The Duchess of Malfi
acne...@gmail.com
http://en.wikipedia.org/wiki/The_Duchess_of_Malfi
<<The Duchess of Malfi is a macabre, tragic play, written by the
English dramatist John Webster. The play was written for and performed
by the King's Men in 1613 or 1614. The double cast lists included in
the 1623 quarto suggest a revival around 1619. Contemporary reference
also indicated that the play was performed in 1618, for in that year
*Orazio Busino* , Venetian ambassador to England, complained of the
play's treatment of Catholics in the character of the Cardinal.
The quarto's cast list allows more precision about casting than is
usually available. Richard Burbage and Joseph Taylor successively
played Ferdinand to *Henry Condell's Cardinal* . John Lowin played
Bosola; William Ostler was Antonio. Boy player Richard Sharpe
originated the title role. Nicholas Tooley played Forobosco, and
Robert Pallant doubled numerous minor roles, including Cariola.
The quarto title page announces that the play was performed at both
the Globe Theater and at Blackfriars; however, in tone and in some
details of staging (particularly the use of special lighting effects)
the play is clearly meant primarily for the indoor stage.
The play is known to have been performed for Charles at the Cockpit-in-
Court in 1630. The play remained current through the first part of the
Restoration. Samuel Pepys reports seeing the play several times; it
was performed by the Duke of York's company under Thomas Betterton.
The Duchess of Malfi is loosely based on true events that occurred
between about 1508 and 1513, recounted in William Painter's The Palace
of Pleasure (1567). The Duchess was Giovanna d'Aragona, whose father,
Arrigo d'Aragona, Marquis of Gerace, was an illegitimate son of
Ferdinand I of Naples. Her husbands were Alfonso Piccolomini, Duke of
Amalfi, and (as in the play) Antonio Bologna.
The play begins as a love story, with a Duchess who marries beneath
her class, and ends as a nightmarish tragedy as her two brothers exact
their revenge, destroying themselves in the process.
. Characters
* Antonio Bologna. The Duchess's steward, and later her husband,
recently returned from France, and full of scorn for the Italian
courtiers whom he sees as more corrupt than the French. His social
status, lower than that of the Duchess's aristocratic family, hinders
his relationship with her.
* Delio. A courtier, who tries to woo Julia. A friend of Antonio.
(He is based on a historical character of the same name.)
* Daniel de Bosola. A former servant of the Cardinal, now returned
from imprisonment in the galleys. Sent by Ferdinand to spy on the
Duchess. Later, on Ferdinand's command, he orders her execution, and
still later, he seeks to avenge her. Being the malcontent of the play,
he tends to view things cynically, and makes numerous critical
comments on the nature of Renaissance society. He is frequently
characterized by his melancholy. (He is based on the historical
Daniele de Bozolo, about whom less is known.)
* The Cardinal. Brother of the Duchess. A cool, rational,
Machiavellian churchman who apparently gained his power through
bribery and corruption. (Historically, his name was Luigi or
Lodovico.)
* Ferdinand. The Duke of Calabria, and twin brother of the
Duchess. Unlike his rational brother the Cardinal, Ferdinand is given
to fits of rage and violent outbursts. He also appears to have an
incestuous desire for his twin sister. (In reality, his name was
Carlo, and he was Marquis of Gerace.)
* Castruchio. An old lord. His name is a play on the word
"castrated", suggesting impotence. He belongs to the conventional
character type of the elderly man with a young, unfaithful wife
(Julia).
* Roderigo. A courtier.
* Grisolan. A courtier.
* Silvio. A courtier.
* Pescara. A marquis.
* The Duchess. The chief tragic protagonist, and a young widow.
She has three children in the play, two sons and a daughter, by
Antonio. There is an inconsistency about earlier children by her
deceased husband in the play, put down to a careless mistake by
Webster himself.
* Cariola. Duchess's waiting-woman. Dies tragically by strangling
shortly after the Duchess and the youngest children. Her name is a
play on the Italian carriolo meaning "trundle-bed", where personal
servants would have slept.
* Julia. Castruchio's wife, and the Cardinal's mistress. She dies
at the Cardinal's hands from a poisoned Bible.
* Malateste. A hanger-on at the Cardinal's court. The name means
'headache'. Referred to as a "mere stick of sugar candy" by the
Duchess, he is yet another interchangeable courtier designed to convey
the sycophantic and superficial nature of the court of Malfi.
* Doctor. Sent for to diagnose and remedy Ferdinand's madness and
his supposed "lycanthropia".
. Main themes
The main themes of the play are: misuse of power, revenge, the status
of women and the consequences which arise when they attempt to assert
their authority in a patriarchal society, the consequences of unequal
marriage, cruelty, corruption and the duties of a ruler.
. Plot
The play is set in the court of Malfi (Amalfi), Italy over the period
1504 to 1510. The recently widowed Duchess falls in love with Antonio,
a lowly steward, but her brothers, not wishing her to share their
inheritance, forbid her from remarrying. However, she secretly marries
Antonio and bears him several children.
The Duchess' lunatic and incestuously obsessed brother Ferdinand
threatens and disowns her. In an attempt to escape, the Duchess and
Antonio concoct a story that Antonio has swindled her out of her
fortune and has to flee into exile. She takes Bosola into her
confidence, not knowing that he is Ferdinand's spy, and arranges that
he will deliver her jewellery to Antonio at his hiding-place in
Ancona. She will join them later, whilst pretending to make a
pilgrimage to a town nearby. The Cardinal hears of the plan, instructs
Bosola to banish the two lovers, and sends soldiers to capture them.
Antonio escapes with their eldest son, but the Duchess, her maid and
her two younger children are returned to Malfi and, under instructions
from Ferdinand, die at the hands of executioners under Bosola's
command. This experience, combined with a long-standing sense of
injustice and his own feeling of a lack of identity, turns Bosola
against the Cardinal and his brother, deciding to take up the cause of
"Revenge for the Duchess of Malfi" (V.2).
The Cardinal confesses to his mistress Julia his part in the killing
of the Duchess, and then murders her to silence her, using a poisoned
Bible. Next, Bosola overhears the Cardinal plotting to kill him
(though he accepts what he sees as punishment for his actions), and so
visits the darkened chapel to kill the Cardinal at his prayers.
Instead, he mistakenly kills Antonio, who has just returned to Malfi
to attempt a reconciliation with the Cardinal. Bosola stabs the
Cardinal, who dies. In the brawl that follows, Ferdinand and Bosola
stab each other to death.
Antonio's elder son by the Duchess appears in the final scene, and
takes his place as the heir to the Malfi fortune, despite his father's
explicit wish that his son "fly the court of princes", a corrupt and
increasingly deadly environment.
. Quotations
"We are merely the stars' tennis balls, struck and bandied
Which way please them."
-- Bosola, to Antonio after accidentally stabbing him. Act 5, Sc.4
"A Spanish fig for your impudence"
-- Bosola, to Antonio after being accused of poisoning the Duchess.
Act 2, Sc.3
"Do you not weep?
Other sins only speak; murder shrieks out.
The element of water moistens the earth,
But blood flies upwards and bedews the heavens."
-- Bosola, to Ferdinand upon gazing on the dead body of the Duchess.
Act 4, Sc. 2
"Cover her face. Mine eyes dazzle. She died young."
-- Ferdinand, after looking at the dead body of his sister the
Duchess. Act 4, Sc.2
"She and I were twins;
And should I die this instant, I had liv'd
Her time to a minute."
-- Ferdinand, after looking at the dead body of his sister the
Duchess. Act 4, Sc.2
"It seems she was born first:
You have bloodily approv'd the ancient truth,
That kindred commonly do worse agree
Than remote strangers."
-- Bosola, in response to Ferdinand. Act 4, Sc. 2
"Whether we fall by ambition, blood or lust,
Like diamonds we are cut with our own dust."
-- Ferdinand's dying words. Act 5, Sc.5
"Diamonds are of most value They say, that
have pass'd through most jewellers hands"
-- The Duchess, talking about remarrying. Act 1, Sc. 2, l.262-263
"Whores, by that rule, are precious."
-- Ferdinand, in response to the above quote, l.264
. The 1623 quarto
The first printed edition contains a combined cast list for two
productions of The Duchess of Malfi by the King's Men, c. 1614 and c.
1621, providing valuable information about the structure and evolution
of the key dramatic company of the era. The printer was a Nicholas
Okes, and the publisher John Waterson. Webster dedicated the play to
George Harding, 8th Baron Berkeley, a noted patron of literature in
his era.>>
----------------------------------------
John Webster. The Duchess of Malfi.
Act V Scene I
[Enter] ANTONIO and DELIO
ANT. : What think you of my hope of reconcilement
. To the *Arragonian brethren* ?
DELIO. : I misdoubt it;
. For though they have sent their letters of safe-conduct
. For your repair to Milan, they appear
. But nets to entrap you. The Marquis of Pescara,
. Under whom you hold certain land *IN CHEAT* ,
. Much ’Gainst his noble nature hath been mov’d
. To seize those lands; and some of his dependants
. Are at this instant making it their suit
. To be invested in your REVEnues.
. I cannot think they mean well to your life
. That do deprive you of your means of life,
. Your living.
---------------------------------------------------
[O] *RARE* BEN JONSON = BACON POET
------------------------------------
http://www.sirbacon.org/bokeypuntavolo.htm
Puntarvolo:
[P]ray, sir, give me leave to report him. He's a gentleman, lady,
[O]f that *RARE* and admirable faculty, as,
. I protest, I know not his like in
[E]urope; he is exceedingly valiant,
. an excellent scholar, and so exactly
[T]ravelled, that he is able, in discourse,
. to deliver you a model of any prin-
.
[C]e's court in the world; speaks the languages
. with that purity of phrase,
[An]d facility of accent, that it breeds astonishment;
. his wit, the most exu-
[B]erant, and, above wonder, pleasant,
. of all that EVER entered the concave
[O]f this ear.
FAST. 'Tis most *TRUE* , lady ; marry,
. he is no such excellent proper man.
------------------------------------
Spanish: *CABO* m. (from Latin caput)
.
2. end, finish, conclusion
3. *STUB* , *BUTT* , stump
4. (nautical) *CABLE* , rope
5. (geography) cape
7. (police) *SERGEANT*
....................................................
I am aduised, that I may passe *MY BOOKE* (Don Quixote)
from her Magestie, yf a warrant may be procured to my cosen
*BACON* & [*SERGEANT*] *HARRIS* to *PERFET [=perfect] yt* .
Whiche beinge doone, I know to whome formallye to thanke,
but reallye they shalbe, and are from me, and myne,
*to be sealed vp in an AETERNALL REMEMBRANCE to yowre selfe*
And thus *WISHINGE ALL HAPPINES* to yow....
.....................................................
' *DAN CHAUCER* , well of English undefiled,
On *FAME'S ETERNAL* beadroll worthy to be filed.'
.
. -- Spenser: Faërie Queene, book iv. canto ii. 32.
-------------------------------------------------------------
<<(Bacon's) men's boots were of Spanish not *NEAT's leather*
(Ox leather) because of the smell...>> (Ency. Brittanica)>>
---------------------------------------------------------
. JULIUS CAESAR Act 1, Scene 1
.......................................................
. TRULY, sir, all that I live by is with the awl: I
. meddle with no tradesman's matters, nor women's
. matters, but with awl. I am, indeed, sir, a surgeon
. to old *SHOES* ; when they are in great danger,
. I rEcoVER them. As proper men as
*EVER trod upon NEAT's leather* have gone upon my handiwork.
---------------------------------------------------------
.. . STEPHANO (on Trinculo)
.......................................................
. This is some monster of the isle with four legs, who
. hath got, as I take it, an ague. Where the devil
. should he learn our language? I will give him some
. relief, if it be but for that. if I can rEcoVER him
. and keep him tame and get to Naples with him, he's a
. *present for any emperor that EVER trod on NEAT's leather*
---------------------------------------------------------
Shelton's Don Quixote, Part 1. The Third Book
http://www.bartleby.com/14/304.html
IV. Wherein Are Rehearsed the Discourses Passed between Sancho Panza
and His Lord, Don Quixote, with Other Adventures Worthy the Recital
.................................
‘This is, Sancho, the day wherein *SHALL BE MANIFEST* the good which
fortune hath reserved for me. This is the day wherein the force of
mine arm must be shown as much as in any other whatsoEVER; and in
it I will do such feats as shall for EVER remain recorded in the
*BOOKS OF FAME* . Dost thou see, Sancho the *DUST* which ariseth
there? Know that it is caused by a mighty army, and sundry and
innumerable nations, which come marching there.’
‘If that be so,’ quoth Sancho, ‘then must there be *two armies*;
for on this other side is raised as great a *DUST*.’
Don *Quixote* turned back to behold it, and
seeing it was *SO INDEED* , he was marvellous glad,
thinking that they were doubtlessly *two armies*, which came
to fight one with another in the midst of that spacious plain
[for he had his *FANTASY EVER* replenished with these battles,
enchantments, successes, ravings, loves, and challenges which are
rehearsed in books of knighthood, and all that EVER he spoke, thought,
or did, was addressed and applied to the like things. And the *DUST*
which he had seen was raised by two great flocks of sheep, that came
through the same field by two different ways, and could not be
discerned, by reason of the *DUST*, until they were VERy near.
Don Quixote did affirm that they were two armies with so VERy
good earnest as Sancho believed it, and demanded of him,]
‘Sir, what then shall we two do?
‘What shall we do.’ quoth Don Quixote, ‘but assist the needful and
weaker side? For thou shalt know, Sancho, that he who comes towards
us is the great emperor Alifamfaron, lord of the great island of
Trapobana; the other, who marcheth at our back, is his enemy, the
king of the Garamantes, Pentapolin of the naked arm, so called
because he still entereth in battle with his right arm naked.’
--------------------------------------------------------------
‘This is, Sancho, the day wherein *SHALL BE MANIFEST*
" Este he," disse, "o dia, em que *SE HE DE VER* " - Portu.
" Este o dia," digo, " em que *SE HA DE VER* " - Cervantes
................................................
_ *[IT] SHALL BE MANIFEST* - Shelton
*MANIFEST* , a. [L. manifestus.] Plain, open, clearly visible to the
eye or obvious to the understanding; apparent; not obscure or
difficult to be seen or understood. From the testimony, the truth we
conceive to be manifest.
----------------------------------------------
___ *DANVERS ESCHEATE*
_______ {anagram}
___ *SE HA DE VER* - DE CERVANTES
.
_ *I HAVE MYSELF DE CERVANTES*
.
___ *SE HE DE CERVANTES* - Portu.
_______ {anagram}
___ *DANVERS ESCHEETE*
-----------------------------------------------------
It ys now a yeare sythence BY YOWRE ONLY MEANES her
Magestye graunted her intereste in *DANVERS ESCHEETE*
.
- Hackney (Rozinante) , 22nd March, 1601.
(Hatfield MSS., Vol. XII.)
------------------------------------------------------
. *DAN* (Brewer Dictionary of Phrase & Fable)
A title of honour, common with the old poets, as Dan Ph'bus,
*Dan Cupid* , Dan Neptune, Dan Chaucer, etc. (Spanish, don.)
.
"That old Dan Geffrey, in whose GENTLE spright
. The pure well-head of poesie did dwell."
.
. -- Spenser: _Two Cantos of Mutability,_ Cant. VII.
---------------------------------------------------------
<< *ESCHEAT* is a common law doctrine that operates to ensure
that property is not left in limbo and ownerless. It originally
referred to a number of situations where a legal interest in
land was destroyed by operation of law, so that the ownership
of the land reverted to the immediately superior feudal lord.>>
-------------------------------------------------------------
"–Éste es el día, ¡oh Sancho!, en el cual *SE HA DE VER* el bien que
me tiene guardado mi suerte; éste es el día, digo, en que se ha de
mostrar, tanto como en otro alguno, el valor de mi brazo, y en el que
tengo de hacer obras que queden escritas en *EL LIBRO DE LA FAMA*
por todos los venideros siglos. ¿Ves aquella *POLVAREDA* que allí
se levanta, Sancho? Pues toda es cuajada de un copiosísimo ejército
que de diversas e innumerables gentes por allí viene marchando.
–A esa cuenta, dos deben de ser –dijo Sancho–, porque desta parte
contraria se levanta asimesmo otra semejante *POLVAREDA*.
Volvió a mirarlo don Quijote, y vio que así era la *VERDAD* ;
y, alegrándose sobremanera, pensó, sin duda alguna, que eran dos
ejércitos que venían a embestirse y a encontrarse en mitad
de aquella espaciosa llanura (...)
–Señor, ¿pues qué hemos de hacer nosotros?
–¿Qué? –dijo don Quijote–: favorecer y ayudar a los menesterosos y
desvalidos. Y has de saber, Sancho, que este que viene por nuestra
frente le conduce y guía el grande emperador Alifanfarón, señor de la
grande isla Trapobana; este otro que a mis espaldas marcha es el de su
enemigo, el rey de los garamantas, Pentapolén del Arremangado Brazo,
porque siempre entra en las batallas con el brazo derecho desnudo."
----------------------------------------------------------
Hamlet = Sidney in _Shadowplay_ by Clare Asquith
............................................................
11) *THE REST IS* silence" =
___ *THE REST IS FAME* " [ *CAETERA FAMA* ]
-----------------------------------------------
<<The 6th rule of the Rosicrucians,
as laid down in the *FAMA* Fraternitatis
of 1604 demanded anonymity for 100 years">>
..............................................
<<Gnostic device: "Learn to know all but keep thyself unknown">>
------------------------------------------------------
Marlovian Peter Bull wrote HLAS:
.
<<[Shakespeare's *A LOVER'S COMPLAINT*
. starts with the acrostic *FAMA*
. A Rosicrucian call to FAME? >>
..........................................
. A Lover's Complaint Stanza 1
.
[F]ROM off a hill whose concave womb reworded
[A] plaintful story from a sistering vale,
[M]y spirits to attend this double voice accorded,
[A]nd down I laid to list the sad-tuned tale;
.
(E)re long *eSPIE* a fickle maid full pale,
(T)earing of papers, breaking rings a-twain,
Storming her world with sorrow's wind and rain
-----------------------------------------------------
Benjamin Franklin: Write injuries in *DUST* , benefits in marble.
.
Horace: We are but *DUST* and shadow.
.
Sir Thomas Browne: Time which antiquates antiquities,
. and hath an art to make *DUST* of all things.
Thomas Carlyle:
The *DUST* of controversy is merely the falsehood flying off.
---------------------------------------------------------------------
WASHINGTON IRVING, 1819 - p.48, Stratford-On-Avon, Sketch Book.
.
<<A flat stone marks the spot where the bard is buried. There are
four lines inscribed on it, said to have been written by himself,
and which have in them something extremely AWFUL. A few years since
also, as some laborers were digging to make an adjoining vault, the
earth caved in, so as to leave a vacant space almost like an arch,
through which one might have reached into his grave. No one, however,
presumed to meddle with his remains so awfully guarded by a
malediction; and lest any of the idle or the curious or any collector
of relics should be tempted to commit depredations, the old sexton
kept watch over the place for two days, until the vault was finished
and the aperture closed again. He told me that he had made bold to
look in at the hole, but could see neither coffin nor bones-
- *NOTHING BUT DUST* . It was something, I thought, to have seen
*THE DUST OF SHAKE SPEARE*.>>
-----------------------------------------------------
____*NOTHING BUT DUST*
____*NIENTE MA POLVERE* (Italian)
.
____*THE DUST OF SHAKE SPEARE*
____*LA POLVERE DEL LANCIA DI SCOSSA* (Italian)
-------------------------------------------------------
<<"In this Tirata, Milord of Oxford, amusingly enough, tilted against
Alvida, COUNTESS of Edenburg, who was mounted on a dapple grey,
was armed with *a Frankish LANCE* and was robed in lemon color.
In the end, Edward and Alvida, alas, threw one another
simultaneously, both landing face down in the *DUST*!.""
.
NeVERtheless, Emperor Polidor awarded to all the
knights & amazons GIFTS OUT OF THE CUPBOARD OF ANTIQUITY.
To Elmond - Edward - was given the horn *oF ASTOLF*
paladin of Charlemagne, the magic horn to rout armies -
*a SPEAR of sorts to SHAKE* , with enchanted consequences.>>
-------------------------------------------------
It was not without some pleasurable *IMAGINATIONS*
that I saw Stratford-upon-Avon,
.
the VERy hills and woods which the boy Shakespeare had looked upon,
the VERy church where his *DUST* reposes, nay,
the VERy house where he was born, the threshold oVER
which his staggering footsteps carried him in infancy;
the VERy stones where the urchin played marbles and flogged tops...
.
HOMER, I afterwards discoVERed, had settled in Birmingham
as a *BUTTON* maker. -- CARLYLE, THOMAS, 1824,
.
Letter to John Carlyle, Life, ed. Froude, vol. I. p. 191.
----------------------------------------
. Henry the Sixth, Part Three (Quarto , 1595)
.
War.: What is pompe, rule, raigne, but earth and *DUST*?
And liue we how we can, yet die we must.
Sweet rest his soule, flie Lords and saue your selues,
For Warwike bids you all farewell to meet in Heauen,
He dies.
.
*OXFORD* : Come noble Summerset, lets take our horse,
And cause retrait be sounded through the campe,
That all our friends that yet remaine aliue,
Maie be awarn'd and saue themselues by flight.
That done, with them weele post vnto the Queene,
And once more trie our fortune in the field.
----------------------------------------------------
1851 MOBY DICK; OR THE WHALE by Herman Melville
.
. ETYMOLOGY
(Supplied by a Late Consumptive *USHER* to a Grammar School)
.
The pale *USHER*- threadbare in coat, heart, body, and brain; I see
him now. He was *EVER DUSTing* his old lexicons and grammars, with
a QUEER HANDKERCHIEF, mockingly embellished with all the gay flags
of all the known nations of the world. He loved to *DUST* his
old grammars; it somehow mildly reminded him of his mortality.
.
"While you take in hand to school others, and to teach them by
what name a whale-fish is to be called in our tongue leaving out,
through ignorance, the letter H, which almost alone maketh the
signification of the word, *you DEliVER that which is NOT TRUE* "
------------------------------------------------------------------
<<That the order of the Rose-Cross was a Christian organization
these extracts from the Rosicrucian prayer alone prove:--
.
. Jesus Mihi Omnia
.
Oh Thou EVERywhere and good of all, whatsoEVER I do remember, I
beseech Thee, that *I am but DUST*, but as a vapour sprung from earth,
which even Thy smallest breath can scatter. Thou hast given me a soul
and laws to govern it; let that fraternal rule which Thou didst first
appoint to sway man order me; make me careful to point at Thy glory in
all my wayes, and where I cannot rightly know Thee, that not only my
understanding but my ignorance may honour Thee-- I cast myself as an
honourer of Thee at Thy feet, and because I cannot be defended by Thee
unless I believe after Thy laws, keep me, O my soul's Sovereign, in
the obedience of Thy Will, and that I wound not conscience with vice
and hiding Thy gifts and graces bestowed upon me, for this, I know,
will destroy me within, and make Thy illumination Spirit leave me. I
am afraid I have already infinitely swerved from the revelations of
that Divine Guide which Thou hast commanded to direct me to the TRUTH,
and for this I am a sad prostrate and penitent at the foot of Thy
throne. I appeal only to the abundance of Thy remissions, O God, my
God. For outward things I thank thee, and such as I have I give unto
others, in the name of the Trinity, freely and faithfully..... In what
Thou hast given me I am content--- I beg no more than Thou hast given,
and that to continue me uncontemnedly and upittiedly honest. Take me
from myself and fill me but with Thee. Sum up Thy blessings in these
two, that I may be rightly good and wise, and these, for Thy eternal
TRUTH's sake, grant and make grateful.(Waite, The Real History, et.,
pp. 444-61)
.
If the reader will compare this prayer with the acknowledged
and unquestioned prayers of Francis Bacon, we are confident that
he will not doubt that this is the coinage of the same brain
and the expression of the same heart.>> -James Phinney Baxter
-------------------------------------------------------
April 23, 1616 William Shakspere grave in Stratford:
.
. <<Good friend for Iesus sake F(orb)EAR(e)
__ To digg the *DUST* encloased ____ *HE(a)RE* :
_______ Blest be ye man yt spares thes__[STON]ES
__ And CURST be he yt moves my [BO]NES.>>
--------------------------------------------------------
. "[E]dwardus [C]omes [O]xon{iensis}"
. [ECO]: *HERE* (Venetian)
----------------------------------------------------------
March 6, 1616 Francis Beaumont's non-Tomb in Westminster:
.
. <<MORTALITY, behold and FEAR!
_____ What a change of flesh ____ *IS HERE* !
__ Think how many royal ____ [BO]NES
____ Sleep within this heap of ____ [STON]ES:>>
--------------------------------------------------------
. A Midsummer Night's Dream Act 2, Scene 2
.
PUCK: Who *IS HERE* ? WEEDS of Athens he doth *WEAR* :
-------------------------------------------------------
TOTHEO [N] l ___ I _ EBE G ____ ETTERO
FTHESE_ [I] n ___ S - UIN G ____ SONNET
SMrWha_- [L] L __ [H]a P <P> I__ [N] ESSEA
NDthat___ [E] T __ [E]r _ N <I> T__ [I] EPROM
ISEDB Y O u ___- [R]e V <E> R [L] IVING
POEtW I s h ____ [E]t _ H [T] H__ [E] WELLW
IShIN- G a _____ [d V e] N [T] u ______ ReRINS
EtTIN G fort----_______ H [T] t
-------------------------------------------------------------
Psalms 113:7 He raiseth up the poor out of the *DUST*,
. and lifteth the needy out of the DUNGHILL;
. That he may set him with princes,
. even with the princes of his people.
--------------------------------------------------------------
. Shakespeare & Cervantes died on St. George's day, 1616
.
. April 23 is preceded by 113 days
. September 9 precedes 113 days
----------------------------------------------------------
Art Neuendorffer