcome in
either place I guess!
On the other hand, the country hiding *my* version of
Nestor (as one who survived) is quite appropriate, so
maybe the fragmented form might be better for my lot.
I'll need to give it rather more thought than I have!
John W. Kennedy
I should add that my Latin experts are /adamant/ that the "implied
'respectively'" reading is utterly impossible, even contemptible,
regardless of the examples from MND and A&C.
--
John W. Kennedy
"But now is a new thing which is very old--
that the rich make themselves richer and not poorer,
which is the true Gospel, for the poor's sake."
-- Charles Williams. "Judgement at Chelmsford"
Peter Farey
John W. Kennedy wrote:
>
> Peter Farey wrote:
> > It does seem to me that the 'portmanteau' version makes
> > more sense with the orthodox interpretation of what the
> > whole inscription is about. For example, Olympus would
> > seem to be less appropriate as a location for Virgil
> > than for either of the other two (unless, despite what
> > Tertullian says, it can mean Heaven - see Dante). Not
> > that Socrates would have got much of a welcome in
> > either place I guess!
> >
> > On the other hand, the country hiding *my* version of
> > Nestor (as one who survived) is quite appropriate, so
> > maybe the fragmented form might be better for my lot.
> > I'll need to give it rather more thought than I have!
>
> I should add that my Latin experts are /adamant/ that the
> "implied 'respectively'" reading is utterly impossible,
> even contemptible, regardless of the examples from MND
> and A&C.
Well, that's rather stronger than I put it, and Peter G. and
Park Honan may not agree. Presumably I would be right in
guessing, however, that they were unaware of any context
suggested for this other than the orthodox one?
John W. Kennedy
Their opinion is that Latin /grammar/ simply doesn't allow it, and that
the MND and A&C examples don't even make a decent parallel in English
because they /force/ the reader to insert an implied "respectively" by
the particular choice of words used. Indeed, because I've maintained a
careful neutrality, they're beginning to write me off as an obsessive
with an agenda, they know not what.
According to them, all three nouns cannot, grammatically, be anything
but a collective object of all three verbs.