a SUPER HERE, a clown there
Art Neuendorffer
_____ *SUPER* : *OVER* (Latin)
--------------------------------------------------------------
_ULYSSES_
He has hidden his own name, a fair name, William, in the plays, a
SUPER HERE, a clown there, as a *PAINTer* of old Italy set his face
in a DARK CORNER of his canvas. He has REVEalED it in the sonnets
where there is Will in OVER(pl)US. Like John o'Gaunt his name is
DEAR to him, as DEAR as the coat and crest he toadied for, on a
*BEND sable* a spear or steeled argent, *honorificabilitudinitatibus*
dearer than his glory of greatest shakescene in the country.
What's in a name? That is what we ask ourselves in childhood
when we write the name that we are told is ours.
--------------------------------------------------------
h_ o *n* orific
a_ b *i* litudi
*n i_ t* atibus
------------------------------------------------
_ Shakspere Blazon & Coat of Arms
...................................................
"Gold on a *BEND sable* , a spear of the first, and for his crest
or cognizance a FALCON, his wings displayed argent, standing on a
wreathe of his colors, supporting a spear gold steeled as aforesaid."
............................................................
*BEND* : a diagonal bar, 1/5th the width of the shield,
from upper left to lower right as one faces the shield.
*SINISTER* : In heraldy the side of an escutcheon is
the side which would be on the left of the bearer of
the shield, and opposite the right hand of the beholder.
-----------------------------------------------
bookburn wrote:
> From essay by Phillip F Howerton, jr., at:>
http://www.everreader.com/Nabokov.htm
<<In 1947 Nabokov published a bitterly satirical novel about
totalitarianism called *BEND SINISTER* . In Chapter Seven he
took the opportunity (which has puzzled scholars ever since)
to make the following, apparently ironical,
comments about the Stratfordian attribution:
A fluted GLASS with a blue-veined violet & a jug of hot punch
stand on Ember's bedtable. The buff wall directly above his
bed (he has a bad cold) bears a sequence of three engravings.
http://www.sirbacon.org/cryptomenytices.htm
http://www.sirbacon.org/seleni_b.gif
"Number one represents a sixteenth-century gentleman
in the act of handing a book to a humble fellow
who holds a spear and a bay-crowned hat in his
*LEFT HAND* . Note the *SINISTRAL* detail (Why?
Ah, "that is the question," as Monsieur Homais once
remarked, quoting le journal d'hier; a question
which is answered in a wooden voice by the Portrait
on the title page of the First Folio). Note also
the legend: *INK, A DRUG* . Somebody's idle pencil
( *EMBER* highly treasures this scholium) has
numbered the letters so as to spell *GRUDINKA*,
*which means "BACON" in several Slavic languages* ."
http://www.sirbacon.org/seleni_a.gif
Number two shows the rustic (now clad in the clothes of the gentleman)
removing from the head of the gentleman (now writing at a desk)
a kind of *SHAPSKA* . Scribbled underneath in the same hand:
*Ham-let, or Home-LETTE au Lard*
-----------------------------------------------------------
_______ *SHAKESPEAR*
_______ *SHAPSKA EER*
_______ *EER* : *HONOR* (Dutch, Flemish)
_______ *EER* : *own, even, real, common, express* (Manx)
-----------------------------------------------------------
_______ *SHAKESPEAR*
_______ *SHAPSKA REE*
_______ *REE* : *ROE DEER* (Dutch)
_______ *REE* : *ROE DEER* (Dutch)
_______ *REE* : *wealthy* (Danish)
_______ *REE* : *crazy, delirious, enclosure* (Scottish)
-----------------------------------------------------
Venus and Adonis Stanza 111-2
But if thou needs wilt hunt, be RULED by me;
Uncouple at the timorous flying HARE,
Or at the fox which lives by subtlety,
Or at the *ROE* which no encounter dare:
Pursue these fearful creatures o'er the downs,
And on thy well-breath'd horse keep with thy HOUNDS.
And when thou hast on foot the purblind HARE,
Mark the poor wretch, to OVERshoot his troubles
How he outruns the wind and with what care
He cranks and crosses with a thousand doubles:
The many MUSETS through the which he goes
*Are like a labyrinth to amaze his foes*
-----------------------------------------------------------
Romeo and Juliet Act 2, Scene 4
MERCUTIO: Without his *ROE* , like a dried herring: flesh,
flesh, how art thou fishified! Now is he for the numbers that
PETRARCH flowed in: LAURA to his lady was but a kitchen-wench;
-----------------------------------------------------------
PETRARCH 1st sets eyes on LAURA : April 6, 1327
PETRARCH's LAURA, dies of plague: April 6, 1348
Juliet weaned (Kent quake): April 6, 1580
BRIDGET Vere's birth: April 6, 1584
Sir Francis Walsingham dies: April 6, 1590
Romeo & Juliet performed?: April 6, 1591
Historian John Stow dies: April 6, 1605
-----------------------------------------------------------
http://www.sirbacon.org/seleni_c.gif
Finally, number three has a road, *traVElER on TOOT* (wearing
the stolen *SHAPSKA* ) and a road sign 'To High Wycombe."
--------------------------------------------------------------
*TOOT* , v. t. To SEE; to *spy* --P. Plowman. [Written also *TOUT* ]
*TOUT* , n. A *spy* for a smuggler, *thief* , or the like.
_ *Ung Par TOUT, TOUT Par Ung*
*TOOT*, v. i. [OE. toten, AS. totian to project; hence, to peep out.]
_ 1. To stand out, or be prominent. [Obs.] --Howell.
_ 2. To peep; to look narrowly. [Obs.] --Latimer.
_ *For birds in bushes TOOTing* -- Spenser.
...........................................................
___________ <= 9 =>
___ V I V I [T] U R I N
__ G E N I [O] C A E T
_ E R A M [O] R T I S
__ E R U N [T]
_ MINERVA BRITANNA Banner Folding
http://f01.middlebury.edu/FS010A/students/Minerva/title.jpg
___________ <= 8 =>
__ V I [V] I T U R I
_ N G [E] N I O C Æ
__ T E [R] A M O R T
___ I S [E] R U N T
<<The graphic depicted in this image was published originally by
Vesalius in May 26, 1543 in his famous book "Seven books on the
structure of the human body". It is the 22nd plate of the 1st book.
In the original plate of the Fabrica a latin phrase was included
_ *Vi[V]itur ing[E]nio, cæte[R]a mortis [E]runt*
_ *Intelligence lives, the rest is mortal.*>>
-----------------------------------------------------------
_ *OS* : *OX* (Dutch)
_ *OS* : *A MASK* (Latin)
------------------------------------------------------------
<<His name is protean. He begets doubles at EVERy comer.
His penmanship is unconsciously faked by lawyers who happen to
write a similar hand. On the wet morning of November 27, 1582,
he is Shaxpere and SHE IS *A WHATELY OF TEMPLE GRAFTON*
(emphasis added). A couple of days later he is Shagsper
and she is a Hathaway of Stratford-on-Avon. Who is he?
William X, cunningly composed of two left arms & *A MASK* . Who else?
The person who said (riot for the first time) that the glory of God is
to hide a thing, and the glory of man is to find it. However, the fact
that the Warwickshire fellow wrote the plays is most satisfactorily
proved on the strength of an applejohn & a pale primrose.>>
-------------------------------------------------------------
_The Late Mr. Shakespeare_ by Robert Nye
<<There is an old English word *WHATE*
meaning fortune, fate, or *DESTINY* ,
I think that in a desperate moment of inspiration,
confused before the clerk, Shakespeare reached
into his heart and came out with the name of that Anne
who would have been his choice, his fate, his destiny.>>
................................................
<<Clotho drew them within the revolution of the *SPINDLE*
impelled by her hand, thus ratifying the *DESTINY* of each;>>
Ben Jonson told Drummond that his arms were " *3 SPINDLES* "
http://weblog.kilimwomen.com/archives/000233.html
................................................
____ *INDA* : *SPINDLE* (Hungarian)
____ *KRUG* : *COMPASS, CIRCLE* (Russian, Serbian)
___ *INDA KRUG*
___ *INK, A DRUG*
___ *GRUDINKA* : *BACON*
___ *KRUG AND I*
---------------------------------------------
Jim KQKnave wrote:
<<In the paragraph immediately after
"His name is protean...", the narrator says:
"There are two themes here: The Shakespearean
one rendered in the present tense,
with *EMBER PRESIDING IN HIS RUELLE* ..."
So it is *EMBER* , the friend of *KRUG* ,
and not *KRUG* or the narrator who has the
doubts concerning the identity of Shakespeare.>>
-----------------------------------------------
_ " *EMBER PRESIDING IN HIS RUELLE* "
..............................................
*EMBER* : *MAN* (Hungarian)
*RUELLE* : A private *CIRCLE* at a private house.
*KRUG* : *CIRCLE, COMPASS* (Russian, Serbian)
_ *COMPASS & RUELLE*
------------------------------------------------
___ *GRUDINKA* : *BACON*
___ *KRUG ANDI*
................................................
____ *KRUG* : *COMPASS, CIRCLE* (Russian, Serbian)
____ *ANDI* : *SPIRIT, apparition, mind, phantom*
_________________ (Icelandic, Faroese)
------------------------------------------------
*Home-LETHE au Lard*
------------------------------------------------
Purgatory Canto XXVI The Divine Comedy.
Dante Alighieri (1265-1321).
<<The *SPIRITS* wonder at seeing the shadow cast by the body
of Dante on the flame as he passes it. This moves one of them
to address him. It proves to be Guido Guinicelli, the Italian poet,
who points out to him the *SPIRIT* of Arnault *DANIel*, the
Provençal, with whom he also speaks. (Dante & Petrarch
place Arnault *DANIel* first among Provençal poets)
He thus bespake me: "What from thee I hear
*Is graved so DEEPly on my mind* , the waves
Of *LETHE shall not wash it off* ,
nor make a whit less lively.
But as now *THY OATH Has seal'd the TRUTH* ,
declare what cause impels That love,
which both thy looks and speech bewray."
"Those *DULCET* lays," I answer'd; "which, as
long As of our tongue the beauty does not fade,
Shall make us love the *VERY INK* that traced them."
"Brother!" he cried, and pointed at the shade
Before him, "there is one, whose mother speech
Doth owe to him a *fairer ORNAMENT* .
He in love ditties, and the tales of prose,
Without a rival stands; and lets *THE FOOLS*
Talk on, who think the songster of Limoges
O'ertops him. Rumour and the popular voice
They look to, *more than TRUTH* ; and so confirm
Opinion, ere by art or reason taught.>>
-----------------------------------------------
___ *KRUG DANI*
___ *GRUDINKA* : *BACON*
................................................
____ *KRUG* : *COMPASS, CIRCLE* (Russian, Serbian)
____ *DANI* : *DAYS* (Serbian, Croatian)
____ *DANI* : *DAN* (Hungarian)
____ *DANI* : *Dane* (Icelandic, Faroese)
____ *DANI* : *liberal* (Hindi)
-----------------------------------------------
_ Astrophil and Stella: *sonnet 19*
On Cupid's bow how are my heart-strings *BENT* ,
*That see my WRECK* , and yet embrace *THE SAME* ?
When most I glory, then I feel most SHAME;
I willing run, yet while I run, repent.
*My best wits still their own disgrace INVENT* ,
*My VERY INK* turns straight to Stella's name;
And yet my words, as them my PEN doth frame,
Advise themselves that they are vainly spent.
--------------------------------------------
"The *VERY INK* with which history is written
is *MEREly* fluid prejudice." -- Mark Twain
------------------------------------------------------
Elizabeth Weir wrote:
<<Jonson's Sweet Swan of Avon was directed toward Shakespeare
the poseur. Jonson the classical scholar was making an allusion
to the swans who flew up & down the banks of the river *LETHE*
to catch the medals of *deserving poets* and carry them to
the temple on Olympus to insure the poets' imortality.>>
-----------------------------------------------------
____ *INDA* : *worthy, deserving* (Esperanto)
____ *INDA* : *still, yet* (Portuguese)
................................................
___ *INDA KRUG*
___ *GRUDINKA* : *BACON*
___ *KRUG NADI*
................................................
____ *KRUG* : *COMPASS, CIRCLE* (Russian, Serbian)
____ *NADI* : *river* (Sanskrit, Hindi)
-----------------------------------------------------------------
<< http://www.spikemagazine.com/0997pync.htm : Mason to Dixon:
"Acts have consequences, Dixon, they must. These Louts believe all's
right now, - that they are FREE to get on with Lives that are to
them no doubt important, - with no Glimmer at all of the Debt they
have taken on. That is what I smell'd - *LETHE-water* . One of the
things the newly born forget, is how terrible its Taste, and Smell.
In Time, these People are able to forget EV'Rything. Be willing to
wait but a little, and ye may gull them again and again, however ye
wish, - even unto their own Dissolution. In America, as I apprehend,
_ *Time is the TRUE RIVER that runs round Hell* ."
*LETHE* , the river of ignorance in Greek mythology,
is evidently the creek we're stuck on without a paddle,
drifting EVER away from "the realm of the sacred.">>
--------------------------------------------------------------
http://www.everreader.com/Nabokov.htm
<<In 1924 [Vladimir] Nabokov wrote a little poem in Russian
_ which his son, Dmitri, translated into English in 1988.
_ Reprinted here with his kind permission, it is called:
.....................................................
____ Shakespeare
_ Amid *GRANDEES of times Elizabethan*
_ you shimmered too, you followed sumptuous custom;
_ *THE CIRCLE* of ruff, the silv'ry satin that
_ *encased your thigh* , the wedgelike beard - in all
_ of this you were like other men... Thus was enfolded
_ your godlike thunder in a succinct cape.
_ Haughty, *A-LOOF* from theatre's alarums,
_ you easily, regretlessly relinquished
_ the laurels twinning into a dry wreath,
_ *concealing for all time your MONSTROUS GENIUS*
_ *beneath a mask* ; and yet, your phantasm's *ECHOES*
_ still vibrate for us; your Venetian Moor,
_ his anguish; Falstaff's visage, like an udder
_ with pasted-on mustache; the raging Lear..
_ You are among us, you're alive; your name, though,
_ your image, too - *deceiving, thus, the world*
_ you have submerged in your beloved *LETHE* .
_ *It's TRUE* , of course, a usurer had grown
_ accustomed, *for a sum, to sign your work*
_ (that Shakespeare - Will - who played the Ghost in Hamlet,
_ who lives in pubs, and died before he could
_ digest in full his portion of *A BOAR'S HEAD* )...
_ The frigate breathed, your country you were leaving,
_ *TO ITALY YOU WENT* . A female voice
_ called singsong through the iron's pattern
_ called to her balcony the tall inglesse,
_ grown languid from the LEMON-tinted moon
_ and Verona's streets. My inclination
_ is to imagine, possibly, the droll
_ *and kind creator of Don Quixote*
_ exchanging with you a few casual words
_ while waiting for fresh horses - and the evening
_ was surely blue. The well behind the tAVERn
_ contained a pail's pure tinkling sound... Reply
_ whom did you love? *REVEal yourself* - whose memoirs
_ refer to you in passing? Look what numbers
_ of lowly, worthless souls have left their trace,
_ what countless names Brantome has for the asking!
_ *REVEal yourself* , god of iambic thunder,
_ you hundred-mouthed, *unthinkably great bard* !
_ No! At the destined hour, when you felt banished
_ by God from your existence, you recalled
_ *those secret manuscripts* , fully aware
_ that your supremacy would rest unblemished
_ *by public rumor's unashamed brand* , that EVER* ,
_ midst the *SHIFTING DUST OF AGES* ,
_ *faceless you'd stay, like immortality itself*
_ then vanished in the distance, smiling.>>
...............................................
____ *DINA* : *DUNE* (Serbian, Croatian)
____ *ADIN* : *AGE* (Basque)
___ *KRUG DINA*
___ *KRUG ADIN*
___ *GRUDINKA* : *BACON*
----------------------------------------------
>>>"His name is protean..."
Jim KQKnave wrote:
<< etc. long quote from *BEND SINISTER* deleted.
The quote is taken out of context. It is taken from Chapter 7 of
Nabokov's *BEND SINISTER* . At this point in the novel, *KRUG* ,
the hero of the story, is visiting with his friend *EMBER* ,
who has 3 engravings on the wall of his apartment.
In the paragraphs preceding the one beginning with
"His name is protean...", Krug describes the first one:>>
..................................................
http://www.sirbacon.org/seleni_b.gif
"Number one represents a sixteenth-century gentleman
in the act of handing a book to a humble fellow
who holds a spear and a bay-crowned hat in his
*LEFT HAND* . Note the sinistral detail (Why?
Ah, "that is the question," as Monsieur Homais once
remarked, quoting le journal d'hier; a question
which is answered in a wooden voice by the Portrait
on the title page of the First Folio). Note also
the legend: *INK, A DRUG* . Somebody's idle pencil
(Ember highly treasures this scholium) has
numbered the letters so as to spell *GRUDINKA*,
which means *BACON* in several Slavic languages."
> In the previous Chapter 6, the
> narrator supplies this information:
....................................................
"One day Ember and he had happened to discuss
the possibility of their having invented in toto
the works of William Shakespeare, spending millions
and millions on the hoax, smothering with hush money
countless publishers, librarians, the Stratford-on-Avon
people, since in order to be responsible for all
references to the poet during three centuries of
civilization, these references had to be assumed
to be spurious interpolations injected by the inventors
into actual works which they had re-edited; there
was still a snag here, a bothersome flaw, but perhaps
it might be eliminated too, just as a cooked chess
problem can be cured by the addition of a passive pawn.
" *THE SAME* might be *TRUE* of one's personal
existence as perceived in retrospect upon waking up:
the retrospective effect itself is a fairly simple
illusion, not unlike the pictorial values of depth and
remoteness produced by a *PAINTbrush* on a flat surface;
but it takes something beter than a *PAINTbrush*
to create the sense of compact reality backed by
a plausible past, of logical continuity, of
picking up the thread of life at the exact
point where it was dropped."
....................................................
Jim KQKnave wrote:
<<Nabokov has the characters question the reality of their existence
throughout the novel, and having one of the characters doubt the
authorship of the Shakespeare canon is just another theme used to
develop the question "What is the nature of our reality?". Nabokov
answers the questions of the characters by coming directly to
the fore at the end of the novel & dissolving the characters,
as an act of (God, author, narrator,take your pick). >>
---------------------------------------------------
_ Freemasons.
-----------------------------------------------
___ *GRUDINKA* : *BACON*
___ *KRUG DINA*
................................................
____ *KRUG* : *COMPASS, CIRCLE* (Russian, Serbian)
____ *DINA* : *DAY* (Sanskrit)
____ *DINA* : *PENNILESS, pauper* (Hindi)
----------------------------------------------------------------
*Pierce PENILESSE* HIS SVPPLICATION to the Diuell.
Written by Tho. Nash, Gent. printed by Abell Iesses, for I.B. 1592.
<<I was informde of late *DAYES* , that a certaine blind Retayler
called the Diuell, vsed to lend money vpon pawnes, or any thing, and
would *LETTE* one for a needle haue £1,000 vppon a Statute Merchant
of his soule: or if a man plide him thoroughly, would trust
him vppon a Bill of his hande without any more circumstance.>>
-----------------------------------------------
____ *ADNI* : *GIVE* (Hungarian)
____ *KRUG* : *COMPASS, CIRCLE* (Russian, Serbian)
................................................
___ *ADNI KRUG*
___ *GRUDINKA* : *BACON*
----------------------------------------------------------
HOW SHAKESPEARE HAS BEEN MADE A LAWYER.
http://www.sourcetext.com/lawlibrary/devecmon/02.htm
<<The reasons given by Lord Campbell for the faith that was
in him, besides the legalisms in the plays, are as follows:
"Envy does merit as its shade pursue; and rivals whom he surpassed,
not only envied Shakespeare, but grossly libeled him. Of this we
have an example in 'An Epistle to the Gentlemen Students of the Two
Universities, by Thomas Nash,' prefixed to the first edition of Robert
Greene's Menaphon (which was subsequently called Greene's Arcadia),
according to the title page, published in 1589. The alleged
libel on Shakespeare is in the words following, viz.:
"'I will turn back to my first studies of delight, and talk a little
in friendship with a few of our trivial translators. It is a common
practice nowadays, amongst a sort of shifting companions that run
through *EVERy art* and thrive by none, to leave the trade of
*NOVERINT* whereto they were born, land busy themselves with
*the endeavors of art* , that could scarce Latinize their neck-verse
if they should have need; yet English Seneca, read by *CANDLE* light,
yields many good sentences, as blood is a beggar, and so forth;
and if you entreat him fair in a frosty morning, he will afford
you whole Hamlets; I should say whole handfuls of tragical speeches.
But, O grief! Tempus edax rerum'what is it that will last always'
*The sea exhaled by drops will in continuance be dry* ;
and Seneca, let blood, line by line and page by page,
at length must needs die to our stage.'"
-------------------------------------------------------
____ *NIDA* : *dew* (Maltese)
____ *KRUG* : *COMPASS, CIRCLE* (Russian, Serbian)
................................................
___ *KRUG NIDA*
___ *GRUDINKA* : *BACON*
-------------------------------------------------------
Here is an excerpt from Aubrey in his Nat. Hist. Wilts, Royal Soc.
MS p. 259, an anecdote which cites a story of Sir Thomas More:
"... they had on their left arm an armilla of *TINN* printed in some
workes, about four inches long; they could not gett it off. They wore
about their necks a great horn of an oxe in a string of bawdrie, which
when they came to an house for almes, they did wind; and they put the
drink given them into this horn, whereto they did putt a stopple."
-------------------------------------------------------
*TINN* : sick, unwell (Irish, Gaelic, Scottish)
*TINN* : tin (Norwegian)
*TINN: VERO NIL VERIUS*
*L NOVERINT UNIVERSI*
*NOVERINT UNIVERSI* : *let all men know*
--------------------------------------------------------
<< *NOVERINT* derives form the 3rd Person Plural of the
perfect subjunctive tense of the verb NESCERE, 'to know'.
In English it occurs as the opening phrase of writs.
Now then, by extension this English word Noverint
has come to be applied not just to a writ but to the man
who writes it- in short , to any member of the tribe of legal
scriveners.>> - _The Late Mr. Shakespeare_ by Robert Nye
---------------------------------------------------------
http://www.sourcetext.com/lawlibrary/campbell/03.htm
In Act I, Sc. 2, [As You Like It] Shakespeare makes the lively
Rosalind, who, although well versed in poesy and books of chivalry,
had probably never seen a bond or a law-paper of any sort in
her life, quite familiar with the commencement of all deeds poll,
which in Latin was,
_ *Noverint universi per praesentes*
_ *Noverint universi per praesentes*
_ nos Fulconem Sandells de Stratford
_ in English, *Be it known to all men by these presents*
....................................................................
Le Beau.: There comes an old man and his three sons?
(comes = earl)
Cel.: I could match this beginning with an old tale.
Le Beau.: Three proper young men, of excellent growth and presence;?
Ros.: With bills on their necks?
*Be it known to all men by these presents*
............................................................
*Noverint universi per praesentes*
nos Fulconem Sandells de Stratford
November 28, 1582 William Shagspere & Anne Hathwey of Stratford
November 28, 1660 founding FELLOW of the Royal Society
---------------------------------------------------------
Anglo-Saxon word for SERPENT: *(wi)VERE*
The Hebrew word for SERPENT: *NA(ha)SH* (a.k.a.: BRASS)
"through EVERy art & thrive by none,
to leave the trade of *NOVERINT* " -- *Thomas NASH*
---------------------------------------------------------
This is the technical phraseology referred to by *Thomas NASH* in
his *Epistle to the Gentlemen Students of the two universities*
in the year 1589, when he is supposed to have denounced
the author of Hamlet as one of those who had
"left the trade of *NOVERINT* , whereto they were born,
for handfuls of tragical speeches"
that is, an attorney's clerk become a poet,
and penning a stanza when he should engross.
As You Like It was not brought out until shortly before the year
1600, so that *NASH's NOVERINT* could not have been suggested by it.
Possibly Shakespeare now introduced the "Be it known to all men,"
&c., in order to show his contempt for *NASH* 's sarcasm.
In Act. II. Sc. 1, there are illustrations which would present
themselves rather to the mind of one initiated in legal proceedings,
than of one who had been brought up as an apprentice to a "lover, or
an assistant to *a BUTCHER or a woolstapler* : for instance, when
it is said of the poor wounded deer, weeping in the stream:
"thou makest a testament
As worldlings do, giving thy sum of more
To that which hath too much
And again where the careless herd, jumping by him without
greeting him, are compared to "fat & greasy citizens," who
look upon that poor & broken bankrupt there, without pitying
his sufferings or attempting to relieve his necessities.
It may perhaps be said that such language might be used by any man
of observation. But in Act III, Sc. 1, a deep technical knowledge
of law is displayed, howsoever it may have been acquired.
The usurping Duke, Frederick, wishing all the real property of Oliver
to be seized, awards a writ of extent against him, in the language
which would be used by the Lord Chief Baron of the Court of Exchequer:
Duke Fred. Make an extent upon his house and lands an extendi
facias applying to house and lands, as a fieri facias would apply
to goods & chattels, or a capias ad satisfaciendum to the person.
------------------------------------------------------
http://www.sourcetext.com/lawlibrary/greenwood/isasp/08.htm
<<"Kyd was born to the trade of *NOVERINT* & perhaps
spent a few years in the office of his father who
was a scrivener; in A Warning, IV, 4, the indictments
of Browne, Anne Sanders, and Drury, with their legal jargon,
point to the probability of their having been drawn up by
one accustomed to copying legal documents. All Kyd's plays,
with the exception of his translation of Garnier's Cornelia,
were issued anonymously, so was A Warning.">>
--------------------------------------------------------------
RGTSRVEAIILEHHWONIERYEMPTREHNSNPLHMEONSEHOTGENHT
TFIEIRNDNSLWTEIEG VrEODI *RINT A DEEP HART* N *G-VIE: FEEBLE.O*
HONTNETVGHWEHTSTPILVVBSOEIETTASIALWSNSINSTRTEIOT
-------------------------------------------------------------------
Nov. 27, 1095 Tues. Pope Urban launches 1st Crusade [Templars]
Nov. 27, 1582 Tues. Wm Shaxpere & Anna Whateley of Temple Grafton
1582. On 27th November a licence was issued in the Registry of
the Bishop of Worcester authorising the marriage of
William Shaxpere to Anna Whateley of Temple Grafton.
1582. On 28th November the Bishop of Worcester insisted upon
a marriage bond exempting him from all liability should
there be any irregularity in the speedy marriage of
"William Shagspere and Anne Hathwey of Stratford
in the Diocese of Worcester. maiden..."
-----------------------------------------------------------
[N]over(int) universi
[N]vero(tin) ni.verius
----------------------------------------------------------
SHAKESPEARE'S MARRIAGE AND CHILDREN
http://www.shakespeare-online.com/biography/
<<Recordings in the Episcopal register at Worcester on the dates of
November 27 & 28, 1582, reveal that Shakespeare desired to marry a
young girl named Anne. There are two different documents regarding
this matter, and their contents have raised a debate over just
whom Shakespeare first intended to wed. Were there two Annes?
Was Shakespeare in love with one but in lust with the other? Was
Shakespeare ready to join in matrimony with the Anne of his dreams
only to have an attack of conscience and marry the Anne with whom
he had carnal relations? To discuss the controversy properly we
should look at the documents in question. The first entry in
the register is the following record of the issue of
a marriage license to one Wm Shakespeare:
Anno Domini 1582...Novembris...27 die eiusdem mensis.
Item eodem die supradicto emanavit Licentia inter
Wm Shaxpere et Annam WHATEley de Temple Grafton.
The next entry in the episcopal register records
the marriage bond granted to one Wm Shakespeare:
*Noverint universi per praesentes* nos Fulconem Sandells de Stratford
in comitatu Warwici agricolam et Johannem Rychardson ibidem agricolam,
teneri et firmiter obligari Ricardo Cosin generoso et Roberto Warmstry
notario publico in quadraginta libris bonae et legalis monetae Angliae
solvend. eisdem Ricardoet Roberto haered. execut. et assignat. suis ad
quam quidem solucionem bene et fideliter faciend. obligamus nos et
utrumque nostrum per se pro toto et in solid. haered. executor. et
administrator. nostros firmiter per praesentes sigillis nostris
sigillat. Dat. 28 die Novem. Anno regni dominae nostrae Eliz. Dei
gratia Angliae Franc. et Hiberniae Reginae fidei defensor &c.25.2 The
condition of this obligation is such that if hereafter there shall
not appear any lawful let or impediment by reason of any precontract,
consanguinity, affinity or by any other lawful means whatsoever, but
that William Shagspere on the one party and Anne Hathwey of Stratford
in the diocese of Worcester, maiden, may lawfully solemnize matrimony
together, and in the same afterwards remain and continue like man
and wife according unto the laws in that behalf provided... >>
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____ *NIDA* : *dew* (Maltese)
____ *KRUG* : *COMPASS, CIRCLE* (Russian, Serbian)
................................................
___ *KRUG NIDA*
___ *GRUDINKA* : *BACON*
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_ In a 1615 verse-letter to Ben Jonson,
_ F.B.(Francis Beaumont/Bacon) wrote:
__ " *HERE* I would let slip
_ (If I had any in me) scholarship,
_ And from all learning keep these lines as clear
_ as Shakespeare's BEST are, which our heires shall
_ *HEARE PREACHERS APTE TO THEIR AUDITORS TO SHOWE*
_ how farr sometimes a mortall man may goe
_ by the dimme light of NATURE..."
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_____ *AN IMPOST*
_____ *SIMON APT*
----------------------------------------
O I finde thee *APT* , and duller shouldst thou be
Then the fat weede which rootes it selfe in ease
On *LETHE* wharffe: briefe let me be.
- Ghost: [Hamlet 1:5 (Quarto 1)]
----------------------------------------------------
*APT* , v. t. [L. aptare] To fit; to suit; to adapt.
"That our speech be apted to edification." -Jer. Taylor.
"To *APT* their places." --B. Jonson.
Note that F.B. does NOT say that "Shakespeare IS NATURE's child"
but only that *PREACHERS* will be espousing this (ridiculous)
idea for the edification of the gullible masses.
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_____ *ecclesiastes : PREACHER*
_______ {anagram}
_____ *sHacesPEARE CiRcle set*
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*RUELLE* : A private *CIRCLE* at a private house.
*KRUG* : *CIRCLE, COMPASS* (Russian, Serbian)
_ *COMPASS & RUELLE*
_ " *EMBER* presiding in his *RUELLE* "
__ *EMBER* : *MAN* (Hungarian)
---------------------------------------------------
___ *GRUDINKA* : *BACON*
___ *KRUG DAIN*
................................................
____ *KRUG* : *COMPASS, CIRCLE* (Russian, Serbian)
____ *DAIN* : *YES* (German)
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___ *GRUDINKA* : *BACON*
___ *KRUG DIAN*
................................................
____ *KRUG* : *COMPASS, CIRCLE* (Russian, Serbian)
____ *DIAN* : *eager, hasty* (Gaelic, Scottish)
-----------------------------------------------
___ *GRUDINKA* : *BACON*
___ *KRUG NIDA*
................................................
____ *KRUG* : *COMPASS, CIRCLE* (Russian, Serbian)
____ *NIDA* : *interjection, cry* (Turkish)
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Sinclair Lewis (1885?1951). Babbitt. 1922.
Among the great lawyers whom he mentioned was Secena Doane.
"But, GEE WHIZ," Ted marveled,
"I thought you always said this Doane was a reg'lar nut!"
"That's no way to speak of a great man! Doane's always been a good
friend of mine--fact I helped him in college--I started him out
and you might say inspired him. Just because he's sympathetic
with the aims of Labor, a lot of chumps that lack liberality and
broad-mindedness think he's a crank, but let me tell you there's
mighty few of 'em that rake in the fees he does, and he's a friend
of some of the strongest; most conservative men in the world--like
*Lord WYCOMBE* , this, uh, *this big English nobleman* that's so
well known. And you now, which would you rather do: be in with
a lot of greasy mechanics and laboring-men, or chum up to a
real fellow like *Lord WYCOMBE* , and get invited to
his house for parties?" "Well--gosh," sighed Ted.
...............................................................
_ 'Nobody can dictate to me what I think!'
'You're the man I want to help me. I want you to talk to
some of the business men and try to make them a little more
*liberal* in their attitude toward poor Beecher *INGRAM* .'
' *INGRAM* ' But, why, he's this nut *PREACHER* that got
kicked out of *the Congregationalist Church* , isn't he,
and preaches free love and sedition''
This, Doane explained, was indeed the general conception of Beecher
*INGRAM*, but he himself saw Beecher *INGRAM* as a priest of the
brotherhood of man, of which Babbitt was notoriously an upholder.
So would Babbitt keep his acquaintances from
hounding *INGRAM* and his forlorn little church'
'You bet! I'll call down any of the boys I hear getting funny about
*INGRAM* ,' Babbitt said affectionately to his dear friend Doane.
Doane warmed up and became reminiscent. He spoke of student days in
Germany, of lobbying for single tax in Washington, of international
labor conferences. He mentioned his friends, *Lord WYCOMBE* , Colonel
Wedgwood, Professor Piccoli. Babbitt had always supposed that Doane
associated only with the I. W. W., but now he nodded gravely, as one
who knew Lord Wycombes by the score, and he got in two references
to Sir Gerald Doak. He felt daring & idealistic & cosmopolitan.
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Adam S wrote: <<Danby's inquest states
that Marlowe was killed by *INGRAM FRIZER* on May 30th.
However, the church records indicate that Marlowe was buried
on June 1st, having been slain by one *FRANCIS ARCHER* . This
doesn't add up at all. How do you suppose that a mistake this
great could have been made? And who was Francis Archer, anyway?>>
...........................................................
"lariadc" wrote:
> Take a look at the actual signature of Ingram Frizer
> in Charles Nicholl's book 'The Reckoning'.
> The *FRIZER* looks a lot like the word *ARCHER* !
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<<In [Dashiell HAMMETT's] _The Maltese Falcon_
_ SAM Spade arrives at the murder scene of his partner,
*MILES ARCHER* (Jerome COWAN). Spade is told *ARCHER* was shot
with an 8 shot Webley-Fosberry (the .38 ACP model).
Yet when an officer holds up the revolver,
it is clearly the 6 shot, .455 model.>>
_ JEROME COWAN born: October 6, 1897
_ Roger Manners born: October 6, 1576
_ Henry Wriothesley born: October 6, 1573
"And SAM knows MILES bettern me how to work the miracle."
-- _Finnegans Wake_ p.461
"MILES hadn't many brains...he had too many years' experience as a
detective to be caught like that by a man he was shadowing....He
couldn't have tricked MILES into the alley like that,...[but] he'd
have gone up there with you, angel....He'd've looked you up & down
and licked his lips and gone grinning from ear to ear--and then you
could've stood close to him in the dark and put a hole through him."
-----------------------------------------------------------------
http://www.malory.net/pt1_txt.htm
<<Although "the original tombstone was destroyed...its inscription
survives in this early 16th-century transcript, which calls
[ *Malory* ] valens *MILES* ('a valiant knight') of the parish
of Monks Kirby in Warwickshire & says he died on 14 March 1470.
----------------------------------------------------------------
*MILES CoVERdalE* , publisher of the first printed English Bible.
He completed the translation of the Old Testament which
William Tyndale had left unfinished at his death in 1536.
-------------------------------------------------------------
lariadc wrote:
<<mention of Park Honan's upcoming biography of Marlowe
reminds me of a recent article by Lisa Hopkins in 'Notes &
Queries' 2004; 51(3) called "New Light on Marlowe's Murderer".
Hopkins did research on FRIZER's background, finding FRIZERs in
Herefordshire, Canterbury & Kingsclere in Hampshire. She concludes
that there is fairly solid evidence that Ingram was the son of
Peter FRIZER in Kingsclere, & that he had a brother named Francis.
So, she asks, did the vicar of St. Nicholas know Francis FRIZER?
*Christopher Marlow slaine by ffrauncis ffrezer*
It sounds like she might now be trying to find
more information about Francis FRIZER.>>
-------------------------------------------------------
ffrancis (chicken) ffrezer's *INSTAURatIO MAGNa*
http://www.sirbacon.org/graphics/port2.jpg
___ *INSTAUR MAGN P I*
_____ {anagram}
____ *INGRAMUS: PINTA*
____ *INGRAMUS: TAPIN*
____ *INGRAMUS: PAINT*
*PINTA : marking, pint, spot*
*TAPIN : DRUMmer* (French)
___ *INSTAUR MAGN P I*
_____ {anagram}
____ *INGRAMUS: PAINT*
-------------------------------------------------
Timon of Athens Act 4, Scene 3
TIMON: Follow thy *DRUM* ; With man's blood
*PAINT* the ground, gules, gules:
TIMON: *PAINT* till a horse may mire upon your face,
Act 5, Scene 1
TIMON: Excellent workman! thou canst not
*PAINT* a man so bad as is thyself.
--------------------------------------------------
Measure for Measure Act 3, Scene 2
LUCIO: *Does Bridget PAINT still* , Pompey, ha?
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King Henry VI, Part i Act 2, Scene 4
SOMERSET: Prick not your finger as you pluck it off,
Lest bleeding you do *PAINT* the white rose red
And fall on my side so, against your will.
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Much Ado About Nothing Act 3, Scene 2
DON PEDRO: Yea, or to *PAINT* himself?
DON JOHN: The word is too good to *PAINT* out her wickedness;
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Antony and Cleopatra Act 1, Scene 2
IRAS: No, you shall *PAINT* when you are old.
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Coriolanus Act 5, Scene 4
MENENIUS: I *PAINT* him in the character.
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The Rape of Lucrece Stanza 154
My sable ground of sin I will not *PAINT*,
To hide the *TRUTH* of this false night's abuses:
My tongue shall utter all; mine eyes, like sluices,
As from a mountain-SPRING that feeds a dale,
Shall gush pure streams to purge my impure tale.'
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Love's Labour's Lost Act 4, Scene 1
PRINCESS: Nay, *nEVER PAINT* me now:
Where fair is not, praise cannot mend the brow.
*HERE, good my GLASS, take this for telling TRUE*
Act 5, Scene 2
ADRIANO DE ARMADO: This side is Hiems, Winter, this Ver,
the Spring; the one maintained by the owl,
http://www.sirbacon.org/graphics/port2.jpg
the other by the cuckoo. Ver, begin.
[THE SONG]
SPRING.
When daisies pied and violets blue
And lady-smocks all silver-white
And cuckoo-buds of yellow hue
Do *PAINT* the meadows with delight,
The cuckoo then, on EVERy tree,
Mocks married men; for thus sings he, Cuckoo;
Cuckoo, cuckoo: O word of fear,
Unpleasing to a married ear!
When shepherds pipe on oaten straws
And merry larks are ploughmen's clocks,
When turtles tread, and rooks, and daws,
And maidens bleach their summer smocks
The cuckoo then, on EVERy tree,
Mocks married men; for thus sings he, Cuckoo;
Cuckoo, cuckoo: O word of FEAR,
Unpleasing to a married ear!
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The Taming of the Shrew Act 1, Scene 1
KATHARINA: I'faith, sir, you shall nEVER need to FEAR:
I wis it is not half way to her heart;
But if it were, doubt not her care should be
To comb your noddle with a three-legg'd stool
And *PAINT* your face and use you like a *FOOL*.
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Troilus and Cressida Act 1, Scene 1
TROILUS: *FOOLS* on both sides! Helen must needs be fair,
When with your blood you daily *PAINT* her thus.
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Hamlet, Prince of Denmark Act 5, Scene 1
HAMLET: Alas, poor Yorick! I knew him, Horatio: a fellow
of infinite *JEST*, of most excellent fancy: he hath
borne me on his back a thousand times; and now, how
abhorred in my imagination it is! my gorge rims at
it. Here hung those lips that I have kissed I know
not how oft. Where be your gibes now? your
gambols? your songs? your flashes of merriment,
that were wont to set the table on a roar? Not one
now, to mock your own grinning? quite chap-fallen?
Now get you to my lady's chamber, and tell her,
let her *PAINT* an inch thick, to this favour
she must come; make her laugh at that.
--------------------------------------------------
King John Act 3, Scene 1
KING PHILIP: Good rEVERend father, make my person yours,
And tell me how you would bestow yourself.
This royal hand and mine are newly knit,
And the conjunction of our inward souls
Married in league, coupled and linked together
With all religious strength of sacred vows;
The latest breath that gave the sound of words
Was DEEP-sworn faith, peace, amity, *TRUE* love
Between our kingdoms and our royal selves,
And even before this truce, but new before,
No longer than we well could wash our hands
To clap this royal bargain up of peace,
Heaven knows, they were besmear'd and OVER-stain'd
With sLAUGHTER's pencil, where REVEnge did *PAINT*
The fearful difference of incensed kings:
And shall these hands, so lately purged of blood,
So newly join'd in love, so strong in both,
Unyoke this seizure and this kind regreet?
Play fast and loose with faith? so *JEST* with heaven,
Make such unconstant children of ourselves,
As now again to snatch our PALM from PALM,
Unswear faith sworn, and on the marriage-bed
Of smiling peace to march a bloody host,
And make a riot on the gentle brow
Of *TRUE* sincerity? O, holy sir,
My rEVERend father, let it not be so!
Out of your grace, devise, ordain, impose
Some gentle order; and then we shall be blest
To do your pleasure and continue friends.
Act 4, Scene 2
SALISBURY: Therefore, to be possess'd with double pomp,
To guard a title that was rich before,
To gild refined gold, to *PAINT* the lily,
To throw a perfume on the violet,
To smooth the ice, or add another hue
Unto the rainbow, or with taper-light
To seek the beauteous eye of heaven to garnish,
Is wasteful and ridiculous excess.
--------------------------------------------------
Art Neuendorffer
