The SUSAN CONSTAN(ce pot)T
art
On April 26, 1564 Will Shakspere is baptized
................................................
On April 26, 1607 The *SUSAN CONSTANt* arrives at Virginia
accompanied by two smaller vessels, the Godspeed & the Discovery.
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The SUSAN CONSTANt
-------------------------------------------------
Will Shakspere & Edward de Vere both had favorite daughters
named SUSAN who were born on St. AUGUSTINE's day May 26:
.
__ SUSANna Shak. was born on May 26, 1583
__ SUSAN Vere was born on May 26, 1587
-------------------------------------------------------------
Shakespeare twins (Hamnet & Judith) baptized: February 2, 1585
.........................................................
Delia S. BacON born: [Gregorian] February 2, 1811
Francis BacON born: [Gregorian] February 1, 1561
James Joyce born: __ [Gregorian] February 2, 1882
--------------------------------------------------
. 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
------------------------------------------------------
dELIA bacoN: NathANIEL *HAWTHORNE* in *DRAG*
......................................................
http://www.tiny.cc/3pgRs
http://www.james.com/beaumont/photos/bacon_delia.jpg
. [Check out the dainty 'feminine' hands!]
--------------------------------------------------
JERRY: She had man-hands.
.
ELAINE: [pause] Man, Hands?
.
JERRY: The hands of a man. It's like a creature out of Greek
Mythology, I mean, she was like part woman, part horrible beast.
.
ELAINE: [weary] {Look,} would you, prefer it,
_________ if she had, no hands at all?
.
JERRY: Would she have hooks?
.
ELAINE: Do uh, do hooks make it more attractive, Jerry?
.
JERRY: Kinda cool lookin'..
----------------------------------------------------------
Wednesday, January 22, 1862 : CONSTANce *POTT* born
Wednesday, January 22, 1561 : Francis Bacon born
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*************** January 22, 1607*********
"Love Labour's Lost" & *ROMEO & JULIET* registered.
--------------------------------------------------------
* [P]assions of *JULIET, and her ROMEO* ;
* [O]r till I heare a Scene more nobly take,
* [T]hen when thy half-Sword parlying Romans spake.
* [T]ill these, till any of thy Volumes rest
-------------------------------------------------------
C.M. *POTT*: http://www.sirbacon.org/graphics/pott.jpg
.
is Edwin *AbBOTT AbBOTT* in *DRAG* :
. http://www.eldritchpress.org/eaa/GIF/eaa.jpg
. http://www.eldritchpress.org/eaa/FL.HTM#portrait
-----------------------------------------------------
Digges commendatory poem to the First Folio (1623):
To the Memorie of the deceased Authour Maister W. Shakespeare
...................................................
Shake-speare, at length thy pious fellowes give
The world thy Workes : thy Workes, by which, out-live
[T]hy Tombe, thy name must when that *STONE* is rent,
[A]nd Time dissolves thy Stratford Moniment,
[H]ere we alive shall view thee still. This Booke,
[W]hen Brasse and Marble fade, shall make thee looke
Fresh to all Ages : when Posteritie
Shall loath what's new, thinke all is prodegie
That is not Shake-speares; *EV'Ry Line, each VERsE*
HERE shall *reviVE, REDEeME* thee from thy HERsE.
Nor Fire, nor cankring Age, as *NASO* said,
Of his, *thy wit-fraught BOOKE* shall once invade.
Nor shall I E'RE beleeve, or thinke thee dead.
(Though mist) untill our bankrout Stage be sped
(Imposible) with some new straine t'out-do
.
* [P]assions of JULIET, and her ROMEO ;
* [O]r till I heare a Scene more nobly take,
* [T]hen when thy half-Sword parlying Romans spake.
* [T]ill these, till any of thy Volumes rest
.
Shall with more fire, more feeling be exprest,
Be sure, our Shake-speare, thou *CANST NEVER DYE* ,
But crown'd with Lawrell, live eternally.
-------------------------------------------------
______ *CANST NEVER DYE*
__________ {anagram}
______ *CANST DE VERE NY*
__________ {anagram}
______ *DE CERVANTES NY*
....................................................
*NY* : new, novel (Danish, Norwegian, Swedish)
----------------------------------------------------------
"Love Labour's Lost" & "ROMEO & JULIET" registered.
*************** January 22, 1607********************
CONSTANce *POTT*: b. January 22, 1862, Wednesday - d. 1957
-- Francis BACON: b. January 22, 1561, Wednesday
------------------------------------------------------------
<<One of the sheets of the *PROMUS* contains so many parallels to
_ROMEO & JULIET_, including a single speech of Friar Laurence's,
that even the Shakespearean scholar Edwin AbBOTT (in his PREFACE to
POTT's edition) was hard put to call it a coincidence. >> - Kathman
............................................................
*MRS HENRY POTT* : http://www.sirbacon.org/graphics/pott.jpg
A "woman" who could have been interviewed on the Tonight Show in 1957!
<<Steve Allen (and Ernie Kovacs) departed Tonight in January 1957.>>
.
. is really Edwin *AbBOTT AbBOTT* in *DRAG* :
. http://www.eldritchpress.org/eaa/GIF/eaa.jpg
. http://www.eldritchpress.org/eaa/FL.HTM#portrait
--------------------------------------------------
http://tinyurl.com/2tmn2l
.............................
_______*MRS HENRY POTT*
_______*NYMPH'S RETORT*
---------------------------------------------
Hamlet, Prince of Denmark Act 3, Scene 1
.
HAMLET: The fair Ophelia! *NYMPH* , in thy orisons
. Be all my sins remember'd.
.............................................
Romeo and Juliet Act 3, Scene 1
BENVOLIO: and with the other sends
. It back to Tybalt, whose dexterity, *RETORTS* it:
---------------------------------------------------------
. Edwin [A]bBOTT [A]bBOTT: the writer of the PREFACE to
. C.M. POTT's _The *PROMUS* of formularies & elegancies_
.
. b. 1838 in MARYLEBONE , Middlesex, England
.
1838-1926, English clergyman and author, b. London.
He wrote several theological works and a biography (1885)
of Francis Bacon, but he is best known for his standard:
.
. _A Shakespearean Grammar_ by E. A. A. 30th May, 1870.
.
and the pseudonymously written Flatland (by A Square, 1884).
-------------------------------------------------------------------
<<Publius Vergilius MARO, the Swan of Mantua, had parents of humble
origin, especially his father, who according to some was a *POTT*er,>>
http://www-groups.dcs.st-and.ac.uk/~history/Mathematicians/AbBOTT.html
.
<<Edwin AbBOTT AbBOTT's parents were Jane & Edwin *AbBOTT*.
.
His mother Jane was a first cousin of his father, so both had
the name of *AbBOTT* which explains Edwin AbBOTT AbBOTT having
'*AbBOTT*' as both a surname and a middle name. Edwin *AbBOTT*
was headmaster of the Philological School at MAR(yleb)O(ne).>>
----------------------------------------------------------
P G Wodehouse: "The REVEREnt Wooing of Archibald":
............................................................
"All right," [Archibald] said, "I'll try to remember.
Tell me about her. I mean, has she any fathers or mothers
or any *ROT* of that description?"
"Only an aunt. She lives with her in Park Street. She's *POTTy* ."
Archibald stared, stung to the quick.
" *POTTy* ? That divine
. . . I mean that rather attractive-looking girl?"
"Not Aurelia. The aunt. She thinks Bacon wrote Shakespeare."
"Thinks who wrote what?" asked Archibald,
puzzled, for the *names were STRANGE* to him.
"You must have heard of Shakespeare. He's well known Fellow
who used to write plays. Only Aurelia's aunt says he didn't.
She maintains that a bloke called Bacon wrote them for him."
"Dashed decent of him," said Archibald, approvingly.
"Of course, he may have owed Shakespeare money."
"There's that, of course."
------------------------------------------------------
*Aurelia* : *golden* (Latin)
-------------------------------------------------------
> Melanie Sands <Melanie_Sa...@hotmail.com> wrote:
>> P G Wodehouse believed, apparently, that Bacon
>> (Sir Francis) was the True Author of Shakespeare's works.
----------------------------------------
elizabeth <messageform...@yahoo.com> wrote:
> People will have to go through Oxford
> to get to Bacon.
.
A two days trip on piggyback?
.
elizabeth <messageform...@yahoo.com> wrote:
>
> That won't be as hard as it looks since Looney
> did almost no research, Looney footnotes nothing,
-------------------------------------------------------
Lear: Strive to be interest; what can you say to draw
. A third more opulent than your sisters? Speak.
.
Cordelia: *NOTHING* , my lord.
.
Lear: *NOTHING* ?
.
Cordelia: *NOTHING* .
.
Lear: *NOTHING* will come of *NOTHING* . Speak again.
---------------------------------------------------
. *VERE DOWRY* :
. *EVERY WORD*
------------------------------------------------------
http://www.sarahsmith.com/chasingshakespeares/book_and_background/cha...
<<The following poem which alludes to Susan's want
. of an adequate *DOWRY* was recorded by John Manningham
. of the Middle Temple during the year 1602-3,
. when she was about 15 and Oxford was still alive:
..............................................
. LA[DY] SUSAN VERE
.
*NOTHING* 's your lott, that's more then can be told
For *NOTHING* is more precious then gold
..............................................
p. 182, quoted in Nelson, "Oxford the Deadbeat Dad,"
http://socrates.berkeley.edu/~ahnelson/oxdad.html )
----------------------------------------
elizabeth <messageform...@yahoo.com> wrote:
> Looney's "methodology," only directs reader
> to "look for Oxford's mind in the works."
Oxford's tin mind?
.
elizabeth <messageform...@yahoo.com> wrote:
> This unscholarly "methodology" has essentially
> lead to the abandonment of the historical Oxford.
---------------------------------------------------
_SHAKESPEAR by another name_ p.113 (by Mark Anderson)
<<The "pirate of VERy warlike appointment" boarded de Vere's ship,
and stripped it bare. De Vere's luggage was ransacked, and the
pirates even took the clothes from the earl's back. De Vere was,
as the *French ambassador* [NEVIL?] later reported to his
superiors, "left naked, stripped to his shirt, treated miserably,
his life in danger if he hadn't been recognized by a Scotsman."
As the poet Nathaniel Baxter, who was part of de Vere's
entourage, wrote of the episode in a book of poetry from 1606:
. [N]aked we landed out of Italy
. [E]nthrall'd by pirates, men of no regard
. [H]orror and death assil'd nobility,
- [I]f princes might with cruelty be scarr'd.
. [L].O., this are excellent beginnings hard.
Burghley...fetched his son [Tom Cecil] from a hundred miles
away to greet de Vere at DO-VER and learn othe earls's mind.>>
-----------------------------------------------
elizabeth <messageform...@yahoo.com> wrote:
> After more than ninety years, the Oxfordians have
> published no scholarly books or papers on Oxford's
> hundred and twenty personal autograph documents.
-----------------------------------------------------
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....
---------------------------------------------------------
Peter Farey wrote:
.
<<The whole of the Smith/Von Graum sub-plot was about
the 'English' sense of humour. This film was war-time
propaganda, and was intended to depict the Nazis as
devoid of any humour whatsoever, and to make fun of
them in a way which most people would understand.
.
The first time we meet the General his nose is buried
in a book which turns out to be one by P.G.Wodehouse.
He is not interested in what an underling has brought
in, only in the fact that he has been told the English
have a 'secret weapon' - their sense of humour - and
that he is determined to find out all about it.
He quotes extracts from Wodehouse, Punch, Edward Lear
and Lewis Carroll, which the underling doesn't get
either, and concludes that the English sense of
humour is a myth. They have no sense of humour,
therefore there is no secret weapon, and the whole
thing is a complete bluff.
.
It is at the reception at the British Embassy where
we are first given the chance to see him confronted
face to face with the English sense of humour in the
form of Prof. Smith. After a few prelimaries he says:
"Tell me, I am curious. Your English humorist Lewis
Carroll, why does he write such idiocy? Listen..."
and quotes the opening lines of Jabberwocky.
"It does not make sense".
.
"It does", says Smith, and quotes them back, making
them *sound* meaningful, "It makes perfect sense"
.
"What does it mean?" asks the General.
.
"It means whatever you want it to mean.
You can either use it lyrically or, as I'm afraid
I do sometimes, in place of swear-words"
.
"Extraordinary", says the General, quite unaware
that Smith is taking the micky.
.
"As a matter of fact, you know", says Smith,
"Ever since I've been in Germany, I've felt exactly
like Alice in Wonderland".
.
"Germany is a wonderland" says the General,
totally missing Smith's irony, as he was intended to.
"But we have one problem, 'To be or not to be',
as our great German poet said".
.
"German? But that's Shakespeare".
.
"But you don't know!"
.
"I know it's Shakespeare", says Smith,
"and I thought Shakespeare was English."
.
"No, no, no. Shakespeare is a German. Professor
Schussbacher has proved it once and for all."
.
"Oh dear, how very upsetting." Smith says, just as
if he accepted every word, "Still you must admit
that the English translation's remarkable".
.
"Good night" says the General, deciding to move on.
.
"Good night, good night. Parting is such sweet sorrow"
.
"What is that?" the General asks.
.
"One of the most famous lines in German literature."
.
Now, the question is how much of what Smith said in
that scene are we to take seriously? None, of course,
he's having a laugh. So what about the next encounter?
.
Smith (entering von Graum's office): "I'm so glad to
find that you're not busy, because I've been doing a
little research work..."
.
Von Graum: "That's just what I want to do."
.
Smith: "...on the identity of Shakespeare."
.
Von Graum:
"I'd like to know how you spent this afternoon."
.
Smith: "What's the matter with you? You seem upset.
I spent the afternoon in the library at the embassy."
.
[He has, in fact, spent most of the afternoon
in rescuing six prisoners]
.
"Now this [shows a book], this proves conclusively
that Shakespeare wasn't really Shakespeare at all."
.
Von Graum: "No?"
.
Smith: "No. He was the Earl of Oxford. Now you can't
pretend that the Earl of Oxford was a German, can you?
Now, can you?
.
[There is an interruption at this point,
. after which he carries on:]
.
Smith: "The Earl of Oxford was a very bright Eliza-
bethan light, but this book will tell he was a good
deal more than that."
.
[Another interruption, after which he leaves, saying:]
.
"...still, it's no concern of mine, I just came
here to talk about Shakespeare. [Leaves the book]
Perhaps you'd care to read about the Earl of Oxford?"
...............................................
What Smith (i.e. Howard) was doing, of course, was
to match Von Graum's claim about Shakespeare being
a German with something which he, and the audience,
would have considered *equally ridiculous*.
.
And anyone who doesn't get this either hasn't seen
the film or has a grasp of the English sense of
humour which is no better than Von Graum's.>>
--------------------------------------------
Art Neuendorffer
elizabeth
> ------------------------------------------------------
> dELIA bacoN: NathANIEL *HAWTHORNE* in *DRAG*
>
> > That won't be as hard as it looks since Looney
> > did almost no research, Looney footnotes nothing,
>
> -------------------------------------------------------
> Lear: Strive to be interest; what can you say to draw
> . A third more opulent than your sisters? Speak.
> .
> Cordelia: *NOTHING* , my lord.
> .
> Lear: *NOTHING* ?
> .
> Cordelia: *NOTHING* .
> .
> Lear: *NOTHING* will come of *NOTHING* . Speak again.
> ---------------------------------------------------
> . *VERE DOWRY* :
> . *EVERY WORD*
I tried to warn you a long time ago, Art.
I begged you to put Webb on ignore.
art
>
> I tried to warn you a long time ago, Art.
> I begged you to put Webb on ignore.
As flies to wanton boys.
Art Neuendorffer
nordicskiv2
<961e564e-35e3-42cb...@h31g2000yqd.googlegroups.com>,
art <acne...@gmail.com> wrote:
About Oxford's flies when he was wantin' boys, the less said, the
better, Art.
> Art Neuendorffer
art
>
>>> I tried to warn you a long time ago, Art.
>>> I begged you to put Webb on ignore.
nordicskiv2 <David.L.W...@Dartmouth.edu> wrote:
>
> About Oxford's flies when he was wantin' boys,
> the less said, the better, Art.
A *WANTON* is a type of Chinese *DUMPLING* , Dave.
-------------------------------------------------------------
. A New Way to Pay Old Debts (Philip Massinger)
. Act III Scene II
oVERREach: How! interrupted!
GREEDY: ’Tis matter of importance.
. The cook, sir, is self-will’d, and will not learn
. From my experience. There’s a fawn brought in, sir,
. And, for my life, I cannot make him roast it
. With a Norfolk *DUMPLING* in the belly of it;
. And, sir, we wise men know, without the *DUMPLING*
. ’Tis not worth three pence.
oVERREach: Would it were whole in thy belly,
. To stuff it out! Cook it any way; prithee, leave me.
GREEDY: Without order for the *DUMPLING* ?
oVERREach: Let it be *DUMP'D*
. Which way thou wilt; or tell him, I will scald him
. In his own caldron.
GREEDY: I had lost my stomach
. Had I lost my mistress *DUMPLING*;
. I’ll give thanks for’t.
..................................
LORD LOVELL: Your hand, good sir.
GREEDY: [Aside.]
. This is a lord, and some think this a favour;
. But I had rather have my hand in my *DUMPLING*.
..................................
GREEDY: Lose my *DUMPLING* too,
. And butter’d toasts, and woodcocks!
MARRALL: Come, have patience.
. If you will dispense a little with your worship,
. And sit with the waiting women, you’ll have *DUMPLING*,
. Woodcock, and butter’d toasts too.
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<<A 1970 Alka-Seltzer commercial shows a newlywed couple in the
bedroom after his wife (played by Alice Playten) has finished serving
him a giant dumpling. She lies on the bed in delusional triumph. She
offers her beleaguered husband a heart-shaped meatloaf; he disappears
to take some Alka-Seltzer. When she hears the fizzy noise coming from
the bathroom, he quickly covers the glass of dissolving Alka-Seltzer
as she wonders aloud if it is raining. Just when he has recovered his
well-being, he hears her misreading recipes for dinner the next night:
"marshmallowed meatballs," and "poached oysters". He returns to the
bathroom for more Alka-Seltzer.>>
-----------------------------------------------------------------------
Art Neuendorffer