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The calygreyhound
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Arthur Neuendorffer
Mar 18, 2021, 8:25:12 PM3/18/21
to
--------------------------------------------
http://en.wikipedia.org/wiki/Calygreyhound
https://tinyurl.com/yxndhw7c
.
<<The calygreyhound is a mythical creature, that appears on Medieval heraldry. The de Vere family, who were the Earls of Oxford, used the calygreyhound in their coat of arms in the 15th and 16th centuries. The calygreyhound may be unique to the de Veres, and unlike most heraldic monsters, it made no attempt to seem realistic. The calygreyhound is described consistently as having the head of a wildcat, the torso of a deer or antelope, the claws of an eagle on its forefeet, ox hooves, antlers or horns, the hind legs of a lion or ox, and its tail like a lion or poodle. On some rare occasions the Calygreyhound may be seen as depicted with the wings of an eagle. It is said to represent speed. It is generally accepted that the calygreyhound is simply a figment of the artist's imagination, but some parts of it are based on reality. When it is depicted, it does not have a consistent position.>>
---------------------------------------------------------
The 'Hunt for Pan' Folio headpiece:
.
http://www.cuttingedge.org/KJVImages/Headpiece_Hunt_Pan_ActsApos.jpg
.
http://www.cuttingedge.org/KJVImages/Most_Noble.jpg
http://www.cuttingedge.org/KJVImages/catalogue.jpg
http://www.cuttingedge.org/KJVImages/tempest.jpg
.
http://www.cuttingedge.org/news/k1003.cfm
.
1) Indian child w/two phalli: Ferdinando & William Stanley
2) Peacock [ *PAVO* ] : Roger & Francis {MANNERS}.
3) Five petaled *Wild ROSE* : [H]enry [CAREY], 1st Baron Hunsdon
4) Arrow {PHEON}: SIDNEY/Pembroke
5) {CON}ey {BA}ck: Francis {BA/CON}
6) Calygreyhound: Oxford
----------------------------------------------------------
.http://shakespeareauthorship.com/wds1.html
.
. Some interesting 5-letter Rollett strings
. "found in arrays based on the first 144 letters
. of the dedication to Shakespeare's Sonnets.":
.
. {PHEON} : 1106d (Sidney *PHEON* crest)
. [HIRAM] : 1706u (Hebrew חירָם "high-born" = 51 = 3 x 17)
...............................................................
2 Samuel Chapter 5:11 ¶ And [HIRAM] king of Tyre sent messengers
. to Dauid, and Cedar trees, and carpenters, and [MASONS]:
. and they built Dauid an house.
...............................................................
1 Chronicles 14:1 - Now [HIRAM] king of Tyre se{N}t messengers
. t{O} Dauid, and timb{E}r of Cedars, wit{H} [MASONS],
. and car{P}enters to build him an house.
...................................
. . . . <= 13 =>
.
. [H I R A. M] k i n g o f T y
. .r e s e {N} t m e s s e n g
. .e r s t {O} D a u i d,a n d
. .t i m b {E} r o f C e d a r
. .s,w i t {H}[M A S O N S]a n
. .d c a r {P} e n t e r s t o
. .b u i l. d .h i m a n h o u
. .s e.
.
[MASONS] 1
[HIRAM]. 1
{PHEON} 13
............................................
1 Chronicles 14:14
. Therfore Dauid enquired againe of God, and God said vnto him,
. Goe not v{P} after t{H}em, turn{E} away fr{O}m them, a{N}d
. come vpon them ouer against the [MULBERY TREES].
...........................
. . . <= 7 =>
.
. .G. o e n o t v
. {P} a f t e r t
. {H} e m,t u r n
. {E} a w a y f r
. {O} m t h e m,a
. {N} d c o m e v
. .p. o n t h e m
. .o. u e r a g a
. .i. n s t t h e
. [M. U L B E R Y
. .T. R E E S]
.
{PHEON} 7 : Prob. of both in this [MASONS] Chap. ~ 1 in 1,346
............................................
15 And it shall bee, when thou shalt heare a sound of going in the tops of the [MULBERY TREES], that then thou shalt goe out to battaile: for God is gone foorth before thee, to smite the hoste of the Philistines.
--------------------------------------------------
Mary Sidney Herbert --- Newly drawn?
The *SWans* on the collar look suspiciously prominent.
. . . http://tinyurl.com/k2m72rc
..................................................
And make those flights upon t{He} bankes of Tha[M]es,
That so did t[A]ke Eliza, and ou[R] James !
B{U}t stay, [I] se{E} thee in th{E} [He]misphe{R}e
Advanc'd, and made a Constellation t{He}re !
.......................................
. . . . . <= 13 =>
.
. A n d m a k e t h o s. e f
. l i g h t s u p o n t [H(e)]
. b a n k e s o f T h a [M]e
. s T h a t s o d i d t [A]k
. e E l i z a a n d o u [R]J
. a m e s B U t s t a y [I]s
. e E t h e e i n t h E [H(e)]
. m i s p h e R e A d v. a n
. c'd,a n d m a d e a C. o n
. s t e l l a t i o n t [H(e)]r e !
.............................................
[MARI.H(e)] 13 : Prob. at end ~ 1 in 2525
[HIRAM]. . -13
..................................................
THE LA. [MARI]e [H(e)]r(be)rt COUNTESSE OF PEMBROOKE.
-----------------------------------------------------
[M]r. William SHAK<ES>P(E|A|R)ES
COMEDIES, H<I>STO[R|I)ES, & TRAGEDIES.
<P>ubl[I|S)hed according to t[H(e)]
. True Originall Co<PIES>
.............................................
_________ <= 17 =>
. [M]R. W i l l i a m S (H) A K <E S> P (E)
. [A|R} E S C o m e d i (E) s,H <I> s t (O)
. [R|I} e s&T r a g e d (I) e s <P> u b. l
. [I|S} h e d a c c o r (D) i n. g .t o. t
. [H(e)} T r u e O r i g (I) n a. l .l C. o
. {P I E S}.
.
[MARI.H(e)] 17 : Prob. ~ 1 in 4174
[HIRAM]. . -17
---------------------------------------------
_________ <= 17 =>
. T O T H E (O) N L I E B E. G .E T T (E)
. R O F T H (E) S E I N S V. I .N G S (O)
. N N E T S [M] R W H A L L {H} A P P. I
. N E S S E [A] N D T H A T {E} T E R. N
. I T I E P [R] O M I S E D {B} Y O V. R
. E V E R L [I] V I N G P O {E} T W I. S
. H E T H T [H(e)]W E L L W. I .S H I. N
. G A D V E. N .T V R E R I. N .S E T. T
. I N G F O. R .T H T T
[MARI.H(e)] 17 : Prob. ~ 1 in 10,000
[HIRAM]. . -17
------------------------------------------------------
. B.O.T. (Baron of Titchfield)
. E.S. (Earl of Southampton)
. W. (Wriothesley)
-------------------------------------------------------
THE TEMPEST. Actus primus, Scena prima.
A tempestuous noise of Thunder and Lightning heard:
Enter a Ship-master, and a [B.O.T./E.S./W.]aine.
.........................................................
. B.O.T.E.S.W.("aine" : "harmony" [Scottish] )
.
(B)aron (O)f (T)itchfield/(E)arl (S)outhampton/(W)riothesley
.........................................................
Master. [B.O.T./E.S./W.]aine.
[BOTES]: Heere Master: What cheere?
--------------------------------------------------------
. (B)aron (O)f (T)itchfield/[H]enry [W]riothesley
.......................................................
. (T)his Figure, that thou here seest put,
..... It was for gentle Shakespeare cut,
... [W]herein the Graver had a strife
..... with Nature, to out-doo the life :
. (O), could he but have drawne his wit
..... As well in brasse, as he hath hit
... [H]is face ; the Print would then surpas[SE]
..... All, that was *EVER WRIT* in bras[SE].
. (B)ut, since he cannot, Reader, looke
..... Not on his Picture, but his Booke.
.........................................................
"In Vinculus Invictus" Motto in Tower Painting:
.
. https://tinyurl.com/zpa7rug
. https://tinyurl.com/gnj9385
.
DROESHOUT/HERODOTUS = "In Vinculus Invictus" Painting:
.
. 1) Large forehead
. 2) all seeing left eye
. 3) 14 buttons
. 4) eyebrows
. 5) nose
. 6) moustache
. 7) lips
.
http://emc.english.ucsb.edu/images/shakespeare-frontispiece_L.jpg
----------------------------------------------------------------
. (T)his F(I)gure, that t[H]ou here (S)eest put,
. It [W|A)s (F)or g{E}ntle Shake[S|P)e(A)re c{UT},
. [W]herein t{H|E) G(R)ave{R H}ad a strif{E}
. with Na{TURE}, to out-do{O} the life :
.........................................................
........... <= 17 =>
.
. (T) h. i s F (I) .g u. r e,t h a t t [H.] .o
.. u. h. e r e (S) .e e. s t p u t,I t [W.] (A)
.. s (F) o r g {E} .n t. l e S h a k e [S.] (P)
.. e (A) r e c {U T} [W] h e r e i n t {H.} (E)
.. G (R) a v e {R H}. a. d a s t r i f {E.} .w
.. i (T) h N a {T U R E},t o o u t-d o {O.} .t
.. h e l i f e:
.......................................
{TRUE}. -17 : Prob. in first Q. ~ 1 in 53
{TRU/TH}
[H.W.S.] 17
{H.E.O.} 17
(FART). 17
...................................................
. (O), could he but <H>a{V}e drawn<E> his wit
.. As <W>ell in bra<S>se, as he hath <H>it
. [H]is fac<E> ; the Print <W>ould then <S>urpasse
. *ALL*, that was *EVER WRIT* in brasse.
. (B)ut, since he cannot, Reader, looke
.. Not on his Picture, but his Booke.
...................................................
........ <= 9 =>
.
. (O) c. o. u. l. d h e. b
.. u. t <H> a {V} e d r. a
.. w. n <E> h {I} s w i. t
.. A. s <W> e {L} l i n. b
.. r. a <S> s {E} a s h (E)
.. h. a. t. h <H> i t[H](I)
.. s. f. a. c <E>;t h e (P)
.. r. i. n. t <W> o u l. d
.. t. h. e. n <S> u r p. a
.. s. s. e *A. L. L*
....................................
<HEWS> 9,9 : Prob. of both with same skip ~ 1 in 4,000
........................................................
"A man in hew *ALL* <HEWS> in his controwling"
.......................................................
. [H] [W] : [H]enry [W]riothesley
. <E> <S> : <E>arl of <S>outhampton
--------------------------------------------------------------
2 Kings 12:12-14
And to [MASONS], and {HEWERS of STONE}, and to buy timber, and {HEWED STONE} to repaire the breaches of the house of the Lord, and for all that was laid out for the house to repaire it. Howbeit, there were not made for the house of the Lord, bowles of siluer, snuffers, basons, trumpets, any ves{S}els of gold, or vessels of siluer, of the money that {W}as brought into the house of the Lord: But they gau{E} that to the workemen, and repaired therewith the {H}ouse of the Lord.
.............................................................
. . . . . . . . . . . . . <= 41 =>
.
. And. to[MASONS]an. d {HEWE .R. SofSTONE} andtobuytimber
. and {HE WEDSTO NE} t .orep .a. irethebr. eachesofthehou
. seo. ft heLord an. d .fora .l. lthatwas. laidoutfortheh
. ous. et orepai re. i .tHow .b. eitthere. werenotmadefor
. the. ho useoft he. L .ordb .o. wlesofsi. luersnuffersba
. son. st rumpet sa. n .yves {S} elsofgol. dorvesselsofsi
. lue. ro fthemo ne. y .that {W} asbrough. tintothehouseo
. fth. eL ordBut th. e .ygau {E} thattoth. eworkemenandre
. pai. re dthere wi. t .hthe {H} ouseofth. eLord
.
{HEWS} -41
-------------------------------------------------------------
Dave Roper: "{SO TEST} Him, *I UOW* He Is Edward De Uere"
.......................................................................
. . . . . . . . . . . . . <= 34 =>
.. T E R. R. A. TE... [G] .I T,PO. PULUSMÆRE. . . . . . . TOLYMPUSHABET
......................................................................
.. S T A. Y. P. AS_.. [S] .E N GE. RWHYGOEST. . . . . . . THOVBYSOFASTR
.. E A D. I. F. T_ (H)[O] .V C AN. STWHOM. . [E] . [N] . VIOVSDEATHHATH
. *P L A <S> T* W- (I){T} <H{I}NT> HISMON. . [U] (M) [E] .NTSHAKSPEAREW
.. I T H <W> H. O. (M){E} .Q{U}IC. KNATVR. . [E D] (I) [D] EWHOSENAMEDO
.. T H D <E> C. KY... {S} .T{O}MB. EFARMO. . [R E] t (H) . ENCOSTSIEHAL
.. L Y T <H> E. HA-.. {T} .H{W}RI. TTLEAV. . [E] . . . .SLIVINGARTBVTPA
.. G E T. O. S. ER.... V. .E H IS. WITT
.......................................................................
[EUERE][DE] 34
{SO TEST} . 34
{I UOW} . . 34
<HEWS>. . . 34
------------------------------------------------------------
(The King James & only the King James Version):
Psalm *46*
"SHAKE" is the *46*th word from the beginning,
and "SPEAR" is the *46*th word from the end.
------------------------------------------------------------------------
................. <= 46 =>
.
. SHakespeareatl e. n g t h .thypi. o u s f e l l o w e s g i u e T h e .worl
. dthyWorkesthyW o. r k e s .bywhi. c h o u t l i u e T h y T o m b e,t .hyna
. memustwhenthat S. T O N E .isren. t A n d T i m e d i s s o l u e s t .hyST
. RATFORDMONIMEN T. H e r e .weali. u e s h a l l v i e w t h e e s t i .llTh
. isBookeWhenBra s {S}e a n .dMarb. l e f a d e,s h a l l m a k e t h e .eloo
. keFreshtoallAg e {S W}h e .nPost. e r i t i e S h a l l l o a t h w h .atsn
. ewthinkeallisp r {O}d{E}g .ieTha. t I{S}N O T*S[H]A K E S P E A R E S* eury
. LineeachVerseH e {R}e s{H} allre. u i u{E}r E[D]e e m e t h e e f r o .mthy
. HerseNorFireno r {C}a n k .ringA. g e a s{N|A]s o s a i d O f h i s t .hywi
. tfraughtBookes h [A]l l o .ncein. u a d E[N|O}r s h a l l I e r e b e .leeu
. eorthinketheed e [A]d T h .oughm. i s T[U]n t{I}l l o u r b a n k r o .utSt
. agebespedImpos s. i b l e .withs. o m[E]n e w s t r a i n e t o u t d .oPas
. sionsofIulieta n. d h e r .Romeo. O[R]t i l l I h e a r e a S c e n e .more
. noblytakeThenw h. e n t h .yhalf [S|W O R D}p a r l y i n g R o m a n .sspa
. keTillthesetil l. a n y o .fthyv. o l u m e s r e s t S h a l l w i t .hmor
. efiremorefeeli n. g b e e .xprEs. t B e s u r e o u r S h a k e s p e .aret
. houcanstnEVERD Y. E B u t .crOwn. d w i t h L a w r e l l l i u e e t .erna
. lly.
.
[H.DANUERS] 45 : Prob. in poem ~ 1 in 192,000
(IONES) -47 : Prob. mear [H.DANUERS] ~ 1 in 950
{[AA]CROSS} -46 : Prob. {CROSS} in poem ~ 1 in 67
{HEWS} -47
---------------------------------------------------------
http://shakespeareauthorship.com/monrefs.html
17th-century References to Shakespeare's Stratford Monument
by David Kathman
<<One of the 1623 First Folios in the Folger Shakespeare Library
(no. 26 according to the Folger numbering) contains 3 handwritten
poems on the last end page of the volume, written in a secretary
hand dating from approximately the 1620s. The first of these is
the poem from Shakespeare's monument in the Stratford church
("Stay passenger why go'st thou by so fast"). The second
is not recorded elsewhere, and goes as follows:
..............................................................
. Heere Shakespeare lyes w{H}[OME N]one but Death could *SHAKE*
. and he{E}re shall ly till judgeme[N]t all awake;
. {W}h[E]n the last tru[M]pet doth uncl[O]se hi{S} eyes
. the wi{T}tie{S}t po{E}t in {T}he w[O]rld [S]hall *RISE*.
.........................................................
.................... <= 31 =>
.
. S h a k e s p e a r e l y e s w {H}[O M E N]o n e b u t D e a t
. h c o u l d*S H A K E*a n d h e {E} r e s h a l l l y t i l l j
. u d g e m e[N]t a l l a w a k e {W} h[E]n t h e l a s t t r u[M]
. p e t d o t h u n c l[O]s e h i {S} e y e s t h e w i{T}t i e{S}
. t p o{E}t i n{T}h e w[O]r l d[S] h. a(L)l R I S E.
.
{HEWS} 31 : Prob. ~ 2 in 15
.........................................................
...... <= 12 =>
.
.. S h a k e s p e. a. r e l
.. y e(S)w h[O M E. N] o n e
.. b u t D e a t h. c. o u l
.. d*S H A K E*a n. d. h(E)e
.. r e s h a l l l. y. t i l
.. l j u d g e m e [N] t a l
.. l a w a k e(W)h [E] n t h
.. e l a s t t r u [M] p e t
.. d o t h u n c l [O] s e h
.. i s(E)y e s t h. e. w i{T}
.. t i e{S}t p o{E} t. i n{T}
.. h e w[O]r l d[S] h. a(L)l
. *R I S E*.
.
[NEMO] 12 : Prob. ~ 1 in 88
.....................................
. <= 4 =>
.
.. e.. w. i {T}
. (T). i. e {S}
. (T) <P> o {E}
. (T) <I> n {T}
. (H) <E> w {O}
.. r.. l. d {S}
.. h.. a. l. l
... *R I S E*.
..........................................
{SO TEST} -4 (Prob. skip <5 ~ 1 in 2580)
------------------------------------------------------
5[S WE H]'s:
...................................................
TO THE MOST NOBLE AND INCOMPARABLE PAIRE OF BRETHREN.
WILLIAM Earle of Pembroke...
WHilst we studie to be thankful in our particular,
for the many fauor[S WE H]aue receiued from your L.L
...................................................
While we name them trifle[S, WE H]aue
depriu'd our selues of the defence of our Dedication.
...................................................
When they were acted, as before they Were *PUBLISHED*,
the Volume ask'd to be your[S. WE H]aue but collected them,
...................................................
Wherein, a[S WE H]aue iustly obserued, no man to come neere your L.L.
...................................................
and many Nation[S (WE H]aue heard) that had not gummes & incense,
-----------------------------------------------------------------
<<While browsing through the book, 'Secret Diplomacy,
Expionage & Cryptography 1500-1815,' BALLANTINE learned that
authors of Greek tragedies traditionally constructed their
plays 'so that the first 8 iambic lines made 4 connected
anagrams. *The first Two lines gave the name of the author*'>>
.............................................................
________ *The Two Gentlemen of VERona*
.
VALENTINE: CEease to perswade, my louing Protheus;
. HOME-keeping youth, haue *{EU}ER HO{M}ELY WITS*
....................................................
___ *{EU}ER HO{M}ELY WITS*
.....................................
__________...... {M}
__________...... {U}
_ *W R I O T H E {S} L E Y*
__________...... {E}
--------------------------------------------------------------
. King Richard II Act 3, Scene 2
.
KING RICHARD II: Our lands, our lives and all are Bolingbroke's,
. And nothing can we call our own but death
. And that small model of the barren earth
. Which serves as *PASTE and COVER to our BONES*.
........................................
"[Shakespeare] is a Brontosaur: nine bones and
six hundred barrels of *PLASTER* of paris." - Mark Twain
--------------------------------------------------------------
Quince: Then there is another thing,
. we must haue a wall in the great Chamber; for Pi-
. ramus and Thisby (saies the story) did talke
. through the chinke of a wall.
.
. THOMA(s) SNOUT: You can neuer bring in a wall.
. [SOUTHAM(p)TON] What say you Bottome?
.
Bottom: Some man or other must present wall, and let
. him haue some *PLASTER*, or some Lome, or some rough
. cast about him, to signifie wall; or let him hold his fin-
. gers thus; and through that cranny shall Piramus and
. Thisby whisper.
----------------------------------------------------------------
READ IF THOV CANST, WHOM ENVIOVS DEATH HATH *PLAST*
WITH IN THIS MONVMENT SHAKSPEARE: WITH WHOME,
QUICK [NATURE DIDE] [WHoSE] [NAM {E] DO}<TH. DECK.> YS TOMBE,
*FAR* MORE,THEN COST: [SIEH] ALL, YT HE HATH WRITT,
................................................................
[N(a)TUREDIDE] [.W.H.oS.E] [si eH] [NAM {E] DO}<TH. DECK.>
[He is] [E.MAN.]&[E.So. H.W.] [EDIDERUT(a)N] / {EDO} <TH. DECK.>
.............................................................
{EDO}: I give out, put or bring forth; eject, discharge.
. I produce, bear, give birth to, yield, form, *BEGET* .
. I put forth, *PUBLISH* , spread abroad.
. I *SET FORTH*, relate, tell, disclose, deliver, announce, declare.
. I produce, perform, show, inflict, bring about, cause.
. I \ARAISE\ , lift, elevate.
.
[EDIDERUNT(a)]: 3rd-person plural perfect active indicative of {EDO}
[They have *SET FORTH*]
-----------------------------------------------------------------
To [.W.H.oS.E] sound chaste wings obay.
...................................................
3: [.W.H.oS.E] fresh repaire if now thou not renewest,
8: [.W.H.oS.E] speechlesse song being many, seeming one,
....................................................
. *EDO-uardus VERUS*
....................................................
. {EDO} , edere, EDIDI, EDITum, [EDIDERUNT] (Latin)
. give out, *SET FORTH*; bring forth, beget, produce;
. relate, tell, utter; *PUBLISH*.
-------------------------------------------------------------
Master. [BOTESW]aine.
[BOTES]: Heere Master: What cheere?
[BOTES]: Heigh my hearts, cheerely, cheerely my harts:
yare, yare: Take in the toppe-sale: Tend to th'Masters
whistle: Blow till thou burst thy winde, if roome enough.
Alon. Good [BOTESW]aine haue care:
where's the Master? Play the men.
[BOTES]: I pray now keepe below.
Anth. Where is *the MASTER*, Boson?
[BOTES]: Do you not heare him? you marre our labour,
Keepe your Cabines: you do assist the storme.
Gonz. Nay, good be patient.
[BOTES]: When the Sea is: hence, what cares these
roarers for the name of King? to Cabine;
silence: trouble vs not.
Gon. Good, yet remember whom thou hast aboord.
[BOTES]: None that I more loue then my selfe. You are
a Counsellor, if you can command these Elements to si-
lence, and worke the peace of the present, wee will not
hand a rope more, vse your authoritie: If you cannot,
giue thankes you haue liu'd so long, and make your
selfe readie in your Cabine for the mischance of the
houre, if it so hap. Cheerely good hearts: out of our
way I say. Exit.
Enter [BOTESW]aine.
[BOTES]: Downe with the top-Mast: yare, lower, lower,
bring her to Try with Maine-course. A plague ---
A cry within. Enter Sebastian, Anthonio & Gonzalo.
vpon this howling: they are lowder then the weather,
or our office: yet againe? What do you heere? Shal
we giue ore and drowne, haue you a minde to sinke?
Sebas. A poxe o'your throat, you bawling, blasphe-
mous incharitable Dog.
[BOTES]: Worke you then.
Anth. Hang cur, hang, you whoreson insolent Noyse-
maker, we are lesse afraid to be drownde, then thou art.
Gonz. I'le warrant him for drowning, though the
Ship were no stronger then a Nutt-shell,
and as leaky as an vnstanched wench.
[BOTES]: Lay her a hold, a hold, set her
two courses off to Sea againe, lay her off.
Enter Mariners wet.
Mari. All lost, to prayers, to prayers, all lost.
[BOTES]: What must our mouths be cold?
-----------------------------------------------------------
http://www.bbc.com/news/education-35973094
<<There is a stage direction in King Lear, which, in the early
part of the print run, says rather cryptically "H {EDIS}",
which is then updated in later copies to "He dis"
before it is finally corrected to "He dies".>>
------------------------------------------------------
. "H {EDIS}" : {You *PUBLISH*} "H".
..................................................
_______ Sonnet 102 (Only Sonnet's *PUBLISH*)
.
. MY LOVE IS Strengthned though more weake in seeming
. I love not lesse, thogh lesse the show appeare,
. That love is marchandiz'd, whose ritch esteeming,
.
. The own[E]rs tongu[E] (DOTH} PUB[L]ISH {E}VER[Y] {WH}E{R}E) .
. Ou[R] lov{E} was [N]ew, and th[E]n but in t[H]e spring,
.
.{WH}en I was wont to greet it with my laies,
. As Philomell in summers front doth singe,
. And stops his pipe in growth of riper daies:
. Not that the summer is lesse pleasant now
. Then when her mournefull himns did hush the night,
. But that wild musick burthens *EVERy bow* ,
. And sweets growne common loose their deare delight.
. Therefore like her, I some-time hold my tongue:
. Because I would not dull you wiTH MY SONGE.
..................................................
..... <= 8 =>
.
.... T h(E)o w n [E]
.. r s t(O)n g u [E]
. (D O T{H}P U B [L]
.. I S H{E}V E R [Y]
. {W H}E{R}E)O u [R]
.. l o v{E}w a s [N]
.. e w,a n d t h [E]
.. n b u t i n t [H]
.. e s p r i n g,{W H}
.
. Sidney friend/Queen's Champion:
[HENRY LEE] -8 : Prob. in any Sonnet ~ 1 in 1765
-----------------------------------------------------------
http://91.1911encyclopedia.org/S/SH/SHAKESPEARE.htm
http://www.stratford-upon-avon.org/images/memorial.jpg
<<The Stratford bust & monument must have been erected
on the N. wall. The design in its general aspect was one
often adopted by the "tombe-makers" of the period, and
according to Dugdale was executed by a *Fleming* resident
in London since 1567, Garratt Johnson (Gerard JANssen),
who was occasionally a collaborator with *NICHOLAS STONE*,
Esq., (fellow Freemason Warden with [W]illiam [H]erbert).
.............................................................
. Gerard JANssen / NICK Stone
. Q1 Rossencraft Gilderstone
. Q2 Rosencrans Guyldensterne
. F1 Rosincrane Guildensterne
. F2,3,4 Rosincross(e) Guildenstare
. Rosy Cross Stone Guild
. Rosicrucians Freemasons / the Craft
----------------------------------------------------------------
. "Moore C W The Freemasons Monthly Magazine Vol IV 1845"
....... https://tinyurl.com/yykurxjk
.
GRAND MASTERS, OR PATRONS, OF THE FREE AND ACCEPTED MASONS IN ENGLAND,
from the coming in of the Saxons to the year 1839, Compiled and
condensed from the most authoritative records, by Br. Thomas Joseph
Tennison, President of the Masonic Council of Armagh, Ireland.
........................................................................
1607: James I., a Brother Mason, Grand Patron by Prerogative, appointed
Inigo {IONES}, Grand Master of all England, in which capacity he served
for 11 years. His Wardens were M(aste)r [W]illiam [H]erbert the Earl
of Pembroke, & *{N}ICHOLAS {STONE}*, Esq., who, attended by many
Brothers attired in Craft clothing, walked to White Hall, and laid
the first stone of the Banquetting Hall, with knocks, huzzas,
and sound of trumpets, throwing a purse of gold upon the
{STONE} for the operatives to drink “To the King and Craft!"
.
1618.[W]illiam [H]erbert, Earl of Pembroke, was chosen Grand Master.
. He appointed Inigo {IONES} his Deputy.
.
. Charles I., a Royal Mason and Grand Patron by Prerogative;
. under him [H]enry [DANVERS], Earl of Danby, who erected
. the beautiful gate of the Physick Gardens, at Oxford.
.
1630-1-2. [H]enry [DANVERS] , Earl of Danby.
---------------------------------------------------------------------
https://wikivisually.com/wiki/Henry_Danvers%2C_1st_Earl_of_Danby
<<On the night of the death of the 17th Earl of Oxford [June 24, 1604]
Baron [H]enry [DANUERS], the Earl of Southampton and Sir Henry Neville as
well as the a [LEE] were arrested by order of the king and Privy Council.
.......................................................................
Baron [DANUERS] had been employed in Ireland under the Earl of Essex, and
Charles Blount, 8th Baron Mountjoy, successive lords-lieutenant of Ireland.>>
---------------------------------------------------------------------------
First Folio (1623)
TO THE MEMORIE of the deceased Authour
Maister W. SHAKESPEARE.
SHake-speare, at length thy pious fellowes giue
The world thy Workes: thy Workes, by which, out-liue
Thy Tombe, thy name must: when that {STONE} is rent,
And Time dissolues thy {STRATFORD MONIMENT},
Here we aliue shall view thee still. This Booke,
When Bras{SE} and Marble fade, shall make thee looke
Fresh to all Age{S}:{W}hen Posteritie
Shall loath what's new, thinke all is pr{O}d{E}gie
That is not *S[H]AKE-SPEARES* ; eu'ry Line, each Verse
He{R}e s{H}all reuiue, re[D]eeme thee from thy Herse.
Nor Fire, nor {C}ankring Age, a{S N|A]so said,
Of his, {T}hy wit-fraught B{O}oke sh[A]ll once i{N}vade.
[N]or shall I {E}'re beleeve, or thinke thee de[A]d.
(Though mist) [U]ntill our bankrout Stage be sped
(Impossible) with som[E] new straine t' out-do
{P}assions of Iuliet, and her Romeo;
{O}[R] till I heare a Scene more nobly take,
{T}hen when thy half=[S]word parlying Romans spake.
{T}ill these, till any of thy (V)olumes rest
Shall with more fire, more feeling be expr{E}st,
Be sure, our Shake=speare, thou canst n[EVER DYE],
But cr{O}wn'd with Lawrell, liue eternally.
L. Digges.
.................................................
.......... <= 14 =>
.
. a {S N}[A]s o s a i d,O f h i
. s,{T} h y w i t-f r a u g h t
. B {O} o k e s h a l l o n c e
. i {N} v a d e[N]o r s h a l l
. I {E}'r e b e l e e v e,o r t
. h i n k e t h e e d e a d.
............................................
{N/STONE} 14 : Prob. in poem ~ 1 in 280
-------------------------------------------------------------
http://en.wikipedia.org/wiki/Nicholas_Stone
<<In 1619 *{N}ICHOLAS {STONE}* (d. 24 Aug. 1647) was appointed *MASTER-MASON*
to James I, and in 1626 to Charles I. Stone owed his early success in London
in part to Inigo {IONES}, the King's Surveyor, under whom he first worked at
Holyrood Palace, Edinburgh, in 1616, which led to the spectacular contract,
for building {IONES}'s Banqueting House, that placed him in the forefront of
London builders. Nicholas Stone was born in 1586, the son of a quarryman of
Woodbury, near Exeter. He was first apprenticed to Isaac James, a Dutch-born
London mason working in Southwark, London.{IONES}>>
-------------------------------------------------
from: _Big Secrets_ William Poundstone
https://sites.google.com/site/zprime21/
Masonic Secret Word: Not to be confused with the password. The Word (always capitalized) is so secret that initiates are taught it one letter at a time. First they learn A, then O, then M, and finally I. The Word is *IAOM*. You never get a straight story as to what it means. As best as anyone can figure, it is the ineffable name of god, or some approximation thereof. The Word (or Name) is a internal linktongue-internal linktwister. It takes some practice to get it right.
...................................................
_Masonry and Its Symbols in the Light of Thinking and Destiny_
by Harold Waldwin Percival (15 April 1868 - 6 March 1953):
https://tandd.org/hlib/masonry-and-its-symbols/section06.html
<<The Word, an English translation of the Logos, as used by St. John, is not the Name. It is an expression of the full Triune Self powers, each of the three parts being represented in it by a sound, and the perfect body in which the Triune Self dwells being also represented by a sound. The Doer part is expressed as A, the Thinker part as U or O, the Knower part as M, and the perfect body as I. The Word is I-A-O-M, in four syllables or letters. The expression of the perfect body and the Triune Self as these sounds is an expression of the Conscious Light of the Intelligence through that Self and body. When a part in its physical body sounds as *IAOM* each of the parts sounds AOM, and each represents a Logos. The Knower is then the First Logos, the Thinker the Second Logos and the Doer the Third Logos.
The Word is symbolized by a circle in which are a hexad of two interlaced triangles, and the point in the center. The point is the M, the triangle Aries, Leo, Sagittary is the A, the triangle Gemini, Libra, Aquarius is the U or the O, and the circle is the fully expressed point M as well as the line of the body I. The hexad is made up of the macrocosmic signs standing for the sexless triad and the androgynous triad, the triangle of God as Intelligence and the triangle of God as nature. These letters in which the perfect Self sounds, are symbolized in Masonry by the square and compass or the emblem of the interlaced triangles.
There is a succinct relationship of the Word with the Ineffable Name. The Word is feeling-and-desire, the Doer. The Doer is lost in the body of flesh and blood in the world of life and death. Thus the Doer is the lost Word. The body, when perfected, serves as the instrument through which the Doer pronounces the Ineffable Name. The Ineffable Name and the embodied Word, when one is fitted to speak it, is IAOM. By so doing the body is raised from a horizontal to an upright position.
The Name is pronounced as follows: It is started by opening the lips with an “ee” sound graduating into a broad “a” as the mouth opens wider with the lips forming an oval shape and then graduating the sound to “o” as the lips form a circle, and again modulating to an “m” sound as the lips close to a point. This point resolves itself to a point within the head.
Expressed phonetically the Name is “EE-Ah-Oh-Mmm” and is pronounced with one continuous outbreathing with a slight nasal tone in the manner described above. It can be correctly and properly expressed with its full power only by one who has brought his physical body to a state of perfection, that is, balanced and sexless.>>
----------------------------------------------------------------
I stumbled across a long youtube:
Alan Green - presenting "Dee-Coding Shakespeare"
https://www.youtube.com/watch?v=upzjM7-83LE
and it got me thinking about the mispagination of page: 273/265
http://internetshakespeare.uvic.ca/Library/facsimile/book/SLNSW_F1/283/?zoom=850
So I did an ELS search for the top of page: 264
http://internetshakespeare.uvic.ca/Library/facsimile/book/SLNSW_F1/282/?zoom=850
...and discovered: {M}[MASONS]{r} skip 33 = 264/(273-265) :
--------------------------------------------------------------
. Twelfth Night (First Folio, 1623) top of page 264: II, v
.
{M}al. Ioue knowes I loue, but who, Lips do not [M]ooue, no
. man must know. No man must know. Wh[A]t followes?
. The numbers alter'd: No man mu[S]t know,
. If this should be thee Maluolio?
.
T[O]. Marrie hang thee brock(E).
.
Mal. I may comma[N]d where I adore, but silenc(E) like a Lu-
. cre[S]se knife:
. With bloodlesse st(R)oke my hea{r}t doth gor(E), {M}.O.A.I. d{O}th
. sw{A}y my l{I|F|E).
.
Fa. *A FUSTIAN RIDDLE*!
........................................................
............ <= 33 = 264/(273-265) =>
.
. {M} alIou. e kn o. w e s I l. o. uebu. t w h o L i p. sdonot
. [M] oouen. o ma n. m u s t k. n. owNo. m a n m u s t. knowWh
. [A] tfoll. o we s. T h e n u. m. bers. a l t e r d N. omanmu
. [S] tknow. I ft h. i s s h o. u. ldbe. t h e e M a l. uolioT
. [O] Marri. e ha n. g t h e e. b. rock (E)M a l I m a. ycomma
. [N] dwher. e Ia d. o r e b u. t. sile. n c(E)l i k e. aLucre
. [S] sekni (F)eW i. t h b l o. o. dles. s e s t(R)o k. emyhea
. {r} tdoth. g or(E){M O A I}d {O} thsw {A}y m y l{I|F)(E)
.
{M}[MASONS]{r} 33 : [MASONS] Prob. here ~ 1 in 1470
(FREE) -35,18 : Prob. of both here ~ 1 in 135
{MOAI} 5,1
--------------------------------------------------------
http://www.bartleby.com/153/107.html
http://www.luminarium.org/renascence-editions/colin.html
...................................................
Colin Clo{UT}s Co(M|E)
......... Home Ag(A|I|N)e
......... BY ED. (S|P|E)NCER
............... L(O N|D)ON
............. PRI(N)T E D FOR WILLIAM PONSONBIE
...................................................
(MASON) 8 : Prob. ~ 1 in 5,750
(PIE) -8
(NED) 8
...................................................
Colin Clouts Co[M]E H[O]me [A]ga[I]ne
...................................................
[MOAI] 3 : Prob. ~ 1 in 135
----------------------------------------------------
Sonnet 90
THen hate me when thou wilt, if euer, now,
Now while the world is bent my deeds to [CROSSE],
Ioyne with the spight of fortune, make me bow,
And doe not drop in for an after losse:
Ah doe not, when my heart hath scapte this sorrow,
Come in the rereward of a conquerd woe,
Giue not a windy night a rainie morrow,
To linger out a purposd ouer-throw.
If thou wilt leaue me, do not leaue me last,
When other pettie griefes haue done their spight,
But in the onset co[M]e, s[O] st[A]ll [I] taste
At first t{H}e v{E}ry {W}or{S}t of fortunes might.
And other straines of woe, which now seeme woe,
Compar'd with losse of thee, will not seeme so.
[CROSSE] 1
{HEWS} 3
[MOAI] 3
----------------------------------------------------
Sonnet 152
IN louing thee thou know'st I a[M] forsworne,
But thou art twice f[O]rsworne to me loue swearing,
In [A]ct thy bed-vow broake and new fa[I]th torne,
In vowing new hate after new loue bearing:
But why of two othes breach doe I accuse thee,
W{H}en I breake twenty:I am p{E}riur'd most,
For all my vo{W}es are othes but to misu{S}e thee:
And all my honest faith in thee is lost.
For I haue sworne deepe othes of thy deep[E] kindne[S]se:
Othe[S] of thy l[O]ue, thy t[R]uth, thy [C]onstancie,
And to inlighten thee gaue eyes to blindnesse,
Or made them swere against the thing they see.
For I haue sworne thee faire:more periurde eye,
To swere against the truth fo foule a lie.
[MOAI] 26
{HEWS} 20
[CROSSE] -7 : Prob. in Sonnets ~ 1 in 30
----------------------------------------------------
The Shepherd's Week : Saturday; Or, The Flights -
1714 Poem by John Gay
And plays a tickling Straw withi[N] his Nose.
He rubs his Nostril, and in w[O]nted *Joke*
The sneering Swains with [S]tamm'ring Speech bespoke.
To you, my L[A]ds, I'll sing my Carrol's o'er,
As for th{E} [M]aids, — I've something {E}lse in store.
No soone{R} 'gan he raise his tune{F}ul Song,
But Lads and Lasses round about hi[M] t(H)rong.
Not Ballad singer plac'd above th(E) Croud
Sings with [A] Note so shrilling s(W)eet and loud,
Nor Parish Clerk who call[S] the Psalm so clear,
Like Bowzybeus sooths th' attentive Ear.
[O]f Nature's Laws his Carrols first begun,
Why the grave Owl ca[N] never face the Sun.
.........................................................
............ <= 25 =>
.
.. A n d p l a y s a t i c k l i n g S t r a w w i t
.. h i[N]h i s N o s e H e r u b s h i s N o s t r i
.. l a n d i n w[O]n t e d J o k e T h e s n e e r i
.. n g S w a i n s w i t h[S]t a m m r i n g S p e e
.. c h b e s p o k e T o y o u m y L[A]d s I l l s i
.. n g m y C a r r o l s o e r A s f o r t h{E|M]a i
.. d s I v e s o m e t h i n g{E}l s e i n s t o r e
.. N o s o o n e{R}g a n h e r a i s e h i s t u n e
. {F}u l S o n g B u t L a d s a n d L a s s e s r o
.. u n d a b o u t h i[M]t(H)r o n g N o t B a l l a
.. d s i n g e r p l a c d a b o v e t h(E)C r o u d
.. S i n g s w i t h[A]N o t e s o s h r i l l i n g
.. s(W)e e t a n d l o u d N o r P a r i s h C l e r
.. k w h o c a l l[S]t h e P s a l m s o c l e a r L
.. i k e B o w z y b e u s s o o t h s t h a t t e n
.. t i v e E a r[O]f N a t u r e s L a w s h i s C a
.. r r o l s f i r s t b e g u n W h y t h e g r a v
.. e O w l c a[N]n e v e r f a c e t h e S u n
.
[MASON] -30, 49 : Prob. of both so near ~ 1 in 100
{FREE} -18 : Prob. here ~ 1 in 10
(HEWS) 32 : Prob. here ~ 1 in 5
------------------------------------------------------
https://tinyurl.com/y9nodvn5
THE SKETCH BOOK OF GEOFFREY CRAYON, GENT.
By Washington Irving
THE SPECTRE BRIDEGROOM. A *TRAVELLER’S* TALE.*
.......................................................
.......................................................
The drawbridge had been let down, and the {STRANGER} was before the gate. He was a tall, gallant cavalier, mounted on a black steed. His countenance was pale, but he had a beaming, romantic eye, and an air of stately melancholy. The baron was a little mortified that he should have come in this simple, solitary style. His dignity for a moment was ruffled, and he felt disposed to consider it a want of proper respect for the important occasion, and the important family with which he was to be connected.
He pacified himself, however, with the conclusion, that
it must have been youthful impatience which ha[D] induced
him thus to spur on sooner than his [A]ttendants.
“I am sorry,” said the {STRANGER},
“to b[R]eak in upon you thus unseasonably-”
Here the [B]aron interrupted him with a world of compl[I]ments
and greetings; for, to tell the truth, h[E] prided himself
upon his courtesy and eloq{U}ence. The {STRANGER} attempted,
once or twice, {T}o stem the torrent of words, but in vain,
so he bowed his head and suffered it to flow on.
.............................................
..... <= 36 =>
.
. itm. u. sthaveb .eenyouth. fulimpati .encewhic
. hha [D] induced .himthust. ospuronso .onerthan
. his [A] ttendan .tsIamsor. rysaidthe {STRANGER}
. tob [R] eakinup .onyouthu. sunseason .ablyHere
. the [B] aronint .errupted. himwithaw .orldofco
. mpl [I] mentsan .dgreetin. gsfortote .llthetru
. thh [E] pridedh .imselfup. onhiscour .tesyande
. loq {U} enceThe {STRANGER} attempted .onceortw
. ice {T} ostemth .etorrent. ofwords
.
[DARBIE {UT}] 36 : Lord {STRANGE} : Traveler
.......................................................
.......................................................
The dismay at the castle may well be imagined. The baron
shut himself up in his chamber. The guests, who had come to
re{J}oice {W}ith h{I}m, cou{L}d not {T}hink {O}f aba{N}doning
him in his distress. They wandered about the courts or collected
in groups in the hall, SHAKing their heads and shrugging their
shoulders at the troubles of so good a man, and sat longer
than ever at table, and ate and drank more stoutly than
ever, by way of keeping up their spirits.
.
{J.WILTON} 5 : Prob. in _A *TRAVELLER’S* TALE_ ~ 1 in 25,000
------------------------------------------------------
. The Tempest Act IV, scene I
.
Caliban:
. The drops{I}e dro{W}ne th{I}s foo{L}e, wha{T} doe y{O}u (mea{N}e
. To doate thus on such luggage? let's alone
. And doe the murther first: if he awake,
. From toe to crowne hee'l fill our skins with pinches,
. Make vs {STRANGE} stuffe.
.
{I.WILTON} 5 : Prob. in a line of the Tempest ~ 1 in 7,500
----------------------------------------------------------
Terry Ross wrote: <<The emblematic device at the head
. of the [*MINERVA* Britanna] title page with its motto:
........................................................
. "{UT} [A](L)IJ[S], (ME) C[ONS]U[M](E)"
. ("as you burn I consume myself")
. and its picture of two lighted *CANDLES*.>>
.
https://hankwhittemore.files.wordpress.com/2011/07/minerva-1.jpeg
.
. "{UT} [A](L)IJ[S], (ME) C[ONS]U[M](E)"
...............................................
.. <= 4 =>
.
. [M](E) {U T}
. [A](L) .i j
. [S](M E) .c
. [O. N S] .u
.....................................
. Old French: (ELME) : *HELMET*
.
https://en.wikipedia.org/wiki/Cutting_of_the_elm
-----------------------------------------------
___....... <= 3 x 7 =>
.
. {U}(P O N) t h e L i n e s a n d L i f e o f
. {T}(H E) F a m o u s S c e n i c k e P o e t
.
. [M A S T E R] W I L L I A M S H A K E S P E
. [A] R E T h o s e h a n d s w h i c h y o u
. [S] O c l a p t g o n o w a n d w r i n g Y
. [O] u B r i t a i n e s b r a v e f o r d o
. [N] e a r e S h a k e s p e a r e s d a y e
. [S]
.
[MASONS] 21 : Prob. at start of poem ~ 1 in 9460
.......................................................
<<The (U)nfortunate (T)raveller (1594) by Thomas Nashe
is a *picaresque novel* about {I}ack {WILTON}'s adventures
through the European continent in which he finds himself
swept up in the currents of 16th-century history.>>
.......................................................
. His dayes are done, that made the dainty Playes,
. Which made the Globe of heav'n and earth to ring.
. Dry'de is that veine, dry'd is the Thespian Spring,
. Turn'd all to teares, and Phoebus clouds his rayes:
. That corp's, that coffin now besticke those bayes,
. Which crown'd him {POET} first, t[H]en {PO[E]TS} Ki[N]g.
. If T[R]aged[IES] migh{T} any P{R}olog{U}e hav{E},
. All t[H]ose h[E] made, [W]ould [S]cars(E) make (O)ne to this:
. Where Fame, now that he gone is to the grave
. (Deaths publique tyring-house) the Nuncius is.
. For though his line of life went soone about,
. The life yet of his lines shall never out.
...............................................
... <= 5 =>
.
. {P. O. E. T} f
.. i. r. s. t, t
. [H] e. n {P. O
. [E] T S}. K. i
. [N] g. I. f. T
. [R] a. g. e. d
. [I. E. S] m. i
.. g. h {T} a. n
.. y. P {R} o. l
.. o. g {U} e. h
.. a. v {E} A. l
.. l. t [H] o. s
.. e. h [E] m. a
.. d. e,[W] o. u
.. l. d [S] c. a
.. r. s (E) m. a
.. k. e (O) n. e
..........................................
[HENRI/ES] 5 : Prob. in poem ~ 1 in 8,000
{TRUE} 5 : Prob. in poem ~ 1 in 28
[HEWS] 5 : Prob. in poem ~ 1 in 25
------------------------------------------------------
. [ALL FOR ONE] : [TOUT PAR UNG]
....................................................
https://tinyurl.com/yczlkh29
“The {TWO} Most Noble [HENRI/ES]”
– [He]nry de [VERE] & Henry Wriothesley –
89th Reason why the 17th Earl of Oxford was “Shakespeare”
..................................................................
https://en.wikipedia.org/wiki/Henry_de_Vere,_18th_Earl_of_Oxford
[He.] de [VERE], 18th Earl of Oxford KB (24 Feb. 1593 – June 1625)
-----------------------------------------------------------------
. Sonnet 19
.
. Make glad and sorry seasons as thou fleet'st,
. And do what ere (t)hou wil[T (S)WIFT]-foo(t)ed time
. T(o) the wi{D}e (w)orld and [{A}LL] her fadi{N}g sweets:
. Bu{T} I [FOR]bid th{E}e [ONE] most h{A}inous crime,
.
. O car{U}ue not wi{T|H] thy ho{W|e]rs my l{O|V]es fair[E] brow,
. No[R] draw no[E] lines there with thine antique pen,
. Him in thy course vntainted doe allow,
. For beauties patterne to succeding men.
.
. Yet doe thy worst ould Time dispight thy wrong,
. My love shall in my verse *EVER (liv)E YOUNG*.
.............................................
..... <= 7 =>
.
. O c a r {U} e. n
. o t w i {T}[H] t
. h y h o {W}[e] r
. s m y l {O}[V] e
. s f a i. r [E] b
. r o w,N. o [R] d
. r a w n. o [E] l
. i n e s. t. h. e
. r e
.
[He.VERE] 7
..................................................
......... <= 10 =>
.
.. A n. d. d. o. w h. a t. e
.. r e (t) h. o. u w. i l [T
. (S)W. I. F. T] f o. o(t) e
.. d t. i. m. e. T(o) t h. e
.. w i {D} e (w) o r. l d. a
.. n d [A} L. L] h e. r f. a
.. d i {N} g. s. w e. e t. s:
.. B u {T} I [F. O R] b i. d
.. t h {E} e [O. N E] m o. s
.. t h {A} i. n. o u. s c. r
.. i m. e,
.
{DANTE A.} 10
------------------------------------------------------------------
https://en.wikipedia.org/wiki/Saint_Lucy
<<[LUCIA] of Syracuse (283–304), also known as Saint Lucy is patron
saint of the blind, *AUTHORS*, cutlers, glaziers, laborers, & peasants.
[LUCIA] appears in {DANTE A}lighieri's Inferno Canto II as the messenger
sent to Beatrice from the Virgin Mary, to rouse Beatrice to send Virgil to
Dante's aid. In the Purgatorio 9:52–63, Lucy carries the sleeping {DANTE}
to the entrance to Purgatory. Then in Paradiso *32* {DANTE} places her
opposite Adam within the *MYSTIC ROSE* in Canto *32* of the Paradiso.>>
-------------------------------------------------------------------
Shakespeare Oxford Newsletter Vol. 51, No. 3: Summer 2015
- by Mark Stahley, St Paul MN
......................................................
<<I tried putting [the 144 dedication letters]
in a 12x12 square. The letters "ORIW" going down
caught my eye... and I realized you could unscramble
them to spell the name "H. Wriotheslie, SH"
("SH" for Southampton, perhaps). In the grid
below, you can see the contiguous letters:
"TO {WRIOTHESL(ie)}" .>>
.........................................
....... <= 12x12 SQUARE =>
.
.. T. O {T. H. E. O} N. L. I. E B E
.. G. E. T. T. E {R} O. F. T. H E S
.. E. I. N. S. V {I} N. G. S. O N N
.. E. T [S]{M} R {W} H. A. L. L H A
.. P {P}[I]{N} E (S) S. E. A. N D T
.. H {A}[T]{E} T {E} R [N] I. T I E
.. P {R}[O]{M} I {S}[E] D. B. Y O V
.. R {E}[V]{E} R {L} I. V. I. N G P
. {O} E. T. W [I] S. H. E. T. H T H
. {E} W. E [L] L. W. I {S} H. I N G
.. A. D {V} E. N. T. V {R} E. R I N
.. S [E] T. T. I. N. G {F} O. R T H
.........................................
- _The De Vere Code_ by Jonathan Bond
.......................................
[VOTIS] : to *VOW* or *PROMISE*
{PARE/O} : to appear, be visible
.
{MNEME} : (Μνήμη) muse of *MEMORY* Prob. ~ 1 in 45,000
.
TO {WRIOTHESL(y)} : Prob. ~ 1 in 4000
[NE{V}IL{L}E] : Prob. ~ 1 in 2100
.
{PARE} : Ovid's _Fasti_ 3
PAR/PARIS : a companion, comrade, mate
-------------------------------------------------------
. Antony and Cleopatra Act 5, Scene 2
.
CLEOPATRA: Shall they hoist me up
. And show me to the shouting varletry
. Of censuring Rome? Rather a ditch in Egypt
. Be gentle grave unto me! rather on *NILUS' mud*
. Lay me stark naked, and let the water-flies
. Blow me into abhorring! rather make
. My country's high PYRAMIDES my *GIBBET*,
. And HANG me up *IN CHAINS*!
......................................................................
*GIBBET*, n. [OE. gibet, F. gibet, in OF. also club, fr. LL. gibetum;
cf. OF. gibe sort of sickle or hook, It. giubbetto gibbet, and
giubbetta, dim. of giubba mane, also, an under waistcoat, doublet,
Prov. It. gibba); so that it perhaps originally signified
a halter, a rope round the neck of malefactors; or it is,
perhaps, derived fr. L. gibbus HUNCHED, HUMPED,
E. gibbous; or cf. E. jib a sail.] 1. A kind of gallows;
an upright post with an arm projecting from the top,
on which, formerly, malefactors were hanged *IN CHAINS* ,
and their bodies allowed to remain as a warning.
-----------------------------------------------------------
....................... <= 16 x 9 =>
.
__________________ T. O t h e o(N)l i[E]B E G E T T
__________________ E {r}o f t{H}e[S|E]I N S U I N G
__________________ S {o}n n{E}T S(M)R W H A L L H A
__________________ P {p}i{N}e S[S|E|A)N D(T)H A T E
__________________ T {e|R}n I T I[E]p(R)o M(I)S E D
__________________ B {Y}o U R E V E R l(I)V I(N)G P
__________________ O. E T W I S H E T H T(H)E W(E)L
__________________ L |W]I S H I N G A D V E n T U(R)
__________________ E |r]I N S E T T I N G{f o r}T H
......................................................
. T O T H E O. N L I [E| .B E G E T T E R
. O F T H E S. E I N [S| .U I N G S O N N
. E T S M R W. H A L [L|H] .a P P I N E S
. S E A N D(T) H A T [E|T](E) r N I T I E
. P R O M(I) S E D B [Y|O] U(R) e V E R L
. I V I(N) G P O E T [W|I] S H(E) t H T H
. E W(E) L L W I S H [I] N G A(d V e) N T
. U(R) E R I N S E T [T] I N G{f o r} T H
.
.............. <= 18 x 9 =>
------------------------------------------------------
http://www.philological.bham.ac.uk/anagrams/
.
<<Even more curious is the one for Southampton,
which explicitly states that he had been convicted
of treason on false testimony inspired by envy.>>
.............................................
. HENRICUS URIOTHESLEUS
_____ per anagramma
. *THESEUS* NIL REUS HIC RUO
.
.. [I] ure quidem poteras hanc fundere ab ore querelam,
.. [S] ors tibi dum ficto crimine dura fuit:
. "[N] il reus en Theseus censura sortis iniquae
.. [H] ic ruo, livoris traditus arbitrio."
.. [A] t nunc mutanda ob mutata pericla querela est.
.. [I] nclite, an innocuo pectore teste rues?
.. [N] on sane. Hac haeres vacuo dat *VIVERE* cura,
.. [C] ollati imperii sub Iove sceptra gerens.
.............................................
. *ISNHAINC* {anagram} *IN CHAINS*
.
*Victorious though IN CHAINS* )
.............................................
. HENRY WRIOTHESLEY by an anagram
. ('HERE I FALL, *THESEUS, GUILTY OF NOTHING* ')
.
Justly you were able to pour forth this complaint from
your mouth, your lot was harsh while a false accusation
prevailed. 'L.O. , Theseus is guilty of NOTHING , *HERE*
I fall by an unfair lot's censure, betrayed by ENVY's whim.'
But now the complaint is to be altered, because of
altered perils. Great man, do you take a fall
with an innocent heart bearing witness? Not at all.
The HEIR, wielding the scepter of rule conferred
under Jove's auspices, grants you to live free of this
.............................................
http://www.philological.bham.ac.uk/anagrams/text.html
-----------------------------------------------------------------
Plutarch's Lives Volume I : http://www.stoics.com/plutarch_1.html
. Translated out of Greek into French by James Amyot,
. Abbot of Bellozane, Bishop of Auxerre,
. and out of French into Englishe by *THOMAS NORTH*
.
<<The greatest and most solemne sacrifice they doe unto [*THESEUS*],
is on the *eight daye of October*, in which he return-
THESEVS ed from CRETA, with the other younge children of ATHENS:
-----------------------------------------------------------------
*eight daye of October*, 1600 A Midsummer Night's Dream entered
. on Stationers' Register.
..............................................................
. THOMA(s) SNOUT
. SOUTHAM(p)TON
..........................................................
https://en.wikipedia.org/wiki/Tom_Snout
.
<<[THOMA(s) SNOUT] is a character in William Shakespeare's A Midsummer Night's
Dream. He is a tinker, and one of the "mechanicals" of Athens, amateur players
in Pyramus and Thisbe. Tom Snout was originally set to play Pyramus's father,
but the need for a wall was greater, so he discharged The Wall which separates
Pyramus' and Thisbe's gardens. In Pyramus and Thisbe, the two lovers whisper
to each other through SNOUT's fingers (representing a gap in the wall).
Snout has eight lines under the name of TOM SNOUT, and
two lines as The Wall. He is the Wall for Act V-Scene 1.
..................................................................
Wall: Thus have I Wall, my part discharged so;
And being done, thus Wall away doth go.
..............................................................
. This man, with lyme and rough-cast, doth present
. Wall, that vile wall, which did these louers sunder:
. And through walls chink (poor soules) they are content
. To [W.H.]isper. At the which, let *no man* wonder.
--------------------------------------------------------
T O T H E R I G H T H O N O R A B L E
Henrie Wriothesley, Earle of Southampton,
and Baron of Titchfield.
RIght Honourable, I know not how I shall offend in
dedicating my unpolisht lines to your Lordship, nor
how the worlde Will censure mee for choosing so
strong a proppe to support so Weake a burthen,
onelye if your Honour seeme but pleased, I ac-
count my selfe highly praised,
and *VOWE* to take advantage of all idle houres,
TILL I [H]AV[E] HO[N]OU[R]ED [Y]OU [W.]IT[H.] SO[M]E G[r.]
-AVER LABOUR.
[HENRY W.H. Mr.] 3 : Prob. [HENRY W.] in V&A dedication ~ 1 in 36,000
.....................................................................
AVER, n. [OF. AVER domestic animal, whence LL. AVERia,
pl. cattle. cf. {AVERage}.] A WORKING OX. [Obs. or Dial. Eng.]
..............................................................
Moby Dick by Herman Melville
Chapter 103: Measurement of The Whale's Skeleton
The largest, a middle one, is in width somet[H]ing less than
three fe[E]t, and in depth more tha[N] four. The smallest,
whe[R]e the spine tapers awa[Y] into the tail, is only t[W]o
inches in width, and looks something like a white billiard-ball.
.............................................................
[HENRY W.] 19 : shortest skip in Moby Dick or KJV.
----------------------------------------------------
Art Neuendorffer
http://en.wikipedia.org/wiki/Calygreyhound
https://tinyurl.com/yxndhw7c
.
<<The calygreyhound is a mythical creature, that appears on Medieval heraldry. The de Vere family, who were the Earls of Oxford, used the calygreyhound in their coat of arms in the 15th and 16th centuries. The calygreyhound may be unique to the de Veres, and unlike most heraldic monsters, it made no attempt to seem realistic. The calygreyhound is described consistently as having the head of a wildcat, the torso of a deer or antelope, the claws of an eagle on its forefeet, ox hooves, antlers or horns, the hind legs of a lion or ox, and its tail like a lion or poodle. On some rare occasions the Calygreyhound may be seen as depicted with the wings of an eagle. It is said to represent speed. It is generally accepted that the calygreyhound is simply a figment of the artist's imagination, but some parts of it are based on reality. When it is depicted, it does not have a consistent position.>>
---------------------------------------------------------
The 'Hunt for Pan' Folio headpiece:
.
http://www.cuttingedge.org/KJVImages/Headpiece_Hunt_Pan_ActsApos.jpg
.
http://www.cuttingedge.org/KJVImages/Most_Noble.jpg
http://www.cuttingedge.org/KJVImages/catalogue.jpg
http://www.cuttingedge.org/KJVImages/tempest.jpg
.
http://www.cuttingedge.org/news/k1003.cfm
.
1) Indian child w/two phalli: Ferdinando & William Stanley
2) Peacock [ *PAVO* ] : Roger & Francis {MANNERS}.
3) Five petaled *Wild ROSE* : [H]enry [CAREY], 1st Baron Hunsdon
4) Arrow {PHEON}: SIDNEY/Pembroke
5) {CON}ey {BA}ck: Francis {BA/CON}
6) Calygreyhound: Oxford
----------------------------------------------------------
.http://shakespeareauthorship.com/wds1.html
.
. Some interesting 5-letter Rollett strings
. "found in arrays based on the first 144 letters
. of the dedication to Shakespeare's Sonnets.":
.
. {PHEON} : 1106d (Sidney *PHEON* crest)
. [HIRAM] : 1706u (Hebrew חירָם "high-born" = 51 = 3 x 17)
...............................................................
2 Samuel Chapter 5:11 ¶ And [HIRAM] king of Tyre sent messengers
. to Dauid, and Cedar trees, and carpenters, and [MASONS]:
. and they built Dauid an house.
...............................................................
1 Chronicles 14:1 - Now [HIRAM] king of Tyre se{N}t messengers
. t{O} Dauid, and timb{E}r of Cedars, wit{H} [MASONS],
. and car{P}enters to build him an house.
...................................
. . . . <= 13 =>
.
. [H I R A. M] k i n g o f T y
. .r e s e {N} t m e s s e n g
. .e r s t {O} D a u i d,a n d
. .t i m b {E} r o f C e d a r
. .s,w i t {H}[M A S O N S]a n
. .d c a r {P} e n t e r s t o
. .b u i l. d .h i m a n h o u
. .s e.
.
[MASONS] 1
[HIRAM]. 1
{PHEON} 13
............................................
1 Chronicles 14:14
. Therfore Dauid enquired againe of God, and God said vnto him,
. Goe not v{P} after t{H}em, turn{E} away fr{O}m them, a{N}d
. come vpon them ouer against the [MULBERY TREES].
...........................
. . . <= 7 =>
.
. .G. o e n o t v
. {P} a f t e r t
. {H} e m,t u r n
. {E} a w a y f r
. {O} m t h e m,a
. {N} d c o m e v
. .p. o n t h e m
. .o. u e r a g a
. .i. n s t t h e
. [M. U L B E R Y
. .T. R E E S]
.
{PHEON} 7 : Prob. of both in this [MASONS] Chap. ~ 1 in 1,346
............................................
15 And it shall bee, when thou shalt heare a sound of going in the tops of the [MULBERY TREES], that then thou shalt goe out to battaile: for God is gone foorth before thee, to smite the hoste of the Philistines.
--------------------------------------------------
Mary Sidney Herbert --- Newly drawn?
The *SWans* on the collar look suspiciously prominent.
. . . http://tinyurl.com/k2m72rc
..................................................
And make those flights upon t{He} bankes of Tha[M]es,
That so did t[A]ke Eliza, and ou[R] James !
B{U}t stay, [I] se{E} thee in th{E} [He]misphe{R}e
Advanc'd, and made a Constellation t{He}re !
.......................................
. . . . . <= 13 =>
.
. A n d m a k e t h o s. e f
. l i g h t s u p o n t [H(e)]
. b a n k e s o f T h a [M]e
. s T h a t s o d i d t [A]k
. e E l i z a a n d o u [R]J
. a m e s B U t s t a y [I]s
. e E t h e e i n t h E [H(e)]
. m i s p h e R e A d v. a n
. c'd,a n d m a d e a C. o n
. s t e l l a t i o n t [H(e)]r e !
.............................................
[MARI.H(e)] 13 : Prob. at end ~ 1 in 2525
[HIRAM]. . -13
..................................................
THE LA. [MARI]e [H(e)]r(be)rt COUNTESSE OF PEMBROOKE.
-----------------------------------------------------
[M]r. William SHAK<ES>P(E|A|R)ES
COMEDIES, H<I>STO[R|I)ES, & TRAGEDIES.
<P>ubl[I|S)hed according to t[H(e)]
. True Originall Co<PIES>
.............................................
_________ <= 17 =>
. [M]R. W i l l i a m S (H) A K <E S> P (E)
. [A|R} E S C o m e d i (E) s,H <I> s t (O)
. [R|I} e s&T r a g e d (I) e s <P> u b. l
. [I|S} h e d a c c o r (D) i n. g .t o. t
. [H(e)} T r u e O r i g (I) n a. l .l C. o
. {P I E S}.
.
[MARI.H(e)] 17 : Prob. ~ 1 in 4174
[HIRAM]. . -17
---------------------------------------------
_________ <= 17 =>
. T O T H E (O) N L I E B E. G .E T T (E)
. R O F T H (E) S E I N S V. I .N G S (O)
. N N E T S [M] R W H A L L {H} A P P. I
. N E S S E [A] N D T H A T {E} T E R. N
. I T I E P [R] O M I S E D {B} Y O V. R
. E V E R L [I] V I N G P O {E} T W I. S
. H E T H T [H(e)]W E L L W. I .S H I. N
. G A D V E. N .T V R E R I. N .S E T. T
. I N G F O. R .T H T T
[MARI.H(e)] 17 : Prob. ~ 1 in 10,000
[HIRAM]. . -17
------------------------------------------------------
. B.O.T. (Baron of Titchfield)
. E.S. (Earl of Southampton)
. W. (Wriothesley)
-------------------------------------------------------
THE TEMPEST. Actus primus, Scena prima.
A tempestuous noise of Thunder and Lightning heard:
Enter a Ship-master, and a [B.O.T./E.S./W.]aine.
.........................................................
. B.O.T.E.S.W.("aine" : "harmony" [Scottish] )
.
(B)aron (O)f (T)itchfield/(E)arl (S)outhampton/(W)riothesley
.........................................................
Master. [B.O.T./E.S./W.]aine.
[BOTES]: Heere Master: What cheere?
--------------------------------------------------------
. (B)aron (O)f (T)itchfield/[H]enry [W]riothesley
.......................................................
. (T)his Figure, that thou here seest put,
..... It was for gentle Shakespeare cut,
... [W]herein the Graver had a strife
..... with Nature, to out-doo the life :
. (O), could he but have drawne his wit
..... As well in brasse, as he hath hit
... [H]is face ; the Print would then surpas[SE]
..... All, that was *EVER WRIT* in bras[SE].
. (B)ut, since he cannot, Reader, looke
..... Not on his Picture, but his Booke.
.........................................................
"In Vinculus Invictus" Motto in Tower Painting:
.
. https://tinyurl.com/zpa7rug
. https://tinyurl.com/gnj9385
.
DROESHOUT/HERODOTUS = "In Vinculus Invictus" Painting:
.
. 1) Large forehead
. 2) all seeing left eye
. 3) 14 buttons
. 4) eyebrows
. 5) nose
. 6) moustache
. 7) lips
.
http://emc.english.ucsb.edu/images/shakespeare-frontispiece_L.jpg
----------------------------------------------------------------
. (T)his F(I)gure, that t[H]ou here (S)eest put,
. It [W|A)s (F)or g{E}ntle Shake[S|P)e(A)re c{UT},
. [W]herein t{H|E) G(R)ave{R H}ad a strif{E}
. with Na{TURE}, to out-do{O} the life :
.........................................................
........... <= 17 =>
.
. (T) h. i s F (I) .g u. r e,t h a t t [H.] .o
.. u. h. e r e (S) .e e. s t p u t,I t [W.] (A)
.. s (F) o r g {E} .n t. l e S h a k e [S.] (P)
.. e (A) r e c {U T} [W] h e r e i n t {H.} (E)
.. G (R) a v e {R H}. a. d a s t r i f {E.} .w
.. i (T) h N a {T U R E},t o o u t-d o {O.} .t
.. h e l i f e:
.......................................
{TRUE}. -17 : Prob. in first Q. ~ 1 in 53
{TRU/TH}
[H.W.S.] 17
{H.E.O.} 17
(FART). 17
...................................................
. (O), could he but <H>a{V}e drawn<E> his wit
.. As <W>ell in bra<S>se, as he hath <H>it
. [H]is fac<E> ; the Print <W>ould then <S>urpasse
. *ALL*, that was *EVER WRIT* in brasse.
. (B)ut, since he cannot, Reader, looke
.. Not on his Picture, but his Booke.
...................................................
........ <= 9 =>
.
. (O) c. o. u. l. d h e. b
.. u. t <H> a {V} e d r. a
.. w. n <E> h {I} s w i. t
.. A. s <W> e {L} l i n. b
.. r. a <S> s {E} a s h (E)
.. h. a. t. h <H> i t[H](I)
.. s. f. a. c <E>;t h e (P)
.. r. i. n. t <W> o u l. d
.. t. h. e. n <S> u r p. a
.. s. s. e *A. L. L*
....................................
<HEWS> 9,9 : Prob. of both with same skip ~ 1 in 4,000
........................................................
"A man in hew *ALL* <HEWS> in his controwling"
.......................................................
. [H] [W] : [H]enry [W]riothesley
. <E> <S> : <E>arl of <S>outhampton
--------------------------------------------------------------
2 Kings 12:12-14
And to [MASONS], and {HEWERS of STONE}, and to buy timber, and {HEWED STONE} to repaire the breaches of the house of the Lord, and for all that was laid out for the house to repaire it. Howbeit, there were not made for the house of the Lord, bowles of siluer, snuffers, basons, trumpets, any ves{S}els of gold, or vessels of siluer, of the money that {W}as brought into the house of the Lord: But they gau{E} that to the workemen, and repaired therewith the {H}ouse of the Lord.
.............................................................
. . . . . . . . . . . . . <= 41 =>
.
. And. to[MASONS]an. d {HEWE .R. SofSTONE} andtobuytimber
. and {HE WEDSTO NE} t .orep .a. irethebr. eachesofthehou
. seo. ft heLord an. d .fora .l. lthatwas. laidoutfortheh
. ous. et orepai re. i .tHow .b. eitthere. werenotmadefor
. the. ho useoft he. L .ordb .o. wlesofsi. luersnuffersba
. son. st rumpet sa. n .yves {S} elsofgol. dorvesselsofsi
. lue. ro fthemo ne. y .that {W} asbrough. tintothehouseo
. fth. eL ordBut th. e .ygau {E} thattoth. eworkemenandre
. pai. re dthere wi. t .hthe {H} ouseofth. eLord
.
{HEWS} -41
-------------------------------------------------------------
Dave Roper: "{SO TEST} Him, *I UOW* He Is Edward De Uere"
.......................................................................
. . . . . . . . . . . . . <= 34 =>
.. T E R. R. A. TE... [G] .I T,PO. PULUSMÆRE. . . . . . . TOLYMPUSHABET
......................................................................
.. S T A. Y. P. AS_.. [S] .E N GE. RWHYGOEST. . . . . . . THOVBYSOFASTR
.. E A D. I. F. T_ (H)[O] .V C AN. STWHOM. . [E] . [N] . VIOVSDEATHHATH
. *P L A <S> T* W- (I){T} <H{I}NT> HISMON. . [U] (M) [E] .NTSHAKSPEAREW
.. I T H <W> H. O. (M){E} .Q{U}IC. KNATVR. . [E D] (I) [D] EWHOSENAMEDO
.. T H D <E> C. KY... {S} .T{O}MB. EFARMO. . [R E] t (H) . ENCOSTSIEHAL
.. L Y T <H> E. HA-.. {T} .H{W}RI. TTLEAV. . [E] . . . .SLIVINGARTBVTPA
.. G E T. O. S. ER.... V. .E H IS. WITT
.......................................................................
[EUERE][DE] 34
{SO TEST} . 34
{I UOW} . . 34
<HEWS>. . . 34
------------------------------------------------------------
(The King James & only the King James Version):
Psalm *46*
"SHAKE" is the *46*th word from the beginning,
and "SPEAR" is the *46*th word from the end.
------------------------------------------------------------------------
................. <= 46 =>
.
. SHakespeareatl e. n g t h .thypi. o u s f e l l o w e s g i u e T h e .worl
. dthyWorkesthyW o. r k e s .bywhi. c h o u t l i u e T h y T o m b e,t .hyna
. memustwhenthat S. T O N E .isren. t A n d T i m e d i s s o l u e s t .hyST
. RATFORDMONIMEN T. H e r e .weali. u e s h a l l v i e w t h e e s t i .llTh
. isBookeWhenBra s {S}e a n .dMarb. l e f a d e,s h a l l m a k e t h e .eloo
. keFreshtoallAg e {S W}h e .nPost. e r i t i e S h a l l l o a t h w h .atsn
. ewthinkeallisp r {O}d{E}g .ieTha. t I{S}N O T*S[H]A K E S P E A R E S* eury
. LineeachVerseH e {R}e s{H} allre. u i u{E}r E[D]e e m e t h e e f r o .mthy
. HerseNorFireno r {C}a n k .ringA. g e a s{N|A]s o s a i d O f h i s t .hywi
. tfraughtBookes h [A]l l o .ncein. u a d E[N|O}r s h a l l I e r e b e .leeu
. eorthinketheed e [A]d T h .oughm. i s T[U]n t{I}l l o u r b a n k r o .utSt
. agebespedImpos s. i b l e .withs. o m[E]n e w s t r a i n e t o u t d .oPas
. sionsofIulieta n. d h e r .Romeo. O[R]t i l l I h e a r e a S c e n e .more
. noblytakeThenw h. e n t h .yhalf [S|W O R D}p a r l y i n g R o m a n .sspa
. keTillthesetil l. a n y o .fthyv. o l u m e s r e s t S h a l l w i t .hmor
. efiremorefeeli n. g b e e .xprEs. t B e s u r e o u r S h a k e s p e .aret
. houcanstnEVERD Y. E B u t .crOwn. d w i t h L a w r e l l l i u e e t .erna
. lly.
.
[H.DANUERS] 45 : Prob. in poem ~ 1 in 192,000
(IONES) -47 : Prob. mear [H.DANUERS] ~ 1 in 950
{[AA]CROSS} -46 : Prob. {CROSS} in poem ~ 1 in 67
{HEWS} -47
---------------------------------------------------------
http://shakespeareauthorship.com/monrefs.html
17th-century References to Shakespeare's Stratford Monument
by David Kathman
<<One of the 1623 First Folios in the Folger Shakespeare Library
(no. 26 according to the Folger numbering) contains 3 handwritten
poems on the last end page of the volume, written in a secretary
hand dating from approximately the 1620s. The first of these is
the poem from Shakespeare's monument in the Stratford church
("Stay passenger why go'st thou by so fast"). The second
is not recorded elsewhere, and goes as follows:
..............................................................
. Heere Shakespeare lyes w{H}[OME N]one but Death could *SHAKE*
. and he{E}re shall ly till judgeme[N]t all awake;
. {W}h[E]n the last tru[M]pet doth uncl[O]se hi{S} eyes
. the wi{T}tie{S}t po{E}t in {T}he w[O]rld [S]hall *RISE*.
.........................................................
.................... <= 31 =>
.
. S h a k e s p e a r e l y e s w {H}[O M E N]o n e b u t D e a t
. h c o u l d*S H A K E*a n d h e {E} r e s h a l l l y t i l l j
. u d g e m e[N]t a l l a w a k e {W} h[E]n t h e l a s t t r u[M]
. p e t d o t h u n c l[O]s e h i {S} e y e s t h e w i{T}t i e{S}
. t p o{E}t i n{T}h e w[O]r l d[S] h. a(L)l R I S E.
.
{HEWS} 31 : Prob. ~ 2 in 15
.........................................................
...... <= 12 =>
.
.. S h a k e s p e. a. r e l
.. y e(S)w h[O M E. N] o n e
.. b u t D e a t h. c. o u l
.. d*S H A K E*a n. d. h(E)e
.. r e s h a l l l. y. t i l
.. l j u d g e m e [N] t a l
.. l a w a k e(W)h [E] n t h
.. e l a s t t r u [M] p e t
.. d o t h u n c l [O] s e h
.. i s(E)y e s t h. e. w i{T}
.. t i e{S}t p o{E} t. i n{T}
.. h e w[O]r l d[S] h. a(L)l
. *R I S E*.
.
[NEMO] 12 : Prob. ~ 1 in 88
.....................................
. <= 4 =>
.
.. e.. w. i {T}
. (T). i. e {S}
. (T) <P> o {E}
. (T) <I> n {T}
. (H) <E> w {O}
.. r.. l. d {S}
.. h.. a. l. l
... *R I S E*.
..........................................
{SO TEST} -4 (Prob. skip <5 ~ 1 in 2580)
------------------------------------------------------
5[S WE H]'s:
...................................................
TO THE MOST NOBLE AND INCOMPARABLE PAIRE OF BRETHREN.
WILLIAM Earle of Pembroke...
WHilst we studie to be thankful in our particular,
for the many fauor[S WE H]aue receiued from your L.L
...................................................
While we name them trifle[S, WE H]aue
depriu'd our selues of the defence of our Dedication.
...................................................
When they were acted, as before they Were *PUBLISHED*,
the Volume ask'd to be your[S. WE H]aue but collected them,
...................................................
Wherein, a[S WE H]aue iustly obserued, no man to come neere your L.L.
...................................................
and many Nation[S (WE H]aue heard) that had not gummes & incense,
-----------------------------------------------------------------
<<While browsing through the book, 'Secret Diplomacy,
Expionage & Cryptography 1500-1815,' BALLANTINE learned that
authors of Greek tragedies traditionally constructed their
plays 'so that the first 8 iambic lines made 4 connected
anagrams. *The first Two lines gave the name of the author*'>>
.............................................................
________ *The Two Gentlemen of VERona*
.
VALENTINE: CEease to perswade, my louing Protheus;
. HOME-keeping youth, haue *{EU}ER HO{M}ELY WITS*
....................................................
___ *{EU}ER HO{M}ELY WITS*
.....................................
__________...... {M}
__________...... {U}
_ *W R I O T H E {S} L E Y*
__________...... {E}
--------------------------------------------------------------
. King Richard II Act 3, Scene 2
.
KING RICHARD II: Our lands, our lives and all are Bolingbroke's,
. And nothing can we call our own but death
. And that small model of the barren earth
. Which serves as *PASTE and COVER to our BONES*.
........................................
"[Shakespeare] is a Brontosaur: nine bones and
six hundred barrels of *PLASTER* of paris." - Mark Twain
--------------------------------------------------------------
Quince: Then there is another thing,
. we must haue a wall in the great Chamber; for Pi-
. ramus and Thisby (saies the story) did talke
. through the chinke of a wall.
.
. THOMA(s) SNOUT: You can neuer bring in a wall.
. [SOUTHAM(p)TON] What say you Bottome?
.
Bottom: Some man or other must present wall, and let
. him haue some *PLASTER*, or some Lome, or some rough
. cast about him, to signifie wall; or let him hold his fin-
. gers thus; and through that cranny shall Piramus and
. Thisby whisper.
----------------------------------------------------------------
READ IF THOV CANST, WHOM ENVIOVS DEATH HATH *PLAST*
WITH IN THIS MONVMENT SHAKSPEARE: WITH WHOME,
QUICK [NATURE DIDE] [WHoSE] [NAM {E] DO}<TH. DECK.> YS TOMBE,
*FAR* MORE,THEN COST: [SIEH] ALL, YT HE HATH WRITT,
................................................................
[N(a)TUREDIDE] [.W.H.oS.E] [si eH] [NAM {E] DO}<TH. DECK.>
[He is] [E.MAN.]&[E.So. H.W.] [EDIDERUT(a)N] / {EDO} <TH. DECK.>
.............................................................
{EDO}: I give out, put or bring forth; eject, discharge.
. I produce, bear, give birth to, yield, form, *BEGET* .
. I put forth, *PUBLISH* , spread abroad.
. I *SET FORTH*, relate, tell, disclose, deliver, announce, declare.
. I produce, perform, show, inflict, bring about, cause.
. I \ARAISE\ , lift, elevate.
.
[EDIDERUNT(a)]: 3rd-person plural perfect active indicative of {EDO}
[They have *SET FORTH*]
-----------------------------------------------------------------
To [.W.H.oS.E] sound chaste wings obay.
...................................................
3: [.W.H.oS.E] fresh repaire if now thou not renewest,
8: [.W.H.oS.E] speechlesse song being many, seeming one,
....................................................
. *EDO-uardus VERUS*
....................................................
. {EDO} , edere, EDIDI, EDITum, [EDIDERUNT] (Latin)
. give out, *SET FORTH*; bring forth, beget, produce;
. relate, tell, utter; *PUBLISH*.
-------------------------------------------------------------
Master. [BOTESW]aine.
[BOTES]: Heere Master: What cheere?
[BOTES]: Heigh my hearts, cheerely, cheerely my harts:
yare, yare: Take in the toppe-sale: Tend to th'Masters
whistle: Blow till thou burst thy winde, if roome enough.
Alon. Good [BOTESW]aine haue care:
where's the Master? Play the men.
[BOTES]: I pray now keepe below.
Anth. Where is *the MASTER*, Boson?
[BOTES]: Do you not heare him? you marre our labour,
Keepe your Cabines: you do assist the storme.
Gonz. Nay, good be patient.
[BOTES]: When the Sea is: hence, what cares these
roarers for the name of King? to Cabine;
silence: trouble vs not.
Gon. Good, yet remember whom thou hast aboord.
[BOTES]: None that I more loue then my selfe. You are
a Counsellor, if you can command these Elements to si-
lence, and worke the peace of the present, wee will not
hand a rope more, vse your authoritie: If you cannot,
giue thankes you haue liu'd so long, and make your
selfe readie in your Cabine for the mischance of the
houre, if it so hap. Cheerely good hearts: out of our
way I say. Exit.
Enter [BOTESW]aine.
[BOTES]: Downe with the top-Mast: yare, lower, lower,
bring her to Try with Maine-course. A plague ---
A cry within. Enter Sebastian, Anthonio & Gonzalo.
vpon this howling: they are lowder then the weather,
or our office: yet againe? What do you heere? Shal
we giue ore and drowne, haue you a minde to sinke?
Sebas. A poxe o'your throat, you bawling, blasphe-
mous incharitable Dog.
[BOTES]: Worke you then.
Anth. Hang cur, hang, you whoreson insolent Noyse-
maker, we are lesse afraid to be drownde, then thou art.
Gonz. I'le warrant him for drowning, though the
Ship were no stronger then a Nutt-shell,
and as leaky as an vnstanched wench.
[BOTES]: Lay her a hold, a hold, set her
two courses off to Sea againe, lay her off.
Enter Mariners wet.
Mari. All lost, to prayers, to prayers, all lost.
[BOTES]: What must our mouths be cold?
-----------------------------------------------------------
http://www.bbc.com/news/education-35973094
<<There is a stage direction in King Lear, which, in the early
part of the print run, says rather cryptically "H {EDIS}",
which is then updated in later copies to "He dis"
before it is finally corrected to "He dies".>>
------------------------------------------------------
. "H {EDIS}" : {You *PUBLISH*} "H".
..................................................
_______ Sonnet 102 (Only Sonnet's *PUBLISH*)
.
. MY LOVE IS Strengthned though more weake in seeming
. I love not lesse, thogh lesse the show appeare,
. That love is marchandiz'd, whose ritch esteeming,
.
. The own[E]rs tongu[E] (DOTH} PUB[L]ISH {E}VER[Y] {WH}E{R}E) .
. Ou[R] lov{E} was [N]ew, and th[E]n but in t[H]e spring,
.
.{WH}en I was wont to greet it with my laies,
. As Philomell in summers front doth singe,
. And stops his pipe in growth of riper daies:
. Not that the summer is lesse pleasant now
. Then when her mournefull himns did hush the night,
. But that wild musick burthens *EVERy bow* ,
. And sweets growne common loose their deare delight.
. Therefore like her, I some-time hold my tongue:
. Because I would not dull you wiTH MY SONGE.
..................................................
..... <= 8 =>
.
.... T h(E)o w n [E]
.. r s t(O)n g u [E]
. (D O T{H}P U B [L]
.. I S H{E}V E R [Y]
. {W H}E{R}E)O u [R]
.. l o v{E}w a s [N]
.. e w,a n d t h [E]
.. n b u t i n t [H]
.. e s p r i n g,{W H}
.
. Sidney friend/Queen's Champion:
[HENRY LEE] -8 : Prob. in any Sonnet ~ 1 in 1765
-----------------------------------------------------------
http://91.1911encyclopedia.org/S/SH/SHAKESPEARE.htm
http://www.stratford-upon-avon.org/images/memorial.jpg
<<The Stratford bust & monument must have been erected
on the N. wall. The design in its general aspect was one
often adopted by the "tombe-makers" of the period, and
according to Dugdale was executed by a *Fleming* resident
in London since 1567, Garratt Johnson (Gerard JANssen),
who was occasionally a collaborator with *NICHOLAS STONE*,
Esq., (fellow Freemason Warden with [W]illiam [H]erbert).
.............................................................
. Gerard JANssen / NICK Stone
. Q1 Rossencraft Gilderstone
. Q2 Rosencrans Guyldensterne
. F1 Rosincrane Guildensterne
. F2,3,4 Rosincross(e) Guildenstare
. Rosy Cross Stone Guild
. Rosicrucians Freemasons / the Craft
----------------------------------------------------------------
. "Moore C W The Freemasons Monthly Magazine Vol IV 1845"
....... https://tinyurl.com/yykurxjk
.
GRAND MASTERS, OR PATRONS, OF THE FREE AND ACCEPTED MASONS IN ENGLAND,
from the coming in of the Saxons to the year 1839, Compiled and
condensed from the most authoritative records, by Br. Thomas Joseph
Tennison, President of the Masonic Council of Armagh, Ireland.
........................................................................
1607: James I., a Brother Mason, Grand Patron by Prerogative, appointed
Inigo {IONES}, Grand Master of all England, in which capacity he served
for 11 years. His Wardens were M(aste)r [W]illiam [H]erbert the Earl
of Pembroke, & *{N}ICHOLAS {STONE}*, Esq., who, attended by many
Brothers attired in Craft clothing, walked to White Hall, and laid
the first stone of the Banquetting Hall, with knocks, huzzas,
and sound of trumpets, throwing a purse of gold upon the
{STONE} for the operatives to drink “To the King and Craft!"
.
1618.[W]illiam [H]erbert, Earl of Pembroke, was chosen Grand Master.
. He appointed Inigo {IONES} his Deputy.
.
. Charles I., a Royal Mason and Grand Patron by Prerogative;
. under him [H]enry [DANVERS], Earl of Danby, who erected
. the beautiful gate of the Physick Gardens, at Oxford.
.
1630-1-2. [H]enry [DANVERS] , Earl of Danby.
---------------------------------------------------------------------
https://wikivisually.com/wiki/Henry_Danvers%2C_1st_Earl_of_Danby
<<On the night of the death of the 17th Earl of Oxford [June 24, 1604]
Baron [H]enry [DANUERS], the Earl of Southampton and Sir Henry Neville as
well as the a [LEE] were arrested by order of the king and Privy Council.
.......................................................................
Baron [DANUERS] had been employed in Ireland under the Earl of Essex, and
Charles Blount, 8th Baron Mountjoy, successive lords-lieutenant of Ireland.>>
---------------------------------------------------------------------------
First Folio (1623)
TO THE MEMORIE of the deceased Authour
Maister W. SHAKESPEARE.
SHake-speare, at length thy pious fellowes giue
The world thy Workes: thy Workes, by which, out-liue
Thy Tombe, thy name must: when that {STONE} is rent,
And Time dissolues thy {STRATFORD MONIMENT},
Here we aliue shall view thee still. This Booke,
When Bras{SE} and Marble fade, shall make thee looke
Fresh to all Age{S}:{W}hen Posteritie
Shall loath what's new, thinke all is pr{O}d{E}gie
That is not *S[H]AKE-SPEARES* ; eu'ry Line, each Verse
He{R}e s{H}all reuiue, re[D]eeme thee from thy Herse.
Nor Fire, nor {C}ankring Age, a{S N|A]so said,
Of his, {T}hy wit-fraught B{O}oke sh[A]ll once i{N}vade.
[N]or shall I {E}'re beleeve, or thinke thee de[A]d.
(Though mist) [U]ntill our bankrout Stage be sped
(Impossible) with som[E] new straine t' out-do
{P}assions of Iuliet, and her Romeo;
{O}[R] till I heare a Scene more nobly take,
{T}hen when thy half=[S]word parlying Romans spake.
{T}ill these, till any of thy (V)olumes rest
Shall with more fire, more feeling be expr{E}st,
Be sure, our Shake=speare, thou canst n[EVER DYE],
But cr{O}wn'd with Lawrell, liue eternally.
L. Digges.
.................................................
.......... <= 14 =>
.
. a {S N}[A]s o s a i d,O f h i
. s,{T} h y w i t-f r a u g h t
. B {O} o k e s h a l l o n c e
. i {N} v a d e[N]o r s h a l l
. I {E}'r e b e l e e v e,o r t
. h i n k e t h e e d e a d.
............................................
{N/STONE} 14 : Prob. in poem ~ 1 in 280
-------------------------------------------------------------
http://en.wikipedia.org/wiki/Nicholas_Stone
<<In 1619 *{N}ICHOLAS {STONE}* (d. 24 Aug. 1647) was appointed *MASTER-MASON*
to James I, and in 1626 to Charles I. Stone owed his early success in London
in part to Inigo {IONES}, the King's Surveyor, under whom he first worked at
Holyrood Palace, Edinburgh, in 1616, which led to the spectacular contract,
for building {IONES}'s Banqueting House, that placed him in the forefront of
London builders. Nicholas Stone was born in 1586, the son of a quarryman of
Woodbury, near Exeter. He was first apprenticed to Isaac James, a Dutch-born
London mason working in Southwark, London.{IONES}>>
-------------------------------------------------
from: _Big Secrets_ William Poundstone
https://sites.google.com/site/zprime21/
Masonic Secret Word: Not to be confused with the password. The Word (always capitalized) is so secret that initiates are taught it one letter at a time. First they learn A, then O, then M, and finally I. The Word is *IAOM*. You never get a straight story as to what it means. As best as anyone can figure, it is the ineffable name of god, or some approximation thereof. The Word (or Name) is a internal linktongue-internal linktwister. It takes some practice to get it right.
...................................................
_Masonry and Its Symbols in the Light of Thinking and Destiny_
by Harold Waldwin Percival (15 April 1868 - 6 March 1953):
https://tandd.org/hlib/masonry-and-its-symbols/section06.html
<<The Word, an English translation of the Logos, as used by St. John, is not the Name. It is an expression of the full Triune Self powers, each of the three parts being represented in it by a sound, and the perfect body in which the Triune Self dwells being also represented by a sound. The Doer part is expressed as A, the Thinker part as U or O, the Knower part as M, and the perfect body as I. The Word is I-A-O-M, in four syllables or letters. The expression of the perfect body and the Triune Self as these sounds is an expression of the Conscious Light of the Intelligence through that Self and body. When a part in its physical body sounds as *IAOM* each of the parts sounds AOM, and each represents a Logos. The Knower is then the First Logos, the Thinker the Second Logos and the Doer the Third Logos.
The Word is symbolized by a circle in which are a hexad of two interlaced triangles, and the point in the center. The point is the M, the triangle Aries, Leo, Sagittary is the A, the triangle Gemini, Libra, Aquarius is the U or the O, and the circle is the fully expressed point M as well as the line of the body I. The hexad is made up of the macrocosmic signs standing for the sexless triad and the androgynous triad, the triangle of God as Intelligence and the triangle of God as nature. These letters in which the perfect Self sounds, are symbolized in Masonry by the square and compass or the emblem of the interlaced triangles.
There is a succinct relationship of the Word with the Ineffable Name. The Word is feeling-and-desire, the Doer. The Doer is lost in the body of flesh and blood in the world of life and death. Thus the Doer is the lost Word. The body, when perfected, serves as the instrument through which the Doer pronounces the Ineffable Name. The Ineffable Name and the embodied Word, when one is fitted to speak it, is IAOM. By so doing the body is raised from a horizontal to an upright position.
The Name is pronounced as follows: It is started by opening the lips with an “ee” sound graduating into a broad “a” as the mouth opens wider with the lips forming an oval shape and then graduating the sound to “o” as the lips form a circle, and again modulating to an “m” sound as the lips close to a point. This point resolves itself to a point within the head.
Expressed phonetically the Name is “EE-Ah-Oh-Mmm” and is pronounced with one continuous outbreathing with a slight nasal tone in the manner described above. It can be correctly and properly expressed with its full power only by one who has brought his physical body to a state of perfection, that is, balanced and sexless.>>
----------------------------------------------------------------
I stumbled across a long youtube:
Alan Green - presenting "Dee-Coding Shakespeare"
https://www.youtube.com/watch?v=upzjM7-83LE
and it got me thinking about the mispagination of page: 273/265
http://internetshakespeare.uvic.ca/Library/facsimile/book/SLNSW_F1/283/?zoom=850
So I did an ELS search for the top of page: 264
http://internetshakespeare.uvic.ca/Library/facsimile/book/SLNSW_F1/282/?zoom=850
...and discovered: {M}[MASONS]{r} skip 33 = 264/(273-265) :
--------------------------------------------------------------
. Twelfth Night (First Folio, 1623) top of page 264: II, v
.
{M}al. Ioue knowes I loue, but who, Lips do not [M]ooue, no
. man must know. No man must know. Wh[A]t followes?
. The numbers alter'd: No man mu[S]t know,
. If this should be thee Maluolio?
.
T[O]. Marrie hang thee brock(E).
.
Mal. I may comma[N]d where I adore, but silenc(E) like a Lu-
. cre[S]se knife:
. With bloodlesse st(R)oke my hea{r}t doth gor(E), {M}.O.A.I. d{O}th
. sw{A}y my l{I|F|E).
.
Fa. *A FUSTIAN RIDDLE*!
........................................................
............ <= 33 = 264/(273-265) =>
.
. {M} alIou. e kn o. w e s I l. o. uebu. t w h o L i p. sdonot
. [M] oouen. o ma n. m u s t k. n. owNo. m a n m u s t. knowWh
. [A] tfoll. o we s. T h e n u. m. bers. a l t e r d N. omanmu
. [S] tknow. I ft h. i s s h o. u. ldbe. t h e e M a l. uolioT
. [O] Marri. e ha n. g t h e e. b. rock (E)M a l I m a. ycomma
. [N] dwher. e Ia d. o r e b u. t. sile. n c(E)l i k e. aLucre
. [S] sekni (F)eW i. t h b l o. o. dles. s e s t(R)o k. emyhea
. {r} tdoth. g or(E){M O A I}d {O} thsw {A}y m y l{I|F)(E)
.
{M}[MASONS]{r} 33 : [MASONS] Prob. here ~ 1 in 1470
(FREE) -35,18 : Prob. of both here ~ 1 in 135
{MOAI} 5,1
--------------------------------------------------------
http://www.bartleby.com/153/107.html
http://www.luminarium.org/renascence-editions/colin.html
...................................................
Colin Clo{UT}s Co(M|E)
......... Home Ag(A|I|N)e
......... BY ED. (S|P|E)NCER
............... L(O N|D)ON
............. PRI(N)T E D FOR WILLIAM PONSONBIE
...................................................
(MASON) 8 : Prob. ~ 1 in 5,750
(PIE) -8
(NED) 8
...................................................
Colin Clouts Co[M]E H[O]me [A]ga[I]ne
...................................................
[MOAI] 3 : Prob. ~ 1 in 135
----------------------------------------------------
Sonnet 90
THen hate me when thou wilt, if euer, now,
Now while the world is bent my deeds to [CROSSE],
Ioyne with the spight of fortune, make me bow,
And doe not drop in for an after losse:
Ah doe not, when my heart hath scapte this sorrow,
Come in the rereward of a conquerd woe,
Giue not a windy night a rainie morrow,
To linger out a purposd ouer-throw.
If thou wilt leaue me, do not leaue me last,
When other pettie griefes haue done their spight,
But in the onset co[M]e, s[O] st[A]ll [I] taste
At first t{H}e v{E}ry {W}or{S}t of fortunes might.
And other straines of woe, which now seeme woe,
Compar'd with losse of thee, will not seeme so.
[CROSSE] 1
{HEWS} 3
[MOAI] 3
----------------------------------------------------
Sonnet 152
IN louing thee thou know'st I a[M] forsworne,
But thou art twice f[O]rsworne to me loue swearing,
In [A]ct thy bed-vow broake and new fa[I]th torne,
In vowing new hate after new loue bearing:
But why of two othes breach doe I accuse thee,
W{H}en I breake twenty:I am p{E}riur'd most,
For all my vo{W}es are othes but to misu{S}e thee:
And all my honest faith in thee is lost.
For I haue sworne deepe othes of thy deep[E] kindne[S]se:
Othe[S] of thy l[O]ue, thy t[R]uth, thy [C]onstancie,
And to inlighten thee gaue eyes to blindnesse,
Or made them swere against the thing they see.
For I haue sworne thee faire:more periurde eye,
To swere against the truth fo foule a lie.
[MOAI] 26
{HEWS} 20
[CROSSE] -7 : Prob. in Sonnets ~ 1 in 30
----------------------------------------------------
The Shepherd's Week : Saturday; Or, The Flights -
1714 Poem by John Gay
And plays a tickling Straw withi[N] his Nose.
He rubs his Nostril, and in w[O]nted *Joke*
The sneering Swains with [S]tamm'ring Speech bespoke.
To you, my L[A]ds, I'll sing my Carrol's o'er,
As for th{E} [M]aids, — I've something {E}lse in store.
No soone{R} 'gan he raise his tune{F}ul Song,
But Lads and Lasses round about hi[M] t(H)rong.
Not Ballad singer plac'd above th(E) Croud
Sings with [A] Note so shrilling s(W)eet and loud,
Nor Parish Clerk who call[S] the Psalm so clear,
Like Bowzybeus sooths th' attentive Ear.
[O]f Nature's Laws his Carrols first begun,
Why the grave Owl ca[N] never face the Sun.
.........................................................
............ <= 25 =>
.
.. A n d p l a y s a t i c k l i n g S t r a w w i t
.. h i[N]h i s N o s e H e r u b s h i s N o s t r i
.. l a n d i n w[O]n t e d J o k e T h e s n e e r i
.. n g S w a i n s w i t h[S]t a m m r i n g S p e e
.. c h b e s p o k e T o y o u m y L[A]d s I l l s i
.. n g m y C a r r o l s o e r A s f o r t h{E|M]a i
.. d s I v e s o m e t h i n g{E}l s e i n s t o r e
.. N o s o o n e{R}g a n h e r a i s e h i s t u n e
. {F}u l S o n g B u t L a d s a n d L a s s e s r o
.. u n d a b o u t h i[M]t(H)r o n g N o t B a l l a
.. d s i n g e r p l a c d a b o v e t h(E)C r o u d
.. S i n g s w i t h[A]N o t e s o s h r i l l i n g
.. s(W)e e t a n d l o u d N o r P a r i s h C l e r
.. k w h o c a l l[S]t h e P s a l m s o c l e a r L
.. i k e B o w z y b e u s s o o t h s t h a t t e n
.. t i v e E a r[O]f N a t u r e s L a w s h i s C a
.. r r o l s f i r s t b e g u n W h y t h e g r a v
.. e O w l c a[N]n e v e r f a c e t h e S u n
.
[MASON] -30, 49 : Prob. of both so near ~ 1 in 100
{FREE} -18 : Prob. here ~ 1 in 10
(HEWS) 32 : Prob. here ~ 1 in 5
------------------------------------------------------
https://tinyurl.com/y9nodvn5
THE SKETCH BOOK OF GEOFFREY CRAYON, GENT.
By Washington Irving
THE SPECTRE BRIDEGROOM. A *TRAVELLER’S* TALE.*
.......................................................
.......................................................
The drawbridge had been let down, and the {STRANGER} was before the gate. He was a tall, gallant cavalier, mounted on a black steed. His countenance was pale, but he had a beaming, romantic eye, and an air of stately melancholy. The baron was a little mortified that he should have come in this simple, solitary style. His dignity for a moment was ruffled, and he felt disposed to consider it a want of proper respect for the important occasion, and the important family with which he was to be connected.
He pacified himself, however, with the conclusion, that
it must have been youthful impatience which ha[D] induced
him thus to spur on sooner than his [A]ttendants.
“I am sorry,” said the {STRANGER},
“to b[R]eak in upon you thus unseasonably-”
Here the [B]aron interrupted him with a world of compl[I]ments
and greetings; for, to tell the truth, h[E] prided himself
upon his courtesy and eloq{U}ence. The {STRANGER} attempted,
once or twice, {T}o stem the torrent of words, but in vain,
so he bowed his head and suffered it to flow on.
.............................................
..... <= 36 =>
.
. itm. u. sthaveb .eenyouth. fulimpati .encewhic
. hha [D] induced .himthust. ospuronso .onerthan
. his [A] ttendan .tsIamsor. rysaidthe {STRANGER}
. tob [R] eakinup .onyouthu. sunseason .ablyHere
. the [B] aronint .errupted. himwithaw .orldofco
. mpl [I] mentsan .dgreetin. gsfortote .llthetru
. thh [E] pridedh .imselfup. onhiscour .tesyande
. loq {U} enceThe {STRANGER} attempted .onceortw
. ice {T} ostemth .etorrent. ofwords
.
[DARBIE {UT}] 36 : Lord {STRANGE} : Traveler
.......................................................
.......................................................
The dismay at the castle may well be imagined. The baron
shut himself up in his chamber. The guests, who had come to
re{J}oice {W}ith h{I}m, cou{L}d not {T}hink {O}f aba{N}doning
him in his distress. They wandered about the courts or collected
in groups in the hall, SHAKing their heads and shrugging their
shoulders at the troubles of so good a man, and sat longer
than ever at table, and ate and drank more stoutly than
ever, by way of keeping up their spirits.
.
{J.WILTON} 5 : Prob. in _A *TRAVELLER’S* TALE_ ~ 1 in 25,000
------------------------------------------------------
. The Tempest Act IV, scene I
.
Caliban:
. The drops{I}e dro{W}ne th{I}s foo{L}e, wha{T} doe y{O}u (mea{N}e
. To doate thus on such luggage? let's alone
. And doe the murther first: if he awake,
. From toe to crowne hee'l fill our skins with pinches,
. Make vs {STRANGE} stuffe.
.
{I.WILTON} 5 : Prob. in a line of the Tempest ~ 1 in 7,500
----------------------------------------------------------
Terry Ross wrote: <<The emblematic device at the head
. of the [*MINERVA* Britanna] title page with its motto:
........................................................
. "{UT} [A](L)IJ[S], (ME) C[ONS]U[M](E)"
. ("as you burn I consume myself")
. and its picture of two lighted *CANDLES*.>>
.
https://hankwhittemore.files.wordpress.com/2011/07/minerva-1.jpeg
.
. "{UT} [A](L)IJ[S], (ME) C[ONS]U[M](E)"
...............................................
.. <= 4 =>
.
. [M](E) {U T}
. [A](L) .i j
. [S](M E) .c
. [O. N S] .u
.....................................
. Old French: (ELME) : *HELMET*
.
https://en.wikipedia.org/wiki/Cutting_of_the_elm
-----------------------------------------------
___....... <= 3 x 7 =>
.
. {U}(P O N) t h e L i n e s a n d L i f e o f
. {T}(H E) F a m o u s S c e n i c k e P o e t
.
. [M A S T E R] W I L L I A M S H A K E S P E
. [A] R E T h o s e h a n d s w h i c h y o u
. [S] O c l a p t g o n o w a n d w r i n g Y
. [O] u B r i t a i n e s b r a v e f o r d o
. [N] e a r e S h a k e s p e a r e s d a y e
. [S]
.
[MASONS] 21 : Prob. at start of poem ~ 1 in 9460
.......................................................
<<The (U)nfortunate (T)raveller (1594) by Thomas Nashe
is a *picaresque novel* about {I}ack {WILTON}'s adventures
through the European continent in which he finds himself
swept up in the currents of 16th-century history.>>
.......................................................
. His dayes are done, that made the dainty Playes,
. Which made the Globe of heav'n and earth to ring.
. Dry'de is that veine, dry'd is the Thespian Spring,
. Turn'd all to teares, and Phoebus clouds his rayes:
. That corp's, that coffin now besticke those bayes,
. Which crown'd him {POET} first, t[H]en {PO[E]TS} Ki[N]g.
. If T[R]aged[IES] migh{T} any P{R}olog{U}e hav{E},
. All t[H]ose h[E] made, [W]ould [S]cars(E) make (O)ne to this:
. Where Fame, now that he gone is to the grave
. (Deaths publique tyring-house) the Nuncius is.
. For though his line of life went soone about,
. The life yet of his lines shall never out.
...............................................
... <= 5 =>
.
. {P. O. E. T} f
.. i. r. s. t, t
. [H] e. n {P. O
. [E] T S}. K. i
. [N] g. I. f. T
. [R] a. g. e. d
. [I. E. S] m. i
.. g. h {T} a. n
.. y. P {R} o. l
.. o. g {U} e. h
.. a. v {E} A. l
.. l. t [H] o. s
.. e. h [E] m. a
.. d. e,[W] o. u
.. l. d [S] c. a
.. r. s (E) m. a
.. k. e (O) n. e
..........................................
[HENRI/ES] 5 : Prob. in poem ~ 1 in 8,000
{TRUE} 5 : Prob. in poem ~ 1 in 28
[HEWS] 5 : Prob. in poem ~ 1 in 25
------------------------------------------------------
. [ALL FOR ONE] : [TOUT PAR UNG]
....................................................
https://tinyurl.com/yczlkh29
“The {TWO} Most Noble [HENRI/ES]”
– [He]nry de [VERE] & Henry Wriothesley –
89th Reason why the 17th Earl of Oxford was “Shakespeare”
..................................................................
https://en.wikipedia.org/wiki/Henry_de_Vere,_18th_Earl_of_Oxford
[He.] de [VERE], 18th Earl of Oxford KB (24 Feb. 1593 – June 1625)
-----------------------------------------------------------------
. Sonnet 19
.
. Make glad and sorry seasons as thou fleet'st,
. And do what ere (t)hou wil[T (S)WIFT]-foo(t)ed time
. T(o) the wi{D}e (w)orld and [{A}LL] her fadi{N}g sweets:
. Bu{T} I [FOR]bid th{E}e [ONE] most h{A}inous crime,
.
. O car{U}ue not wi{T|H] thy ho{W|e]rs my l{O|V]es fair[E] brow,
. No[R] draw no[E] lines there with thine antique pen,
. Him in thy course vntainted doe allow,
. For beauties patterne to succeding men.
.
. Yet doe thy worst ould Time dispight thy wrong,
. My love shall in my verse *EVER (liv)E YOUNG*.
.............................................
..... <= 7 =>
.
. O c a r {U} e. n
. o t w i {T}[H] t
. h y h o {W}[e] r
. s m y l {O}[V] e
. s f a i. r [E] b
. r o w,N. o [R] d
. r a w n. o [E] l
. i n e s. t. h. e
. r e
.
[He.VERE] 7
..................................................
......... <= 10 =>
.
.. A n. d. d. o. w h. a t. e
.. r e (t) h. o. u w. i l [T
. (S)W. I. F. T] f o. o(t) e
.. d t. i. m. e. T(o) t h. e
.. w i {D} e (w) o r. l d. a
.. n d [A} L. L] h e. r f. a
.. d i {N} g. s. w e. e t. s:
.. B u {T} I [F. O R] b i. d
.. t h {E} e [O. N E] m o. s
.. t h {A} i. n. o u. s c. r
.. i m. e,
.
{DANTE A.} 10
------------------------------------------------------------------
https://en.wikipedia.org/wiki/Saint_Lucy
<<[LUCIA] of Syracuse (283–304), also known as Saint Lucy is patron
saint of the blind, *AUTHORS*, cutlers, glaziers, laborers, & peasants.
[LUCIA] appears in {DANTE A}lighieri's Inferno Canto II as the messenger
sent to Beatrice from the Virgin Mary, to rouse Beatrice to send Virgil to
Dante's aid. In the Purgatorio 9:52–63, Lucy carries the sleeping {DANTE}
to the entrance to Purgatory. Then in Paradiso *32* {DANTE} places her
opposite Adam within the *MYSTIC ROSE* in Canto *32* of the Paradiso.>>
-------------------------------------------------------------------
Shakespeare Oxford Newsletter Vol. 51, No. 3: Summer 2015
- by Mark Stahley, St Paul MN
......................................................
<<I tried putting [the 144 dedication letters]
in a 12x12 square. The letters "ORIW" going down
caught my eye... and I realized you could unscramble
them to spell the name "H. Wriotheslie, SH"
("SH" for Southampton, perhaps). In the grid
below, you can see the contiguous letters:
"TO {WRIOTHESL(ie)}" .>>
.........................................
....... <= 12x12 SQUARE =>
.
.. T. O {T. H. E. O} N. L. I. E B E
.. G. E. T. T. E {R} O. F. T. H E S
.. E. I. N. S. V {I} N. G. S. O N N
.. E. T [S]{M} R {W} H. A. L. L H A
.. P {P}[I]{N} E (S) S. E. A. N D T
.. H {A}[T]{E} T {E} R [N] I. T I E
.. P {R}[O]{M} I {S}[E] D. B. Y O V
.. R {E}[V]{E} R {L} I. V. I. N G P
. {O} E. T. W [I] S. H. E. T. H T H
. {E} W. E [L] L. W. I {S} H. I N G
.. A. D {V} E. N. T. V {R} E. R I N
.. S [E] T. T. I. N. G {F} O. R T H
.........................................
- _The De Vere Code_ by Jonathan Bond
.......................................
[VOTIS] : to *VOW* or *PROMISE*
{PARE/O} : to appear, be visible
.
{MNEME} : (Μνήμη) muse of *MEMORY* Prob. ~ 1 in 45,000
.
TO {WRIOTHESL(y)} : Prob. ~ 1 in 4000
[NE{V}IL{L}E] : Prob. ~ 1 in 2100
.
{PARE} : Ovid's _Fasti_ 3
PAR/PARIS : a companion, comrade, mate
-------------------------------------------------------
. Antony and Cleopatra Act 5, Scene 2
.
CLEOPATRA: Shall they hoist me up
. And show me to the shouting varletry
. Of censuring Rome? Rather a ditch in Egypt
. Be gentle grave unto me! rather on *NILUS' mud*
. Lay me stark naked, and let the water-flies
. Blow me into abhorring! rather make
. My country's high PYRAMIDES my *GIBBET*,
. And HANG me up *IN CHAINS*!
......................................................................
*GIBBET*, n. [OE. gibet, F. gibet, in OF. also club, fr. LL. gibetum;
cf. OF. gibe sort of sickle or hook, It. giubbetto gibbet, and
giubbetta, dim. of giubba mane, also, an under waistcoat, doublet,
Prov. It. gibba); so that it perhaps originally signified
a halter, a rope round the neck of malefactors; or it is,
perhaps, derived fr. L. gibbus HUNCHED, HUMPED,
E. gibbous; or cf. E. jib a sail.] 1. A kind of gallows;
an upright post with an arm projecting from the top,
on which, formerly, malefactors were hanged *IN CHAINS* ,
and their bodies allowed to remain as a warning.
-----------------------------------------------------------
....................... <= 16 x 9 =>
.
__________________ T. O t h e o(N)l i[E]B E G E T T
__________________ E {r}o f t{H}e[S|E]I N S U I N G
__________________ S {o}n n{E}T S(M)R W H A L L H A
__________________ P {p}i{N}e S[S|E|A)N D(T)H A T E
__________________ T {e|R}n I T I[E]p(R)o M(I)S E D
__________________ B {Y}o U R E V E R l(I)V I(N)G P
__________________ O. E T W I S H E T H T(H)E W(E)L
__________________ L |W]I S H I N G A D V E n T U(R)
__________________ E |r]I N S E T T I N G{f o r}T H
......................................................
. T O T H E O. N L I [E| .B E G E T T E R
. O F T H E S. E I N [S| .U I N G S O N N
. E T S M R W. H A L [L|H] .a P P I N E S
. S E A N D(T) H A T [E|T](E) r N I T I E
. P R O M(I) S E D B [Y|O] U(R) e V E R L
. I V I(N) G P O E T [W|I] S H(E) t H T H
. E W(E) L L W I S H [I] N G A(d V e) N T
. U(R) E R I N S E T [T] I N G{f o r} T H
.
.............. <= 18 x 9 =>
------------------------------------------------------
http://www.philological.bham.ac.uk/anagrams/
.
<<Even more curious is the one for Southampton,
which explicitly states that he had been convicted
of treason on false testimony inspired by envy.>>
.............................................
. HENRICUS URIOTHESLEUS
_____ per anagramma
. *THESEUS* NIL REUS HIC RUO
.
.. [I] ure quidem poteras hanc fundere ab ore querelam,
.. [S] ors tibi dum ficto crimine dura fuit:
. "[N] il reus en Theseus censura sortis iniquae
.. [H] ic ruo, livoris traditus arbitrio."
.. [A] t nunc mutanda ob mutata pericla querela est.
.. [I] nclite, an innocuo pectore teste rues?
.. [N] on sane. Hac haeres vacuo dat *VIVERE* cura,
.. [C] ollati imperii sub Iove sceptra gerens.
.............................................
. *ISNHAINC* {anagram} *IN CHAINS*
.
*Victorious though IN CHAINS* )
.............................................
. HENRY WRIOTHESLEY by an anagram
. ('HERE I FALL, *THESEUS, GUILTY OF NOTHING* ')
.
Justly you were able to pour forth this complaint from
your mouth, your lot was harsh while a false accusation
prevailed. 'L.O. , Theseus is guilty of NOTHING , *HERE*
I fall by an unfair lot's censure, betrayed by ENVY's whim.'
But now the complaint is to be altered, because of
altered perils. Great man, do you take a fall
with an innocent heart bearing witness? Not at all.
The HEIR, wielding the scepter of rule conferred
under Jove's auspices, grants you to live free of this
.............................................
http://www.philological.bham.ac.uk/anagrams/text.html
-----------------------------------------------------------------
Plutarch's Lives Volume I : http://www.stoics.com/plutarch_1.html
. Translated out of Greek into French by James Amyot,
. Abbot of Bellozane, Bishop of Auxerre,
. and out of French into Englishe by *THOMAS NORTH*
.
<<The greatest and most solemne sacrifice they doe unto [*THESEUS*],
is on the *eight daye of October*, in which he return-
THESEVS ed from CRETA, with the other younge children of ATHENS:
-----------------------------------------------------------------
*eight daye of October*, 1600 A Midsummer Night's Dream entered
. on Stationers' Register.
..............................................................
. THOMA(s) SNOUT
. SOUTHAM(p)TON
..........................................................
https://en.wikipedia.org/wiki/Tom_Snout
.
<<[THOMA(s) SNOUT] is a character in William Shakespeare's A Midsummer Night's
Dream. He is a tinker, and one of the "mechanicals" of Athens, amateur players
in Pyramus and Thisbe. Tom Snout was originally set to play Pyramus's father,
but the need for a wall was greater, so he discharged The Wall which separates
Pyramus' and Thisbe's gardens. In Pyramus and Thisbe, the two lovers whisper
to each other through SNOUT's fingers (representing a gap in the wall).
Snout has eight lines under the name of TOM SNOUT, and
two lines as The Wall. He is the Wall for Act V-Scene 1.
..................................................................
Wall: Thus have I Wall, my part discharged so;
And being done, thus Wall away doth go.
..............................................................
. This man, with lyme and rough-cast, doth present
. Wall, that vile wall, which did these louers sunder:
. And through walls chink (poor soules) they are content
. To [W.H.]isper. At the which, let *no man* wonder.
--------------------------------------------------------
T O T H E R I G H T H O N O R A B L E
Henrie Wriothesley, Earle of Southampton,
and Baron of Titchfield.
RIght Honourable, I know not how I shall offend in
dedicating my unpolisht lines to your Lordship, nor
how the worlde Will censure mee for choosing so
strong a proppe to support so Weake a burthen,
onelye if your Honour seeme but pleased, I ac-
count my selfe highly praised,
and *VOWE* to take advantage of all idle houres,
TILL I [H]AV[E] HO[N]OU[R]ED [Y]OU [W.]IT[H.] SO[M]E G[r.]
-AVER LABOUR.
[HENRY W.H. Mr.] 3 : Prob. [HENRY W.] in V&A dedication ~ 1 in 36,000
.....................................................................
AVER, n. [OF. AVER domestic animal, whence LL. AVERia,
pl. cattle. cf. {AVERage}.] A WORKING OX. [Obs. or Dial. Eng.]
..............................................................
Moby Dick by Herman Melville
Chapter 103: Measurement of The Whale's Skeleton
The largest, a middle one, is in width somet[H]ing less than
three fe[E]t, and in depth more tha[N] four. The smallest,
whe[R]e the spine tapers awa[Y] into the tail, is only t[W]o
inches in width, and looks something like a white billiard-ball.
.............................................................
[HENRY W.] 19 : shortest skip in Moby Dick or KJV.
----------------------------------------------------
Art Neuendorffer
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