"for one night only"
acne...@gmail.com
The Booth brothers play Julius Caesar
<<On November 25, 1864, for one night only, three famous actors—
brothers Junius Brutus Booth Jr., Edwin Booth, and John Wilkes Booth
(yep, that one)—put on a benefit performance of Julius Caesar.
The play was staged at the opulent Winter Garden Theatre, on Broadway
and West 3rd Street (later the site of the Broadway Central Hotel and
now an NYU dorm). The Booth brothers, who had never performed
together, hoped to raise funds for a Shakespeare statue in the new
Central Park.
The show sold out and enough money was raised. But as the brothers
performed, a huge fire raged next door to the theatre, set by
Confederate sympathizers who plotted to burn down New York City. John
Wilkes Booth apparently had nothing to do with that scheme. But months
later, he assassinated President Lincoln.
The statue of Shakespeare still stands. Edwin Booth, who disavowed his
brother, has his own statue in Gramercy Park.>>
--------------------------------------------------
Edward Alleyn dies Sat. November 25, 1626
---------------------------------------------------
Paul Crowley wrote:
> HEERE LYETH YE BODY OF IOHN HALL
> GENT : HEE MAR : SVSANNA YE DAVGH
> & coheire
> TER OF WILL : SHAKESPEARE, GENT. HEE
> DECEASED NOVE. 25 An 1635, AGED 60.
-------------------------------------------------------
Dr John Hall dies Wed. November 25, 1635
Lope de Vega born Wed. November 25, 1562
-
Will of Elizabeth, Countess of Oxford: Wed. 25 November 1612
http://socrates.berkeley.edu/~ahnelson/DOCS/elizwill.html
------------------------------------------------------------
Ricardo Montalbán born Thu. November 25, 1920
Ricardo Montalbán dies Wed. January 14, 2009
-------------------------------------------------------------
http://www.ntin.net/McDaniel/1125.htm
November 25, 1562, Spanish playwright Lope de Vega, a contemporary
. of Cervantes, was born. He was prolific, writing more than
two thousand plays. The most famous is Fuenteovejuna (The Sheep Well).
-----------------------------------------------------------------------
http://www.catholic.org/saints/saints/catherinealexandria.html
.. St. Catherine of Alexandria
.
<<St. Catherine, Virgin & Martyr whose feast day is November 25th
. is the patroness of philosophers & preachers. St.Catherine
. is believed to have been born in Alexandria of a noble family.
Converted to Christianity through a vision, she denounced Maxentius
for
persecuting Christians. Fifty of her converts were then burned to
death
by Maxentius. Maxentius offered Catherine a royal marriage if she
would
deny the Faith. Her refusal landed her in prison. While in prison, and
while Maxentius was away, Catherine converted Maxentius' wife and two
hundred of his soldiers. He had them all put to death. Catherine was
likewise condemned to death. She was put on a spiked wheel, and when
the wheel broke, she was beheaded. She is venerated as the patroness
of
philosophers and preachers. St. Catherine's was one of the voices
heard
by St. Joan of Arc. Maxentius' blind fury against St. Catherine is
symbolic of the anger of the world in the face of truth and justice.>>
------------------------------------------------------------
http://en.wikipedia.org/wiki/Ricardo_Montalban
.
<<Ricardo Gonzalo Pedro Montalbán Merino KCSG (November 25, 1920 –
January 14, 2009) was a Mexican television, theatre, and film actor.
He had a career spanning decades and multiple notable roles. During
the late 1970s, he was the spokesperson in automobile advertisements
for the Chrysler Cordoba (in which he famously extols the "Corinthian
leather" used for its interior). From 1977 to 1984 he starred as Mr.
Roarke in the television series Fantasy Island. He also played the
villainous Khan Noonien Singh in both the 1967 "Space Seed" episode of
the first season of the original Star Trek series, and the 1982 film
Star Trek II: The Wrath of Khan. He won an Emmy Award in 1978, and a
Lifetime Achievement Award from the Screen Actors Guild in 1993. Up
until his 80s, he continued to perform, often providing voices for
animated films and commercials.>>
------------------------------------------------------------
http://www.sirbacon.org/btheobaldenterchv.htm
.
<<John Aubrey was a friend of Milton. Malone writes :
.
"His character for VERacity has nEVER ben impeached; and as a
VERy diligent antiquary his testimony is worthy of attention."
.
On the other hand, Gifford, editor of Ben Jonson's works, says :
"Aubrey thought little, believed much and confused EVERything."
.
What Aubrey wrote wrote [about Francis Bacon] was this:
.
"His lordship was a good poet,
. but *CONCEALED*, as appears by his letters.">>
-----------------------------------------------------
. Francis Bacon : *A CRAFTIER Tereus, COUSIN*
-----------------------------------------------------
. Titus Andronicus Act 2, Scene 4
.
MARCUS: Sorrow *CONCEALED*, like an oven stopp'd,
. Doth burn the *HEART* to cinders where it is.
. Fair Philomela, she but lost her tongue,
. And in a tedious sampler sew'd her mind:
. But, lovely niece, that mean is cut from thee;
. *A CRAFTIER Tereus, COUSIN* , hast thou met,
. And he hath cut those pretty fingers off,
. That could have better sew'd than Philomel.
. O, had the monster seen those lily hands
. Tremble, like aspen-leaves, upon a lute,
. And make the silken strings delight to kiss them,
. He would not then have touch'd them for his life!
-----------------------------------------------------
.. King John Act 5, Scene 2
.
BASTARD: That hand which had the strength, even at your door,
. To cudgel you and make you take the hatch,
. To dive like buckets in *CONCEALED* wells,
. To crouch in litter of your stable planks,
. To lie like pawns lock'd up in chests and trunks,
. To hug with *SWINE* , to seek sweet safety out
. In *VAULTS* and prisons, and to thrill and *SHAKE*
. Even at the crying of your nation's *CROW* ,
. Thinking his voice an armed Englishman;
. Shall that victorious hand be *FEEBLED HERE* ,
. That in your chambers gave you chastisement?
. No: know the gallant monarch is in arms
. *And like an eagle o'er his aery towers*
. To souse annoyance that comes near his nest.
. And you degenerate, you ingrate revolts,
. You bloody Neroes, ripping up the womb
. Of your dear mother England, blush for shame;
. For your own ladies and pale-visaged maids
. Like Amazons come tripping after drums,
. Their thimbles into armed gauntlets change,
. *Their needles to lances, and their gentle HEARTS*
. To fierce and bloody inclination.
---------------------------------------------------
. Venus and Adonis Stanza 54
.
An oven that is stopp'd, or riVER stay'd,
Burneth more hotly, swelleth with more rage:
So of *CONCEALED* sorrow may be said;
Free vent of words love's fire doth assuage;
---------------------------------------------------
. As You Like It Act 3, Scene 2
.
ROSALIND: I prithee, tell me who is it quickly,
. and speak apace. I would thou couldst stammer,
. that thou mightst *pour this CONCEALED man*
. out of thy mouth, as wine comes out of a narrow-
. mouthed bottle, either too much at once,
. or none at all. I prithee,
. *take the cork out of thy mouth*
. that may drink thy tidings.
--------------------------------------------------
. A Lover's Complaint Stanza 46
.
'Thus merely with the garment of a Grace
The naked and *CONCEALED* fiend he coVER'D;
That th' unexperient gave the tempter place,
*Which like a cherubin above them hoVER'D*
--------------------------------------------------
. Measure for Measure Act 3, Scene 1
.
DUKE VINCENTIO: Bring me to hear them speak,
.. where I may be *CONCEALED*.
--------------------------------------------------
. All's Well That Ends Well Act 2, Scene 3
PAROLLES: Good, VERy good; it is so then: good,
. VERy good; let it be *CONCEALED* awhile.
--------------------------------------------------
. *CONCEALED*
. *ECO CANDLE*
---------------------------------------------------
his letters:
<<[E]douardus [C]omes [O]XONIAE, Vic[ECO]mes BULBECK>>
___- V [I] C
___ [E] [C] [O]
___- M [E] S
----------------------------------------------
"I gyve unto my wief...
my s[ECO]cond best bed wth the furniture"
. [last minute interlineation]
.
___- I G Y
___- V E U
___- N T O
___- [M] Y W
___- [I] E F
___- [M] Y [S]
___- [E] [C] [O]
___- [N] D [B]
___- [E] [S] T
___- [B] [E] D
___ W [T] [H]
___- T [H] [E]
___- {F} U [R]
___- {N}_ I [T]
___- {U} R [E]
---------------------------------------
As You Like It Act 3, Scene 2
ROSALIND: I would thou couldst stammer,
that thou mightst pour this *CONCEALED* man out
of thy mouth, as wine comes out of a narrow-mouthed
bottle, either too much at once, or none at all.
-----------------------------------------------
. Measure for Measure Act 3, Scene 1
.
DUKE VINCENTIO: Bring me to hear them speak,
. where I may be *CONCEALED*.
-----------------------------------------------
. All's Well That Ends Well Act 2, Scene 3
.
PAROLLES: Good, VERy good; it is so then: good,
. VERy good; let it be *CONCEALED* awhile.
-----------------------------------------------
. A LoVER's Complaint Stanza 46
.
'Thus merely with the garment of a Grace
The naked and *CONCEALED* fiend he coVER'd;
That th' unexperient gave the tempter place,
Which like a cherubin above them hoVER'd.
Who, young and simple, would not be so loVER'd?
----------------------------------------------
. *CONCEALED*
. *ECO CANDLE*
------------------------------------------------------------
<<In medieval England, most weddings were held on November 25,
St. Catherine's Day. The festivities usually ended with a strange
ritual. A *CANDLE*stick with a lighted *CANDLE* was placed on
the floor and everyone took turns jumping over it. If you didn't
extinguish the flame, you'd have good luck for a full year.>>
.
.. Jack be *NIMBLE*
.. Jack be quick,
.. Jack jump over
.. The *CANDLE*STICK
.
. Do I *ENVY* those Jacks that *NIMBLE* leap,
. To kiss the tender inward of thy hand,
. Whilst my poor lips which should that harvest reap,
. At the woods boldness by thee blushing stand.
------------------------------------------------------
Romeo and Juliet (Quarto 1, 1597): Act 1, Scene 4
.
Rom: A torch for me I am not for this aumbling,
. Beeing but heauie I will beare the light.
.
Mer: Beleeue me Romeo I must haue you daunce.
.
Rom: Not I beleeue me you haue dancing shooes
. With *NIMBLE* soles, I have a soule of lead
. So stakes me to the ground I cannot stirre.
.
Mer: Giue me a case to put my visage in,
. A visor for a visor, what care I
. What curious eye doth coate deformitie.
.
Rom: Giue me a Torch, let wantons light of hart
. Tickle the senceles rushes with their heeles:
. For I am proUERbD with a Grandsire phrase,
. Ile be *a *CANDLE*holder* and looke on,
. The game was nere so faire and I am done.
.................................................
_THIS STAR OF ENGLAND_ Chapter Thirty 1581-83
. by Dorothy and Charlton Ogburn
.
Not only, [Romeo] means, is the proverb as old as his grandsire,
but his grandsire?his great-grandsire, to be exact?had been
named *TRUSSELL* his grandmother was Elizabeth *TRUSSELL* ; and
a *TRUSSELL* , the old spelling of *TRESTLE*, is a stand or frame
in which *CANDLE*s are held when lighted for religious observance.
In fact, the *TRUSSELL*'s quartering on Oxford's coat of arms
. was a *TRESTLE*: *CANDLE* -holder.
---------------------------------------------------------------
<<For centures, jumping over a *CANDLE* has been both a sport
& a way of telling fortunes. A *CANDLE*stick with a lighted *CANDLE*
in it was placed on the floor. The person who could jump over it
without putting out the flame was assured of having good luck for
a year. This custom was associated with the festivities of the
lace-makers of Wendover in Buckinghamshire on St. Catherine's
Day (Nov.25) - the last popular holiday before *ADVENT*
& a day for weddings.>> - _The Annotated Mother Goose_
----------------------------------------------------------
. "SHAKESPEARE." 1911 Online Encyclopedia.
http://91.1911encyclopedia.org/S/SH/SHAKESPEARE.htm
.
<<Whatever his [financial] circumstances, they did not deter him at
the early age of 18 from the ADVENTure of marriage. Rowe recorded the
name of Shakespeare's wife as Hathaway, and Joseph Greene succeeded
in tracing her to a family of that name dwelling in Shottery, one of
the hamlets of Stratford. Her monument gives her first name as Anne,
and her age as sixty-seven in 1623. She must, therefore, have been
about eight years older than Shakespeare. Various small trains of
evidence point to her identification with the daughter Agnes
mentioned in the will of a Richard Hathaway of Shottery, who
died in 1581, being then in possession of the farm-house now
known as "Anne Hathaway's Cottage." Agnes was legally a distinct
name from Anne, but there can be no doubt that ordinary custom
treated them as identical. The marriage is a bond dated on November
28, 1582, and executed by Fulk Sandells and John Richardson, two
yeomen of Stratford who also figure in Richard Hathaway's will,
as a security to the bishop for the issue of a licence for the
marriage of William Shakespeare and "Anne Hathwey of Stratford,"
upon the consent of her friends, with one asking of the banns.
The explanation probably lies in the fact that Anne was already
with child, and in the near neighbourhood of ADVENT within which
marriages were prohibited, so that the ordinary procedure by
banns would have entailed a delay until after Christmas....It is
singular that, upon the day before that on which the bond was
executed, an entry was made in the bishop's register of the issue
of a licence for a marriage between William Shakespeare and "Annam
Whateley de Temple Grafton." Of this it can only be said that the
bond, as an original document, is infinitely the better authority,
and that a scribal error of " Whateley " for "Hathaway" -is quite
a possible solution. Temple Grafton may have been the nominal
place of marriage indicated in the licence, which was not always
the actual place of residence of either bride or bridegroom.>>
----------------------------------------------------------------
. The HABERDASHER heapeth wealth by hats. --GASCOIGNE.
.
<<GILBERT Shakspere was a HABERDASHER at St. Bride's in 1597 when he
& a local shoemaker put up £19 bail, in the court of Queen's Bench,
for the clockmaker William SAMPSON>> - Honan's _Shakespeare a Life_
------------------------------------------------------------------
. http://www.angelfire.com/de/poetry/Whoswho/Brigit.html
.
<<St. Brigit/Brigid (the saint and the goddess) is associated with
the coming of spring (VER). A folk-story tells how she played the
FOOL by lighting a crown of *CANDLE*s and wearing it on her head
. to distract Herod's soldiers from the Holy Infant.
.
The ancient Filid or BARDS were under her direct inspiration for
the creation of filidhecht (poetry), and she was also important to
the Druids as a goddess of divination. In Romano-Celtic temples
. she was frequently amalgamated with the goddess MINERVA.
.
Like the Norse goddess *HEL* the one side of her face was ugly,
. but the other side was VERy comely.>>
--------------------------------------------------------------
.. Romeo and Juliet Act 1, Scene 3
.
Nurse: Even or odd, of all days in the year,
. Come LAMMAS-EVE at night shall she be fourteen.
. SUSAN and she--God rest all Christian souls!--
. Were of an age: well, SUSAN is with God;
. She was too good for me: but, as I said,
. On LAMMAS-EVE at night shall she be fourteen;
. That shall she, marry; I remember it well.
. 'Tis since the EARTHQUAKE now ELEVEN years;
. And she was wean'd,--I never shall forget it,--
--------------------------------------------------------
April 6, 1584: Kent EARTHQUAKE.
April 6, 1584: BRIDGET VERE born.
April 6, 1584: CARAVAGGIO apprenticed to painter SIMONe PETER-zano
April 6, 1588: CARAVAGGIO ends apprenticeship to SIMONe PETER-zano
----------------------------------------------------------------
LUCIO: Does BRIDGET paint still, Pompey, ha?
. -- MEASURE FOR MEASURE - ACT III SCENE II
---------------------------------------------------------
. SIMON PETER Bar-Jona (= Ben Jonson)
.
Geneva: John 1:42 And he brought him to Jesus.
. And Jesus beheld him, and said,
.
. Thou art SIMON the son of Jona :
. thou shalt be called CEPHAS,
. which is by interpretation, a STONE.
.
http://www.kfki.hu/~arthp/html/c/caravagg/05/28ceras.html
http://www.kfki.hu/~arthp/html/c/caravagg/11/72denial.html
http://www.artchive.com/artchive/C/caravaggio/st peter.jpg.html
---------------------------------------------------------------
__ Petrarch meets LAURA. April 6, 1327 Monday
____ LAURA dies of plague. April 6, 1348 Sunday
______ RAPHAEL born. April 6, 1483 Sunday
______ RAPHAEL dies. April 6, 1520 Good Friday
_______ Albrecht Durer dies. April 6, 1528 Monday
______ BRIDGET Vere's birth: April 6, 1584 Mon/Friday
_ Sir Francis WALSINGHAM dies: April 6, 1590 Mon/Friday
------------------------------------------------------------------
(Noble Bachelor) Robert WALSINGHAM de Vere St SIMON born: 1846
------------------------------------------------------------------
http://collections.ic.gc.ca/bulletin/num3a/brink1.html
SIMONE MARTINI's St CATHERINE of ALEXANDRIA:
. An Orvietan Altarpiece and the
Mystical Theology of St Bonaventure by Joel Brink
--------------------------------------------------------------
"EKPHRASIS": A presentation to the mind's eye.
----------------------------------------------------------------
<<Petrarch's poems, because of their sculpted quality and because
of Petrarch's use of EKPHRASIS --for instance in sonnet 78 where
LAURA appears as SIMON's painting--which introduces the gaze
into writing, are made visible to the reader's eyes. Winn thus writes:
"Petrarch's poetry, however expressive and sonorous, also employs
techniques learned from the recondite virtuosity of the Middle Ages,
including ANAGRAMMATIC DISTORTIONS of LAURA's name.>>
--------------------------------------------------------------
.. . {anagram}
.. . *EKPHRASIS*
.. . *I SHAKSPER*
--------------------------------------------------------------
http://collections.ic.gc.ca/bulletin/num3a/brink1_image1.html
Per mirar Policleto a prova fiso,
con gli altri ch'ebber fama di quell'arte,
mill'anni, non vedrian la minor parte
cella beltà che m'àve il cor conquiso;
ma certo il mio SIMON fu in paradiso,
onde questa gentil Donna si parte;
ivi la vide e la ritrasse in carte,
per far fede qua giù del suo bel viso.
L'opra fu ben di quelle che nel cielo
si ponno imaginar, non qui tra noi,
ove le membra fanno a l'alma velo... (1)
When Petrarch wrote these lines about SIMONe Martini's portrait of
Laura, the humanist poet and moral philosopher was in effect promoting
the name of the painter and celebrating for future generations of
literati the intrinsic qualities of his creations. Equally important
are Petrarch's personal praises of the painter inscribed in the margin
of his Pliny, or in the illuminated frontispiece that SIMONe prepared
for the poet's copy of Servius's Commentary on Virgil on the eve of
the poet's Roman Coronation. In his copy of Pliny, Petrarch compares
his painter-friend favorably to Apelles who, according to Pliny, could
speak on equal terms with Alexander the Great. (Hec fuit et Symoni
nostro Senensi uper iocundissima). And in the illumination Petrarch
eulogizes Virgil and SIMONe in a rhymed couplet identifying them as
individual creative Italian artists spanning the ancient Roman and
contemporary worlds: Mantua Virgilium Qui Talia Carmina Finxit/Sena
Tulit Symonem Digito Qui Talia Pinxit). (2) For Petrarch, the fame of
the Sienese artist was based on the enraptured beauty of his creations
- which the humanist poet could perceive and express in verse so well;
but as fate would have it, later biographers, especially the
influential Vasari, attributed SIMONe's fame to what Petrarch had
written rather than to what the painter had created. Vasari observes
that Petrarch's sonnets "have given more fame to the poor life of
Maestro SIMONe than all his own works have ever done or ever will,
seeing that they must at some time perish...."
The portrait of Madonna Laura unfortunately has perished, and we can
be thankful for Petrarch's inspired lines which keep its memory
alive. But the fame of SIMONe of Siena still lives on through his
many preserved masterpieces, some of which were unknown to Vasari, and
others which have come to light only recently. As the seventh
centenary of SIMONe's birth rapidly approaches, in c. 1984, a number
of the painter's outstanding works are attracting renewed scholarly
interest. One such painting, and indeed one of the truly exquisite
examples of SIMONe's artistic genius, is found today in the National
Gallery of Canada (fig. 1). The crowned martyr, probably St Catherine
of Alexandria, is also worthy of poetic praise; for, its feminine
grace and decorative charm undoubtedly preserve in material form the
same sublime qualities that originally inspired Petrarch's moving
sonnets on the portrait of Laura. The painting is one of the most
cherished treasures in the Ottawa European Collection, and one of only
a few certain works by the great Sienese master in North America.
While known for some time, (4) the painting unfortunately has not
attracted the detailed scholarly attention it deserves, and
consequently, important physical, iconographic and historical evidence
relating to its original form, context, and meaning has not come
properly to light. The St Catherine of Alexandria, and the panels to
which it was initially attached, formed an innovative painting that
reflected the intellectual and spiritual concerns of its patrons.
Similar to SIMONe's other major works of art, the composite painting
provides an illuminating document of the history of ideas during the
Italian High Middle Ages.
The National Gallery acquired the painting in 1956 from the
Liechtenstein collection in Vienna. Prior to this time, in the late
nineteenth century, the work had been with the dealer Stefano Bardini
in Florence where it appears to have been restored to its present
state. An old photograph from the Collection of Federico Zeri (fig. 2)
illustrates the physical condition of the painting when it belonged to
Bardini, and helps to establish those parts of the gilded and painted
surface renewed at that time. The halo of the saint, for instance, was
severely damaged and much of the gold leaf was replaced, including the
punch-motifs which were modelled successfully on the extant originals.
Besides some minor restoration to the left-hand arch cusp and to the
decorative edge of the outer garment, the rest of the gold-work -
including the background, the jewel-studded crown, the cross-in-circle
broach, and the right-side arch cusp with its distinctive six-pointed
star - are in perfect condition. The pre-restoration photograph (fig.
2) also illustrates that the mantle which falls over the right arm of
the saint has been almost completely repainted, and that the fingers
of the right hand, the martyr's palm, and portions of the inner
garment have been partially renewed. In contrast, the left hand of the
figure is original and the magnificent head and neck of St Catherine
are untouched by later restoration. Considering the ill effects of
cleaning and restoration, which have ruined other similar panels of
the Trecento, the painting in the National Gallery of Canada survives
in excellent condition and remains one of the representative works of
the Master SIMONe Martini.>>
-------------------------------------------------------------
volker multhopp <vol...@erols.com> wrote:
.
>. . 128
> 5) Do I envy those Jacks that nimble leap,
> 6) To kiss the tender inward of thy hand,
> 7) Whilst my poor lips which should that harvest reap,
> 8) At the woods boldness by thee blushing stand.
.
<<In medieval England, most weddings were held on November 25,
St. Catherine's Day. The festivities usually ended with a strange
ritual. A candlestick with a lighted candle was placed on the floor
and everyone took turns jumping over it. If you didn't extinguish the
flame, you'd have good luck for a full year. If you put out the flame,
you might as well write off the next year and take a long vacation.>>
.
. Jack be nimble,
. Jack be quick,
. Jack jump over
. The candlestick.
---------------------------------------------------------------------
. _The Annotated Mother Goose_
.
<<For centures, jumping over a candle has been both a sport and a way
of telling fortunes in England. A candlestick with a lighted candle in
it was placed on the floor. The person who could jump over it without
putting out the flame was assured of having good luck for a year.
This custom was associated with the festivities of the lace-makers
of Wendover in Buckinghamshire on St. Catherine's Day (Nov.25) -
the last popular holiday before Advent & a day for weddings.>>
--------------------------------------------------------------------
On March 15, 1616, Shakspere's NEW son-in-law (Thomas Quiney)
buried his OLD girlfriend Margaret WHEELer (& child).
--------------------------------------------------------------------
<<Catherine is the patron saint of spinners, ropemakers, wheelwrights,
carters, millers, and others whose work is connected with WHEELS. On
Cattern Day at Chatham, a young girl with gilt crown is carried in a
chair of state by six ropemakers in a torchlight procession.
The little girl spinners of Peterborough Workhouse walk in
procesion wearing white dresses and scarlet ribbons singing:
.
. Here comes Queen Catherine, as fine as any queen,
. With a coach and six horses, a-coming to be seen,
. And a-spinning we will go, will go,
. And a-spinning we will go.
.
. Some say she is alive and some say she is dead,
. And now she does appear with a crown upon her head.
.
. Old Madam Marshall, she takes up her pen,
. And then she sits and calls for all her royal men.
.
Cattern/Cathern Day - a holiday in England's lacemaking districts.
Women often dressed in men's clothes sang traditional working-songs
and
ate cakes flavoured with caraway seeds (known as wiggs) with a drink
made of warm beer, beaten eggs & rum. At night they had a feast,
played
Leap-candle and let off firewoorks, especially catherine-wheels.
.
It was never clear whether this merriment was in honor of St Catherine
or a vaguely identified Queen Catherine (of Aragon?). A Bedfordshire
tradition says that Catherine of Aragon introduced bobin-lace into
England when she was living at Ampthill Park. A Buckinghamshire legend
says a compassionate Queen Catherine burnt all her lace when trade
was poor and then ordered more to be made in its place.>>
.
. - A Dictionary of British Folk Customs.
-----------------------------------------------------------------
Art Neuendorffer
Dennis
> --------------------------------------------------
> The Booth brothers play Julius Caesar
>
> <<On November 25, 1864, for one night only, three famous actors—
> brothers Junius Brutus Booth Jr., Edwin Booth, and John Wilkes Booth
> (yep, that one)—put on a benefit performance of Julius Caesar.
>
> http://tinyurl.com/okb57y
>
> The play was staged at the opulent Winter Garden Theatre, on Broadway
> and West 3rd Street (later the site of the Broadway Central Hotel and
> now an NYU dorm). The Booth brothers, who had never performed
> together, hoped to raise funds for a Shakespeare statue in the new
> Central Park.
>
> The show sold out and enough money was raised. But as the brothers
> performed, a huge fire raged next door to the theatre, set by
> Confederate sympathizers who plotted to burn down New York City. John
> Wilkes Booth apparently had nothing to do with that scheme. But months
> later, he assassinated President Lincoln.
>
> The statue of Shakespeare still stands. Edwin Booth, who disavowed his
> brother, has his own statue in Gramercy Park.>>
> --------------------------------------------------
Wow. A tyrannicide. And with a brother named Junius Brutus Booth JR,
he must have been to the manner born?
BRUTUS
It must be by his death: and for my part,
I know no personal cause to spurn at him,
But for the general. He would be crown'd:
How that might change his nature, there's the question.
It is the bright day that brings forth the adder;
And that craves wary walking. Crown him?--that;--
And then, I grant, we put a sting in him,
That at his will he may do danger with.
The abuse of greatness is, when it disjoins
Remorse from power: and, to speak truth of Caesar,
I have not known when his affections sway'd
More than his reason. But 'tis a common proof,
That lowliness is young ambition's ladder,
Whereto the climber-upward turns his face;
But when he once attains the upmost round.
He then unto the ladder turns his back,
Looks in the clouds, scorning the base degrees
By which he did ascend. So Caesar may.
Then, lest he may, prevent. And, since the quarrel
Will bear no colour for the thing he is,
Fashion it thus; that what he is, augmented,
Would run to these and these extremities:
And therefore think him as a serpent's egg
Which, hatch'd, would, as his kind, grow mischievous,
And kill him in the shell.
Thanks. Interesting.
Nicole
acne...@gmail.com
>> --------------------------------------------------
>> The Booth brothers play Julius Caesar
>
>> <<On November 25, 1864, for one night only, three famous actors—
>> brothers Junius Brutus Booth Jr., Edwin Booth, and John Wilkes Booth
>> (yep, that one)—put on a benefit performance of Julius Caesar.
>
>>http://tinyurl.com/okb57y
>
>> The play was staged at the opulent Winter Garden Theatre, on Broadway
>> and West 3rd Street (later the site of the Broadway Central Hotel and
>> now an NYU dorm). The Booth brothers, who had never performed
>> together, hoped to raise funds for a Shakespeare statue in the new
>> Central Park.
>
>> The show sold out and enough money was raised. But as the brothers
>> performed, a huge fire raged next door to the theatre, set by
>> Confederate sympathizers who plotted to burn down New York City. John
>> Wilkes Booth apparently had nothing to do with that scheme. But months
>> later, he assassinated President Lincoln.
>
>> The statue of Shakespeare still stands. Edwin Booth, who disavowed his
>> brother, has his own statue in Gramercy Park.>>
>> --------------------------------------------------
. Julius Caesar > Act III, scene I
CASSIUS: How many ages hence
. Shall this our lofty scene be acted over
. In states unborn and *A(c)CENTS* yet unknown!
-----------------------------------------------
http://www.usmint.gov/mint_programs/lincolnredesign/index.cfm?flash=no
A. (c.) Neuendorffer
acne...@gmail.com
http://4umi.com/shakespeare/
---------------------------------------------------------
http://www.nycgovparks.org/sub_your_park/historical_signs/hs_historical_sign.php?id=9772
William Shakespeare Statue in Central Park
http://tinyurl.com/qxrn2m
<<This full-standing portrait of celebrated playwright and poet
William Shakespeare (1564-1616) was made by John Quincy Adams Ward
(1830-1910) and unveiled here on Literary Walk on May 23, 1872.
In 1864, coinciding with the tricentennial of Shakespeare's birth, a
group of actors and theatrical managers, among them noted Shakepearean
actor Edwin Booth (1833-1893), received permission from Central Park's
Board of Commissioners to lay the cornerstone for a statue at the
south end of the Mall *between two elms* . Nothing further was done
until the end of the Civil War, and through a competition in 1866,
Ward was selected as the sculptor.
The committee raised funds through several benefits, including a
performance of Julius Caesar. Jacob Wrey Mould (1825-1886) - chief
architect for parks at the time, and responsible for much of the
ornament and architecture in Central Park - designed the elaborate
pedestal for this statue. Ward combined a classical pose with many
details of Elizabethan dress, and he relied on numerous images of
Shakespeare, especially a bust in Stratford. The sculpture was cast in
Philadelphia in 1870, and due to delays in procuring and cutting the
granite pedestal in Scotland, was unveiled on a temporary base in
1872; some commentators found the work a noble effigy, and others
derided it statue as a costume piece.
In 1986, a replica was made by Tallix Foundry for the State Theater in
Montgomery, Alabama, which hosts an annual Shakespeare Festival. In
exchange, Montgomery benefactor William M. Blount established a
maintenance endowment for the original here in Central Park, and in
1995, the Central Park Conservancy conserved the sculpture.
Central Park has other Shakespearean associations. In 1890, Eugene
Schieffelin released 80 starlings into the park, because they were
mentioned in Shakespeare's plays (there are now over 200 million of
them in America). In 1915, the Shakespeare Society assumed maintenance
of a rock garden, built in 1912, in the park near West 79th Street.
The Shakespeare Garden features only flowers that were mentioned in
Shakespeare's plays and poetry and was dedicated to Shakespeare in
1916 on the 300th anniversary of his death. In 1934, the Shakespeare
Garden was relocated to the hillside between *BelVEDERE* Castle and
the Swedish Cottage, and in 1989, a new landscape design by Bruce
Kelly and David Varnell was implemented. In 1958, after two seasons at
the East River Amphitheater, Joseph Papp's Shakespeare Festival moved
to Central Park; the Delacorte Theater, its permanent home, opened in
1962.>>
---------------------------------------
Art Neuendorffer
book...@yahoo.com
According to the OED, European starlings once had the reputation of
being not only able to speak, whistle, and sing, but were considered
good eating.
(quote)
OED
starling1
("stA;lIN) Forms: 1 st�rlinc, 4�5 sterling(e, -yng(e, 5�6 starlinge,
5�6, 7�8 Sc. stirling, 6 starlyng, Sc. stirlene, styrlyng, 7 sterling,
4� starling. Also dial. starnel. [OE. st�rlinc, f. st�r stare n.1:
see -ling1.]
1. Any bird of the passerine genus Sturnus, esp. S. vulgaris. Now
also applied in wider sense to any bird of the family Sturnid�.
(snip)
1596 Shakes. 1 Hen. IV, i. iii. 224 Ile haue a Starling shall be
taught to speake Nothing but �Mortimer�. 1667�8 Pepys Diary 1 Mar., A
starling which+do whistle and talk the most and best that ever I heard
anything in my life. 1670 Eachard Cont. Clergy 86 Then, after all
this, came the jackdaws and sterlings (idle birds that they are!).
1724 Ramsay Tea-t. Misc. (1733) II. 137 Of all the birds+I far prefer
the stirling's notes. 1768 Sterne Sent. Journ. (1778) II. 25 (Hotel
at Paris), �I can't get out�, said the starling. 1880 Cassell's Nat.
Hist. IV. 103 The Starlings are found only in the Old World, where
they form a very large and natural Group. 1880 W. Carnegie Pract.
Trapping 40 It is not generally known what a delicious bird the
starling is to eat. 1894�5 Lydekker Roy. Nat. Hist. III. 343
Starlings+all agree in possessing a wing with five primary quills, and
twelve tail-feathers.
(snip)
c. Applied to birds of the American family Icterid�.
1731 Catesby Nat. Hist. Carolina (1754) I. 13 The red-wing'd
Starling. 1839 Audubon Ornith. Biog. V. 487 Red-winged Starling,
Icterus ph�niceus. 1869�73 T. R. Jones Cassell's Bk. Birds I. 215 The
Yellow or Golden Starlings.
4. slang. (See quot.)
a1700 B. E. Dict. Cant. Crew, Brother-starling, that Lies with the
same Woman.
acne...@gmail.com
>
>>Central Park has other Shakespearean associations. In 1890,
>> Eugene Schieffelin released 80 starlings into the park,
>> because they were mentioned in Shakespeare's plays
>> (there are now over 200 million of them in America).
-------------------------------------------------
bookb...@yahoo.com wrote:
>
> According to the OED, European starlings once had the reputation
> of being not only able to speak, whistle, and sing,
> but were considered good eating.
>
> OED starling1
>
> ("stA;lIN) Forms: 1 stærlinc, 4–5 sterling(e, -yng(e, 5–6 starlinge,
> 5–6, 7–8 Sc. stirling, 6 starlyng, Sc. stirlene, styrlyng, 7 sterling,
> 4– starling. Also dial. starnel. [OE. stærlinc, f. stær stare n.1:
> see -ling1.]
>
> 1. Any bird of the passerine genus Sturnus, esp. S. vulgaris. Now
> also applied in wider sense to any bird of the family Sturnidæ.
>
> (snip)
>
> 1596 Shakes. 1 Hen. IV, i. iii. 224 Ile haue a Starling shall be
> taught to speake Nothing but ‘Mortimer’. 1667–8 Pepys Diary 1 Mar., A
> starling which+do whistle and talk the most and best that ever I heard
> anything in my life. 1670 Eachard Cont. Clergy 86 Then, after all
> this, came the jackdaws and sterlings (idle birds that they are!).
> 1724 Ramsay Tea-t. Misc. (1733) II. 137 Of all the birds+I far prefer
> the stirling's notes. 1768 Sterne Sent. Journ. (1778) II. 25 (Hotel
> at Paris), ‘I can't get out’, said the starling. 1880 Cassell's Nat.
> Hist. IV. 103 The Starlings are found only in the Old World, where
> they form a very large and natural Group. 1880 W. Carnegie Pract.
> Trapping 40 It is not generally known what a delicious bird the
> starling is to eat. 1894–5 Lydekker Roy. Nat. Hist. III. 343
> Starlings+all agree in possessing a wing
> with five primary quills, and twelve tail-feathers.
>
> c. Applied to birds of the American family Icteridæ.
>
> 1731 Catesby Nat. Hist. Carolina (1754) I. 13 The red-wing'd
> Starling. 1839 Audubon Ornith. Biog. V. 487 Red-winged
> Starling, Icterus phœniceus. 1869–73 T. R. Jones Cassell's
> Bk. Birds I. 215 The Yellow or Golden Starlings.
>
> 4. slang. (See quot.)
>
> a1700 B. E. Dict. Cant. Crew, Brother-starling,
> that Lies with the same Woman.
-------------------------------------------------
Art Neuendorffer