Google Groups no longer supports new Usenet posts or subscriptions. Historical content remains viewable.
Dismiss
“too young and unproven”
5 views
Skip to first unread message
Arthur Neuendorffer
Dec 23, 2020, 9:44:30 AM12/23/20
to
----------------------------------------------------------
3rd Earl of *SOUTHAMPTON* ( *6 October* 1573 – 10 November 1624)
5th Earl of *RUTLAND* ___ ( *6 October* 1576 – 26 June 1612)
...............................................................
http://tinyurl.com/6luqf2
.
. "My Lord *SOUTHAMPTON* and Lord *RUTLAND*,
.
. come not to the court ... They pass away the time
. in London MEREly in going to plays EVERy day"
.......................................................
. writes Rowland White to Sir Robert Sydney in 1599,
- (Sydney Papers, ed. Collins, ii. 132).>>
--------------------------------------------------------------
<<Roger Manners, was “too young and unproven” to be
Shakespeare, is the widely-held belief. Again, to be taken
seriously, he would have had to be a literary genius in
1593 at the age of 16 (when Venus & Adonis was published).
There is no evidence of this. Nor was there evidence that
this future “Courtier, nobleman, law student, classicist and
linguist, sportsman, soldier, witness to a great storm at
sea” had ever involved himself in poesy, theatre or players.
http://www.shakespeare-authorship.org.uk/roger-manners.htm
--------------------------------------------------------------
. Hamlet (Quarto 2, 1604) Act 4, Scene 7
.
Queen: There is a Willow growes ascaunt the Brooke
. That showes his horry leaues in the glassy streame,
. Therewith *FANTASTIQUE* gaRLANDs did she make
. Of Crowflowers, Nettles, Daises, and long Purples
. That liberall Shepheards giue a *GROS(s)ER NAME* ,
. But our cull-cold maydes doe dead mens fingers call them.
. There on the pendant boughes her *CORONET WEEDES*
. Clambring to hang, an *ENVIOU(s) SLIVER* broke,
....................................................
____ *GROS(s)ER NAME* : *ENVIOU(s) SLIVER*
____ *ROGE(r) MANERS* : *NIL VE(r)O VERIUS*
....................................................
. . Hamlet (Quarto 1, 1603)
Queene: O my Lord, the yong Ofelia
. Hauing made a garland of sundry sortes of floures,
. Sitting vpon a willow by a brooke,
. The *ENVIOUS SPRIG* broke, into the brooke she fell,
--------------------------------------------------------------------
. https://en.wikipedia.org/wiki/John_Benson_(publisher)
.
The frontispiece to Benson's 1640 edition of Shakespeare's poems
.
.. This Shadowe is renowned Shakespea{R}'s?
.. Soule o[F] th' [A]ge [T]he [A]pplause? delight?
.. The wonder {O}f the Stage.
.. Nature her selfe, was proud of his desi{G}nes
. [A]nd joy'd to weare the dressing of his lines,
. [T]h{E} learned will confess his works as such
. [A]s neithe{R MAN, NOR} muse can praise to much
. [F]or ever live thy FAME, the world to tell,
.. Thy like, no age, shall ever paralell
.........................................................
. <= 41 =>
.
........ T hi s Sh a doweisrenownedShakespe a {R} s S o u l e
. o[F]th[A]ge[T]he[A]pplausedelightThewonde r {O} f t h e S t
. a g eN a tu r eh e rselfewasproudofhisdes i {G} n e s A n d
. j o yd t ow e ar e thedressingofhislinesT h {E} l e a r n e
. d w il l co n fe s shisworksassuchAsneith e {R. M A N N O R}
. m u Se c an p ra i setomuchForEVERlivethy F. A. M E t h e w
. o r ld t ot e ll T hylikenoageshallEVERpa r. a. l e l l
.
{ROGER/MANNOR} 41
[FATA] 3 : Prob. ~ 1 in 66
.........................................................
Roger Manners at age 20(?) (1596):
.
. https://tinyurl.com/yaak3yba
-------------------------------------------------------------
. SONNET 42
.
. Suff[R]ing my friend for my sake to approoue her,
. If I l[O]ose thee, my losse is My loues gaine,
. A(N)d loosin[G] her, my friend hath fOund that losse,
. Both find[E] each oth(E)r, and I looSe both *TWAINE* ,
. And both fo[R] my sake *LAY ON ME THIS (CROSSE)* ,
. (B)ut here's the ioy, [MY FRIEND AND I ARE ONE] ,
. Sweete flattery, then she loues but me alone.
......................................................
_________ <= 38 =>
. Suff [R] ingmyfriendformys. aketoa. pprooueher
. IfIl [O] osetheemylosseism. yloues. gaineAndlo
. osin [G] hermyfriendhathfo. undtha. tlosseBoth
. find [E] eachotherandIloos. ebotht. waineAndbo
. thfo [R] mysakeLAYONMETHIS (CROSSE) Butheresth
. eioy [M YFRIENDANDIAREONE]
.
[ROGER M.] 38 : Prob. in any Sonnet ~ 1 in 21
----------------------------------------------------
.... 1623 Folio (Act 4, Scene 7)
. Claudius reads Hamlet's letter to Laertes:
.
. 'High and mighty, You shall know I am set naked on
. your kingdom. To-morrow shall I beg leave to see
. your kingly eyes: when I shall, first asking your
. pardon thereunto, recount the occasion of my sudden
.
. *AND MORE STRANGE REtURN*.' 'HAMLET.'
......................................................
____ *AND MORE STRANGE RE(t)URN*
________ per anagramma
____ *ROGER MANNERS, E. RUT(l)AND*
......................................................
The only consecutive string of 24 letters containing
*ROGER MANNERS, E. RUTLAND* is:
*TRAN(sf)ERR(i)NGL(y) MEASURED ON*
......................................................
. _MOBY DICK_ CHAPTER 110 "Queequeg in His Coffin"
<<[the *CARPENTER*] forthwith with all the indifferent
promptitude of his character, proceeded into the forecastle
and took Queequeg's measure with great accuracy, regularly
*CHALKing Queequeg's person as he shifted the RULE*
.
"Ah! POOR FELLOW! he'll have to die now,"
. ejaculated the Long Island sailor.
.
Going to his vice-bench, the *CARPENTER* for
convenience sake and general reference, now
.
. *TRAN(sf)ERR(i)NGL(y) MEASURED ON*
.
it the exact length the coffin was to be, and then made the
transfer permanent by cutting two notches at its extremities.>>
-----------------------------------------------------------------------
https://en.wikipedia.org/wiki/Roger_Manners,_5th_Earl_of_Rutland#Marriage
<<*ROGER MANNERS, 5th Earl of Rutland (6 October 1576 – 26 June 1612) was the eldest surviving son of John Manners, 4th Earl of Rutland & Elizabeth nee Charleton (d. 1595). He travelled across Europe, took part in military campaigns led by the Earl of Essex, and was a participant of Essex's rebellion against Queen Elizabeth I. He was favoured by James I, and honoured by his contemporaries as a man of great intelligence and talent. In 1603 he led an Embassy to Denmark, homeland of James' Queen Anne of Denmark. Evidence indicates that Manners was a patron of the architect *Inigo JONES* and probably introduced Jones to the Court of James I & Anne of Denmark, where Jones had his impact as both on Jacobean architecture and as a designer of Court masques.
The daughter of Sir Philip Sidney, ELIZabeth [SIDNEI], married Roger MANNERs on 5 March 1599. It has been speculated that the childless marriage was not consummated, possibly because Rutland had syphilis, which may also have been the cause of Rutland's rapidly declining health in his last years.>>
---------------------------------------------------------
. Sonnet 125
.
. WEr't ought (TO M)e I "bore the canopy",
. With my ex(T)ern the outward honoring,
. O(R) layd great bases {For} etern(I)ty,
. Which proues more [S]hor(T) then wast or ruining?
. Haue [I] n(O)t seene dwellers on forme a(N|D] fauor
. Lose all,and more by payi[N]g too much rent
. For compound sw[E]et;Forgoing simple sauor,
. Pitt[I]full thriuors in their gazing spent.
. Noe,let me be obsequious in thy heart,
. And take thou my oblacion,poore but free,
. Which is not mixt with seconds,knows no art,
. But mutuall render onely me for thee.
. Hence,thou subbornd Informer, a trew soule
. When most impeacht,stands least in thy controule.
.......................................................
......... <= *26* =>
.
. {F o r} e t e r n i t y,W h i c h p r o u e s m o r e
. [S] h o r t t h e n w a s t o r r u i n i n g?H a u e
. [I] n o t s e e n e d w e l l e r s o n f o r m e a n
. [D] f a u o r L o s e a l l,a n d m o r e b y p a y i
. [N] g t o o m u c h r e n t F o r c o m p o u n d s w
. [E] e t;F o r g o i n g s i m p l e s a u o r,P i t t
. [I] f u l l t h r i u o r s i n t h e i r g a z i n g
.
{For}[SIDNEI] *26* [starting in the middle of the 3rd line]
........................................................
Shortest {For}[SIDNEI] or [SIDNEY] in KJV = 869 skip
--------------------------------------------------------
. Sonnet 47
. BEtwixt mine eye and heart a league is tooke,
. And each doth good turnes now vnto the other,
. When that mine eye is famisht {For} a looke,
. Or heart in loue with [S]ighes himselfe doth smother;
. W[I]th my loues picture then my eye [D]oth feast,
. And to the painted ba[N]quet bids my heart:
. An other tim[E] mine eye is my hearts guest,
. And [I]n his thoughts of loue doth share a part.
. So either by thy picture or my loue,
. Thy seife away,are present still with me,
. For thou nor farther then my thoughts canst moue,
. And I am still with them,and they with thee.
. Or if they sleepe, thy picture in my sight
. Awakes my heart,to hearts and eyes delight.
.......................................................
......... <= *26* =>
.
. {F o r} a l o o k e,O r h e a r t i n l o u e w i t h
. [S] i g h e s h i m s e l f e d o t h s m o t h e r;W
. [I] t h m y l o u e s p i c t u r e t h e n m y e y e
. [D] o t h f e a s t,A n d t o t h e p a i n t e d b a
. [N] q u e t b i d s m y h e a r t:A n o t h e r t i m
. [E] m i n e e y e i s m y h e a r t s g u e s t,A n d
. [I] n h i s t h o u g h t s
.
{For}[SIDNEI] *26* [starting in the middle of the 3rd line]
.
Prob. of second skip 26 {For}[SIDNEI] ~ 1 in 151,000
---------------------------------------------------------------------
http://spenserians.cath.vt.edu/TextRecord.php?action=GET&textsid=332961627
To my most dearely-loved friend Henry Reynolds Esquire, of Poets and Poetry.
By Michaell Drayton Esquire. [1627]
.................................................
. The 35th of 102 couplets in Drayton poem:
.
That times best makers, and the authors were
(O)f those small poems, which the title beare,
Of songs and sonne{T}s, wherein oft they hit
On many dainty passages of wit.
Gascoi{N}e and Churchyard after them againe
In the beginning of Eliz{A}'s raine,
Accoumpted were great Meterers many a day,
But not in{S}pired with brave fier, had they
Liv'd but a little longer, they {H}ad seene,
Their workes before them to have buried beene.
Grav{E} morrall Spencer after these came on
Then whom I am perswaded there was none
Since the blind Bard his Iliads up did make,
Fitter a taske like that to undertake,
To set downe boldly, bravely to invent,
In all high knowledge, surely excellent.
The nobl{E SIDNEY}, with this last arose,
That Heroe for numbers, and for Prose.
That throughly pac'd our language as to show,
The plenteous English hand in hand might goe
With Greeke and Latine, and did first reduce
(O)u[R] t[O]n[G]u[E] f[R]o[M] Lillies writing then in use;
..................................................................
.................................... <= 50 =>
.
... T. h a t t i m e s b e s. tmakersandtheauthorswere (O) fthose. smallp
. o e. m s w h i c h t h e t. itlebeareOfsongsandsonne {T} swhere. inoftt
. h e. y h i t O n m a n y d. aintypassagesofwitGascoi {N} eandCh. urchya
. r d. a f t e r t h e m a g. aineInthebeginningofEliz {A} sraine. Accoum
. p t. e d w e r e g r e a t. MeterersmanyadayButnotin {S} piredw. ithbra
. v e. f i e r h a d t h e y. Livdbutalittlelongerthey {H} adseen. eTheir
. w o. r k e s b e f o r e t. hemtohaveburiedbeeneGrav {E} morral. lSpenc
. e r. a f t e r t h e s e c. ameonThenwhomIamperswade. d. therew. asnone
. S i. n c e t h e b l i n d. BardhisIliadsupdidmakeFi. t. terata. skelik
. e t. h a t t o u n d e r t. akeTosetdowneboldlybrave. l. ytoinv. entIna
. l l. h i g h k n o w l e d. gesurelyexcellentThenobl {E. SIDNEY} withth
. i s. l a s t a r o s e T h. atHeroefornumbersandforP. r. oseTha. tthrou
. g h. l y p a c d o u r l a. nguageastoshowTheplenteo. u. sEngli. shhand
. i n. h a n d m i g h t g o. eWithGreekeandLatineandd. i. dfirst. reduce
.(O)u [R]t[O]n[G]u[E]f[R]o[M] Lillieswritingtheninuse
{T.NASHE} 50
{E.SIDNEY} 1 : wife of [ROGER M.]
[ROGER M.] 2 : Prob. in any couplet in Drayton poem ~ 1 in 400,000
------------------------------------------------------------------------
Hereafter follow Diverse Poeticall Essaies on the Former subiect; viz.:
*the T{urtle an[d} Phoenix]*. Done by the best and chiefest of our
moderne writers, with their names subscribed to their particular workes:
neuer before extant. And (now first) consecrated by them all generally
to the loue and merite of the *TRUE-noble* Knight, Sir lohn Salisburie.
..................................................
. *the T{urtle an[d} Phoenix]*
. {e.rutland}[oxenpho(r)d]
---------------------------------------------------
. *the T{urtle an[d} Phoenix]* (Version II ?)
.
. Let the bird of loudest lay,
. On the sole Arabian tree,
. Herald sad and trumpet be,
. To whose sound cha(S)te wings obey.
. But tho(U) shrieking harbinge(R),
. Foul precurrer of th(E) fiend,
. Augur of the fe(V)er's end,
. To this troup(E) come thou not near!
......................................
___...... <= 18 =>
.
. L e t t h e. b. i r d o f l o u d e s
. t l a y,O n. t. h e s o l e A r a b i
. a n t r e e, H. e r a l d s a d a n d
. t r u m p e. t. b e,T o w h o s e s o
. u n d c h a (S) t e w i n g s o b e y.
. B u t t h o (U) s h r i e k i n g h a
. r b i n g e (R),F o u l p r e c u r r
. e r o f t h (E) f i e n d,A u g u r o
. f t h e f e (V) e r's e n d,T o t h i
. s t r o u p (E) c o m e t h o u n o t
. n e a r!
{E.VERUS} 18 : (Oxford's Latin name)
. Prob. at start ~ 1 in 6,860
......................................
. Let the priest in surplice white,
. That defunctive music can,
. Be the death-divining *SWAN*,
. Lest the requ{I}/E/m lack hi{S} right.
. And {T}hou trebl{E}-dated cro{W},
. That thy s{A}ble gende{R} makest
. Wi{T}h (T)he breath (T)hou gives(T) and takes(T),
. 'Mongst our mourners shalt thou go.
......................................
___... <= 9 =>
. L e. s. t. t. h e r e
. q u {I}/E/ m. l a c k
. h i {S} r. i. g h t.A
. n d {T} h. o. u t r e
. b l {E}-d. a. t e d c
. r o {W},T. h. a t t h
. y s {A} b. l. e g e n
. d e {R} m. a. k e s t
. W i {T} h (T) h e b r
. e a. t. h (T) h o u g
. i v. e. s (T) a n d t
. a k. e. s (T),
{I.STEWART} 9 Prob. ~ 1 in 137,000
......................................
. Whereupon it made this threne
. To the phoenix and the dove,
. Co-su(P)remes (A)nd sta(R)s of lo(V)e,
. As ch(O)rus to their tragic scene.
......................................
___ <= 6 =>
.
. C o s u (P) r
. e m e s (A) n
. d s t a (R) s
. o f l o (V) e,
. A s c h (O) r
. u s t o. t. h
. e i r t. r. a
. g i c s. c. e
. n e.
.
(PARVO) 6 : (Rutland/Manners' motto)
. Prob. at end ~ 1 in 15,000
----------------------------------------------------------
"Threnos" in a Cambridge University manuscript, c. 1606,
. Funerall song or
. Elegie for the Countes(S) of Rutland
. O! that I could as I would aetern(I|Z]e her,
. It rather fitts the Faerie Queenes (D)eviser,
. Or hi[I] who made his Delia of such fa(M)e
. Or English Bartas Sil[L]ester {BY} name
. Or: h(A)ut fitz:Gefferie worthy Drakes L[E]arnd Ho(N)o{R}
. Or if Mellifluous Drayton would bemoa(N)e her:
. Your Silv{E}r Penns can best depaint h(ER) honer
. Yee Phenix feathere{D} Muses of our Time
. Eternise her: with your eternall Rime;
. O! shame o! greif [V]ertue in oblivion ly[E]s:
. Els had [ELIZ]a had he[R] dive Eligies
. Trye el[E]gies which should the skies have Peirst
. Had DANIEL, Drayton, Silvester them verst
. Or els Fitz: Geffereie whose muse coelestiall
. Would penetrat[E] Hea[V]en, H[E]ll, S[E]a, Ea[R]th, and all.
....................................................................
..................... <= 35 =>
.
. El e g ie f o r t h e C o u n tes (S)o f R u tl and O t h a t I
. co u l da s I w o u l d a e t ern (I|Z]e h e rI tra t h e r f i
. tt s t he F a e r i e Q u e e nes (D)e v i s er Orh[I]m w h o m
. ad e h is D e l i a o f s u c hfa (M)e O r E ng lis h B a r t a
. sS i[L]ve s t e r{B Y}n a m e Orh (A)u t f i tz Gef f e r i e w
. or t h yD r a k e s L[E]a r(N)dHo (N)o{R}O r if Mel l i f l u o
. us D r ay t o n w o u l d b(E)moa (N)e h e r Yo urS i l v{E}r P
. en n s ca n b e s t d e p a(I)nth (E R)h o n er Yee P h e n i x
. fe a t he r e{D}M u s e s o f our. T i m e E te rni s e h e r w
. it h y ou r e t e r n a l l R ime. O s h a m eo gre i f[V]e r t
. ue i n ob l i v i o n l y[E]s Els. h a d[E L IZ]aha d h e[R]d i
. ve E l ig i e s T r y e e l[E]gie. s w h i c hs hou l d t h e s
. ki e s ha v e P e i r s t H a dDA. N I E L D ra yto n S i l v e
. st e r th e m v e r s t O r e lsF. i t z G e ff ere i e w h o s
. em u s ec o e l e s t i a l l Wou. l d p e n et rat[E]H e a[V]e
. nH[E]l lS[E]a E a[R]t h a n d all
....................................................................
[ELIZ.] -44
(SID:MANNE/R) 35
{DERB/Y} -46
[VERE] 18
[E.VEER] 4
---------------------------------------------------------
. Nathaniel *HAWTHORNE* wrote the PREFACE and
. sponsored Delia Bacon's book of almost 700 pages,
. _The Philosophy of Shakespeare's Plays Unfolded_,
. which came out in London & Boston in 1857.
.
Delia Bacon: *HAWTHORNE's Last Heroine* by Nina Baym
http://www.english.uiuc.edu/baym/essays/last_heroine.htm
..................................................................
THE PHILOSOPHY OF THE PLAYS OF SHAKSPERE UNFOLDED. BY DELIA BACON.
WITH A PREFACE BY NATHANIAL HAWTHORNE:
...................................................
<<'It was a time when authors, who treated of a scientific politics
and of a scientific ethics internally connected with it, naturally
preferred this more philosophic, symbolic method of indicating their
connection with their writings, which would limit the indication to
those who could pierce within the veil of a philosophic symbolism. It
was the time when the cipher, in which one could write '_omnia per
omnia_,' was in such request, and when 'wheel ciphers' and 'doubles'
were thought not unworthy of philosophic notice. It was a time, too,
when the phonographic art was cultivated, and put to other uses than
at present, and when a '_nom de plume_' was required for other
purposes than to serve as the refuge of an author's modesty, or
vanity, or caprice. It was a time when puns, and charades, and
enigmas, and anagrams, and monograms, and ciphers, and puzzles, were
not good for sport and child's play merely; when they had need to be
close; when they had need to be solvable, at least, only to those who
_should_ solve them. It was a time when all the latent capacities of
the English language were put in requisition, and it was flashing and
crackling, through all its lengths and breadths, with puns and quips,
and conceits, and jokes, and satires, and inlined with philosophic
secrets that opened down "into the bottom of a tomb"--that opened
into the Tower--that opened on the scaffold and the block.'
I quote, likewise, another passage, because I think the reader will
see in it the noble earnestness of the author's character, and may
partly imagine the sacrifices which this research has cost her:--
'The great secret of the Elizabethan age did not lie where any
superficial research could EVER have discoVEREd it. It was not left
within the range of any accidental disclosure. It did not lie on the
surface of any Elizabethan document. The most diligent explorers of
these documents, in two centuries and a quarter, had not found it. No
faintest suspicion of it had EVER crossed the mind of the most recent,
and clear-sighted, and able investigator of the Baconian remains.
It was buried in the lowest depths of the lowest deeps of the deep
Elizabethan Art; that Art which no plummet, till now, has EVER
sounded. It was locked with its utmost reach of traditionary cunning.
It was buried in the inmost recesses of the esoteric Elizabethan
learning. It was tied with a knot that had passed the scrutiny and
baffled the sword of an old, suspicious, dying, military government--a
knot that none could cut--a knot that must be untied.
'The great secret of the Elizabethan Age was inextricably resERVED by
the founders of a new learning, the prophetic and more nobly gifted
minds of a new and nobler race of men, for a research that should test
the mind of the discoVEREr, and frame and subordinate it to that so
sleepless and indomitable purpose of the prophetic aspiration. It was
"the device" by which they undertook to live again in the ages in
which their achievements and triumphs were forecast, and to come forth
and rule again, not in one mind, not in the few, not in the many,
but in all. "For there is no throne like that throne in the thoughts
of men," which the ambition of these men climbed and compassed.
'The principal wo[R]ks of the Elizabethan Philosophy, th[O]se in which
the new method of learnin[G] was practically applied to the nobl[E]st
subjects, were presented to the wo[R]ld in the form of AN ENIGMA.
It was a for[M] well fitted to divert inquiry, and baffle even the
research of the scholar for a time; but one calculated to provoke
the philosophic curiosity, and one which would inevitably command a
research that could end only with the *TRUE* solution. That solution
was resERVED for one who would recognise, at last, in the disguise
of the great impersonal teacher, the disguise of a new learning.
It waited for the reader who would observe, at last, those
thick-strewn scientific clues, those thick-crowding enigmas,
those perpetual beckonings from the "theatre"
into the judicial palace of the mind. It was resERVED for
the student who would recognise, at last, the mind that was
seeking so persEVERingly to whisper its tale of outrage, and "the
secrets it was forbid." It waited for one who would answer, at last,
that philosophic challenge, and say, "Go on, I'll follow thee!"
It was resERVED for one who would count years as days, for the love
of the *TRUTH* it hid; who would nEVER turn back on the long road of
initiation, though all "THE IDOLS" must be left behind in its stages;
who would nEVER stop until it stopped in that new cave of Apollo,
where the handwriting on the wall spells anew the old Delphic
motto, and publishes the word that "_unties_ the spell."
'The principal w(O|R]ks of the Elizabethan Philosophy,
th[O]se in which the new method of learnin[G] was practically
applied to the nobl[E]st subjects, were presented to the
wo[R]ld in the form of {AN ENIGMA}. It was a for[M] well
fitted to DIVERt inquiry, and *BAFFLE* even the research
of the scholar for a time; but one calculated to provoke the
philosophic curiosity, and one which would inevitably command
a research that could end only with the *TRUE* solution.>>
.................................................................
................... <= 31 =>
.
. T h e p r i n c i p a l w (O|R] k s o f t h e E l i z a b e t h
. a n P h i l o s o p h y t h [O] s e i n w h i c h t h e n e w m
. e t h o d o f l e a r n i n [G] w a s p r a c t i c a l l y a p
. p l i e d t o t h e n o b l [E] s t s u b j e c t s w e r e p r
. e s e n t e d t o t h e w o [R] l d i n t h e f o r m o f A N E
. N I G M A I t w a s a f o r [M] w e l l f i t t e d t o d i v e
. r t i n q u i r y
.
[ROGER M.] 31 : Prob. in HAWTHORNE PREFACE ~ 1 in 116
-------------------------------------------------------------------
. The Rape of Lucrece Stanza 135
.
Time's office is to fine the hate of foes,
To eat up err(O|R]s by opinion bred,
Not spend the dowry of a lawful bed.
Time's gl[O]ry is to calm contending kings,
To unmask falsehood and brin[G] *TRUTH* to light,
To stamp the seal of time in aged things,
To wak[E] the morn and sentinel the night,
To wrong the wronger till he [R]ender right,
To ruinate proud buildings with thy hours,
And s[M]ear with dust their glittering golden towers ;
To fill with WORM-holes stately monuments,
To feed oblivion with decay of things,
To blot old books and alter their contents,
To pluck the quills from ancient ravens' wings,
To dry the old oak's sap and cherish SPRINGS,
To spoil antiquities of hammer'd steel,
And turn the giddy round of Fortune's wheel ;
............................................
.......... <= 50 =>
.
. Toeatuperr (O|R] sbyopinionbredNotspendthedowryofalawfu
. lbedTimesg l[O] ryistocalmcontendingkingsTounmaskfalse
. hoodandbri n[G] truthtolightTostampthesealoftimeinaged
. thingsTowa k[E] themornandsentinelthenightTowrongthewr
. ongertillh e[R] enderrightToruinateproudbuildingswitht
. hyhoursAnd s[M] earwithdusttheirglitteringgoldentowers
.
[ROGER M.] 50 : Prob. in Lucrece ~ 1 in 14
----------------------------------------------------
. Love's Labour's Lost (FF, 1623) Act 1, Scene 1
.
DuMANE: My louing L(O|R]d, DuMANE is m[O]rtified,
. The *[G]ROS(s)E{R MANN[E]R}* of these wo[R]lds delights,
. He throwes vpon the grosse worlds baser slaues:
. To loue, to wealth, to pompe, I pine and die,
. With all these liuing in Philosophie.
.........................................
. *[G]ROS(s)E{R MANN[E]R}*
. *{R}O[G]ER(s) {MANN[E]RS}*
.........................................
. <= 11 =>
.
. l o u i n g L (O|R] d, D
. u m a n e i s m[O] r t
. i f i e d,T h e[G] r o
. s s e r *M A N N[E] R* o
. f t h e s e w o[R] l d
. s d e l i g h t s,
[ROGER] 11
--------------------------------------------------------------
<<The following passage by Mr. Pope stands as a preface
to the various readings at the end of the 8th volume
of his edition of Shakspeare, 1728.>> - Reed.
..........................................................
Preface to Shakespeare By Alexander Pope
"But to the end every reader may judge for himself, we have
annexed a compleat list of the rest; which if he shall think
trivial, or erroneous, either in part, or in whole; at worst it
can spoil but a half sheet of paper, that chances to be left
vacant here. And we purpose for the future, to do the same
with respect to any other persons, who thro' candor or vanity,
shall co[M]municate o[R] publish, th[E] least thin[G]s
tending t[O] the illust[R]ation of {OUR AUTHOR}."
.........................................................
. <= 10 =>
.
. c o [M] m u n i c a t
. e o [R] p u b l i s h
. t h [E] l e a s t t h
. i n [G] s t e n d i n
. g t [O] t h e i l l u
. s t [R] a t i o n o f
. {O U R A U T H O R}."
.
[ROGER M.] -10
---------------------------------------------------------------
. Hamlet: II, i
.
POLONIUS: Your (BAIT) of falshood, takes this *CAPE of TRUTH*;
. And thus doe we of wisedome and of reach
. With windlesses, and with assaies of Bias,
. By indirections finde directions out:
............................................................
. Ben Jonson folio dedication:
.
.. These are, as some infamous Baud, or Whore,
. {SH|O}uld praise a Matron. What could hurt her more?
. (B)ut thou a[R]t proofe against them, and indeed
. (A)bove th' ill fortune [O]f them, or the need.
. (I), therefore will begin. Soule of the {A|G]e !
. (T)he applause ! delight ! the wonder of our Stage !
.. My Sha{k|E]speare, rise; I will no{T LODGE} thee by
.. Chaucer, or Spens{e|R], or bid Beaumont lye
.. A little further, to make thee a roo[M]e :
......................................................
. <= 45 =>
.
. {S H|O) uldpraiseaMatronW hatcou ldhurthermoreButtho
.. u a[R] tproofeagainstthe mandin deedAbovethillfortu
.. n e[O] fthemortheneedIth erefor ewillbeginSouleofth
.. e{A|G] eTheapplausedelig htthew onderofourStageMySh
.. a{k|E] speareriseIwillno{TLODGE}theebyChaucerorSpen
.. s{e|R] orbidBeaumontlyeA little furthertomaketheear
.. o o[M] e
.
[ROGER M.] 45 : Prob. in poem ~ 1 in 400
........................................................
. Of Shakespeares minde, [AND MANNERS] brightly shines
. In his well torned, and [TRUE-FIL]ed lines:
.....................................................
. [AND MANNERS][TRUE-FIL]
. (anagram?)
. [I: F. MANNERS, E.RUTLAND]
.....................................................
https://en.wikipedia.org/wiki/Francis_Manners,_6th_Earl_of_Rutland
--------------------------------------------------------------------
Art Neuendorffer
3rd Earl of *SOUTHAMPTON* ( *6 October* 1573 – 10 November 1624)
5th Earl of *RUTLAND* ___ ( *6 October* 1576 – 26 June 1612)
...............................................................
http://tinyurl.com/6luqf2
.
. "My Lord *SOUTHAMPTON* and Lord *RUTLAND*,
.
. come not to the court ... They pass away the time
. in London MEREly in going to plays EVERy day"
.......................................................
. writes Rowland White to Sir Robert Sydney in 1599,
- (Sydney Papers, ed. Collins, ii. 132).>>
--------------------------------------------------------------
<<Roger Manners, was “too young and unproven” to be
Shakespeare, is the widely-held belief. Again, to be taken
seriously, he would have had to be a literary genius in
1593 at the age of 16 (when Venus & Adonis was published).
There is no evidence of this. Nor was there evidence that
this future “Courtier, nobleman, law student, classicist and
linguist, sportsman, soldier, witness to a great storm at
sea” had ever involved himself in poesy, theatre or players.
http://www.shakespeare-authorship.org.uk/roger-manners.htm
--------------------------------------------------------------
. Hamlet (Quarto 2, 1604) Act 4, Scene 7
.
Queen: There is a Willow growes ascaunt the Brooke
. That showes his horry leaues in the glassy streame,
. Therewith *FANTASTIQUE* gaRLANDs did she make
. Of Crowflowers, Nettles, Daises, and long Purples
. That liberall Shepheards giue a *GROS(s)ER NAME* ,
. But our cull-cold maydes doe dead mens fingers call them.
. There on the pendant boughes her *CORONET WEEDES*
. Clambring to hang, an *ENVIOU(s) SLIVER* broke,
....................................................
____ *GROS(s)ER NAME* : *ENVIOU(s) SLIVER*
____ *ROGE(r) MANERS* : *NIL VE(r)O VERIUS*
....................................................
. . Hamlet (Quarto 1, 1603)
Queene: O my Lord, the yong Ofelia
. Hauing made a garland of sundry sortes of floures,
. Sitting vpon a willow by a brooke,
. The *ENVIOUS SPRIG* broke, into the brooke she fell,
--------------------------------------------------------------------
. https://en.wikipedia.org/wiki/John_Benson_(publisher)
.
The frontispiece to Benson's 1640 edition of Shakespeare's poems
.
.. This Shadowe is renowned Shakespea{R}'s?
.. Soule o[F] th' [A]ge [T]he [A]pplause? delight?
.. The wonder {O}f the Stage.
.. Nature her selfe, was proud of his desi{G}nes
. [A]nd joy'd to weare the dressing of his lines,
. [T]h{E} learned will confess his works as such
. [A]s neithe{R MAN, NOR} muse can praise to much
. [F]or ever live thy FAME, the world to tell,
.. Thy like, no age, shall ever paralell
.........................................................
. <= 41 =>
.
........ T hi s Sh a doweisrenownedShakespe a {R} s S o u l e
. o[F]th[A]ge[T]he[A]pplausedelightThewonde r {O} f t h e S t
. a g eN a tu r eh e rselfewasproudofhisdes i {G} n e s A n d
. j o yd t ow e ar e thedressingofhislinesT h {E} l e a r n e
. d w il l co n fe s shisworksassuchAsneith e {R. M A N N O R}
. m u Se c an p ra i setomuchForEVERlivethy F. A. M E t h e w
. o r ld t ot e ll T hylikenoageshallEVERpa r. a. l e l l
.
{ROGER/MANNOR} 41
[FATA] 3 : Prob. ~ 1 in 66
.........................................................
Roger Manners at age 20(?) (1596):
.
. https://tinyurl.com/yaak3yba
-------------------------------------------------------------
. SONNET 42
.
. Suff[R]ing my friend for my sake to approoue her,
. If I l[O]ose thee, my losse is My loues gaine,
. A(N)d loosin[G] her, my friend hath fOund that losse,
. Both find[E] each oth(E)r, and I looSe both *TWAINE* ,
. And both fo[R] my sake *LAY ON ME THIS (CROSSE)* ,
. (B)ut here's the ioy, [MY FRIEND AND I ARE ONE] ,
. Sweete flattery, then she loues but me alone.
......................................................
_________ <= 38 =>
. Suff [R] ingmyfriendformys. aketoa. pprooueher
. IfIl [O] osetheemylosseism. yloues. gaineAndlo
. osin [G] hermyfriendhathfo. undtha. tlosseBoth
. find [E] eachotherandIloos. ebotht. waineAndbo
. thfo [R] mysakeLAYONMETHIS (CROSSE) Butheresth
. eioy [M YFRIENDANDIAREONE]
.
[ROGER M.] 38 : Prob. in any Sonnet ~ 1 in 21
----------------------------------------------------
.... 1623 Folio (Act 4, Scene 7)
. Claudius reads Hamlet's letter to Laertes:
.
. 'High and mighty, You shall know I am set naked on
. your kingdom. To-morrow shall I beg leave to see
. your kingly eyes: when I shall, first asking your
. pardon thereunto, recount the occasion of my sudden
.
. *AND MORE STRANGE REtURN*.' 'HAMLET.'
......................................................
____ *AND MORE STRANGE RE(t)URN*
________ per anagramma
____ *ROGER MANNERS, E. RUT(l)AND*
......................................................
The only consecutive string of 24 letters containing
*ROGER MANNERS, E. RUTLAND* is:
*TRAN(sf)ERR(i)NGL(y) MEASURED ON*
......................................................
. _MOBY DICK_ CHAPTER 110 "Queequeg in His Coffin"
<<[the *CARPENTER*] forthwith with all the indifferent
promptitude of his character, proceeded into the forecastle
and took Queequeg's measure with great accuracy, regularly
*CHALKing Queequeg's person as he shifted the RULE*
.
"Ah! POOR FELLOW! he'll have to die now,"
. ejaculated the Long Island sailor.
.
Going to his vice-bench, the *CARPENTER* for
convenience sake and general reference, now
.
. *TRAN(sf)ERR(i)NGL(y) MEASURED ON*
.
it the exact length the coffin was to be, and then made the
transfer permanent by cutting two notches at its extremities.>>
-----------------------------------------------------------------------
https://en.wikipedia.org/wiki/Roger_Manners,_5th_Earl_of_Rutland#Marriage
<<*ROGER MANNERS, 5th Earl of Rutland (6 October 1576 – 26 June 1612) was the eldest surviving son of John Manners, 4th Earl of Rutland & Elizabeth nee Charleton (d. 1595). He travelled across Europe, took part in military campaigns led by the Earl of Essex, and was a participant of Essex's rebellion against Queen Elizabeth I. He was favoured by James I, and honoured by his contemporaries as a man of great intelligence and talent. In 1603 he led an Embassy to Denmark, homeland of James' Queen Anne of Denmark. Evidence indicates that Manners was a patron of the architect *Inigo JONES* and probably introduced Jones to the Court of James I & Anne of Denmark, where Jones had his impact as both on Jacobean architecture and as a designer of Court masques.
The daughter of Sir Philip Sidney, ELIZabeth [SIDNEI], married Roger MANNERs on 5 March 1599. It has been speculated that the childless marriage was not consummated, possibly because Rutland had syphilis, which may also have been the cause of Rutland's rapidly declining health in his last years.>>
---------------------------------------------------------
. Sonnet 125
.
. WEr't ought (TO M)e I "bore the canopy",
. With my ex(T)ern the outward honoring,
. O(R) layd great bases {For} etern(I)ty,
. Which proues more [S]hor(T) then wast or ruining?
. Haue [I] n(O)t seene dwellers on forme a(N|D] fauor
. Lose all,and more by payi[N]g too much rent
. For compound sw[E]et;Forgoing simple sauor,
. Pitt[I]full thriuors in their gazing spent.
. Noe,let me be obsequious in thy heart,
. And take thou my oblacion,poore but free,
. Which is not mixt with seconds,knows no art,
. But mutuall render onely me for thee.
. Hence,thou subbornd Informer, a trew soule
. When most impeacht,stands least in thy controule.
.......................................................
......... <= *26* =>
.
. {F o r} e t e r n i t y,W h i c h p r o u e s m o r e
. [S] h o r t t h e n w a s t o r r u i n i n g?H a u e
. [I] n o t s e e n e d w e l l e r s o n f o r m e a n
. [D] f a u o r L o s e a l l,a n d m o r e b y p a y i
. [N] g t o o m u c h r e n t F o r c o m p o u n d s w
. [E] e t;F o r g o i n g s i m p l e s a u o r,P i t t
. [I] f u l l t h r i u o r s i n t h e i r g a z i n g
.
{For}[SIDNEI] *26* [starting in the middle of the 3rd line]
........................................................
Shortest {For}[SIDNEI] or [SIDNEY] in KJV = 869 skip
--------------------------------------------------------
. Sonnet 47
. BEtwixt mine eye and heart a league is tooke,
. And each doth good turnes now vnto the other,
. When that mine eye is famisht {For} a looke,
. Or heart in loue with [S]ighes himselfe doth smother;
. W[I]th my loues picture then my eye [D]oth feast,
. And to the painted ba[N]quet bids my heart:
. An other tim[E] mine eye is my hearts guest,
. And [I]n his thoughts of loue doth share a part.
. So either by thy picture or my loue,
. Thy seife away,are present still with me,
. For thou nor farther then my thoughts canst moue,
. And I am still with them,and they with thee.
. Or if they sleepe, thy picture in my sight
. Awakes my heart,to hearts and eyes delight.
.......................................................
......... <= *26* =>
.
. {F o r} a l o o k e,O r h e a r t i n l o u e w i t h
. [S] i g h e s h i m s e l f e d o t h s m o t h e r;W
. [I] t h m y l o u e s p i c t u r e t h e n m y e y e
. [D] o t h f e a s t,A n d t o t h e p a i n t e d b a
. [N] q u e t b i d s m y h e a r t:A n o t h e r t i m
. [E] m i n e e y e i s m y h e a r t s g u e s t,A n d
. [I] n h i s t h o u g h t s
.
{For}[SIDNEI] *26* [starting in the middle of the 3rd line]
.
Prob. of second skip 26 {For}[SIDNEI] ~ 1 in 151,000
---------------------------------------------------------------------
http://spenserians.cath.vt.edu/TextRecord.php?action=GET&textsid=332961627
To my most dearely-loved friend Henry Reynolds Esquire, of Poets and Poetry.
By Michaell Drayton Esquire. [1627]
.................................................
. The 35th of 102 couplets in Drayton poem:
.
That times best makers, and the authors were
(O)f those small poems, which the title beare,
Of songs and sonne{T}s, wherein oft they hit
On many dainty passages of wit.
Gascoi{N}e and Churchyard after them againe
In the beginning of Eliz{A}'s raine,
Accoumpted were great Meterers many a day,
But not in{S}pired with brave fier, had they
Liv'd but a little longer, they {H}ad seene,
Their workes before them to have buried beene.
Grav{E} morrall Spencer after these came on
Then whom I am perswaded there was none
Since the blind Bard his Iliads up did make,
Fitter a taske like that to undertake,
To set downe boldly, bravely to invent,
In all high knowledge, surely excellent.
The nobl{E SIDNEY}, with this last arose,
That Heroe for numbers, and for Prose.
That throughly pac'd our language as to show,
The plenteous English hand in hand might goe
With Greeke and Latine, and did first reduce
(O)u[R] t[O]n[G]u[E] f[R]o[M] Lillies writing then in use;
..................................................................
.................................... <= 50 =>
.
... T. h a t t i m e s b e s. tmakersandtheauthorswere (O) fthose. smallp
. o e. m s w h i c h t h e t. itlebeareOfsongsandsonne {T} swhere. inoftt
. h e. y h i t O n m a n y d. aintypassagesofwitGascoi {N} eandCh. urchya
. r d. a f t e r t h e m a g. aineInthebeginningofEliz {A} sraine. Accoum
. p t. e d w e r e g r e a t. MeterersmanyadayButnotin {S} piredw. ithbra
. v e. f i e r h a d t h e y. Livdbutalittlelongerthey {H} adseen. eTheir
. w o. r k e s b e f o r e t. hemtohaveburiedbeeneGrav {E} morral. lSpenc
. e r. a f t e r t h e s e c. ameonThenwhomIamperswade. d. therew. asnone
. S i. n c e t h e b l i n d. BardhisIliadsupdidmakeFi. t. terata. skelik
. e t. h a t t o u n d e r t. akeTosetdowneboldlybrave. l. ytoinv. entIna
. l l. h i g h k n o w l e d. gesurelyexcellentThenobl {E. SIDNEY} withth
. i s. l a s t a r o s e T h. atHeroefornumbersandforP. r. oseTha. tthrou
. g h. l y p a c d o u r l a. nguageastoshowTheplenteo. u. sEngli. shhand
. i n. h a n d m i g h t g o. eWithGreekeandLatineandd. i. dfirst. reduce
.(O)u [R]t[O]n[G]u[E]f[R]o[M] Lillieswritingtheninuse
{T.NASHE} 50
{E.SIDNEY} 1 : wife of [ROGER M.]
[ROGER M.] 2 : Prob. in any couplet in Drayton poem ~ 1 in 400,000
------------------------------------------------------------------------
Hereafter follow Diverse Poeticall Essaies on the Former subiect; viz.:
*the T{urtle an[d} Phoenix]*. Done by the best and chiefest of our
moderne writers, with their names subscribed to their particular workes:
neuer before extant. And (now first) consecrated by them all generally
to the loue and merite of the *TRUE-noble* Knight, Sir lohn Salisburie.
..................................................
. *the T{urtle an[d} Phoenix]*
. {e.rutland}[oxenpho(r)d]
---------------------------------------------------
. *the T{urtle an[d} Phoenix]* (Version II ?)
.
. Let the bird of loudest lay,
. On the sole Arabian tree,
. Herald sad and trumpet be,
. To whose sound cha(S)te wings obey.
. But tho(U) shrieking harbinge(R),
. Foul precurrer of th(E) fiend,
. Augur of the fe(V)er's end,
. To this troup(E) come thou not near!
......................................
___...... <= 18 =>
.
. L e t t h e. b. i r d o f l o u d e s
. t l a y,O n. t. h e s o l e A r a b i
. a n t r e e, H. e r a l d s a d a n d
. t r u m p e. t. b e,T o w h o s e s o
. u n d c h a (S) t e w i n g s o b e y.
. B u t t h o (U) s h r i e k i n g h a
. r b i n g e (R),F o u l p r e c u r r
. e r o f t h (E) f i e n d,A u g u r o
. f t h e f e (V) e r's e n d,T o t h i
. s t r o u p (E) c o m e t h o u n o t
. n e a r!
{E.VERUS} 18 : (Oxford's Latin name)
. Prob. at start ~ 1 in 6,860
......................................
. Let the priest in surplice white,
. That defunctive music can,
. Be the death-divining *SWAN*,
. Lest the requ{I}/E/m lack hi{S} right.
. And {T}hou trebl{E}-dated cro{W},
. That thy s{A}ble gende{R} makest
. Wi{T}h (T)he breath (T)hou gives(T) and takes(T),
. 'Mongst our mourners shalt thou go.
......................................
___... <= 9 =>
. L e. s. t. t. h e r e
. q u {I}/E/ m. l a c k
. h i {S} r. i. g h t.A
. n d {T} h. o. u t r e
. b l {E}-d. a. t e d c
. r o {W},T. h. a t t h
. y s {A} b. l. e g e n
. d e {R} m. a. k e s t
. W i {T} h (T) h e b r
. e a. t. h (T) h o u g
. i v. e. s (T) a n d t
. a k. e. s (T),
{I.STEWART} 9 Prob. ~ 1 in 137,000
......................................
. Whereupon it made this threne
. To the phoenix and the dove,
. Co-su(P)remes (A)nd sta(R)s of lo(V)e,
. As ch(O)rus to their tragic scene.
......................................
___ <= 6 =>
.
. C o s u (P) r
. e m e s (A) n
. d s t a (R) s
. o f l o (V) e,
. A s c h (O) r
. u s t o. t. h
. e i r t. r. a
. g i c s. c. e
. n e.
.
(PARVO) 6 : (Rutland/Manners' motto)
. Prob. at end ~ 1 in 15,000
----------------------------------------------------------
"Threnos" in a Cambridge University manuscript, c. 1606,
. Funerall song or
. Elegie for the Countes(S) of Rutland
. O! that I could as I would aetern(I|Z]e her,
. It rather fitts the Faerie Queenes (D)eviser,
. Or hi[I] who made his Delia of such fa(M)e
. Or English Bartas Sil[L]ester {BY} name
. Or: h(A)ut fitz:Gefferie worthy Drakes L[E]arnd Ho(N)o{R}
. Or if Mellifluous Drayton would bemoa(N)e her:
. Your Silv{E}r Penns can best depaint h(ER) honer
. Yee Phenix feathere{D} Muses of our Time
. Eternise her: with your eternall Rime;
. O! shame o! greif [V]ertue in oblivion ly[E]s:
. Els had [ELIZ]a had he[R] dive Eligies
. Trye el[E]gies which should the skies have Peirst
. Had DANIEL, Drayton, Silvester them verst
. Or els Fitz: Geffereie whose muse coelestiall
. Would penetrat[E] Hea[V]en, H[E]ll, S[E]a, Ea[R]th, and all.
....................................................................
..................... <= 35 =>
.
. El e g ie f o r t h e C o u n tes (S)o f R u tl and O t h a t I
. co u l da s I w o u l d a e t ern (I|Z]e h e rI tra t h e r f i
. tt s t he F a e r i e Q u e e nes (D)e v i s er Orh[I]m w h o m
. ad e h is D e l i a o f s u c hfa (M)e O r E ng lis h B a r t a
. sS i[L]ve s t e r{B Y}n a m e Orh (A)u t f i tz Gef f e r i e w
. or t h yD r a k e s L[E]a r(N)dHo (N)o{R}O r if Mel l i f l u o
. us D r ay t o n w o u l d b(E)moa (N)e h e r Yo urS i l v{E}r P
. en n s ca n b e s t d e p a(I)nth (E R)h o n er Yee P h e n i x
. fe a t he r e{D}M u s e s o f our. T i m e E te rni s e h e r w
. it h y ou r e t e r n a l l R ime. O s h a m eo gre i f[V]e r t
. ue i n ob l i v i o n l y[E]s Els. h a d[E L IZ]aha d h e[R]d i
. ve E l ig i e s T r y e e l[E]gie. s w h i c hs hou l d t h e s
. ki e s ha v e P e i r s t H a dDA. N I E L D ra yto n S i l v e
. st e r th e m v e r s t O r e lsF. i t z G e ff ere i e w h o s
. em u s ec o e l e s t i a l l Wou. l d p e n et rat[E]H e a[V]e
. nH[E]l lS[E]a E a[R]t h a n d all
....................................................................
[ELIZ.] -44
(SID:MANNE/R) 35
{DERB/Y} -46
[VERE] 18
[E.VEER] 4
---------------------------------------------------------
. Nathaniel *HAWTHORNE* wrote the PREFACE and
. sponsored Delia Bacon's book of almost 700 pages,
. _The Philosophy of Shakespeare's Plays Unfolded_,
. which came out in London & Boston in 1857.
.
Delia Bacon: *HAWTHORNE's Last Heroine* by Nina Baym
http://www.english.uiuc.edu/baym/essays/last_heroine.htm
..................................................................
THE PHILOSOPHY OF THE PLAYS OF SHAKSPERE UNFOLDED. BY DELIA BACON.
WITH A PREFACE BY NATHANIAL HAWTHORNE:
...................................................
<<'It was a time when authors, who treated of a scientific politics
and of a scientific ethics internally connected with it, naturally
preferred this more philosophic, symbolic method of indicating their
connection with their writings, which would limit the indication to
those who could pierce within the veil of a philosophic symbolism. It
was the time when the cipher, in which one could write '_omnia per
omnia_,' was in such request, and when 'wheel ciphers' and 'doubles'
were thought not unworthy of philosophic notice. It was a time, too,
when the phonographic art was cultivated, and put to other uses than
at present, and when a '_nom de plume_' was required for other
purposes than to serve as the refuge of an author's modesty, or
vanity, or caprice. It was a time when puns, and charades, and
enigmas, and anagrams, and monograms, and ciphers, and puzzles, were
not good for sport and child's play merely; when they had need to be
close; when they had need to be solvable, at least, only to those who
_should_ solve them. It was a time when all the latent capacities of
the English language were put in requisition, and it was flashing and
crackling, through all its lengths and breadths, with puns and quips,
and conceits, and jokes, and satires, and inlined with philosophic
secrets that opened down "into the bottom of a tomb"--that opened
into the Tower--that opened on the scaffold and the block.'
I quote, likewise, another passage, because I think the reader will
see in it the noble earnestness of the author's character, and may
partly imagine the sacrifices which this research has cost her:--
'The great secret of the Elizabethan age did not lie where any
superficial research could EVER have discoVEREd it. It was not left
within the range of any accidental disclosure. It did not lie on the
surface of any Elizabethan document. The most diligent explorers of
these documents, in two centuries and a quarter, had not found it. No
faintest suspicion of it had EVER crossed the mind of the most recent,
and clear-sighted, and able investigator of the Baconian remains.
It was buried in the lowest depths of the lowest deeps of the deep
Elizabethan Art; that Art which no plummet, till now, has EVER
sounded. It was locked with its utmost reach of traditionary cunning.
It was buried in the inmost recesses of the esoteric Elizabethan
learning. It was tied with a knot that had passed the scrutiny and
baffled the sword of an old, suspicious, dying, military government--a
knot that none could cut--a knot that must be untied.
'The great secret of the Elizabethan Age was inextricably resERVED by
the founders of a new learning, the prophetic and more nobly gifted
minds of a new and nobler race of men, for a research that should test
the mind of the discoVEREr, and frame and subordinate it to that so
sleepless and indomitable purpose of the prophetic aspiration. It was
"the device" by which they undertook to live again in the ages in
which their achievements and triumphs were forecast, and to come forth
and rule again, not in one mind, not in the few, not in the many,
but in all. "For there is no throne like that throne in the thoughts
of men," which the ambition of these men climbed and compassed.
'The principal wo[R]ks of the Elizabethan Philosophy, th[O]se in which
the new method of learnin[G] was practically applied to the nobl[E]st
subjects, were presented to the wo[R]ld in the form of AN ENIGMA.
It was a for[M] well fitted to divert inquiry, and baffle even the
research of the scholar for a time; but one calculated to provoke
the philosophic curiosity, and one which would inevitably command a
research that could end only with the *TRUE* solution. That solution
was resERVED for one who would recognise, at last, in the disguise
of the great impersonal teacher, the disguise of a new learning.
It waited for the reader who would observe, at last, those
thick-strewn scientific clues, those thick-crowding enigmas,
those perpetual beckonings from the "theatre"
into the judicial palace of the mind. It was resERVED for
the student who would recognise, at last, the mind that was
seeking so persEVERingly to whisper its tale of outrage, and "the
secrets it was forbid." It waited for one who would answer, at last,
that philosophic challenge, and say, "Go on, I'll follow thee!"
It was resERVED for one who would count years as days, for the love
of the *TRUTH* it hid; who would nEVER turn back on the long road of
initiation, though all "THE IDOLS" must be left behind in its stages;
who would nEVER stop until it stopped in that new cave of Apollo,
where the handwriting on the wall spells anew the old Delphic
motto, and publishes the word that "_unties_ the spell."
'The principal w(O|R]ks of the Elizabethan Philosophy,
th[O]se in which the new method of learnin[G] was practically
applied to the nobl[E]st subjects, were presented to the
wo[R]ld in the form of {AN ENIGMA}. It was a for[M] well
fitted to DIVERt inquiry, and *BAFFLE* even the research
of the scholar for a time; but one calculated to provoke the
philosophic curiosity, and one which would inevitably command
a research that could end only with the *TRUE* solution.>>
.................................................................
................... <= 31 =>
.
. T h e p r i n c i p a l w (O|R] k s o f t h e E l i z a b e t h
. a n P h i l o s o p h y t h [O] s e i n w h i c h t h e n e w m
. e t h o d o f l e a r n i n [G] w a s p r a c t i c a l l y a p
. p l i e d t o t h e n o b l [E] s t s u b j e c t s w e r e p r
. e s e n t e d t o t h e w o [R] l d i n t h e f o r m o f A N E
. N I G M A I t w a s a f o r [M] w e l l f i t t e d t o d i v e
. r t i n q u i r y
.
[ROGER M.] 31 : Prob. in HAWTHORNE PREFACE ~ 1 in 116
-------------------------------------------------------------------
. The Rape of Lucrece Stanza 135
.
Time's office is to fine the hate of foes,
To eat up err(O|R]s by opinion bred,
Not spend the dowry of a lawful bed.
Time's gl[O]ry is to calm contending kings,
To unmask falsehood and brin[G] *TRUTH* to light,
To stamp the seal of time in aged things,
To wak[E] the morn and sentinel the night,
To wrong the wronger till he [R]ender right,
To ruinate proud buildings with thy hours,
And s[M]ear with dust their glittering golden towers ;
To fill with WORM-holes stately monuments,
To feed oblivion with decay of things,
To blot old books and alter their contents,
To pluck the quills from ancient ravens' wings,
To dry the old oak's sap and cherish SPRINGS,
To spoil antiquities of hammer'd steel,
And turn the giddy round of Fortune's wheel ;
............................................
.......... <= 50 =>
.
. Toeatuperr (O|R] sbyopinionbredNotspendthedowryofalawfu
. lbedTimesg l[O] ryistocalmcontendingkingsTounmaskfalse
. hoodandbri n[G] truthtolightTostampthesealoftimeinaged
. thingsTowa k[E] themornandsentinelthenightTowrongthewr
. ongertillh e[R] enderrightToruinateproudbuildingswitht
. hyhoursAnd s[M] earwithdusttheirglitteringgoldentowers
.
[ROGER M.] 50 : Prob. in Lucrece ~ 1 in 14
----------------------------------------------------
. Love's Labour's Lost (FF, 1623) Act 1, Scene 1
.
DuMANE: My louing L(O|R]d, DuMANE is m[O]rtified,
. The *[G]ROS(s)E{R MANN[E]R}* of these wo[R]lds delights,
. He throwes vpon the grosse worlds baser slaues:
. To loue, to wealth, to pompe, I pine and die,
. With all these liuing in Philosophie.
.........................................
. *[G]ROS(s)E{R MANN[E]R}*
. *{R}O[G]ER(s) {MANN[E]RS}*
.........................................
. <= 11 =>
.
. l o u i n g L (O|R] d, D
. u m a n e i s m[O] r t
. i f i e d,T h e[G] r o
. s s e r *M A N N[E] R* o
. f t h e s e w o[R] l d
. s d e l i g h t s,
[ROGER] 11
--------------------------------------------------------------
<<The following passage by Mr. Pope stands as a preface
to the various readings at the end of the 8th volume
of his edition of Shakspeare, 1728.>> - Reed.
..........................................................
Preface to Shakespeare By Alexander Pope
"But to the end every reader may judge for himself, we have
annexed a compleat list of the rest; which if he shall think
trivial, or erroneous, either in part, or in whole; at worst it
can spoil but a half sheet of paper, that chances to be left
vacant here. And we purpose for the future, to do the same
with respect to any other persons, who thro' candor or vanity,
shall co[M]municate o[R] publish, th[E] least thin[G]s
tending t[O] the illust[R]ation of {OUR AUTHOR}."
.........................................................
. <= 10 =>
.
. c o [M] m u n i c a t
. e o [R] p u b l i s h
. t h [E] l e a s t t h
. i n [G] s t e n d i n
. g t [O] t h e i l l u
. s t [R] a t i o n o f
. {O U R A U T H O R}."
.
[ROGER M.] -10
---------------------------------------------------------------
. Hamlet: II, i
.
POLONIUS: Your (BAIT) of falshood, takes this *CAPE of TRUTH*;
. And thus doe we of wisedome and of reach
. With windlesses, and with assaies of Bias,
. By indirections finde directions out:
............................................................
. Ben Jonson folio dedication:
.
.. These are, as some infamous Baud, or Whore,
. {SH|O}uld praise a Matron. What could hurt her more?
. (B)ut thou a[R]t proofe against them, and indeed
. (A)bove th' ill fortune [O]f them, or the need.
. (I), therefore will begin. Soule of the {A|G]e !
. (T)he applause ! delight ! the wonder of our Stage !
.. My Sha{k|E]speare, rise; I will no{T LODGE} thee by
.. Chaucer, or Spens{e|R], or bid Beaumont lye
.. A little further, to make thee a roo[M]e :
......................................................
. <= 45 =>
.
. {S H|O) uldpraiseaMatronW hatcou ldhurthermoreButtho
.. u a[R] tproofeagainstthe mandin deedAbovethillfortu
.. n e[O] fthemortheneedIth erefor ewillbeginSouleofth
.. e{A|G] eTheapplausedelig htthew onderofourStageMySh
.. a{k|E] speareriseIwillno{TLODGE}theebyChaucerorSpen
.. s{e|R] orbidBeaumontlyeA little furthertomaketheear
.. o o[M] e
.
[ROGER M.] 45 : Prob. in poem ~ 1 in 400
........................................................
. Of Shakespeares minde, [AND MANNERS] brightly shines
. In his well torned, and [TRUE-FIL]ed lines:
.....................................................
. [AND MANNERS][TRUE-FIL]
. (anagram?)
. [I: F. MANNERS, E.RUTLAND]
.....................................................
https://en.wikipedia.org/wiki/Francis_Manners,_6th_Earl_of_Rutland
--------------------------------------------------------------------
Art Neuendorffer
0 new messages