The Countess of Pembroke's Arcadia

[Arthur Neuendorffer]

-----------------------------------------------------
http://www.shakespeareoxfordfellowship.org/london-debate-does-the-authorship-question-matter/

https://www.youtube.com/watch?v=qEgCuQJQ6oY

<<After attending the Shakespearean Authorship Conference at the Globe in November 2013, Alain English of the Central London Debating Society decided to hold a debate on the Shakespeare Authorship Question. This took place at Ye Olde Cock Tavern in Fleet Street close to the Middle Temple where Twelfth Night was performed in 1602. Duncan Salkeld, Senior Lecturer in English at Chichester University ended up (youtube time ~ 22:40) with yet another personal attack (this time on the Marlovians) by ironically suggesting that Philip Sidney might have survived his apparently fatal wound in 1586 and written the works incognito.>>
.
. . *SIR PHILIP SIDNEY*
. . *INSIPIDLY PERISH*
------------------------------------------------------
http://www.bartleby.com/359/14.html

William Webbe (c. 1550-1591)
A Discourse of English Poetrie (1586)
A Preface to the Noble Poets of Englande.
......................................................................
This place haue I purposely reserued for one, who, if not only, yet
in my iudgement principally, DE(s)ERVEth the tytle of the rightest
English Poet that EVER I read, that is, the Author of the Sheepeheardes
Kalender, intituled to the woorthy Gentleman Master Phillip [SYDNEY]:
whether it was Master Sp. or what rare Scholler in Pembrooke Hall
soEVER, because himself and his freendes, for what respect I knowe
not, would not reueale it, I force not greatly to sette downe:
sorry I am that I can not find none other with whom I might
couple him in this Catalogue in his rare gyft of Poetry:
......................................................................
Ouid, in his most wanton Bookes of loue and the remedies thereof,
hath very many pithie and wise sentences, which a heedefull Reader
may marke and chose out from the other stuffe. This is one.

Tyme is a medicine if it shall profitt;
Wine gyuen out of tyme may be annoyaunce.
And man shall irritat vice, if he prohibitt
When time i[S] not meete vnto his vtteraunce.
Therfore, if thou yet b[Y] counsayle art recuperable,
Fly thou from IDLEnes an[D] EVER be stable.

Martiall, a most dissolute wryter amo[N]g all othe{R}, yet not witho{U}t
many grave a{N}d prudent sp[E|E}ches as this, i{S} one worthy to be
marked of these fond [Y]outhes which intangle theyr wytts in raging
love, who, stepping once over shoes in theyr fancyes, nEVER rest
plunging till they be over head and eares in their follie.
.....................................................
......... <= 44 =>
.
. Whentimei [S] .n otmeete v nto h isvtter a unceTherfor e i
. fthouyetb [Y] .c ounsayl e art r ecupera b leFlythoufr o m
. IDLEnesan [D] .E VERbest a ble M artiall a mostdissolu t e
. wryteramo [N] .g allothe{R}yet n otwitho{U}tmanygrauea{N}d
. prudentsp [E] {E}chesast h isi{S}onewort h ytobemarked o f
. thesefond [Y] .o uthes
.
[SYDNEY] 44 : Prob. in 'Noble Poets' ~ 1 in 14
{RUNES} 12
------------------------------------------------------
_A Sonnet upon *THE PITIFUL* Burning
of the Globe [P]lay[H]ous[E] in L[O]ndo[N]_

https://tspace.library.utoronto.ca/html/1807/4350/poem65.html
------------------------------------------------------------
........ _Ulysses_ Chap. 9
.
. He means that the love so given to one near in blood
. i[S] covetousl[Y] withheld f[R]om some *STR[A]NGER*
. who, it [M]ay be, hungers for it
.
____ <= 10 =>
.
. . H e -m- e a n s .t h
. a t t -h- e l o v .e s.
. o g i -v- e n t o .o n
. e n e -a- r i n b .l o
. o d i [S] c o v e .t o
. u s l [Y] w i t h .h e
. l d f [R] o m s o .m e
.*S T R [A] N G E R* w h
. o i t [M] a y b e .h u
. n g e -r- s f o r .i t
.........................
......... _Ulysses_ Chap. 9
.
It seems so, Stephen said, when he wants to do for him, and for
all other and singular uneared wombs, the holy office an ostler
does for the *[S]TALLION*. Ma[Y]be, like Soc[R]ates, he had [A]
midwife to [M]other as he had a shrew to wife. But she, the giglot
wanton, did not break a bedvow. Two deeds are rank in that ghost's
mind: a broken *VOW* and the *dullbrained yokel* on whom her
favour has declined, deceased husband's brother. Sweet Ann,
I take it, was hot in the blood. Once a wooer twice a wooer.
.
____ <= 10 =>
.
.*[S] T A L L I O N* M a
. [Y] b e l i k e S .o c
. [R] a t e s h e h .a d
. [A] m i d w i f e .t o
. [M] o t h e r a s .h e
. -h- a d a s h r e .w t
. -o- w i f e.
-------------------------------------------------------------
<<Aubrey says of (LADY) [MARY S]idney: "She was VERy salacious,
and she had a Contrivance that in the Spring of the yeare,
when the *STALLIONS* were to leape the Mares, they were to be
brought before such a part of the house, where she had a vidette
(a hole *to peepe* out at) to looke on them and please herselfe
with their Sport; and then she would act the like sport
herselfe with her *STALLIONS* . One of her great Gallants
was *CROOKE-BACK't Cecill* , Earl of Salisbury.">>
.......................................................
The Tragedy of King Richard the third. Containing, His
{T}reach{E}rous P{L}ots ag{A}inst his brother Clarence :
*THE PITTIEFULL* murther of his innocent nephewes :
his tyrannicall vsurpation :

with the whole course of his de{TEST}ed life,
and most deserued death. As it hath beene
lately Acted b[Y] the Right honourabl[E]
the Lord Chamberlai[N]e his seruants.

At Lon[D]on, Printed by Valent[I]ne Sims,
for Andrew (WI[S]E) , dwelling in Paules
{C}hurch-yard, at the signe of the Angell. 1597.
...........................................
_______..... <= 18 =>
.
. A s i t h a t. h .b e e n e l a t e l
. y A c t e d b [Y] t h e R i g h t h o
. n o u r a b L [E] T H E L o r d C h a
. m b e r l a i [N] e h i s s e r u a n
. t s A t L o n [D] o n P r i n t e d b
. y V a l e n t [I] n e S i m s f o r A
. n d r e w(W I [S] E)d w e l l i n g i
. n P a u l e s {C} h u r c h-y a r d,
.
[{C}SIDNEY] -18 Q1(1597)
[{C}ountesse of pembrooke: mary SIDNEY]

Prob. of [SIDNEY] ~ 1 in 2215
-------------------------------------------------------------
<<While browsing through the book, 'Secret Diplomay,
Expionage & Cryptography 1500-1815,' Marlovian Roberta 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 first Two lines of Sonnets:
.
. From fairest creatures we desire increase,
. That thereby BEAU(t)IES ROSE MI(g)HT N{EVER DIE},
......................................
. {EVER DIE}
. {I DE VERE}
......................................
. BEAU(t)IES ROSE MI(g)HT NEVER DIE
. MARIE SIDNEI HERBE(r)T / VE(r)US [E.O.]
---------------------------------------------------
__ The Countess of Pembroke's Arcadia, 1593
. Dedication
.
. T O M Y D E A R E L A D I E
. AND SISTER, THE COUN-
. TESSE OF PEMBROKE.
.
*HERE* now have you (most deare, and most *WORTHY* to be most deare
LADY) this *IDLE* worke of mine : which I *FEAR* (like the *Spiders
webbe*) will be thought fitter to be swept away, then worn to any
other purpose. For my part, in *VERy TRUETH* (as the cruell fathers
among the Greekes, were woont to doo to the babes they would not
foster) I could well find in my *HARTE* , to cast out in some desert
of forgetfulnes *this child, which I am loath to father* . But you
desired me to doo it, and your desire, to my *HART* is an absolute
commandement. Now, it is done onelie for you, onely to you : if you
keepe it to your selfe, or to such friendes, who will weigh errors
in the ballaunce of good will, I hope, for the fathers sake, *it will
be PARDONED* , perchance made much of, though in it selfe it have
deformities. For indeede, for *sEVEREr* eyes it is not, being but
a trifle, and that triflinglie handled. Your deare selfe can best
witnes the *MANER* , being done in loose *SHEETES* of paper, most
of it in your presence, the rest, by sheetes, sent unto you, as
fast as they were done. In summe, a young head, not so well stayed
as I would it were, (and shall be when God will) having many many
fancies begotten in it, if it had not ben in some way DEliVERED,
would have growen a *MONSTER* , & more sorie might I be that they
came in, then that they gat out. But his chiefe safetie, shalbe
the not walking abroad ; & his chiefe protection, the bearing the
*liVERyE of your name* ; which (if much much good will do not
deceave me) is worthy to be a sanctuary for a greater offender.
This say I, because I knowe the VERtuE so ; and this say I,
because it may be EVER so ; or to say better, because it *Will
be EVER* so. Read it then at your *IDLE* tymes, and the follyes
your good judgement wil finde in it, blame not, but *LAUGH* at.
And so, looking for no better stuffe, then, as in an
*HABERDASHERS* shoppe, *GLASSES* , or *FEATHERS* , you will
continue to love the writer, who doth excedinglie love you;
and most most *HARTElie PRAIES* you may long live, to be
a principall *ORNAMENT* to the familie of the *SIDNEIs*.
.
Your loving Brother, Philip *SIDNEI* .
-----------------------------------------------------------
.......... Sonnet 14
.
. NOt from the stars do I my iudgement plucke,
. And yet me thinkes I haue Astronomy,
. But not to tell of good,or euil lucke,
. Of plagues,of dearths,or seasons quallity,
. Nor can I fortune to breefe mynuits tell;
. Pointing to each his thunder,raine and winde,
. Or say with Prince[S] if it shal go wel
. By oft predict that I in heauen f[I]nde.
. But from thine eies my knowledge I deriue,
. An[D] constant stars in them I read such art
. As truth a[N]d beautie shal together thriue
. If from thy self[E],to store thou wouldst conuert:
. Or else of thee th[I]s I prognosticate,
. Thy end is Truthes and Beauties doome and date.

[SIDNEI] 40 : Prob. of 3 Sonnet [SIDNEI]s ~ 1 in 500
-----------------------------------------------------------------
http://en.wikipedia.org/wiki/The_Countess_of_Pembroke%27s_Arcadia

<<Sir Philippe [SIDNEI] (30 November 1554 - 17 October 1586) may have begun an early draft [of Arcadia] in the late 1570s, when he was in his twenties. His own comments indicate that he intended only to entertain his sister, Mary Herbert, the Countess of Pembroke. This version is narrated in chronological order, with sets of poems separating the books from each other. In the 1580s, Sidney took the frame of the original story, reorganized it, and added episodes, most significantly the story of the just rebel Amphialus. The additions more than double the original story; however, Sidney had not finished the revision at the time of his death in 1586. Sidney's revised Arcadia was prepared for the press and published in two differing editions. Fulke Greville, in collaboration with Matthew Gwinne & John Florio, edited and oversaw the publication of the 1590 edition, which ends in mid-scene and mid-sentence:

"Whereat ashamed (as hauing nEVER done so much before in his life)"

-- without even the punctuation of a period.>>
-----------------------------------------------------------------
. The Original 1590 quarto edition!
...............................................
http://tinyurl.com/pma5gmz
http://tinyurl.com/nsvfzdm
.
The Covntesse of Pembrokes Arcadia,
. written by Sir Philippe [SIDNEI].
.
London, Printed {For} William Ponsonbie,
. Anno Domini, 1590.
---------------------------------------------------
.......... Sonnet 47

. BEtwixt mine eye and heart a league is tooke,
. And each doth good turnes now vnto the other,
. When that mine eye is famisht {For} a looke,
. Or heart in loue with [S]ighes himselfe doth smother;
. W[I]th my loues picture then my eye [D]oth feast,
. And to the painted ba[N]quet bids my heart:
. An other tim[E] mine eye is my hearts guest,
. And [I]n his thoughts of loue doth share a part.
. So either by thy picture or my loue,
. Thy seife away,are present still with me,
. For thou nor farther then my thoughts canst moue,
. And I am still with them,and they with thee.
. Or if they sleepe, thy picture in my sight
. Awakes my heart,to hearts and eyes delight.
.......................................................
....... <= *26* =>
.
. {F o r} a l o o k e,O r h e a r t i n l o u e w i t h
. [S] i g h e s h i m s e l f e d o t h s m o t h e r;W
. [I] t h m y l o u e s p i c t u r e t h e n m y e y e
. [D] o t h f e a s t,A n d t o t h e p a i n t e d b a
. [N] q u e t b i d s m y h e a r t:A n o t h e r t i m
. [E] m i n e e y e i s m y h e a r t s g u e s t,A n d
. [I] n h i s t h o u g h t s
.
{For}[SIDNEI] *26*
-----------------------------------------------------
Mr. Edw. Dyer "bore the canopy" {For}[SIDNEI]:

http://tinyurl.com/ptpxsdu
-----------------------------------------------------
........ Sonnet 125

. WEr't ought to me I "bore the canopy",
. With my extern the outward honoring,
. Or layd great bases {For} eternity,
. Which proues more [S]hort then wast or ruining?
. Haue [I] not seene dwellers on forme an[D] fauor
. Lose all,and more by payi[N]g too much rent
. For compound sw[E]et;Forgoing simple sauor,
. Pitt[I]full thriuors in their gazing spent.
. Noe,let me be obsequious in thy heart,
. And take thou my oblacion,poore but free,
. Which is not mixt with seconds,knows no art,
. But mutuall render onely me for thee.
. Hence,thou subbornd Informer, a trew soule
. When most impeacht,stands least in thy controule.
.......................................................
........... <= *26* =>
.
. {F o r} e t e r n i t y,W h i c h p r o u e s m o r e
. [S] h o r t t h e n w a s t o r r u i n i n g?H a u e
. [I] n o t s e e n e d w e l l e r s o n f o r m e a n
. [D] f a u o r L o s e a l l,a n d m o r e b y p a y i
. [N] g t o o m u c h r e n t F o r c o m p o u n d s w
. [E] e t;F o r g o i n g s i m p l e s a u o r,P i t t
. [I] f u l l t h r i u o r s i n t h e i r g a z i n g

{For}[SIDNEI] *26* : Prob. of {For} at start ~ 1 in 145
----------------------------------------------------------
. *26* days
.......................................................
http://en.wikipedia.org/wiki/Philip_Sidney#Injury_and_death

<<[Sir Philip Sidney (30 November 1554 - 17 October 1586)] joined Sir John Norris in the Battle of Zutphen, fighting for the Protestant cause against the Spanish. During the battle, he was shot in the thigh and died of gangrene *26* days later.

According to the story, while lying wounded he gave his water to another wounded soldier, saying, "Thy necessity is yet greater than mine". As he lay dying, Sidney composed a song to be sung by his deathbed.

Sidney's body was returned to London and interred in the Old St. Paul's Cathedral on 16 February 1587. [Sidney] had become for many English people the very epitome of a Castiglione courtier: learned and politic, but at the same time generous, brave, and impulsive. The funeral procession was one of the most elaborate ever staged, so much so that his father-in-law, Francis Walsingham, almost went bankrupt. Never more than a marginal figure in the politics of his time, he was memorialised as the flower of English manhood in Edmund Spenser's Astrophel, one of the greatest English Renaissance elegies. An early biography of Sidney was written by his friend and schoolfellow, Fulke Greville.>>
--------------------------------------------------------
Biography of Sir Edward Dyer
http://www.poemhunter.com/sir-edward-dyer/biography/
.
<<Author of two of the most famous Elizabethan lyrics,
'My Mind to Me a Kingdom is' and 'The Lowest Trees have Tops',
Dyer cut a figure of some significance at Elizabeth's Court
and became Chancellor of the Order of the Garter.
.
Philip Sidney and he were companions in everything (he was
'Coridens' [Cosn Dier] in Sidney's verse) and with Fulke Greville
Dyer was bequeathed Sidney's books. He wrote an elegy lamenting
Sidney's death. His other friends included Robert Earl of Essex,
Gilbert Talbot Earl of Shrewsbury, Walter Ralegh, Robert Sidney,
Robert Cecil, Thomas Sackville Lord Buckhurst, Sir Christopher
Hatton, the Countess of Pembroke and John Dee.
.
An alchemist himself, it was on the basis of Dyer's reports of the
success of Edward Kelley, Dee's scryer, that influenced Elizabeth
and Burghley to take Kelley's claims seriously. Dyer worked with
Kelley in his laboratory in Bohemia for about 6 months in 1590.
.
His contemporaries praised his skill as a poet: '...in a *MANNER*
oure onlye Inglish poett...' and his 'written devises farr
excell most of the sonets, and cantos in print' (Gabriel Harvey);
'Maister Edward Dyar for Elegie moste sweete, solempne and
of high conceit' (Puttenham); Nashe stated that Dyer was
the first 'that repurified Poetrie from Arts pedantisime,
and that instructed it to speake courtly'. He was buried
at St Saviour's, Southwark, on the 11th of May 1607.>>
----------------------------------------------------------------
http://www.quns.cam.ac.uk/Queens/Record/1997/History/Shakes.html
.
<<Queensman, John WeEVER (1576-1632), was in an extraordinarily
interesting and eccentric character - connoisseur of graveyards,
tobacco-enthusiast, sycophant, satirist, dwarf, penner of dirty
ditties, egotist, pugnacious Lancashire man and proud of it
.
But his most fascinating and potentially important work is
his earliest one, the scruffy and badly-printed collection
of undergraduate squibs already quoted. Overleaf from
the celebration of Queens' we find the following:
.
. Ad Gulielum Shakespear
.
Honie-tong'd Shakespeare when I saw thaie issue
I swore Apollo got them and none other,
Their rosie-tainted features cloth'd in tissue,
Some heaven born goddesse said to be their mother:
Rose checkt Adonis with his amber tresses,
Faire fire-hot Venus charming him to love her,
Chaste Lucretia virgine-lik{E} her dresses,
Prowd lust-stung Tarqu[I]ne seeking still to prove h[E]r:
Romea Richar{D}, more whose [N]ames I know not,
Their sugre[D] tongues, and power attract[I]ve beuty
Sa{Y} they are Saint[S] althogh that Sts they shew (NOT)
(For) thousands vowes to them subi{E}ctive dutie:
. They burn in love thy children Shakespear *HET THEm* ,
. Go, wo thy Muse mo{R}e Nymphish brood beget them.
....................................................
. . . . . . . . . . . . . . <= 23 =>
.
. l u s t-s t u n g T a r q u [I] n e s e e k i n
. g s t i l l t o p r o v e h [E] r R o m e a R i
. c h a r{D}m o r e w h o s e [N] a m e s I k n o
. w n o t T h e i r s u g r e [D] t o n g u e s a
. n d p o w e r a t t r a c t [I] v e b e u t y S
. a{Y}t h e y a r e S a i n t [S] a l t h o g h t
. h a t S t s t h e y s h e w (N O T F o r)
.
(NOT For)[SIDNEI] -23
{EDYER} 66 : Prob. ~ 1 in 52
.
Prob. of [SIDNEI] ~ 1 in 450
...............................................
[From Epigrammes in the oldest Cut, and newest Fashion.]
.
This is the earliest poem ever addressed to Shakespeare, and
in fact one of the earliest references to him of any kind.
(Interestingly, one of the others, equally admiring,
is by Weever's own tutor, William Covell, another
Lancastrian: who passed on his enthusiasm to whom?).>>
---------------------------------------------------------------
The Tragedie of King Richard the third. Containing his
treacherous Plots against his brother Clarence : the pittifull
murther of his innocent Ne-phewes : his tyrannicall usurpa-
tion : with the whole course of his detested life, and most
dese[R]ved of death. As it hath beene lately Act[E]d by the
Kings Maiesties servants. Newl[Y] augmented, By William
Shake-speare. Lon[D]on, Printed by Thomas Creede, and are
to b[E] sold by Mathew Lawe, dwelling in Pauls Churchyard,
at the Signe of the Foxe, neare S. Austins gate, 1612.
...........................................
............ <= 33 =>
.
. and-most-DEsE [R] VEDofdeathAsithathbee
. nel-atel-yAct [E] dbytheKingsMaiestiess
. erv-ants-Newl [Y] augmentedByWilliamSha
. kes-pear-eLon [D] onPrintedbyThomasCree
. dea-ndar-etob [E] soldbyMathewLawedwell
. ing-inPa-ulsC -h- urchyardattheSigneoft
. heF{OXEN}eare -S- Austinsgate
.
[EDYER] -33 : Prob ~ 1 in 45
-------------------------------------------------------------
http://www.shakespeare-authorship.org.uk/mary-sidney-herbert.htm

<<Mary Sidney Herbert, 2nd Countess of Pembroke (1561-1621) worked
to make her home Wilton House in Wiltshire a leading cultural centre,
which when flourishing reminded one visiting poet "of the Court of
Urbino in Italy". The Countess encouraged writers and poets - and
'occasional' playmakers' efforts - in an academy environment "of
courtliness and piety." Wilton's archives were said to have long
held Mary's letter to her son, sent in 1606, saying "We have
the man Shakespeare here - bring King James!" And that Heminges
received thirty pounds (a huge amount) for the King's Men's
performance of "As You Like It" played at Wilton.>>
----------------------------------------------------
[M]R. William
SHAK{E}SPE[A|R)ES
Comedi(E)s,
H{I}sto[R|I)es &
Traged(I)es,
{P}ubl[I|S)hed according to t[He] True Orig(I)nal 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 C o <P I E S>

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(HEIDI): diminutive of the name Adelheid
as ALICE is dim. of Adelaide: "of noble birth"
----------------------------------------------------
TO THE ONLIE BEGETTER OF THESE INSUING SONNETS
.
________ <= 17 =>
.
. [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
.................................................
THE LA. [MARI]e [He]rbert COUNTESSE OF PEMBROOKE.
-------------------------------------------------
To draw no envy, Shakspeare, on thy name.
Am I thus ample to t[H]y book, and fame;
Wh[I]le I confess thy w[R]itings to be such
[A]s neither man, nor [M]use, can praise too much ;

Sweet swan of Avon! what a fight it were
To see thee in our waters yet appeare,
And make those flights upon the bankes of Tha[M]es,
That so did t[A]ke Eliza, and ou[R] James !
But stay, [I] see thee in the [He]misphere
Advanc'd, and made a Constellation there !
.
_______ <= 13 =>
.
. 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
---------------------------------------------------
On worthy Master Shakespeare and his Poems. (1632)
. . . by I.M.S., [I, M(ary) S(idney)]
. . . . http://tinyurl.com/cjkvc9g
.
...... Line 44:
.
The *buskind MUSE* , the Com[M]icke Queene, the grand
And lowder tone of Clio; nimble h[A]nd,
And nimbler foote of the melodious paire,
The silve[R]-voyced (LADY) the most faire
Calliope, whose speaking s[I] lence daunts,
And she whose prayse the heavenly body c[H]ants.
.....................................................
__________ <= 44 =>
.
ThebuskindMusetheCom [M] ickeQuee neth egrandAndlo
wdertoneofClionimbleh [A] ndAndni mble rfooteofthe
melodiouspaireThesilve [R] voyced(LADY)themostfair
eCalliopewhosespeakings [I] lence daun tsAndshewho
sepraysetheheavenlybodyc [H] ants
.....................................................
These jointly woo`d him, *ENVYING one another* ,
(Obey`d by all as Spouse, but lov`d as brother),
And wrought a curious robe of
.
*SABL[E] gra[V]e* , Fr[E]sh g[R]een[E],

and pleasant yellow, red most brave,
...................................................
'The friendly admirer of his endowments', I.M.S.,
in Comedies, Histories, and Tragedies (1632)
-------------------------------------------------
Underneath this *SABLE hearse*
Lies the subject of all verse,
Sidney's sister! Pembroke's mother!
Death, ere thou hast slain another
Fair, and learn'd, and good as she,
*Time shall throw a DART* at thee!
................................................
- Epitaph [in print, NOT on grave] to (LADY) Mary Sidney,
ascribed to the poet and dramatist Ben Jonson,
but apparently was written by the poet William Browne.
.
(LADY) Mary died London, 25th Sept 1621, of smallpox, age 59 yrs,
.
bur. in the choir ["Quire"] of Salisbury Cathedral, Wiltshire,
there is no gravestone, but there is apparently a plaque
to "several members of the Pembroke family buried *HERE*
with no mark" or similar wording, beside S door of Quire.>>
---------------------------------------------------
Astrophel and Stella 92
.
Be your words made, good Sir, of Indian ware,
That you allow me them by so small rate?
Or do you curtted Spartanes imitate?
Or do you meane [M]y tender e[A]res to spa[R]e,
That to m[Y] question[S] you so totall are?
.
____ <= 9 =>
.
. O r d. o .y o u m e
. a n e [M] y t e n d
._e r e [A] r e s t o
. s p a [R] e T h a t
. t o m [Y] q u e s t
._i o n [S] y o u s o
. t o t. a .l l a r e
..................................................
Astrophel and Stella 84
.
High way, since you my chiefe Pernassus be,
And that my *MUSE* , to some eares not vnsweet,
Tempers her words to *TRAMPLING HORSES* feete
More oft then to a chamber-melodie.
.
____ <= 9 =>
.
. [S] i n c e y o u m
. [Y] c h i e f e P e
. [R] n a s s u s b e
. [A] n d t h a t m y
. [M U S E] t o s o m
-. e e a r. e s n o t
-. v n s w. e e t T e
-. m p e r. s h e r w
-. o r d s. t o t r a
-. m p l i. n g h o r
-. s e s f. e e t e M
-. o r e o. f t t h e
-. n t o a. c h a m b
-. e r m e. l o d i e
--------------------------------------------------------
1640 *Witts Recreation*: To Mr. William Shake-spear

Shakspeare, we must be silent in thy praise,
'Cause our [E]n[CO]mions will but bla{S}t thy bays.
Which env{Y} could not ; that thou {D}idst do well,
Let thi{N}e own histories prove thy chronicle.
........................................
____........ <= 17 =>
.
. C a u s e o u r[E]n [C O] m i o n s
. w i l l b u t b l a {S} t t h y b a
. y s.W h i c h e n v {Y} c o u l d n
. o t;t h a t t h o u {D|i) d s t d o
. w e l l,L e t t h i {N|e) o w n h i
. s t o r i e s p r o. v. e t h y c h
. r o n i c l e.

{Co. SYDN(ei)}
-----------------------------------------------------
Quote from: "Shadowplay" Asquith, Clare
http://catholicforum.fisheaters.com/index.php?topic=3422942.0;wap2

<<England was not a free society. The precarious Tudor regime made
sophisticated use of propaganda and exercised tight control over
the country's small number of licensed printing presses..... A
contemporary ballad survives lamenting "little John Nobody, that
durst not speak"-the silenced voice of the Catholic opposition.

...The first surprise is the size of the Catholic opposition to the
new Protestant order. It was in a majority right up to the end of
the 16th century. A powerful group, it was easily capable of removing
the regime that oppressed it. Yet there was no organised opposition:
most religious dissidents chose the path of passive resistence.
Even at the time, the extent of John Nobody's silence was puzzling.

Earlier in the book Asquith describes the martyrdom of Richard
Whiting, last abbot of Glastonbury Abbey. She mentions the
chapel that once stood there, dedicated to Our (LADY) and built
out of *REEDS* , when the area was still surrounded by sea and
called Ynys-witrin, "the Island of Glass" ["l'îlE DE VERRE"].
Asquith goes on to describe the subsequent theft of Catholic
land and treasures, the sale of Abbey stones for use in
new buildings and the ruthless dismantling of an intricate
Christian culture at the hands of political reformers.>>
-----------------------------------------------------------
. [WIT-RIN] = *of Glass* = *DE VERRE*
..........................................................
[WIT]ts Rec[R]eat[I]o[N] Selected from the Finest Fancies
of Moderne Muses, with a Thousand Outlandish Proverbs
.
1640 *Witts Recreation*: To Mr. William Shake-spear
.
To Mr, William Shakspeare.
.
Shakspeare, we must be silent in thy praise,
'Cause our [E]n[CO]mions will but bla{S}t thy bays.
Which env{Y} could not ; that thou {D}idst do well,
Let thi{N}e own histories prove thy chronicle.
........................................
____........... <= 17 =>
.
. C a u s e o u r[E]n [C O]m i o n s
. w i l l b u t b l a {S}t t h y b a
. y s.W h i c h e n v {Y}c o u l d n
. o t;t h a t t h o u {D|i)d s t d o
. w e l l,L e t t h i {N|e)o w n h i
. s t o r i e s p r o. v e t h y c h
. r o n i c l e.
........................................
. [E]n[CO]mions
. [ECO] nomin(i)s
...........................................................
"[E]dwardus [C]omes [O]xon{iensis}"

Brincknell Inquest 1567
http://ist-socrates.berkeley.edu/~ahnelson/DOCS/brinck.html
------------------------------------------------------------
______ [ECO]: [HERE] (Venetian)
............................................................
_______________..... <= 19 =>

.. T. OTHEO_ - (N) l ___{I} __ <E> B. E. G __ E. T. T. ERO
.. F. THESE__- (I) n __ {S} __. U <I> N. G __ S. O. N. NET
.. S. MrWha__- (L) L __ [H]A ____. P <P> I _ (N) E. S. SEA
.. N. Dthat___ (E) T __ [E]R ____. N <I> T _ (I) E <P> ROM
.. I. SEDB Y O u ______ [R]E ____. V <E> R _ (L)<I> V. ING
. <P> OEtW I s h ______ [E]T ____. H (T) H _ (E) W. E. LLW
. <I> ShIN G a ______ [d V e] ___. N (T) u __ R. e. R. INS
. <E> tTIN G fort----____________. H (T) t
.........................................................
. Probability of Upper & Lower (NILE)'s ~ 1/176,000
..... Probability of 4 oven <PIE>'s ~ 1/38,000
-------------------------------------------------------
[ECO]: *ECHO* (Italian)
[ECO]: *ECHO* (Spanish)
[ECO]: *ECHO* (Portuguese)
--------------------------------------------------------------
When thus the *ECHO* answered her to EVERy word she spake:

Oh heavens ! who was the first that bred in me this fEVER ?
. . . . VERE (VER.)
Who was the first that gave the wound whose fear I WEAR for EVER ?
. . . . VERE.
What tyrant, CUPID, to my harm usurps thy golden quiVER ?
. . . . VERE.
What sight first caught this heart and can from bondage it deliVER ?
. . . . VERE.
-- The Earle of Oxforde.
------------------------------------------------------------------
Yet who doth most adore this sight, oh hollow *CAVEs* tell TRUE ?
You.
What NYMPH DEsERVEs his liking best, yet doth in sorrow rue ? You.
What makes him not reward good will with some reward or ruth ? Youth.
What makes him show besides his birth,
such pride and such unTRUTH? Youth.

May I his favour match with love, if he my love will try? Ay.
May I requite his birth with faith ? Then faithful will I die? Ay.
And I, that knew this (LADY) well,
Said, Lord how great a miracle,
To her how *ECHO* told the TRUTH,
As TRUE as Phoebus' oracle. - The Earle of Oxforde.
-----------------------------------------------------------
Help *ECHO* that in *AIR* doth flee,
shrill voices to resound,
To wail this LOSS of my good name,
as of these griefs the ground. -- {E.O.}
---------------------------------------------------------
Romeo and Juliet Act 2, Scene 2

JULIET: Bondage is hoarse, and may not speak aloud;
. Else would I tear the *CAVE* wHERE *ECHO* lies,
. And make her *AIRY* tongue more hoarse than mine,
. With repetition of my Rom{EO}'s name.
-------------------------------------------------------
[last minute interlineation]
"I gyve unto my wief...
my second best bed wth the furniture"

_ {M}. {Y}_ [S]
_ [E]_ [C]_ [O]
_ {N}. {D}_ [B]

[ECO]
[BOS]: ox (Latin)
{NEM}: I end (Latin)
{NEM}: heaven (Old Irish)

_ E - [S] . T
_ B - [E] . D
. W . [T] .[H]
_ T . [H] .[E]
_ F .. U . [R]
_ N .. I . {T}
_ U .. R . [E]
..................................................
"the intelligence of the [HER{T}E]"
------------------------------------------------------------
. The Legend of the TRUE Cross.

<<Before he died Adam pursuaded *SETH* to return to the garden & plead
for the oil of mercy. Gabriel gave *SETH* the branch of the original
tree from which Adam & Eve ate. This tree had blackened and withered
away when they had committed their "happy sin" or Felix culpa, but
had burst forth anew when Michael promised man's future salvation.

But Adam had died when *SETH* returned, so he planted
the branch on Adam's grave, where it lasted until
Solomon's time as a mighty tree. Solomon cut it down to build,
but IT ALWAYS CHANGED SHAPE and was thrown down as a BRIDGE.>>
------------------------------------------------------------
<<As Great SHAPE-SPHERE puns it.>> -- FW
...........................................................
<<Out of syght, out of {MYND}>> -Googe: Eglogs. 1563.
---------------------------------------------------------
Francis Bacon, Novum Organum, Bk I, Aph.120.

<<Existence, or pure Being, is the divine Word. It simply is-
The cabalistic formula for this is the expression, 'I AM'.

Just -as the image of sound is its *EchO* ,
so the image of existence is the knowl-edge of
that existence-self-consciousness, in other words.

There are two -basic types of consciousness:

INNOCENT or pure consciousness that contai-ns
the wisdom but doesn't yet know it, and
self-consciousness or se-lf-knowledge that does know.

Pure consciousness is associated with the pu-re but INNOCENT
intelligence-the intelligence of the HEART-which has the
capacity to know the wisdom that exists within it as its
lif-e or being, but as yet is ignorant of it and what it means. .- .

We might say, 'Oh, but I knew that already!' HowEVER, the re-ality
is that we did not know it before, as such, and yet we had -the
TRUTH of it already in our HEARTs. We needed something, how-EVER,
to wake it up and bring it to our mind as knowledge of that -TRUTH.

The cabalistic NAME for this knowledge, image or *ECHO* is 'ThaT':
hence the complete formula or god-NAME for both the
Holy Trinity and the SON of God is 'I AM ThaT I AM' >>
----------------------------------------------------
. . . King John Act 5, Scene 2

BASTARD: Indeed your drums, being beaten, will cry out;
And so shall you, being beaten: do but start
An *ECHO* with the clamour of thy drum,
And even at hand a drum is ready braced
That shall rEVERberate all as loud as thine;
------------------------------------------------------------
I saw a fair young (LADY) come, her secret fears to wail,
Clad all in colour of a NUN, and coVERED with a VEIL;
-- The Earle of Oxforde.
-----------------------------------------------------
IN the VAILE of restles {MYND}
I sowght in mownteyn & in mede,
trustyng a TREUlofe for to fynd:
vpon an hyll than toke I hede;
a voise I herd (and nere I yede)
in gret dolour complaynyng tho,
'see, dere soule, my sydes blede
Quia amore langueo.'

-- by Anonymous (c15th century)
---------------------------------------------------
To the right Honourable the Earle
of Oxenford, Lord high Chamberlayne of
England. &c.
.
REc(E)iue most Noble Lord in gentle gree,
The vnripe fruit of an v(N)ready wit:
Which BY THY COUNT{E|N}aunc[E| D}oth cra[V|e} to bee
D[E]f(E)nded f[R]om foule [E]n{V|I}es poisnous bit.
Which so to doe may th(E)e right w{E|L}l befit,
Sith th'antique glory of thine auncest{R}y
Vnder a *SHADY VELE* is therein writ,
And eke thin{E} owne lon(G) liuing memory,
Succeeding them in TRUE nobility:
And also for the loue, which thou doest beare
To *th'Heliconian YMPS* , and they to thee,
They vnto thee, and thou to them most dear[E]:
Deare as thou a[R]t unto thy self[E], so loue
That lo[V]es & honours the[E], as doth behoue.
.............................................
And also for the loue, which thou doest beare
To *th'Heliconian YMPS* , and they to thee,
They vnto thee, and thou to them most dear

____ <= 13 =>
.
. [E]{D e}a r e a s t h o u a
. [R] t u n t o t h y s e l f
. [E] s o l o u e T h a t l o
. [V] e s h o n o u r s t h e
. [E] a s d o t h b e h o u e
.
[EVERE] -13 (Prob.~ 1 in 91)
....................................
. Rec- <= 8 =>
.
. (E)i u e m o s t
. -N o b l e L o r
. -d i n g e n t l
. -e g r e e T h e
. -v n r i p e f r
. -u i t o f a n v
. (N)r e a d y w i
. -t W h i c h b y
.....................
. -T H Y C O U N T
.....................
. {E|N}a u n c[E|D}
_. o t h c r a[V|e}
_. t o b e e-D[E]f
. (E)n d e d_f[R]o
_. m-f o u l E[E]n
. {V|I}e-s_p O[I]s
_. n o u s b i(T)W
_- h i c h s o(T)o
.. d o e m a y(T)h
. (E)e_r i-g h(T)w
. {E|L}l b e f i t
. -S i t h t h a n
. -t i q u e g l o
. -r y o f t h i n
. -e a u n c e s t
. {R}y V n d e r a
. -s h a d y v e l
. -e i s t h e r e
. -i n w r i t A n
. -d e k e t h i n
. {E}o w n e l o n
. (G)l i u i n g m
. -e m o r y
.
Succeeding them in true nobility:
.
[EVERE] 8, 40 (Prob.~ 1 in 4400)
(GREENE). -48
.
Robert *GREENE* died in the house
of a SHOEMAKER named (ISAM) (1592)
----------------------------------------------------------
http://home.att.net/~tleary/GIFS/MINERVA.GIF

_The MINERVA BRITANNA_ Banner Folding clearly demonstrates
how the Equidistant Linear Sequence decoding is to be performed:
............................................................
http://f01.middlebury.edu/FS010A/students/Minerva/title.jpg
.
. [V] I . .\V\ I T U R
. [I] N G . \E\ N I O
. [C] Æ|T|E. \R\ A M
. [O] R|T|I S \E\ R
. [U .N T]
.
"all thinges perish and come to theyr last end, but workes
of learned WITS and monuments of Poetry abide *for EUER* ."
...................................................................
1577 Dedication in John *BROOKE's _The Staff of Christian Faith_*

. To the Right honourable and his singular good Lorde
. and maister Edwarde de \VERE\, Lorde d'Escales, and
. Badlesinere, [VICOUNT] Bulbecke, Earle of Oxenforde,
. and Lorde great Chamberlayne of Englande,
. Iohn Brooke wisheth long lyfe,
. with the increase of honor.&c.

ALTHOUGH VER(tu)E the roote of well doing (Right honorable Lorde) hath
of it selfe, sufficient force to withstande, repell, and ouerthrowe,
both the open m{ALICE}, and secrete slaunders of euill tongues, yet
notwithstanding considering howe dangerous, yea howe vnpossible a
thing it is to escape that poysoned sting of Zoilus, and also that
nothing hath eue[R] ben s[O] well [D]one, b[U]t tha[T] this Scorpion
hath eyther openly or priuily stong, I nede not to doubt, nay I may
be right sure, that these my labors shal come into the hands of some,
more curious than *WYSE* , more ready to nippe and tant
(yea euen withoute fault) then frendly to admonsihe or amende.

{ALICE} 1
[TUDOR] -5
---------------------------------------------------
_The Faerie Queene_ dedication (1590/6) To {HENRY} Carey

Rumours stated: He was an illegitimate child of {HENRY} VIII
..............................................
To the right honourable the Lord of Hunsdon,
high Chamberlaine to her Maiest{Y}.
.
REnowmed Lord, that fo{R} your worthi(N)esse
And {N}oble deeds haue your d{E}serue[D] place,
High in t{H|E) fa[V|O)ur of that Empress[E],
The worlds sole glo[R]y and her se(X)es grac[E],
Here eke of right ha[V]e you a worthie plac[E],
B(O)th f(O)r {Y}our nearnes to that Faerie Queene,
And for your owne high me{R}it in like cace,
Of which, apparaunt proofe was to be sene,
Whe{N} that tumultuous rage and fearfull deene
Of Northerne reb{E}ls ye did pacify,
And their disloiall powre defaced clene,
T{H}e record of enduring memory.
Liue Lord for *EvER* in this lasting verse,
That all posteritie thy honor may reherse.
.............................................
To the right honourable the Lord of Hunsdon,
high Chamberlaine to her Maiest-

. . . . . . <= 18 =>

. {Y}R E n o w m e d L o r d t h a t f
. -o{R}y o u r w o r t h i(N)e s s e A
. _n d{N}o b l e d e e d s h a u e y o
_ _u r d{E}s e r u e[D]p l a c e H i g
__ h i n t{H|E)f a[V|O)u r o f t h a t
. -E m p r e s s[E]T h e w o r l d s s
_- o l e g l o[R]y a n d h e r s e(X)e
. -s g r a c[E]H e r e e k e o f r i g
. -h t h a[V]e y o u a w o r t h i e p
. -l a c[E]
.
[E-VEREV-D] -17
{HENRY} . . -19

Prob. of [EVEREV] skip < 18 ~ 1200
.......................................................
REnowmed Lord, that fo{R} your wo- <= 48 =>
.
r t h i(N)e s s e And{N}obledeedshaueyourd{E}serue[D]place,Highi
n t{H|E)f a[V|O)u r o f thatEmpress[E],Theworldssoleglo[R]yandher
s e(X)e s grac[E]Hereekeofrightha[V]eyoua worthieplac[E],B(O)th
f(O)R{Y}o u r n e a rnes tothatFaerieQueene,Andforyourownehi
g h m e{R}i t i n like cace,Of w(H)ich,apparauntproofewastobese
n e W h e{N}t h a t tumul(T)uous rage and fearfulldeeneOfNorthe
r n e r e b{E}l s y e did pacify,Andtheirdisloiallpowredeface
d c l e n e T{H}e record of enduring memory.

{HENRY} -49 Prob. of 2 {HENRY}s skip < 50 ~ 600
(OXEN) -47 Prob. of 2 (OXEN/OXON)s skip < 48 ~ 167
..........................................................
REnowmed Lord, that fo{R} your worthi(N)esse And <= 43 =>
.
. [N] obledeedshaueyourdEserueDp {L} a .ceHighintHEfaV
. [O] urofthatEmpressETheworldss {O} l .egloRyandherse
. [X] esgracEHereekeofrighthaVey {O} u .aworthieplacEB
. [O] thfORYournearnestothatFaer. I .e .QueeneAndforyo
.. u .rownehighmeRitinlikecaceOf. w (H) ichapparauntpr
.. o .ofewastobeseneWheNthattumu. l (T) uousrageandfea
. {R} fulldeeneOfNorthernerebEls. y (E) didpacifyAndth
. {E} irdisloiallpowredefacedcle. n (E) THerecordofend
. {U} ringmemoryLiueLordforEvERi. n (T) hislastingvers
. {E} Thatallposteritiethyhonorm. a .y .reherse.

{LOO} 43
[OXON] -43
{EUER} -43
(TEETH) -43
----------------------------------------------------------------
1580: Dedication to Oxford in John Lyly's Euphues $ His England.

THE first picture that Phydias the first Paynter *SHADOWED* ,
was the protraiture of his owne person, {S}aying thus:
if it be well, I W{I}LL paint many besides Phy{D}ias, if ill,
it shall offend {N}one but Phydias. In the lik{E} MANNER
fareth it with me (R{I}ght Honourable) who nEVER before
handling the *PENsill* , did for my fyrst counterfaite, coulour
mine owne Euphues, being of this minde, that if it wer lyked,
I would draw more b(E)sides Eup[H]ues, if loathed, grieue. none but
E(U)phues. S[I]nce that, some th(E)re ha(V)e ben(E), that (E)ithe[R]
dissembling th{E} faultes they saw, fo(R) fe[A|R}e to discourage me,
or n<O>t {E|X>am<I>ni<N>g th(E|M], for the lo{V}e they bore me,
that prais{E}d mine olde worke, and vrg{E}d me to make a new,
whose wo{R}ds I thus answered of his
....................................................
. . . . . . . . . . <= 21 =>
.
. o w n e p e r s o n{S}a y i n g t h u s i
. f i t b e w e l l I-w{I}l l p a i n t m a
. n y b e s i d e s P-h y{D}i a s i f i l l
. i t s h a l l o f f-e n d{N}o n e b u t P
. h y d i a s I n t h-e l i k{E}M A N N E R
. f a r e t h i t w i-t h m e R{I}g h t H o
. n o u r a b l e w h-o n e u e r b e f o r
. e h a n d l i n g t-h e p e n s i l l d i
. d f o r m y f y r s-t c o u n t e r f a i
. t e c o u l o u r m-i n e o w n e E u p h
. u e s b e i n g o f-t h i s m i n d e t h
. a t i f i t w e r l-y k e d I w o u l d d
. r a w m o r e b(E)s-i d e s E u p[H]u e s
. i f l o a t h e d g-r i e u e n o n e b u
. t E(U)p h u e s S[I]n c e t h a t s o m e
. t h(E)r e h a(V)e b-e n(E)t h a t(E)i t h
. e[R]d i s s e m b l-i n g t h{E}f a u l t
. e s t h e y s a w f-o(R)f e[A|R}e t o d i
. s c o u r a g e m e-o r n<O>t{E|X>a m<I>n
. i<N>g t h(E|M]f o r_t h e l o{V}e t h e y
. b o r e m e t h a t_p r a i s{E}d m i n e
. o l d e w o r k e a-n d v r g{E}d m e t o
. m a k e a n e w w h-o s e w o{R}d s I t h
. u s a n s w e r e d,
.
<OXIN> 3
(EVEER) 5
{SIDNEI} 22
{EREVEER} 21
....................................................
being of this . . . . <= 35 =>
.
. m i n d e t h a t i f itwe r lyked I w o uld d r a w m o r e
. b(E)s-i d e s E u p[H]uesi f loath e d g-rie u e n o n e b u
. t E(U)p h u e s S[I]n ceth a tsome t h(E)reh a(V)e b-e n(E)t
. h a t(E)i_t h e[R]d i ssem b lingt h{E}f aul t e s t h e y s
. a w f o(R)f e[A|R}e t odis c ourag e m e-orn<O>t{E|X>a m<I>n
. i<N>g t h(E|M]f o r-t helo{V}ethey b o r eme t h a t-p r a i
. s{E}d m i n e o l d e work e andrg{E}d m eto m a k e a n e w
. w h-o s e w o{R}d s Ithu s answe r e d

[HIRAM] 34
(EUERE) 36
......................................................................
If I should coyne a wor[S]e, it would be thought that the former was
framed by chaunce, as [P]rotogenes did the foame of his dogge, if a
better, for flatteri[E], as Narcissus did, who only was in loue with
his own face, if none [A]t ail, as froward as the Musition, who being
entreated, will sca[R]se sing sol fa, but hot desired, straine aboue
Ela. But their importu<N>itie adm<I>tted no e<X>cuse, in-s<O>
much that I was enforced to preferre their friendship before
mine owne faine, being more carefull to satisfie
their requestes, then fearefull of others
....................................................
If I should coyne a ... <= 51 =>
.
. w o r [S]e .it w ouldbet h oughtth a tthefor m erwasframedbychaunc
. e a s [P|R] ot o genesdi d thefoam e ofhisdo g geifabetterforflatt
. e r i [E|A] sN a rcissus d idwhoon l ywasinl o uewithhisownfaceifn
. o n e [A|T] ai l asfrowa r dastheM u sitionw h obeingentreatedwill
. s c a [R|S] es i ngsolfa b uthotde s iredstr a ineaboueElaButtheir
. i m p .o r .tu<N>itieadm<I>ttednoe<X>cuseins<O>muchthatIwasenforce
. d t o .p r .ef e rrethei r friends h ipbefor e mineownefainebeingm
. o r e .c a .re f ulltosa t isfieth e irreque s testhenfearefullofo
. t h e .r s
.
[SPEAR] 51
[STAR] -51
<OXIN> -8
----------------------------------------------------------------
http://shakespeareauthorship.com/rep.html
.
<<William Covell's _Polimanteia_ (1595) lists SIDNEY , Spenser,
. Alabaster, Daniel, and Shakespeare -- but not Oxford?>>
-----------------------------------------------------------------
. "Oxford thou maist extoll thy court[E]-[DE]are-[VER]s[E]"
.............................................................
. http://home.earthlink.net/~mark_alex/1596.htm
.
<<1595 Printed marginal note in an epistle by William Covell appended
to _Polimanteia, or the meanes lawfull and unlawfull to judge of the
fall of a Commonwealth, against the frivolous and foolish conjectures
of this age_: The author is eulogizing the poets of England as
superior to those of foreign nations. The marginal notes appear
to be illustrative examples in support of the main text:
.
. All praise Let divine Bartasse, eternally
. worthy. praiseworthie for his weeks worke,
. Lucrecia say the best thinges were made first
. Sweet Shak- : Let other countries (sweet
. speare. Cambridge) *ENUIE* , (yet admire) my
. Eloquent *Virgil* , thy petrarch, diuine *SPENSer* .
.*GAVESTON* . And Vnlesse I erre, (a thing easie in
. Wanton such simplicitie) deluded by dearlie
. Adonis. beloued {DELIA}, and fortunatelie
.*WATSOns* fortunate Cleopatra ; *OXFORD* thou
. heyre. maist extoll thy court(E-DE)are-(VERsE)
. So well gra- happie Daniell, whose *SWEETE*
. nie deser- refined muse, in *contracted shape* ,
. veth immor- were sufficient amongst men, to
. tall praise gaine *PARDON* of the sinne to
. from the hand Rosemond, pittie to distressed
. of that di- Cleopatra, and *EVERliuing praise* to
. uine (LADY) her louing {DELIA}.
. who like Co-
. rinna conten-
. ding with
. Pindarus
. was oft vi-
. ctorious.
-----------------------------------------------------
There's an interesting relationship between:
.

. Publius *Vergilius MARO* &
. Marlo's Piers *GAVESTON*
.
. The former was born in a *DITCH*
. [http://www.virgil.org/vitae/a-donatus.htm]
. while the latter died in one.
------------------------------------------------------------------
http://www.quns.cam.ac.uk/Queens/Record/1997/History/Shakes.html
.
<<Weever has read Venus and Adonis (published in 1593 and 1594, just
before he came up) and the Rape of Lucrece (1594). He has either read
or seen performances of Romeo & Juliet and Richard II or Richard III
(all three published in 1597, in his third year), and I suggest that,
since the next epigram is addressed to the great actor and close
associate of Shakespeare's, Edward Alleyn, and alludes to the 'Swan'
on the Thames, Weever had been down to London to take in some shows,
and actually seen Shakespeare in performance.
.
Given that we know so tantalisingly little about Shakespeare's first
audiences and readers, these are interesting facts in themselves.
But most fascinating of all is something hidden in this poem, and
recently brought to the surface in a brilliant piece of literary
detective-work by Professor E. A. G. Honigmann. Any reader of the
Epigrammes will feel that this particular one stands out from the
others, not just because it is about Shakespeare, not because of
its more elevated subject-matter (most of the verses are about
student japes or jibes at the Senior Proctor and so on) but
because of its different literary form. Most of the epigrams
are fairly shapeless doggerel but this one, alone, is a sonnet
- and the kind of sonnet known in the trade as 'Shakespearean'
(three quatrains rhyming abab and a final couplet) after
its greatest practitioner. Now Shakespeare's Sonnets were not
published until ten years later, in 1609, but we know from other
sources that they circulated in the 1590's amongst a few of his
"private friends". Honigmann suggests that Weever is sending a
boastful coded signal that he is part of that privileged circle.
.
How would a Cambridge undergraduate know Shakespeare personally? The
clue may be in Weever's dedication of the Epigrammes to "Richard
Houghton of Houghton Tower, Knight" Who was Houghton? He was High
Sherrif of Lancashire and the chief landowner in Weever's part of the
County, someone whose patronage the impoverished young writer would
be glad to have. But he was also the nephew of Alexander Houghton,
previous owner of Houghton Tower, who, in a paragraph of his will
that deals with the 'players' he retained, mentions that he has a
servant called 'William Shakeshafte'. Professor Honigmann argues
that Shakeshafte might have been Shakespeare and that some of his
mysterious 'lost years', after leaving Stratford Grammar School and
before we first hear of his successes on the London stage, could have
been spent as a tutor at Houghton Tower. If this is so, and the young
Weever had seen Shakespeare about the place, & had later, in hope of
patronage, kept up his contacts with the Houghtons, it would explain
both his enthusiasm for Shakespeare's success and his eagerness to
imply that he had inside knowledge: he is basking in reflected glory.
And if that is so, then Queens' can help to supply an important
missing piece in the most mysterious puzzle in English literary
history, the true identity of William Shakespeare.>> - IAIN WRIGHT
--------------------------------------------------
___ Hamlet (Quarto 2, 1604) Act II, scene II
.
Hamlet: Y'are welcome *MASTERS*, welcome all. I am glad to see
. thee well: Welcome good Friends. O my olde Friend?
. Th{Y} face is valiant since I saw th{E}e last: Com'st thou to
. beard me i{N} Denmarke? What, my yong (LADY) an{D} Mi-
. stris? Byr(LADY) your (LADISH{I}P) is neerer Heauen then when
. I {S}aw you last, by the a[L]titude of (A) Choppine. Pray God
. [Y]our voice (L)ike a peece of vncu[R]rant Gold be not crack'd
. withi[N] the ring. *MASTERS*, you are all w[E]lcome: wee'l e'ne
. to't like Frenc[H] Faulconers, flie at any thing we see: wee'l
. haue a Speech straight. Come giue vs a tast of your qua-
. lity: come, a passionate speech.
..........................................................
______________ <= 25 =>
.
.. Y'a r e w. e. l .c .o m e *M A S T E R S* w e l c. o .m e
.. a l l.I a. m. g .l .a d t. o s e e t h e .e w e l. l: W e
.. l c o m e. g. o .o .d F r. i e n d s.O m .y o l d. e .F r
.. i e n d?T. h {Y} f .a c e. i s v a l i a .n t s i. n .c e
.. I s a w t. h {E} e .l a s. t:C o m's t t .h o u t. o .b e
.. a r d m e. i {N} D .e n m. a r k e?W h a .t,m y y. o .n g
. (L A D Y)a. n {D} M .i-s t. r i s?B y r(L .A D Y)y. o .u r
. (L A D I S. H {I} P) i s n. e e r e r H e .a u e n. t .h e
.. n w h e n. I {S} a .w y o. u l a s t,b y .t h e a [L] t i
.. t u d e o. f (A) C .h o p. p i n e.P r a .y G o d [Y] o u
.. r v o i c. e (L) i .k e a. p e e c e o f .v n c u [R] r a
.. n t G o l. d. b. e .n o t. c r a c k'd w .i t h i [N] t h
.. e r i n g *M. A. S .T E R. S*y o u a r e .a l l w [E] l c
.. o m e:w e. e 'l. e' n e t. o't l i k e F .r e n c [H] F a
.. u l c o n. e. r. s, f l i. e a t a n y t .h i n g. w .e s
.. e e:
.
[HENRY L.] -25
{LA.SIDNEY} -25
...................................................
Dedications to (LADY) MARIe COUNTESSE OF PEMBROOKE.
--------------------------------------------------------------
One & only [SIDNEY] with Skip of 20 or less in the entire KJV:
...............................................
Judges 5:28-30 The mother of Sisera looked out at
a window, and cried through the lattice, Why is his
chariot so long in coming? why tarry the wheels of his
.
chariot[S]? Her w[I]se la[D]ies a[N]swer[E]d her, [Y]ea,
.
she returned answer to herself, Have they not sped? have they
not divided the prey; to *EVERy* man a damsel or two; to
Sisera a prey of *DIVERS* colors, a prey of *DIVERS* colors
of needlework, of *DIVERS* colors of needlework on both
sides, meet for the necks of them that take the spoil?
...............................................
__ Barnes' Notes on Judges 5:30
.
<<Render the latter part of the verse "a booty of *DYED* garments
for Sisera, a booty of *DYED* garments and of party-colored cloth,
a *DYED* garment and two party-colored clothes for the necks of
the booty," the spoil or booty being either captive damsels, or
captive cattle on whose necks these clothes are to be placed
(either as ornament or as a burden).>>
--------------------------------------------------------------
The Tragedie of King Richard the third. Conteining his
treacherous Plots against his brother Clarence : the pittifull
murther of his innocent Nephewes : his tyrannicall vsurpation :
w(I)th the whole course of his d[E]tested life, and most deser[V]ed
death. As it hath bene lat[E]ly Acted by the Right Honou[R]able
the Lord Chamberlain[E] his seruants. Newly augmented,
By William Shakespeare. London Printed by Thomas Creede,
for Andrew Wise, dwelling in Paules Church-yard,
at the signe of the Angell. 1602.
...........................................
.......... <= 23 =>
.
. w (I) t h t h e w h o l e c o u r s e o f h i s
. [D E] T E S T E D l i f e a n d m o s t d e s e
. r [V] E D D E a t h A s i t h a t h b e n e l a
. t [E] l y A c t e d b y t h e R i g h t H o n o
. u [R] a b l e t h e L o r d C h a m b e r l a i
. n [E] h i s s e r u a n t s.
.
[EVERE] 23 {22,000} Q3(1602)
------------------------------------------
# finds in skips from ±2 to ±1001
..............................................
String.. NT . . OT . Moby Dick (4,150,000,000)
------------------------------------------------
SIDNEY.. 57 .. 131 . . . 50 (1 in 17,400,000)
SIDNEI. 138 .. 445 . .. 199 (1 in 5,300,000)
MARYS.. 208 .. 583 . .. 260 (1 in 4,000,000)
HIRAM.. 833 . 2881 . .. 898 (1 in 900,000)
EDYER. 1185 . 3610 . . 1091 (1 in 705,000)
EVERE. 1697 . 4951 . . 1773 (1 in 493,000)
EVEER. 1697 . 4951 . . 1773 (1 in 493,000)
-------------------------------------------------
Benson & Cotes's
.
TO THE READ[E]R. The[R]e presu{M|E] (under f{A|V]our)
to p{R|E]sent to {Y|O]ur view {S|o]me excel[L]ent and
sweetely composed Poems, of Master William Shakespeare, Which
in themselves appeare of the same purity, the Authour himselfe
then living avouched ; they had not the fortune by reason of
their Infancie in his death to have the due accomodatio of
proportionable glory with the rest of his *EVER-living*
Workes, yet the lines of themselves WILL afFORD you
a more authentick approbation than my assurance any way can,
to invite your allowance, in your perusall you shall find them
Seren, cleere and eligantly plaine, such gentle straines as shall
recreate and not perplexe your braine, no intricate or cloudy stuffe
to puzzell intellect, but perfect eloquence ; such as will raise your
admiration to his praise: this assurance I know will not differ from
your acknowledgment. And certaine I am, my opinion will be seconded
by the sufficiency of these ensuing lines ; I have beene somewhat
solicitus to bring this forth to the perfect view of all men ;
and in so doing glad to be serviceable for the continuance
of glory to the *DEsERVEd Author* in these his Poems.
.....................................................
____ <= 8 =>
.
.. T O T H E R [E] A
.. D E R T H e [R] e
.. p r e s u {M|E] u
.. n d e r f {A|V] o
.. u r t o p {R|E] s
.. e n t t o {Y|O] u
.. r v i e w {S|o] m
.. e e x c e l [L] e
.. n t a n d s. w. e
.. e t e l y c. o. m
.. p o s e d P. o. e
.. m s
.
{MARY S} [Lo. O., E. VERE]
--------------------------------------------
.... The Rape of Lucrece
.
Into the chamber wickedly he stalks,
And gazeth on her yet unstained bed.
The curtains being close, about he walks,
*Rolling his greedy eyeballs* in his head.
By their high treason is his heart misled,
Which gives the watch-word to his hand full soon
To draw the cloud that hides the silver moon.
Look as the fair and fiery-pointed sun,
Rushing from forth a cloud, bereaves our sight,
.....................................
To draw the cloud that hides the silver
.
____ <= 8 =>
.
. [M] o o n L o o k
. [A] s t h e f a i
. [R] a n d f i e r
. [Y] p o i n t e d
. [S] u n R u s h i
- -n- g f r o m f o
- -r- t h a c l o u
- -d- b e r e a v e
- -s- o u r s i g h t,
.
Even so, the curtain drawn, his *EYES* begun
To WINK, being blinded with a greater light ;
Whether it is that she reflects so bright
That *DAZZLETH* them, or else some shame supposed,
But blind they are and keep themselves enclos'd.
---------------------------------------------------
Newsgroups: humanities.lit.authors.shakespeare
From: kmack2...@my-deja.com
Subject: Re: Sidney Marlowe : 2000/05/07
.
Shakespeare's predilection for the ideal society in
the magical forest (for example, the forest of Arden)
can be found in Sidney's "Old Arcadia":
.
."O sweet woods, the delight of solitariness!
. O how much do I like your solitariness!
. Here no treason is hid, veiled in innocence,
. Nor *ENVY's snaky EYE* finds any harbour here,
. Nor flatterers'venomous insinuations,
. Nor cunning humorists' puddled opinions,
. Nor courteous ruin of proffered usury,
. Nor time prattled away, cradle of ignorance,
. Nor causeless duty, nor cumber of arrogance,
.
. Nor trifling title of vanity *DAZZLETH* us,
.
. Nor golden manacles stand for a paradise,
. Here wrong's name is unheard; slander a monster is.
. Keep they sprite from abuse, here no abuse doth haunt.
. What man grafts in a tree dissimulation?"
-------------------------------------------------------
http://tinyurl.com/4p2w6mp {1719}
.
The life and STRANG[E] surprizing adventu[R]es
. . of Robinson Cruso[E], a York mariner:
. . Who li[V]ed eight and twenty y[E]ars,
................................
. . . . . . <= 18 =>
.
. T h e l i f e a n d S T R A N G [E] s
. u r p r i z i n g a d v e n t u [R] e
. s o f R o b i n s o n C r u s o [E] a
. Y o r k m a r i n e r W h o l i [V] E
. D e i g h t a n d t w e n t y y [E] a
. r s
................................
all alone in an un-inhabited island
on the coast of America, near the mouth
of the great river of Oroonoque;
.
having been cast on shore by shipwreck,
wherein all the men perished but himself.
.
With account how he was at last as
*STRANGELY DEliVER'D by PYRATES.
.
Written by himself.
.
London
Printed for W. Taylor at the
Ship-in-Pater-Noster-Row.
MDCCXIX.
................................
http://tinyurl.com/4p2w6mp Preface
.
If Ever th{E} story of aNy private man's
adVentures i{N} the woRld were *WORTH*
making publick, an{D} were acceptable
when published, the ed{I}tor of this
account thinks this will be {S}o.
.
The wonde[R]s of this man's lif[E]
exceed all that (h[E] thinks) is to be
fo[U]nd extant; the lif[E] of one {M}an
being scarce c{A}pable of a greate{R}
variety.
.
The stor{Y} is told with mode{S}ty,
................................
_______. <= 15 =>
.
.. I f E v e r t h{E}s t o r y o
.. f a N y p r i v a t e m a n s
.. a d V e n t u r e s i{N}t h e
.. w o R l d w e r e W O R T H m
.. a k i n g p u b l i c k a n{D}
.. w e r e a c c e p t a b l e w
.. h e n p u b l i s h e d t h e
.. e d{I}t o r o f t h i s a c c
.. o u n t t h i n k s t h i s w
.. i l l b e{S}o T h e w o n d e
. [R]s o f t h i s m a n s l i f
. [E]e x c e e d a l l t h a t h
. [E]t h i n k s i s t o b e f o
. [U]n d e x t a n t t h e l i f
. [E]o f o n e{M}a n b e i n g s
_. c a r c e c{A}p a b l e o f a
_. g r e a t e{R}v a r i e t y T
__ h e s t o r{Y}i s t o l d w i
.. t h m o d e{S}t y
................................
with seriousness, and with a religious
application of events to the uses
to which wise men always apply them,
viz., to the instruction of others
by this example, and to justify and
honour the wisdom of Providence in
all the variety of our circumstances,
let them happen how they will.
.
The edito[R] believes the thing to be
a just history o[F] fact; neither is
there any appearance of [F]iction in
it: And however thinks, because [A]ll
such things are dispatched, that
the i[M]provement of it, as well to
the diversion [A]s
................................
....... <= 34 =>
.
. Theedito {R} believesthethingtobeajust
. historyo {F} factneitheristhereanyappe
. aranceof [F] ictioninitAndhoweverthink
. sbecause [A] llsuchthingsaredispatched
. thatthei [M] provementofitaswelltothed
. iversion [A] s
.
[FAMA] {FR}aternitatis RC
................................
to the instruction
of the reader, will be the same;
and as such, he thinks, without
farther compliment to the world,
he does them a great service in
the publication.
-----------------------------------------------
*THE REST IS* silence" - Hamlet
*THE REST IS FAME* " - Sidney motto
[ *CÆTERA FAMA* ]
.................................................
Hamlet = Sidney in _Shadowplay_ by Clare Asquith
--------------------------------------------------
Marlovian Peter Bull wrote HLAS:
.
<<[Shakespeare's *A LOVER'S COMPLAINT*
. starts with the acrostic *FAMA*
. A Rosicrucian call to FAME? >>
..........................................
. A Lover's Complaint Stanza 1
.
[F|R}OM off a hill whose concave womb reworded
[A] plaintful story from a sistering vale,
[M]y spirits to attend this double voice accorded,
[A]nd down I laid to list the sad-tuned tale;
-------------------------------------------------
Or spun out Riddles, and weav'd fitty Tomes
Of Logogriphes, and curious Palindromes,
Or pomp'd for those hard Trifles Anagrams,
Or Eteostichs, or those finer Flams
Of Eggs, and Halberds, Cradles, and a Hearse,
A pair of Scisars, and a Comb in Verse;
Acrostichs, and Telestichs, on jump Names,
Thou then hadst had some colour for thy Flames,
On such my serious Follies; But, thou'lt s[A]y,
There were so[M]e Pieces of as b[A]se allay,
And as [F]alse stamp the{R}e; parcels of a Play,
Fitter to see the Fire-light, than the day;
Adulterate Moneys, such as might not go:
Thou should'st have stay'd, till publick *FAME* said so.
................................................
........ <= 13 =>
.
. B u t,t h o u'l t s [A] y T
. h e r e w e r e s o [M] e P
. i e c e s o f a s b [A] s e
. a l l a y A n d a s [F] a l
. s e s t a m p t h e {R} e p
. a r c e l s o f a P. l .a y
-----------------------------------------------
<<The 6th rule of the Rosicrucians,
as laid down in the *FAMA* Fraternitatis
of 1604 demanded anonymity for 100 years">>
..............................................
<<Gnostic device: "Learn to know all but keep thyself unknown">>
..............................................
ROS(icru)CIAN *NIC(hol)AS RO(we)* simply
. refused to play ball when the time came.
http://en.wikipedia.org/wiki/Nicholas_Rowe_(dramatist)
-------------------------------------------------------------
http://spenserians.cath.vt.edu/TextRecord.php?action=GET&textsid=32802
.
{DELIA} and Rosamond Augmented. Cleopatra. (1594) *Samuel Daniel*
.
To the Right Honourable,
the (LADY) MARIe COUNTESSE OF PEMBROOKE.
.
O why may not some after-comming hand,
Unlock these limits, open our confines:
And *breake a sunder* this imprisoning band,
T' inlarge our spirits, and publish our dissignes;
Planting our *ROSES* on the Apenines?
And teach to Rhene, to Loyre, and *Rhodanus* ,
Our *ACCENTS, and the WONDERS* of our Land,
That they might all admire and honour us.
.
Whereby great *SYDNEY* and our *SPENCER* might,
With those Po-singers beeing equalled,
Enchaunt the world with such a SWEET delight,
That theyr *ETERNALL* songs ( *for EVER read* ,)
May shew what great ELIZAS raigne hath bred.
What musique in the kingdome of her peace,
Hath now beene made to her, and by her might,
Whereby her *glorious FAME shall nEVER* cease.
-------------------------------------------------------------
http://humphrysfamilytree.com/Herbert/2nd.earl.html
.
<<(LADY) Mary was a poet & translator, and a great patron of learning
at Wilton, the (late-17th cent) diarist and folklorist John Aubrey
says in her entry in his "Brief Lives": "In her time, Wilton House
was like a College, there were so many learned and ingeniose
persons. She was the greatest Patronesse of witt & learning
of any (LADY) in her time.",
.
Wilton has been called "the nursery of the English Renaissance",
The countess of Pembroke's Arcadia 1579-81 refers to her,
her brother Sir Philip Sidney wrote it at Wilton, after
his death 1586 she ensured the publication of his works,
.
The Ruines of Time by Edmund Spenser
was dedicated to (LADY) Mary, 1592,
.
2nd Earl died 19th Jan 1601, age 66 yrs.
..........................................
THE RUINE OF TIME. DEDICATED
.
To the right Noble and beautifull Ladie,
.
THE LA. MARIE COUNTESSE OF PEMBROOKE.
.
MOST Honourable and bountifull Ladie, there bee long sithens deepe
sowed in my brest, the seede of most entire loue & humble affection
vnto that most braue Knight your noble brother deceased; which taking
roote began in his life time some what to bud forth: and to shew
themselues to him, as then in the weaknes of their first spring. And
would in their riper strength (had it pleased high God till then to
drawe out his daies) spired forth fruit of more perfection. But since
God hath disdeigned the world of that most noble Spirit, which was
the hope of all learned men, and the Patron of my young Muses;
togeather with him both their hope of anie further fruit was cut
off: and also the tender delight of those their first blossoms
nipped and quite dead. Yet sithens my late cumming into England,
some frends of mine (which might much preuaile with me, and
indeede commaund me) knowing with howe straight bandes of
duetie I was tied to him: as also bound vnto that noble house,
(of which the chiefe hope then rested in him) haue
soug[H]t to reuiu[E] them by vp[B]raiding m[E]: for that I [H]aue
not shewed anie thankefull remembrance towards him or any of them;
but suffer their names to sleep in silence and forgetfullnesse.
Whome chieflie to satisfie, or els to auoide that *fowle BLOT* of
vnthankefullnesse, as I haue conceiued this small Poeme, intituled
by a generall name of the worlds Ruines: yet speciallie intended to
the renowming of that noble race, from which both you and he sprong,
and to the eternizing of some of the chiefe of them late deceased.
The which I dedicate vnto your La. as whome it most speciallie
concerneth: and to whome I acknowledge my selfe bounden,
by manie singular fauours & great graces. I pray for your
Honourable happinesse: & so humblie kisse your ha(n)des.
.
. Your Ladiships *EVER*
. humblie at commaund. - E.S.
.................................
______ <= 9 =>
.
. h a u e s o u g [H]
. t t o r e u i u [E]
. t h e m b y v p [B]
. r a i d i n g m [E]
. f o r t h a t I [H]
. a u e n o t
.
shewed anie thankefull remembrance towards him or any of them;
but suffer their names to sleep in silence and forgetfullnesse.
------------------------------------------------------------
__ The Countess of Pembroke's Arcadia, 1593
. . . . . . Dedication
.
Now, it is done onelie for you, onely to you :
if you keepe it to your selfe, or to such friendes,
who will weigh errors in the ballaunce of *good Will*,
I hope, for the fathers sake, *it will be PARDONED*
----------------------------------------------------
Art Neuendorffer