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The Suit of the Pewterers - or: If Oxford was the author, why is there no mention of tin and begging the the queen for concessions in the sonnets?
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Garfield Benderschmidt
Mar 19, 2015, 2:17:05 PM3/19/15
to
Why is there no mention of pewtering in the sonnets, or transporting
tin, or tin itself in the sonnets? Surely you would expect at least
some metaphorical expression of Oxford's real life interests in the
sonnets wouldn't you? After all, the sonnets tell his life story, don't
they?
Excerpt from Oxford to Burghley April 13, 1595
An other occasione which is an especiall lett to her Magesties
purpose ys, that there is a swte which hathe bene of longe tyme
motioned, for the pevterers, that they myght have a second meltinge
and castinge of the Tyne into Bares. This swte by reasone so many
ryvers rune owt of yt hathe many friendes, and all thes, are enemyes
to the great matter, for say they yt swallowes thys vp.
But this sut yf her Magestie dothe gravnt, yt ys called a lyttell
swte, but so lyttell yt ys as whosoever shall vndertake the great,
leaseth 3 or 4 thowsand poundes a yere therby. Then how ys yt possible
that they can giue so muche, to her Maiestie as she lokes for.
fyrst seinge they must laye owt 40 thowsand l stoke [=stock], and then
pay to her Magestie fowre thowsand pounde, moreover then her Custome,
further to him who shall obteyne the farme sume 2 or 3 thowsande. This
they cannot performe, yf her Magestie shall pas before or except herafter
the swte of the Pevterers.
But yf yt will pleas her Magestie to nominate me, for ye Preemptione and
transportatione, And be content to giue me tyme, to make my Bargayne,
that they shall not se yat I am constreyned by necescite to depend vpon
them, and to make a hastie bargayne, I doo not dowt [+not] only to get
her Magestie the 4 thowsand pounde which is offred, but to gett for my
self 2 or 3 thowsand pound more, which to compas in her Magesties name,
I find by no means they wilbe browght, and as yt semes they aledge
great reasone therfore.
G.
tin, or tin itself in the sonnets? Surely you would expect at least
some metaphorical expression of Oxford's real life interests in the
sonnets wouldn't you? After all, the sonnets tell his life story, don't
they?
Excerpt from Oxford to Burghley April 13, 1595
An other occasione which is an especiall lett to her Magesties
purpose ys, that there is a swte which hathe bene of longe tyme
motioned, for the pevterers, that they myght have a second meltinge
and castinge of the Tyne into Bares. This swte by reasone so many
ryvers rune owt of yt hathe many friendes, and all thes, are enemyes
to the great matter, for say they yt swallowes thys vp.
But this sut yf her Magestie dothe gravnt, yt ys called a lyttell
swte, but so lyttell yt ys as whosoever shall vndertake the great,
leaseth 3 or 4 thowsand poundes a yere therby. Then how ys yt possible
that they can giue so muche, to her Maiestie as she lokes for.
fyrst seinge they must laye owt 40 thowsand l stoke [=stock], and then
pay to her Magestie fowre thowsand pounde, moreover then her Custome,
further to him who shall obteyne the farme sume 2 or 3 thowsande. This
they cannot performe, yf her Magestie shall pas before or except herafter
the swte of the Pevterers.
But yf yt will pleas her Magestie to nominate me, for ye Preemptione and
transportatione, And be content to giue me tyme, to make my Bargayne,
that they shall not se yat I am constreyned by necescite to depend vpon
them, and to make a hastie bargayne, I doo not dowt [+not] only to get
her Magestie the 4 thowsand pounde which is offred, but to gett for my
self 2 or 3 thowsand pound more, which to compas in her Magesties name,
I find by no means they wilbe browght, and as yt semes they aledge
great reasone therfore.
G.
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Arthur Neuendorffer
Mar 19, 2015, 6:01:08 PM3/19/15
to
Garfield Benderschmidt wrote:
<<Why is there no mention of pewtering in the sonnets, or
transporting tin, or tin itself in the sonnets? Surely you
would expect at least some metaphorical expression of
Oxford's real life interests in the sonnets wouldn't you?>>
----------------------------------------------
<<Why is there no mention of pewtering in the sonnets, or
transporting tin, or tin itself in the sonnets? Surely you
would expect at least some metaphorical expression of
Oxford's real life interests in the sonnets wouldn't you?>>
. Othello, The Moor of Venice Act 2, Scene 1
.
IAGO: For making him egregiously an ass
. And practising upon his peace and quiet
. Even to madness. 'Tis here, but yet confused:
. Knavery's plain face is *nEVER seen TIN* used.
------------------------------------------------
. Sonnet 119
.
WHat potions hau{E} I drunke of {S}yren teare{S}
Distil'd fr{O}m Lymbecks {F}oule as hell within,
.........................................
. <= 10 =>
. h a u {E} I d r u n k
. e o f {S} y r e n t e
. a r e {S} D i s t i l
. d f r {O} m L y m b e
. c k s {F} o u l e
.
{FOSSE} -10
.........................................
A[P]plying feares to hopes, and hopes to fear[E]s,
Still loosing when I saw my selfe to win?
.
[W]hat wretched errors hath my heart commi[T]ted,
Whilst it hath thought it selfe so bl[E]ssed neuer?
How haue mine eies out of thei[R] Spheares bene fitted
In the distraction of this madding feuer?
...........................................
. <= 34 =>
.
. A [P] plyingfearestohopesandhopestofea
. r [E] sStillloosingwhenIsawmyselfetowi
. n [W] hatwretchederrorshathmyheartcomm
. i [T] tedWhilstithaththoughtitselfesob
. l [E] ssedneuerHowhauemineeiesoutofthe
. i [R] SphearesbenefittedInthedistracti
. o n ofthismaddingfeuer
[PEWTER] 34 : Prob. in Sonnets ~ 1 in 9
---------------------------------------------------------------
. The Taming of the Shrew Act 2, Scene 1
.
GREMIO: First, as you know, my house within the city
. Is richly furnished with plate and gold;
. Basins and ewers to lave her dainty hands;
. My hangings all of Tyrian tapestry;
. In ivory coffers I have stuff'd my crowns;
. In cypress chests my arras counterpoints,
. Costly apparel, tents, and canopies,
. Fine linen, Turkey cushions boss'd with pearl,
. Valance of Venice gold in needlework,
. [PEWTER] and brass and all things that belong
. To house or housekeeping: then, at my farm
. I have a hundred milch-kine to the pail,
. Sixscore fat oxen standing in my stalls,
. And all things answerable to this portion.
. Myself am struck in years, I must confess;
. And if I die to-morrow, this is hers,
. If whilst I live she will be only mine.
---------------------------------------------------------------
. King Henry IV, Part i Act 2, Scene 4
PRINCE HENRY: Five year! by'r lady, a long lease for the clinking
. of [PEWTER]. But, Francis, darest thou be so valiant
. as to play the coward with thy indenture and show it
. a fair pair of heels and run from it?
---------------------------------------------------------------
. King Henry IV, Part ii Act 3, Scene 2
FALSTAFF: Will you tell me, Master Shallow, how to choose a
. man? Care I for the limb, the thewes, the stature,
. bulk, and big assemblance of a man! Give me the
. spirit, Master Shallow. Here's Wart; you see what a
. ragged appearance it is; a' shall charge you and
. discharge you with the motion of a {PEWTERER's}
. hammer, come off and on swifter than he that gibbets
. on the brewer's bucket. And this same half-faced
. fellow, Shadow; give me this man: he presents no
. mark to the enemy; the foeman may with as great aim
. level at the edge of a penknife. And for a retreat;
. how swiftly will this [FEEBLE] the woman's tailor run
. off! O, give me the spare men, and spare me the
. great ones. Put me a caliver into Wart's hand, Bardolph.
-----------------------------------------------------------
. Sonnet 4
.
Nature's bequest gives nothing but doth lend,
And being *FRANK* she lends to those are *FREE*.
----------------------------------------------------------
"E.O." & "FREE" [ = "FRANCIS"]
"E.O." & ___________[FEEBLE]:
---------------------------------------------------
---------- T {O}.
--------- TH [E].
------ ONLI [E].
BEGETTE [R].
--------- O [F].
.
____ T {O}
__-- T H [E]
__- O N [L]
____ I E [B]
__-- E G [E]
__--- T T [E]
__ R O [F]
--------------------------------------------------
http://shakespeareauthorship.com/wds1.html
6-letter "Words" that Terry Ross
found in arrays based on the first 144 letters
of the dedication to Shakespeare's Sonnets.
[FEEBLE]: 0302u
ENVRES: 1004u
ENDVES: 1208d
TIBIAL: 1209u
FLEDGE: 2705u
-------------------------------------------------------
probability of [FEEBLE]
with a skip of 3 (or less): 1 / 118,000
= 6*[(23*22*2*6*21)/(143*142*141*140*139)]
23 E's 22 E's 2 B's 6 L's 21 E's (left)
------------------------------------------------------
Art N.
Anne Extemporaneous Scholar
Mar 19, 2015, 9:14:22 PM3/19/15
to
What's odd is that some mention of "metal" or related subjects
like "coins" or "gold" (as a metal) ARE mentioned by other
sonneteers.
Shakespeare doesn't use the words "metal" or "coin" or "gold"
in the sense of metal, or even "money", and of course, no "tin".
Sidney 62 ("Stella", 1591)
Late tired with woe, even ready for to pine,
With rage of love, I called my love unkind;
She in whose eyes Love, though unfelt, doth shine,
Sweet said that I true love in her should find.
I joyed, but straight thus watered was my wine,
That love she did, but loved a Love not blind,
Which would not let me, whom she loved, decline
>From nobler course, fit for my birth and mind:
And therefore by her love’s authority,
Willed me these tempests of vain love to flee,
And anchor fast myself on Virtue’s shore.
Alas, if this the only metal be
Of Love, new-coined to help my beggary,
Dear, love me not, that you may love me more.
Barnes 44 ("Parthenophil & Parthenophe" 1593)
O dart and thunder, whose fierce violence
Surmounting Rhetoric's dart and thunder bolts,
Can never be set out in eloquence,
Whose might all metals' mass asunder moults.
Where be the famous Prophets of old Greece?
Those ancient Roman poets of account?
Musaeus, who went for the Golden Fleece
With Jason, and did Hero's love recount,
And thou, sweet Naso, with thy golden verse,
Whose lovely spirit ravished Caesar's daughter;
And that sweet Tuscan, Petrarch, which did pierce
His Laura with love sonnets when he sought her,
Where be all these? That all these might have taught her
That Saints divine are known Saints by their mercy,
And Saint-like beauty should not rage with pierce eye.
AES
like "coins" or "gold" (as a metal) ARE mentioned by other
sonneteers.
Shakespeare doesn't use the words "metal" or "coin" or "gold"
in the sense of metal, or even "money", and of course, no "tin".
Sidney 62 ("Stella", 1591)
Late tired with woe, even ready for to pine,
With rage of love, I called my love unkind;
She in whose eyes Love, though unfelt, doth shine,
Sweet said that I true love in her should find.
I joyed, but straight thus watered was my wine,
That love she did, but loved a Love not blind,
Which would not let me, whom she loved, decline
>From nobler course, fit for my birth and mind:
And therefore by her love’s authority,
Willed me these tempests of vain love to flee,
And anchor fast myself on Virtue’s shore.
Alas, if this the only metal be
Of Love, new-coined to help my beggary,
Dear, love me not, that you may love me more.
Barnes 44 ("Parthenophil & Parthenophe" 1593)
O dart and thunder, whose fierce violence
Surmounting Rhetoric's dart and thunder bolts,
Can never be set out in eloquence,
Whose might all metals' mass asunder moults.
Where be the famous Prophets of old Greece?
Those ancient Roman poets of account?
Musaeus, who went for the Golden Fleece
With Jason, and did Hero's love recount,
And thou, sweet Naso, with thy golden verse,
Whose lovely spirit ravished Caesar's daughter;
And that sweet Tuscan, Petrarch, which did pierce
His Laura with love sonnets when he sought her,
Where be all these? That all these might have taught her
That Saints divine are known Saints by their mercy,
And Saint-like beauty should not rage with pierce eye.
AES
marco
Mar 20, 2015, 10:04:03 PM3/20/15
to
The Shake-speare group authors had the means, motive & opportunity to embed their names (and/or the names of their dedicatees) into Ciphers & Codes.
Besides, my REVElations continue to improve in both quantity & quality
and I find satisfaction in that alone.
Art N.
Seeing an intelligent post addressed to Art Neuendorffer (from Sabrina)
I took Art out of my kill-file -- the first time in Ten years or more.
But then -- in the space of a couple of hours-- FIVE long posts of unreadable garbage landed in my in-box.
>> I heard the real key was in the Ciphers & Codes...
Whoever told you that is an idiot.
There is no need for codes or ciphers -- just plain common sense
is enough to tell you who the poet isn't, and who he must be.
.....if it's full of Neuendorffer crap (as most are) you may have
a problem finding anything.
So Neuendorffer goes back where he belongs--the kill-file, as a [boring] Troll.
.Paul Crowley
Besides, my REVElations continue to improve in both quantity & quality
and I find satisfaction in that alone.
Art N.
Seeing an intelligent post addressed to Art Neuendorffer (from Sabrina)
I took Art out of my kill-file -- the first time in Ten years or more.
But then -- in the space of a couple of hours-- FIVE long posts of unreadable garbage landed in my in-box.
>> I heard the real key was in the Ciphers & Codes...
Whoever told you that is an idiot.
There is no need for codes or ciphers -- just plain common sense
is enough to tell you who the poet isn't, and who he must be.
.....if it's full of Neuendorffer crap (as most are) you may have
a problem finding anything.
So Neuendorffer goes back where he belongs--the kill-file, as a [boring] Troll.
.Paul Crowley
david....@dartmouth.edu
Mar 22, 2015, 9:32:48 AM3/22/15
to
In article <a2806935-6b6d-46c0...@googlegroups.com>,
Is English your native tongue, Art?! If you possessed even the most
cursory, superficial familiarity with the language, you would realize
that "knavery's plain face is never seen tin [sic] used" makes *no*
sense in English, and that "tin" is a misprint for "till".
Didn't George Mason Elementary teach *any* English, even at this VERy
rudimentary level, Art?! Did they not teach reading either?!
MoreoVER, you can VERy easily consult a facsimile of the Quarto
edition of _Othello_, like the one at
<http://internetshakespeare.uvic.ca/Library/facsimile/book/6/33/?work=&zo
om=420>,
where (if you can find someone to read it to you) you will find:
"Knauerie's plaine face is neuer seene, till vs'd."
Similarly, if you consult a First Folio facsimile like that one at
<http://internetshakespeare.uvic.ca/Library/facsimile/book/SLNSW_F1/826/?
work=&zoom=850>,
you will find:
"Knauveries plaine face, is neuer seene, till vs'd."
-- assuming, as above, that you can get someone who suffers fools gladly
to read it to you.
In any case, if you wish to emphasize any connections between Oxford and
the text in question, you would have done much better to have emphasized
the -ver- in "knaVERy" and the phrase "egregiously an ass".
[Lunatic logorrhea snipped]
unimpressive, Art.
> . The Taming of the Shrew Act 2, Scene 1
> .
> GREMIO: First, as you know, my house within the city
But Art -- _gremio_ is the Spanish word for a guild or trade -- like
*masonry*!
[Asinine anthologizing snipped]
Actually, Art, if you wish to link Oxford with pewter, you would be
better advised to seek the connection in Oxford's VERse rather than
Shakespeare's -- indeed, the worst of Oxford's poetry is perhaps best
characterized as pewt'rid.
> ------------------------------------------------------
> Art N.
Arthur Neuendorffer <acne...@gmail.com> (aka Noonedafter) wrote:
> Garfield Benderschmidt wrote:
>
> <<Why is there no mention of pewtering in the sonnets, or
> transporting tin, or tin itself in the sonnets? Surely you
> would expect at least some metaphorical expression of
> Oxford's real life interests in the sonnets wouldn't you?>>
> ----------------------------------------------
> . Othello, The Moor of Venice Act 2, Scene 1
> .
> IAGO: For making him egregiously an ass
> . And practising upon his peace and quiet
> . Even to madness. 'Tis here, but yet confused:
> . Knavery's plain face is *nEVER seen TIN* [sic] used.
> Garfield Benderschmidt wrote:
>
> <<Why is there no mention of pewtering in the sonnets, or
> transporting tin, or tin itself in the sonnets? Surely you
> would expect at least some metaphorical expression of
> Oxford's real life interests in the sonnets wouldn't you?>>
> ----------------------------------------------
> . Othello, The Moor of Venice Act 2, Scene 1
> .
> IAGO: For making him egregiously an ass
> . And practising upon his peace and quiet
> . Even to madness. 'Tis here, but yet confused:
Is English your native tongue, Art?! If you possessed even the most
cursory, superficial familiarity with the language, you would realize
that "knavery's plain face is never seen tin [sic] used" makes *no*
sense in English, and that "tin" is a misprint for "till".
Didn't George Mason Elementary teach *any* English, even at this VERy
rudimentary level, Art?! Did they not teach reading either?!
MoreoVER, you can VERy easily consult a facsimile of the Quarto
edition of _Othello_, like the one at
<http://internetshakespeare.uvic.ca/Library/facsimile/book/6/33/?work=&zo
om=420>,
where (if you can find someone to read it to you) you will find:
"Knauerie's plaine face is neuer seene, till vs'd."
Similarly, if you consult a First Folio facsimile like that one at
<http://internetshakespeare.uvic.ca/Library/facsimile/book/SLNSW_F1/826/?
work=&zoom=850>,
you will find:
"Knauveries plaine face, is neuer seene, till vs'd."
-- assuming, as above, that you can get someone who suffers fools gladly
to read it to you.
In any case, if you wish to emphasize any connections between Oxford and
the text in question, you would have done much better to have emphasized
the -ver- in "knaVERy" and the phrase "egregiously an ass".
[Lunatic logorrhea snipped]
> . <= 34 =>
> .
> . A [P] plyingfearestohopesandhopestofea
> . r [E] sStillloosingwhenIsawmyselfetowi
> . n [W] hatwretchederrorshathmyheartcomm
> . i [T] tedWhilstithaththoughtitselfesob
> . l [E] ssedneuerHowhauemineeiesoutofthe
> . i [R] SphearesbenefittedInthedistracti
> . o n ofthismaddingfeuer
>
> [PEWTER] 34 : Prob. in Sonnets ~ 1 in 9
Probability 1 in 9?! That's ludicrously and pathetically
> .
> . A [P] plyingfearestohopesandhopestofea
> . r [E] sStillloosingwhenIsawmyselfetowi
> . n [W] hatwretchederrorshathmyheartcomm
> . i [T] tedWhilstithaththoughtitselfesob
> . l [E] ssedneuerHowhauemineeiesoutofthe
> . i [R] SphearesbenefittedInthedistracti
> . o n ofthismaddingfeuer
>
> [PEWTER] 34 : Prob. in Sonnets ~ 1 in 9
unimpressive, Art.
> . The Taming of the Shrew Act 2, Scene 1
> .
> GREMIO: First, as you know, my house within the city
*masonry*!
[Asinine anthologizing snipped]
Actually, Art, if you wish to link Oxford with pewter, you would be
better advised to seek the connection in Oxford's VERse rather than
Shakespeare's -- indeed, the worst of Oxford's poetry is perhaps best
characterized as pewt'rid.
> ------------------------------------------------------
> Art N.
Arthur Neuendorffer
Mar 22, 2015, 1:14:41 PM3/22/15
to
> Garfield Benderschmidt wrote:
>
> <<Why is there no mention of pewtering in the sonnets, or
> transporting tin, or tin itself in the sonnets? Surely you
> would expect at least some metaphorical expression of
> Oxford's real life interests in the sonnets wouldn't you?>>
> ----------------------------------------------
>
> <<Why is there no mention of pewtering in the sonnets, or
> transporting tin, or tin itself in the sonnets? Surely you
> would expect at least some metaphorical expression of
> Oxford's real life interests in the sonnets wouldn't you?>>
> ----------------------------------------------
Neufer wrote:
>
> . Othello, The Moor of Venice Act 2, Scene 1
> .
> IAGO: For making him egregiously an ass
> . And practising upon his peace and quiet
> . Even to madness. 'Tis here, but yet confused:
> . Knavery's plain face is *nEVER seen TIN* [sic] used.
>
> . Othello, The Moor of Venice Act 2, Scene 1
> .
> IAGO: For making him egregiously an ass
> . And practising upon his peace and quiet
> . Even to madness. 'Tis here, but yet confused:
> . Knavery's plain face is *nEVER seen TIN* [sic] used.
Lea wrote:
<<Is English your native tongue, Art?! If you possessed even the most
cursory, superficial familiarity with the language, you would realize
that "knavery's plain face is never seen tin [sic] used" makes *no*
sense in English, and that "tin" is a misprint for "till".
Didn't George Mason Elementary teach *any* English, even at this
VERy rudimentary level, Art?! Did they not teach reading either?!
MoreoVER, you can VERy easily consult a facsimile of the Quarto
edition of _Othello_, like the one at
<http://internetshakespeare.uvic.ca/Library/facsimile/book/6/33/?work=&zoom=420>,
where you will find:
<<Is English your native tongue, Art?! If you possessed even the most
cursory, superficial familiarity with the language, you would realize
that "knavery's plain face is never seen tin [sic] used" makes *no*
sense in English, and that "tin" is a misprint for "till".
Didn't George Mason Elementary teach *any* English, even at this
VERy rudimentary level, Art?! Did they not teach reading either?!
MoreoVER, you can VERy easily consult a facsimile of the Quarto
edition of _Othello_, like the one at
<http://internetshakespeare.uvic.ca/Library/facsimile/book/6/33/?work=&zoom=420>,
"Knauerie's plaine face is neuer seene, till vs'd."
Similarly, if you consult a First Folio facsimile like that one at
http://internetshakespeare.uvic.ca/Library/facsimile/book/SLNSW_F1/826/?work=&zoom=850
you will find:
"Knauveries plaine face, is neuer seene, till vs'd.">>
...........................................................
"Knauveries plaine face, is neuer seene, till vs'd.">>
Someone should probably have found a better spelter then.
---------------------------------------------------------------
http://en.wikipedia.org/wiki/Pewter
<<The word pewter is likely a variation of the word spelter.>>
---------------------------------------------------------------
[Lunatic logorrhea snipped]
> . <= 34 =>
> .
> . A [P] plyingfearestohopesandhopestofea
> . r [E] sStillloosingwhenIsawmyselfetowi
> . {N} [W] hatwretchederrorshathmyheartcomm
> . <= 34 =>
> .
> . A [P] plyingfearestohopesandhopestofea
> . r [E] sStillloosingwhenIsawmyselfetowi
> . {I} [T] tedWhilstithaththoughtitselfesob
> . {L} [E] ssedneuerHowhauemineeiesoutofthe
> . i [R] SphearesbenefittedInthedistracti
> . o n ofthismaddingfeuer
>
> [PEWTER] 34 : Prob. in Sonnets ~ 1 in 9
Lea wrote: <<Probability 1 in 9?!
> . o n ofthismaddingfeuer
>
> [PEWTER] 34 : Prob. in Sonnets ~ 1 in 9
That's ludicrously and pathetically unimpressive, Art.>>
Just practicing, Dave:
---------------------------------------------------------------
http://en.wikipedia.org/wiki/Cargo_cult_science
<<Cargo cult science comprises practices that have the semblance of being scientific, but do not in fact follow the scientific method. The term was first used by physicist Richard Feynman during his 1974 Cal Tech commencement address. Feynman cautioned that to avoid becoming cargo cult scientists, researchers must avoid fooling themselves, be willing to question and doubt their own theories and their own results, and investigate possible flaws in a theory or an experiment. He recommended that researchers adopt an unusually high level of honesty. Feynman cautioned, "We've learned from experience that the *TRUTH WILL come OUT* [- Launcelot The Merchant of Venice_ Act II, scene II]. Other experimenters will repeat your experiment and find out whether you were wrong or right. Nature's phenomena will agree or they'll disagree with your theory. And, although you may gain some temporary fame and excitement, you will not gain a good reputation as a scientist if you haven't tried to be very careful in this kind of work. And it's this type of integrity, this kind of care not to fool yourself, that is missing to a large extent in much of the research in cargo cult science.">>
---------------------------------------------------------------
> . The Taming of the Shrew Act 2, Scene 1
> .
> GREMIO: First, as you know, my house within the city
Lea wrote: <<But Art --
> .
> GREMIO: First, as you know, my house within the city
_gremio_ is the Spanish word for a guild or trade -- like *masonry*!??
.......................................................
...or The Worshipful Company of Pewterers:
---------------------------------------------------------------
http://en.wikipedia.org/wiki/Worshipful_Company_of_Pewterers
<<The Worshipful Company of Pewterers is one of the 110 LiVERy Companies of the City of London. It ranks 16th in the order of precedence of City Livery Companies and has existed since at least 1348.
http://www.pewterers.org.uk/images/Pewterers%20Crest%20cornersml.png
Crest: A Mount Vert thereon two Arms embowed Proper vested Argent cuffed Gules holding in both Hands erect a Dish of the Third.
Supporters: Two Seahorses Or their Tails Proper.
The earliest record of Arms in use by the Pewterers' Company is dated 1451. These first Arms depict a representation of the Assumption, recalling the Company's origin as a Fraternity in honour of the Virgin Mary. The Pewterers, like other Livery Companies, found it politic to eliminate religious symbolism during the Reformation; thus, in 1533, new Arms were granted, followed, forty years later, by its crest and supporters.>>
---------------------------------------------------------------
Lea wrote:
<<Actually, Art, if you wish to link Oxford with pewter, you would
be better advised to seek the connection in Oxford's VERse rather
than Shakespeare's -- indeed, the worst of Oxford's poetry
is perhaps best characterized as pewt'rid.>>
...................................................................
<<Actually, Art, if you wish to link Oxford with pewter, you would
be better advised to seek the connection in Oxford's VERse rather
than Shakespeare's -- indeed, the worst of Oxford's poetry
is perhaps best characterized as pewt'rid.>>
Then you needn't have cheated *SO* blatantly on _The Benezet Test_
---------------------------------------------------------------
http://en.wikipedia.org/wiki/B%C3%A9n%C3%A9zet
<<Saint Bénézet, (ca. 1163-1184) was a shepherd boy who saw a vision during an eclipse in 1177. This told him to build a bridge over the Rhône River at Avignon. He built the bridge single-handedly; ecclesiastical & civil authorities refused to help him. After his death, Bénézet was interred on the bridge itself. His relics were enshrined there until 1669, when a flood washed away part of the bridge. His coffin, recovered, was opened and the body of Bénézet was found to be incorrupt.>>
---------------------------------------------------------------
http://en.wikipedia.org/wiki/Putrefaction
<<Putrefaction is one of seven stages in the decomposition of the body of a dead animal. It is caused by bacterial or fungal decomposition of organic matter and results in production of nOXious odours.>>
------------------------------------------------------------------
Joseph Barnes published the only English edition of *ARISTOPHANES*
prior to 1640, a Greek edition published in *OXENford* in 1593.
...............................................................
*OZONE* is derived from the Greek *OXE(i)N* meaning *to SMELL*
...............................................................
<<This Earle of Oxford, making his *LOW* obeisance to Queen
Elizabeth, happened to let a FART, at which he was so
abashed & ashamed that he went to Travell, *7 yeares* .
On his returne the Queen welcomed him home, and sayd,
My Lord, I had forgott the FART.>> -- John Aubrey
------------------------------------------------------
. _The Knights_ (424 BC) by *ARISTOPHANES*
......................................................
NICIAS How loudly the *PAPHLAGONIAN FARTS* and snores!
. I was able to seize the sacred oracle, which he was
. guarding with the greatest care, without his seeing me.
......................................................
SAUSAGE-SELLER: VERy well!
. it was *CLEON* who had caused the price to fall so low,
. that all might eat it, and the jurymen in the Courts were
. almost asphyxiated from *FARTING* in each others' faces.
.
DEMOS: Hah! why, indeed, a *DUNGTOWNITE* told me the same thing.
.
SAUSAGE-SELLER: Were you not yourself in those days
. quite red in the gills with *FARTING*?
.
DEMOS: Why, it was a trick *WORTHY* of Pyrrhandrus!
------------------------------------------------
Greek political satires were written that
. ridiculed Pericles' *non-aristocratic*
successor: the war-mongering demagogue *CLEON* .
.
. thE WaSPS [Sphekes] (422 BC) Philonides
. thE KnigHts. (424 BC) *ARISTOPHANES*
. thE AchARnians (425 BC) Callistratus
.
. But Philonides & Callistratus were
. pseudonym/front men used by *ARISTOPHANES* .
.
Unfortunately, Aristophanes was unable to hide behind
a pseudonym in _The Knights_ because Aristophanes,
himself, was *forced to play the CLEON character*
(a scheming *PAPHLAGONIAN LEATHER-MONGER* )
after EVERyone else refused.
.
(We know for certain that this character was
intended to be *CLEON* because *CLEON's father*
Cleaenetus was, in fact, *A TANNER* .)
------------------------------------------------------
____ Hamlet Q1 (1603: Edward de Vere Version)
.
Hamlet: An excellent fellow by the Lord Horatio,
. This *SEAUEN YEARES* haue I noted it: the toe of the pesant,
. *COMES so neere the heele of the courtier* ,
. That hee gawles his kibe, I prethee tell mee one thing,
. How long will a man lie in the ground before hee rots?
.
Clowne: I faith {SIR}, if hee be not rotten [B]efore
. He be laide in, [A]s we haue many pocky [C]orses,
. He will last y[O]u, eight yeares, *a tan[N]er*
. Will last you eight yeares full out, or nine.
.
Hamlet: And why *A TANNER* ?
.
Clowne: Why his hide is so tanned with his trade,
. That it will holde out water, that's a parlous
. Deuourer of your dead body, a great soaker.
...................................................
. <= 17 =>
.
. I f a i t h {S I R} i f h e e b e n
. o t r o t t e n [B] e f o r e H e b
. e l a i d e i n [A] s w e h a u e m
. a n y p o c k y [C] o r s e s H e w
. i l l l a s t y [O] u e i g h t y e
. a r e s a t a n [N] e r
.
[BACON] 17
------------------------------------------------------
Art Neuendorffer
david....@dartmouth.edu
Mar 23, 2015, 10:34:05 AM3/23/15
to
In article <7ebc28fc-8bb3-4ccf...@googlegroups.com>,
teach either English or reading?! Or was the problem that the student
in question was deficient? After all, a school cannot be blamed for
*all* of its failures to educate its charges -- some are resolutely
ineducable.
> MoreoVER, you can VERy easily consult a facsimile of the Quarto
> edition of _Othello_,
...if you can find someone literate willing to read it to you...
> like the one at
>
> <http://internetshakespeare.uvic.ca/Library/facsimile/book/6/33/?work=&zoom=42
> 0>,
>
> where you will find:
>
> "Knauerie's plaine face is neuer seene, till vs'd."
>
> Similarly, if you consult a First Folio facsimile
...if you can find someone literate (moreoVER, someone who suffers
fools gladly) who is willing to read it to you...
> like that one at
>
> http://internetshakespeare.uvic.ca/Library/facsimile/book/SLNSW_F1/826/?work=&
> zoom=850
>
> you will find:
>
> "Knauveries plaine face, is neuer seene, till vs'd.">>
> ...........................................................
> Someone should probably have found a better spelter then.
Obviously George Mason Elementary neVER taught spelling to its
"obediant [sic]" students either.
> http://en.wikipedia.org/wiki/Pewter
>
> <<The word pewter is likely a variation of the word spelter.>>
> ---------------------------------------------------------------
> [Lunatic logorrhea snipped]
[Crackpot cryptography snipped]
-- indeed, you have developed that pursuit into a VERitable Art form!
> http://en.wikipedia.org/wiki/Cargo_cult_science
>
> <<Cargo cult science comprises practices that have the semblance of being
> scientific, but do not in fact follow the scientific method.
Example: Anti-Stratfordian pseudoscientific and pseudohistorical
conspiracy theories.
[...]
that case, the emblem is the hindquarters of a horse rather than the
tail of a seahorse.
[...]
provided by anyone (certainly not by May), and (2) the "test" is
absurdly easy for anyone with an ear for VERse (and a modicum of
familiarity with Shakespeare)-- indeed most of the determinations can be
made *without* paying attention to semantics, by the simple expedient of
noticing obvious changes in VERsification.
> http://en.wikipedia.org/wiki/B%C3%A9n%C3%A9zet
>
> <<Saint Bénézet, (ca. 1163-1184) was a shepherd boy who saw a vision during
> an eclipse in 1177. This told him to build a bridge over the Rhône River at
> Avignon. He built the bridge single-handedly; ecclesiastical & civil
> authorities refused to help him. After his death, Bénézet was interred on the
> bridge itself. His relics were enshrined there until 1669, when a flood
> washed away part of the bridge. His coffin, recovered, was opened and the
> body of Bénézet was found to be incorrupt.>>
That's the wrong Benezet, Art; the "Benezet test" was introduced by
Louis Benezet (1876–1961), a Prince Tudor adherent to whose bizarre
_idée fixe_ Dartmouth's library probably owes its excellent collection
of older anti-Stratfordian crank pseudoscholarship. But don't feel too
bad, Art -- this sort of confusion is quite common among illiterates
(and among those who have consumed too many controlled substances): one
recalls anti-Stratfordians' confusions of Anthony Powell and Enoch
Powell, Mary Stewart and Mary Tudor, Franz Boas and Frederick Boas,
Peter A. Gay and Peter J. Gay, Mary Vere and Katherine Vere,
Shakespeare's wife Anne Hathaway and Shakespeare's mother Mary Arden,
etc. You are keeping alive a long tradition, Art!
[Lunatic logorrhea snipped]
[sic]" of _Hamlet_. The play was written by William Shakespeare. But,
as George Mason Elementary found out and as Lehigh correctly inferred,
you are VERy slow on the uptake.
[Crackpot cryptography snipped]
> ------------------------------------------------------
> Art Neuendorffer
> > Garfield Benderschmidt wrote:
> >
> > <<Why is there no mention of pewtering in the sonnets, or
> > transporting tin, or tin itself in the sonnets? Surely you
> > would expect at least some metaphorical expression of
> > Oxford's real life interests in the sonnets wouldn't you?>>
> > ----------------------------------------------
> Neufer wrote:
> >
> > . Othello, The Moor of Venice Act 2, Scene 1
> > .
> > IAGO: For making him egregiously an ass
> > . And practising upon his peace and quiet
> > . Even to madness. 'Tis here, but yet confused:
> > . Knavery's plain face is *nEVER seen TIN* [sic] used.
> Lea wrote:
>
> <<Is English your native tongue, Art?! If you possessed even the most
> cursory, superficial familiarity with the language, you would realize
> that "knavery's plain face is never seen tin [sic] used" makes *no*
> sense in English, and that "tin" is a misprint for "till".
>
> Didn't George Mason Elementary teach *any* English, even at this
> VERy rudimentary level, Art?! Did they not teach reading either?!
You didn't answer the question, Art: Didn't George Mason Elementary
> >
> > <<Why is there no mention of pewtering in the sonnets, or
> > transporting tin, or tin itself in the sonnets? Surely you
> > would expect at least some metaphorical expression of
> > Oxford's real life interests in the sonnets wouldn't you?>>
> > ----------------------------------------------
> Neufer wrote:
> >
> > . Othello, The Moor of Venice Act 2, Scene 1
> > .
> > IAGO: For making him egregiously an ass
> > . And practising upon his peace and quiet
> > . Even to madness. 'Tis here, but yet confused:
> > . Knavery's plain face is *nEVER seen TIN* [sic] used.
> Lea wrote:
>
> <<Is English your native tongue, Art?! If you possessed even the most
> cursory, superficial familiarity with the language, you would realize
> that "knavery's plain face is never seen tin [sic] used" makes *no*
> sense in English, and that "tin" is a misprint for "till".
>
> Didn't George Mason Elementary teach *any* English, even at this
> VERy rudimentary level, Art?! Did they not teach reading either?!
teach either English or reading?! Or was the problem that the student
in question was deficient? After all, a school cannot be blamed for
*all* of its failures to educate its charges -- some are resolutely
ineducable.
> MoreoVER, you can VERy easily consult a facsimile of the Quarto
> edition of _Othello_,
> like the one at
>
> <http://internetshakespeare.uvic.ca/Library/facsimile/book/6/33/?work=&zoom=42
> 0>,
>
> where you will find:
>
> "Knauerie's plaine face is neuer seene, till vs'd."
>
> Similarly, if you consult a First Folio facsimile
fools gladly) who is willing to read it to you...
> like that one at
>
> http://internetshakespeare.uvic.ca/Library/facsimile/book/SLNSW_F1/826/?work=&
> zoom=850
>
> you will find:
>
> "Knauveries plaine face, is neuer seene, till vs'd.">>
> ...........................................................
> Someone should probably have found a better spelter then.
"obediant [sic]" students either.
> http://en.wikipedia.org/wiki/Pewter
>
> <<The word pewter is likely a variation of the word spelter.>>
> ---------------------------------------------------------------
> [Lunatic logorrhea snipped]
> Lea wrote: <<Probability 1 in 9?!
>
> That's ludicrously and pathetically unimpressive, Art.>>
> .......................................................
> Just practicing, Dave:
Why, Art? You need no further practice in making an ass of yourself
>
> That's ludicrously and pathetically unimpressive, Art.>>
> .......................................................
> Just practicing, Dave:
-- indeed, you have developed that pursuit into a VERitable Art form!
> http://en.wikipedia.org/wiki/Cargo_cult_science
>
> <<Cargo cult science comprises practices that have the semblance of being
> scientific, but do not in fact follow the scientific method.
conspiracy theories.
[...]
> > . The Taming of the Shrew Act 2, Scene 1
> > .
> > GREMIO: First, as you know, my house within the city
> Lea wrote: <<But Art --
>
> _gremio_ is the Spanish word for a guild or trade -- like *masonry*!??
> .......................................................
> ...or The Worshipful Company of Pewterers:
> ---------------------------------------------------------------
> http://en.wikipedia.org/wiki/Worshipful_Company_of_Pewterers
>
> <<The Worshipful Company of Pewterers is one of the 110 LiVERy Companies of
> the City of London. It ranks 16th in the order of precedence of City Livery
> Companies and has existed since at least 1348.
>
> http://www.pewterers.org.uk/images/Pewterers%20Crest%20cornersml.png
>
> Crest: A Mount Vert thereon two Arms embowed Proper vested Argent cuffed
> Gules holding in both Hands erect a Dish of the Third.
>
> Supporters: Two Seahorses Or their Tails Proper.
This scheme is strikingly similar to the Noonedafter Arms, Art: in
> > .
> > GREMIO: First, as you know, my house within the city
> Lea wrote: <<But Art --
>
> _gremio_ is the Spanish word for a guild or trade -- like *masonry*!??
> .......................................................
> ...or The Worshipful Company of Pewterers:
> ---------------------------------------------------------------
> http://en.wikipedia.org/wiki/Worshipful_Company_of_Pewterers
>
> <<The Worshipful Company of Pewterers is one of the 110 LiVERy Companies of
> the City of London. It ranks 16th in the order of precedence of City Livery
> Companies and has existed since at least 1348.
>
> http://www.pewterers.org.uk/images/Pewterers%20Crest%20cornersml.png
>
> Crest: A Mount Vert thereon two Arms embowed Proper vested Argent cuffed
> Gules holding in both Hands erect a Dish of the Third.
>
> Supporters: Two Seahorses Or their Tails Proper.
that case, the emblem is the hindquarters of a horse rather than the
tail of a seahorse.
[...]
> Lea wrote:
>
> <<Actually, Art, if you wish to link Oxford with pewter, you would
> be better advised to seek the connection in Oxford's VERse rather
> than Shakespeare's -- indeed, the worst of Oxford's poetry
> is perhaps best characterized as pewt'rid.>>
> ...................................................................
> Then you needn't have cheated *SO* blatantly on _The Benezet Test_
I already told you, Art: (1) No answers to the "Benezet Test" were
>
> <<Actually, Art, if you wish to link Oxford with pewter, you would
> be better advised to seek the connection in Oxford's VERse rather
> than Shakespeare's -- indeed, the worst of Oxford's poetry
> is perhaps best characterized as pewt'rid.>>
> ...................................................................
> Then you needn't have cheated *SO* blatantly on _The Benezet Test_
provided by anyone (certainly not by May), and (2) the "test" is
absurdly easy for anyone with an ear for VERse (and a modicum of
familiarity with Shakespeare)-- indeed most of the determinations can be
made *without* paying attention to semantics, by the simple expedient of
noticing obvious changes in VERsification.
> http://en.wikipedia.org/wiki/B%C3%A9n%C3%A9zet
>
> <<Saint Bénézet, (ca. 1163-1184) was a shepherd boy who saw a vision during
> an eclipse in 1177. This told him to build a bridge over the Rhône River at
> Avignon. He built the bridge single-handedly; ecclesiastical & civil
> authorities refused to help him. After his death, Bénézet was interred on the
> bridge itself. His relics were enshrined there until 1669, when a flood
> washed away part of the bridge. His coffin, recovered, was opened and the
> body of Bénézet was found to be incorrupt.>>
Louis Benezet (1876–1961), a Prince Tudor adherent to whose bizarre
_idée fixe_ Dartmouth's library probably owes its excellent collection
of older anti-Stratfordian crank pseudoscholarship. But don't feel too
bad, Art -- this sort of confusion is quite common among illiterates
(and among those who have consumed too many controlled substances): one
recalls anti-Stratfordians' confusions of Anthony Powell and Enoch
Powell, Mary Stewart and Mary Tudor, Franz Boas and Frederick Boas,
Peter A. Gay and Peter J. Gay, Mary Vere and Katherine Vere,
Shakespeare's wife Anne Hathaway and Shakespeare's mother Mary Arden,
etc. You are keeping alive a long tradition, Art!
[Lunatic logorrhea snipped]
> ____ Hamlet Q1 (1603: Edward de Vere Version)
I've already told you, Art -- there is *no* "Edward de Vere Version
[sic]" of _Hamlet_. The play was written by William Shakespeare. But,
as George Mason Elementary found out and as Lehigh correctly inferred,
you are VERy slow on the uptake.
[Crackpot cryptography snipped]
> ------------------------------------------------------
> Art Neuendorffer
marco
Mar 23, 2015, 2:34:05 PM3/23/15
to
The Shake-speare group authors had the means, motive & opportunity to embed their names (and/or the names of their dedicatees) into Ciphers & Codes.
Besides, my REVElations continue to improve in both quantity & quality
and I find satisfaction in that alone.
Art N.
Seeing an intelligent post addressed to Art Neuendorffer (from Sabrina)
I took Art out of my kill-file -- the first time in Ten years or more.
But then -- in the space of a couple of hours-- FIVE long posts of unreadable garbage landed in my in-box.
>> I heard the real key was in the Ciphers & Codes...
Whoever told you that is an idiot.
There is no need for codes or ciphers -- just plain common sense
is enough to tell you who the poet isn't, and who he must be.
.....if it's full of Neuendorffer crap (as most are) you may have
a problem finding anything.
Neuendorffer is...grossly self-indulgent...not caring how
Besides, my REVElations continue to improve in both quantity & quality
and I find satisfaction in that alone.
Art N.
Seeing an intelligent post addressed to Art Neuendorffer (from Sabrina)
I took Art out of my kill-file -- the first time in Ten years or more.
But then -- in the space of a couple of hours-- FIVE long posts of unreadable garbage landed in my in-box.
>> I heard the real key was in the Ciphers & Codes...
Whoever told you that is an idiot.
There is no need for codes or ciphers -- just plain common sense
is enough to tell you who the poet isn't, and who he must be.
.....if it's full of Neuendorffer crap (as most are) you may have
a problem finding anything.
much he mucks up this newsgroup...
So Neuendorffer goes back where he belongs--the kill-file, as a [boring] Troll.
Arthur Neuendorffer
Mar 23, 2015, 4:30:31 PM3/23/15
to
>> Garfield Benderschmidt wrote:
>>
>> <<Why is there no mention of pewtering in the sonnets, or
>> transporting tin, or tin itself in the sonnets? Surely you
>> would expect at least some metaphorical expression of
>> Oxford's real life interests in the sonnets wouldn't you?>>
>> ----------------------------------------------
> Neufer wrote:
>>
>> . Othello, The Moor of Venice Act 2, Scene 1
>> .
>> IAGO: For making him egregiously an ass
>> . And practising upon his peace and quiet
>> . Even to madness. 'Tis here, but yet confused:
>> . Knavery's plain face is *nEVER seen TIN* [sic] used.
> Lea wrote:
>
> <<Is English your native tongue, Art?! If you possessed even the most
> cursory, superficial familiarity with the language, you would realize
> that "knavery's plain face is never seen tin [sic] used" makes *no*
> sense in English, and that "tin" is a misprint for "till".
>
> Didn't George Mason Elementary teach *any* English, even at this
> VERy rudimentary level, Art?! Did they not teach reading either?!>>
I distinctly remember _Fun with Dick & Jane_ (as well as _My Weekly Reader_).
>>
>> <<Why is there no mention of pewtering in the sonnets, or
>> transporting tin, or tin itself in the sonnets? Surely you
>> would expect at least some metaphorical expression of
>> Oxford's real life interests in the sonnets wouldn't you?>>
>> ----------------------------------------------
> Neufer wrote:
>>
>> . Othello, The Moor of Venice Act 2, Scene 1
>> .
>> IAGO: For making him egregiously an ass
>> . And practising upon his peace and quiet
>> . Even to madness. 'Tis here, but yet confused:
>> . Knavery's plain face is *nEVER seen TIN* [sic] used.
> Lea wrote:
>
> <<Is English your native tongue, Art?! If you possessed even the most
> cursory, superficial familiarity with the language, you would realize
> that "knavery's plain face is never seen tin [sic] used" makes *no*
> sense in English, and that "tin" is a misprint for "till".
>
> Didn't George Mason Elementary teach *any* English, even at this
> VERy rudimentary level, Art?! Did they not teach reading either?!>>
In fact, I probably bought my cocker spaniel 'Pepper'
in fond remembrance of 'Spot.'
-----------------------------------------------------------
http://en.wikipedia.org/wiki/Dick_and_Jane
<<Dick and Jane were the main characters in popular basal readers written by William S. Gray and Zerna Sharp, that were used to teach children to read from the 1930s through to the 1970s in the United States. There is controversy as to plagiarism of another work, however, with Gray accused of copying Fred Schonell's similar Dick and Dora readers found in his Happy Venture Playbooks. The main characters, Dick and Jane, were a little boy and girl. Supporting characters included Baby (or Sally), Mother, Father, Spot, Puff the cat, and Tim the teddy bear. The books relied on the whole word or sight word reading method, and repetition, using phrases like, "Oh, see. Oh, see Jane. Funny, funny Jane." In 1955, Rudolf Flesch criticized the Dick and Jane series in his book, Why Johnny Can't Read, and the push for multiculturalism, and stronger presentation of other races and cultures was partially a reaction to the cultural homogeneity of the series.>>
-----------------------------------------------------------
I also subscribed for a while to Martin Gardner's
_Humpty Dumpty Magazine_ (before Martin's fall IMO).
http://en.wikipedia.org/wiki/Humpty_Dumpty_%28magazine%29
-----------------------------------------------------------
> Lea wrote:
>
> <<MoreoVER, you can VERy easily consult a facsimile
> of the Quarto edition of _Othello_, where you will find:
>
> <<MoreoVER, you can VERy easily consult a facsimile
>
> "Knauerie's plaine face is neuer seene, till vs'd."
>
> Similarly, if you consult a First Folio facsimile
> you will find:
> "Knauerie's plaine face is neuer seene, till vs'd."
>
> Similarly, if you consult a First Folio facsimile
>
> "Knauveries [sic] plaine face, is neuer seene, till vs'd.">>
> ...........................................................
Neufer wrote:
>
> Someone should probably have found a better spelter then.
>
> Someone should probably have found a better spelter then.
Lea wrote:
<<Obviously George Mason Elementary neVER taught spelling
to its "obediant [sic]" students either.>>
...........................................................
<<Obviously George Mason Elementary neVER taught spelling
to its "obediant [sic]" students either.>>
There was no more "obediant [sic]" GME student than myself.
------------------------------------------------
------------------------------------------------
. Sonnet 119
.
WHat potions hau{E} I drunke of {S}yren teare{S}
Distil'd fr{O}m Lymbecks {F}oule as hell within,
.........................................
. <= 10 =>
. h a u {E} I d r u n k
. e o f {S} y r e n t e
. a r e {S} D i s t i l
. d f r {O} m L y m b e
. c k s {F} o u l e
.
{FOSSE} -10
.........................................
A[P]plying feares to hopes, and hopes to fear[E]s,
Still loosing when I saw my selfe to win?
.
[W]hat wretched errors hath my heart commi[T]ted,
Whilst it hath thought it selfe so bl[E]ssed neuer?
How haue mine eies out of thei[R] Spheares bene fitted
In the distraction of this madding feuer?
...........................................
. Sonnet 119
.
WHat potions hau{E} I drunke of {S}yren teare{S}
Distil'd fr{O}m Lymbecks {F}oule as hell within,
.........................................
. <= 10 =>
. h a u {E} I d r u n k
. e o f {S} y r e n t e
. a r e {S} D i s t i l
. d f r {O} m L y m b e
. c k s {F} o u l e
.
{FOSSE} -10
.........................................
A[P]plying feares to hopes, and hopes to fear[E]s,
Still loosing when I saw my selfe to win?
.
[W]hat wretched errors hath my heart commi[T]ted,
Whilst it hath thought it selfe so bl[E]ssed neuer?
How haue mine eies out of thei[R] Spheares bene fitted
In the distraction of this madding feuer?
...........................................
. <= 34 =>
.
. A [P] plyingfearestohopesandhopestofea
. r [E] sStillloosingwhenIsawmyselfetowi
.
. A [P] plyingfearestohopesandhopestofea
. r [E] sStillloosingwhenIsawmyselfetowi
. n [W] hatwretchederrorshathmyheartcomm
. i [T] tedWhilstithaththoughtitselfesob
. l [E] ssedneuerHowhauemineeiesoutofthe
. i [T] tedWhilstithaththoughtitselfesob
. i [R] SphearesbenefittedInthedistracti
. o n ofthismaddingfeuer
[PEWTER] 34 : Prob. in Sonnets ~ 1 in 9
---------------------------------------------------------------
. o n ofthismaddingfeuer
[PEWTER] 34 : Prob. in Sonnets ~ 1 in 9
> Lea wrote: <<Probability 1 in 9?!
>
> That's ludicrously and pathetically unimpressive, Art.>>
> .......................................................
Neufer wrote:
>
> That's ludicrously and pathetically unimpressive, Art.>>
> .......................................................
>
> Just practicing, Dave:
Lea wrote: <<Why, Art?>>
---------------------------------------------------------------
http://en.wikipedia.org/wiki/Cargo_cult_science
<<Cargo cult science comprises practices that have the semblance of being scientific, but do not in fact follow the scientific method. The term was first used by physicist Richard Feynman during his 1974 Cal Tech commencement address. Feynman cautioned that to avoid becoming cargo cult scientists, researchers must avoid fooling themselves, be willing to question and doubt their own theories and their own results, and investigate possible flaws in a theory or an experiment. He recommended that researchers adopt an unusually high level of honesty. Feynman cautioned, "We've learned from experience that the *TRUTH WILL come OUT* [- Launcelot The Merchant of Venice_ Act II, scene II]. Other experimenters will repeat your experiment and find out whether you were wrong or right. Nature's phenomena will agree or they'll disagree with your theory. And, although you may gain some temporary fame and excitement, you will not gain a good reputation as a scientist if you haven't tried to be very careful in this kind of work. And it's this type of integrity, this kind of care not to fool yourself, that is missing to a large extent in much of the research in cargo cult science.">>
---------------------------------------------------------------
>> . The Taming of the Shrew Act 2, Scene 1
>> .
>> GREMIO: First, as you know, my house within the city
> Lea wrote: <<But Art --
>
> _gremio_ is the Spanish word for a guild or trade -- like *masonry*!??
> .......................................................
> ...or The Worshipful Company of Pewterers:
> ---------------------------------------------------------------
> http://en.wikipedia.org/wiki/Worshipful_Company_of_Pewterers
>
> <<The Worshipful Company of Pewterers is one of the 110 LiVERy Companies of
> the City of London. It ranks 16th in the order of precedence of City Livery
> Companies and has existed since at least 1348.
>
> http://www.pewterers.org.uk/images/Pewterers%20Crest%20cornersml.png
>
> Crest: A Mount Vert thereon two Arms embowed Proper vested Argent cuffed
> Gules holding in both Hands erect a Dish of the Third.
>
> Supporters: Two Seahorses Or their Tails Proper.
---------------------------------------------------------------
>> .
>> GREMIO: First, as you know, my house within the city
> Lea wrote: <<But Art --
>
> _gremio_ is the Spanish word for a guild or trade -- like *masonry*!??
> .......................................................
> ...or The Worshipful Company of Pewterers:
> ---------------------------------------------------------------
> http://en.wikipedia.org/wiki/Worshipful_Company_of_Pewterers
>
> <<The Worshipful Company of Pewterers is one of the 110 LiVERy Companies of
> the City of London. It ranks 16th in the order of precedence of City Livery
> Companies and has existed since at least 1348.
>
> http://www.pewterers.org.uk/images/Pewterers%20Crest%20cornersml.png
>
> Crest: A Mount Vert thereon two Arms embowed Proper vested Argent cuffed
> Gules holding in both Hands erect a Dish of the Third.
>
> Supporters: Two Seahorses Or their Tails Proper.
Lea wrote:
<<This scheme is strikingly similar to the Noonedafter Arms, Art.>>
...................................................................
I have two hippocampi, one in either side of my internal Compewter:
---------------------------------------------------------------
http://en.wikipedia.org/wiki/Hippocampus
<<The hippocampus (named after its resemblance to the seahorse, from the Greek ἱππόκαμπος, "seahorse" from ἵππος hippos, "horse" and κάμπος kampos, "sea monster") is a major component of the brains of humans and other vertebrates. Humans and other mammals have two hippocampi, one in each side of the brain. It belongs to the limbic system and plays important roles in the consolidation of information from short-term memory to long-term memory and spatial navigation.>>
---------------------------------------------------------------
> Lea wrote:
>
> <<Actually, Art, if you wish to link Oxford with pewter, you would
> be better advised to seek the connection in Oxford's VERse rather
> than Shakespeare's -- indeed, the worst of Oxford's poetry
> is perhaps best characterized as pewt'rid.>>
> .......................................................
>
> <<Actually, Art, if you wish to link Oxford with pewter, you would
> be better advised to seek the connection in Oxford's VERse rather
> than Shakespeare's -- indeed, the worst of Oxford's poetry
> is perhaps best characterized as pewt'rid.>>
> .......................................................
Neufer wrote:
>
> Then you needn't have cheated *SO* blatantly on _The Benezet Test_
---------------------------------------------------------------
>
> Then you needn't have cheated *SO* blatantly on _The Benezet Test_
Lea wrote:
<<I already told you, Art: (1) No answers to the "Benezet Test" were
provided by anyone (certainly not by May), and (2) the "test" is
absurdly easy for anyone with an ear for VERse (and a modicum of
familiarity with Shakespeare)-- indeed most of the determinations
can be made *without* paying attention to semantics, by the simple
expedient of noticing obvious changes in VERsification.
No doubt the Grand Master provided you with a cheat sheet.
<<I already told you, Art: (1) No answers to the "Benezet Test" were
provided by anyone (certainly not by May), and (2) the "test" is
absurdly easy for anyone with an ear for VERse (and a modicum of
familiarity with Shakespeare)-- indeed most of the determinations
can be made *without* paying attention to semantics, by the simple
expedient of noticing obvious changes in VERsification.
---------------------------------------------------------------
> http://en.wikipedia.org/wiki/B%C3%A9n%C3%A9zet
>
> <<Saint Bénézet, (ca. 1163-1184) was a shepherd boy who saw a vision during
> an eclipse in 1177. This told him to build a bridge over the Rhône River at
> Avignon. He built the bridge single-handedly; ecclesiastical & civil
> authorities refused to help him. After his death, Bénézet was interred on the
> bridge itself. His relics were enshrined there until 1669, when a flood
> washed away part of the bridge. His coffin, recovered, was opened and the
> body of Bénézet was found to be incorrupt.>>
---------------------------------------------------------------
>
> <<Saint Bénézet, (ca. 1163-1184) was a shepherd boy who saw a vision during
> an eclipse in 1177. This told him to build a bridge over the Rhône River at
> Avignon. He built the bridge single-handedly; ecclesiastical & civil
> authorities refused to help him. After his death, Bénézet was interred on the
> bridge itself. His relics were enshrined there until 1669, when a flood
> washed away part of the bridge. His coffin, recovered, was opened and the
> body of Bénézet was found to be incorrupt.>>
Lea wrote:
<<That's the wrong Benezet, Art; the "Benezet test" was introduced by
Louis Benezet (1876–1961), a Prince Tudor adherent to whose bizarre
_idée fixe_ Dartmouth's library probably owes its *EXCELLENT*
<<That's the wrong Benezet, Art; the "Benezet test" was introduced by
Louis Benezet (1876–1961), a Prince Tudor adherent to whose bizarre
collection of older anti-Stratfordian crank pseudoscholarship.>>
--------------------------------------------------------------
Do you spend much time oVER Baker Berry, Dave?
(EVER done any Baker Berry PR2947 defenestrating, Dave?)
Baker Berry bought some Bacon;
“But,” said he, “this Bacon’s bitter!
If I put it in my B.S.
It will make my B.S. bitter.
But a bit o’ better butter
*WILL* but make my B.S. better.”
Then he bought a bit o’ butter
Better than the bitter Bacon,
Made his bitter B.S. better.
So ’twas better Baker Berry
Bought a bit o’ better butter.
----------------------------------------------------------------------
http://tinyurl.com/nf8zsn3
. PR2937 .B65 : Blumenthal, Walter Hart, Who knew Shakespeare? What was his reputation in his lifetime? Baker Berry:AVAILABLE . TEXT . c1965
. PR2937 .C54 2008 : Cheney, Patrick, Shakespeare's literary authorship / Patrick Cheney. Baker Berry:AVAILABLE . TEXT . c2008
. PR2937 .F49 : Feuillerat, Albert, The composition of Shakespeare's plays: authorship, chronology Baker Berry:AVAILABLE . TEXT . 1953
. PR2937 .H65 1994 : Hope, Jonathan, The authorship of Shakespeare's plays : a socio-linguistic study / Jonathan Hope Baker Berry:AVAILABLE . TEXT . 1994
. PR2937 .J36 2006 : James, Brenda, The truth will out : unmasking the real Shakespeare / Brenda James and William D. Rubinstein. Baker Berry:AVAILABLE . TEXT . c2006
. PR2937 .K59 2009 : Knapp, Jeffrey. Shakespeare only / Jeffrey Knapp. Baker Berry:AVAILABLE . TEXT . 2009
. PR2937 .M28 2005 : McCrea, Scott. The case for Shakespeare : the end of the authorship question / Scott McCrea. Baker Berry:AVAILABLE . TEXT . 2005
. PR2937 .M3 : McManaway, James Gilmer, The authorship of Shakespeare / by James G. McManaway Baker Berry:AVAILABLE . TEXT . 1964
. PR2937 .M35 1962 : McMichael, George L., Shakespeare and his rivals; a casebook on the authorship controversy [by] George McMichael [and] Edga Baker Berry:AVAILABLE . TEXT . 1962
. PR2937 .M38 : Martin, Milward W. Was Shakespeare Shakespeare? A lawyer reviews the evidence, by Milward W. Martin Baker Berry:AVAILABLE . TEXT . 1965
. PR2937 .P75 2001 : Price, Diana, Shakespeare's unorthodox biography : new evidence of an authorship problem / Diana Price. Baker Berry:AVAILABLE . TEXT . 2001
. PR2937 .R36 2004 : Ramsbotham, Richard, Who wrote Bacon? : William Shakespeare, Francis Bacon and James I : a mystery for the twenty-first ce Baker Berry:AVAILABLE . TEXT . 2004
. PR2937 .R6 : Robertson, J. M. The Shakespeare canon by J. M. Robertson Baker Berry:LIBRARY HAS, Baker Berry:AVAILABLE . TEXT . 1922-
. PR2937 .S43 2010 Shakespeare and his authors : critical perspectives on the authorship question / edited by William Le Baker Berry:AVAILABLE . TEXT . c2010
. PR2937 .S44 2007 The Shakespeare apocrypha / general editor, Douglas A. Brooks ; theme editor, Ann Thompson ; book rev Baker Berry:AVAILABLE . TEXT . c2007
. PR2937 .S445 2013 Shakespeare beyond doubt : evidence, argument, controversy / edited by Paul Edmondson and Stanley Wel Baker Berry:AVAILABLE . TEXT . 2013
. PR2937 .S47 2010 : Shapiro, James, Contested Will : who wrote Shakespeare? / James Shapiro. Baker Berry:AVAILABLE . TEXT . 2010
. PR2937 .V4 : Venton, W. B. Analyses of Shake-speares sonnets using the cipher code, by W. B. Venton; with facsimiles of the code Baker Berry:AVAILABLE . TEXT . 1968
. PR2937 .V53 2002 : Vickers, Brian. Shakespeare, co-author : a historical study of five collaborative plays / Brian Vickers. Baker Berry:AVAILABLE . TEXT . 2002
. PR2939 .M36 1994 : Matus, Irvin Leigh. Shakespeare, in fact / Irvin Leigh Matus Baker Berry:AVAILABLE . TEXT . 1994
. PR2939 .S55 1929 : Smart, John Semple, Shakespeare truth and tradition, by John Semple Smart with a memoir by W. Macneile Dixon Baker Berry:AVAILABLE . TEXT . 1928
. PR2944 .B25 1917 : Baxter, James Phinney, The greatest of literary problems, the authorship of the Shakespeare works ; an exposition of all poi Baker Berry:AVAILABLE . TEXT . 1917
. PR2944 .B6 : Bompas, George C. The problem of the Shakespeare plays, by George C. Bompas Baker Berry:AVAILABLE . TEXT . 1902
. PR2944 .B75 : Booth, William Stone, The hidden signatures of Francesco Colonna and Francis Bacon; a comparison of their methods, with the Baker Berry Oversize:AVAILABLE . TEXT . 1910
. PR2944 .B8 : Burr, William Henry, Bacon and Shakspere : proof that William Shakspere [facsim. of signature] could not write ; The sonne Rauner Rare Book:AVAILABLE . TEXT . 1886
. PR2944 .C55 : Clark, Natalie Lord Rice, Bacon's dial in Shakespeare, a compass-clock cipher, by Natalie Rice Clark Baker Berry:AVAILABLE . TEXT . c1922
. PR2944 .C6 : Twain, Mark, Is Shakespeare dead? From my autobiography [by] Mark Twain Rauner Rare Book:AVAILABLE, Rauner Val:AVAILABLE . TEXT . 1909
. PR2944 .L35 : Leary, Penn. The cryptographic Shakespeare : a monograph wherein the poems and plays attributed to William Shakesp Baker Berry:AVAILABLE . TEXT . 1987
. PR2944 .L38 1990 : Leary, Penn. The second cryptographic Shakespeare : a monograph wherein the poems and plays attributed to William Baker Berry:AVAILABLE . TEXT . 1990
. PR2944 .P7 : Pott, Henry, The promus of formularies and elegancies (being private notes, circ. 1594, hitherto unpublished) by F Baker Berry:AVAILABLE . TEXT . 1883
. PR2944 .S5 : Smedley, W. T. The mystery of Francis Bacon, by William T. Smedley Baker Berry:AVAILABLE . TEXT . 1912
. PR2945 .K84 : Kunow, Amelie Deventer von. Francis Bacon, last of the Tudors Baker Berry:AVAILABLE . TEXT . c1924
. PR2946 .B6 : Booth, William Stone, The Droeshout portrait of William Shakespeare; an experiment in identification with thirty-one illust Baker Berry:AVAILABLE . TEXT . 1911
. PR2946 .P43 2001 : Peck, Andrew Stevens. Francis Bacon Tudor equals William Shakespeare / Andrew Stevens Peck. Baker Berry:AVAILABLE . TEXT . c2001
. PR2947.C5 R6 : Robertson, J. M. Shakespeare and Chapman; a thesis of Chapman's authorship of "A lover's complaint", and his originati Baker Berry:AVAILABLE . TEXT . 1917
. PR2947.D5 L4 : Lefranc, A. Sous le masque de "William Shakespeare": William Stanley, VIe comte de Derby avec 4 portraits et 5 fa Baker Berry:AVAILABLE
. PR2947.L35 H83 2014 : Hudson, John, Shakespeare's dark lady : Amelia Bassano Lanier : the woman behind Shakespeare's plays? / John Hudson Baker Berry:New - will be on shelf soon . TEXT . 2014
. PR2947.M3 H6 : Hoffman, Calvin. The murder of the man who was "Shakespeare." Rauner Roberts Library:AVAILABLE . TEXT . 1955
. PR2947.M3 H65 : Honey, William, The Shakespeare epitaph deciphered Baker Berry:AVAILABLE . TEXT . 1969
. PR2947.O9 A73 2005 : Anderson, Mark, "Shakespeare" by another name : the life of Edward de Vere, Earl of Oxford, the man who was Shakespea Baker Berry:AVAILABLE . TEXT . c2005
. PR2947.O9 B36 2010 : Beauclerk, Charles. Shakespeare's lost kingdom : the true history of Shakespeare and Elizabeth / Charles Beauclerk. Baker Berry:DUE 03-30-15 . TEXT . c2010
. PR2947.O9 C63 : Clark, Eva Turner, Hidden allusions in Shakespeare's plays; a study of the Oxford theory based on the records of early c Baker Berry:AVAILABLE . TEXT . c1931
. PR2947.O9 F37 2006 : Farina, William, De Vere as Shakespeare : an Oxfordian reading of the canon / William Farina ; foreword by Felicia Har Baker Berry:DUE 03-30-15 . TEXT . c2006
. PR2947.O9 F68 1986 : Fowler, William Plumer. Shakespeare revealed in Oxford's letters : the pre-Armada letters, 1563-1585, and the post-Armada let Baker Berry:AVAILABLE . TEXT . 1986
. PR2947.O9 N45 2003 : Nelson, Alan H. Monstrous adversary : the life of Edward de Vere, 17th Earl of Oxford / Alan H. Nelson. Baker Berry:DUE 03-30-15 . TEXT . 2003
. PR2947.O9 O515 1984 : Ogburn, Charlton, The mysterious William Shakespeare : the myth and the reality / Charlton Ogburn Baker Berry:AVAILABLE . TEXT . c1984
. PR2947.O9 O515 1992 : Ogburn, Charlton, The mysterious William Shakespeare : the myth & the reality / Charlton Ogburn Baker Berry:AVAILABLE . TEXT . c1992
. PR2947.P45 W55 2006 : Williams, Robin, Sweet swan of Avon : did a woman write Shakespeare? / Robin P. Williams. Baker Berry:DUE 03-30-15
----------------------------------------------------------------------
Art Neuendorffer
Bob Grumman
Mar 24, 2015, 7:35:44 AM3/24/15
to
with continuing friendship, your colleague, Ultraprofessor First-Class Heins Aberfahrts, University of Geneva
Garfield Benderschmidt
Mar 24, 2015, 11:02:28 PM3/24/15
to
On 3/24/2015 7:35 AM, Bob Grumman wrote:
>
> Are you mad, my dear Benderschmidt?! Our poet took great pains to CONCEAL
his authorship (except in those many instances when he was taking
great pains
to subtly reveal it playing the witty word-games of the time so brilliant
examined by Professor Neuendorffer). He would NEVER have a reference to
his
main interest in life, tin (at least not more than once or twice), in
his works
as "Shake-speare" lest it expose . . . the Truth.
>
> with continuing friendship, your colleague, Ultraprofessor First-Class
Heins Aberfahrts, University of GenevaHar
>
> Are you mad, my dear Benderschmidt?! Our poet took great pains to CONCEAL
his authorship (except in those many instances when he was taking
great pains
to subtly reveal it playing the witty word-games of the time so brilliant
examined by Professor Neuendorffer). He would NEVER have a reference to
his
main interest in life, tin (at least not more than once or twice), in
his works
as "Shake-speare" lest it expose . . . the Truth.
>
> with continuing friendship, your colleague, Ultraprofessor First-Class
Guten Tag, Herr Ultraprofessor!
I'm really puzzled about the discontinuity between the letters of Oxford
and the plays and poems of Shakespeare. Oxford's letters are not just
about begging for tin mine concessions, they are about begging of all
kinds. A large number of letters concern his demand for the income of
several forests which he seemed to feel should have been his, for
example, and nowhere do we see him offering anything back to the crown.
He seems to be incapable of writing a clever letter that would convince
the parties to whom he is writing that he deserved what he asked for,
he seems to be almost a simpleton in that regard. It's hard to believe
anyone thinks he could be the author of the plays.
G.
ArtNea...@germanymail.com
May 27, 2015, 2:37:21 PM5/27/15
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