Re: tower

[art]

------------------------------------------------------------------
. King Henry IV, Part i Act 3, Scene 1
.
HOTSPUR: Diseased nature oftentimes breaks forth
. In *STRANGE* eruptions; oft the teeming earth
. Is with a kind of colic pinch'd and vex'd
. By the imprisoning of unruly wind
. Within her womb; which, for enlargement striving,
. *SHAKES* the old beldam earth and *TOPPLES* down
. Steeples and moss-grown *TOWERS*. At your birth
. Our grandam earth, having this distemperature,
. In passion shook.
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<<The earliest recorded weather vane honored the Greek god
Triton, and adorned the *TOWER* of the Winds in Athens
which was built by the astronomer Andronicus in 48 B.C.
The figure, which is believed to have been 4 to 8 feet long,
had the head and torso of a man and the tail of a fish.>>

Horologion of Andronicos (Tower of the Winds)
http://www.culture.gr/2/21/211/21101n/e211an01.html

The octagonal *TOWER* (3.20 m. long on each side) stands on a base of
three steps and is built of white Pentelic marble. It has a conical
roof, a cylindrical annex on the south side, and two Corinthian
porches, one on the NE and one on the NW side. At the top of each of
the eight sides there is a relief representation of a wind, symbolized
by a male figure with the appropriate attributes and its name
inscribed on the stone. There were sundials on the external walls
and an elaborate waterclock in the interior. The *TOWER* was built
in the first half of the 1st century B.C. by the astronomer
Andronicos, from Kyrrhos in Macedonia.

In the early Christian period, the *TOWER* of the Winds was converted
into a church or a baptesterion of an adjacent church, while the area
outside the NE entrance was occupied by a Christian cemetery. In the
15th century A.D., Cyriacus of Ancona mentions the monument as the
temple of Aeolos while a traveller refers to it as a church.>>
--------------------------------------------------------------------
http://www.modcult.brown.edu/people/rabyd/Utter.html

The old stone Newport *TOWER*,
octagonal in Norway's style:
discovered when the first white set'lers
fled massive Mass. for li'l Rhode Isle.
............................................................
New England, in general, and Roger Williams'
Newport, Rhode Island, in particular, were both
"a paradise free from religious persecution."
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http://www.mids.org/sinclair/600/961115.html

<<In this hereditary chain, Prince Henry Sinclair became the Grand
Master of the Crafts and Guilds of Scotland, as well as being a Knight
Templar, pledged to protect the Christian ideals. He was known as
Henry "the Holy" St. Clair. He was a true leader and was chosen as the
Commander of a Templar inspired expedition to the New World in 1398.
The Templars had found a temporary refuge in Scotland, but Scotland
had neither the space nor the scope to accommodate them. They wanted a
new land where their ideals could take root and flourish. They knew
about the New World. Trade was already taking place. The New World
beckoned.

His Venetian admiral, Antonio Zeno, said Prince Henry was a man
"worthy of immortal memory because of his great bravery and goodness."
He reached America 94 years before Columbus. He treated the indigenous
people with respect, understanding, and consideration. He called them
his "beloved sons", as he recognized they had the same underlying
beliefs he had himself, namely that God and Nature was One. There is
no doubt, Henry St. Clair practiced his faith in everything he did.
Before he ended his stay in the New World, it is thought that
he applied his experience and religious beliefs in building
the NEWPORT *TOWER*, following the design lines of
the Church of the Holy Sepulchre in Jerusalem.>>
---------------------------------------------------------------------
http://www.gate.net/~grupo/grail.html

Some refugee Knights Templar (and their treasure?) were welcomed by
the powerful St Clairs of Scotland, and under Prince Henry Sinclair,
participated in trans Atlantic voyages that resulted in
a settlement in Nova Scotia in 1398.

The Templars were the keepers of the Holy Grail who were searching
for Av(al)on, a paradise free from religious persecution.
---------------------------------------------------------------
__ Chapter 9: " *TOWER of Glass* "

<<" *TOWER of Glass* " refers to a see through, hour glass shaped,
allegorical tower of the Fisher King, that in fact existed at the
Templar refuge in Nova Scotia. The *TOWER* may have existed before
1398 & was reconstructed by Sinclair and his men with the aid of the
Micmac Indians and was similar to the NEWPORT and New Ross *TOWERS*.
The relationship between the Westford Knight and the location of
the *WHITE TOWER* demonstrates that clues were left by Sinclair,
albeit it in a sublime manner, indicating the exact location
of the *TOWER* and the front and back door to
an underground cave/abandoned copper mine.>>
------------------------------------------------
____ Sonnet 5

For neuer resting time leads Summer on,
To hidious winter and confounds him there,
Sap checkt with frost and lus[T]ie leau's quite g[O]n.
Beauty ore-sno[W]'d and barenes eu[E]ry where,

Then we[R]e not summers di[S]tillation left
A liquid prisoner pent in walls of glasse,
..........................................
Sap checkt with frost and lus-

______ <= 14 =>

. [T] i e l e a u's q u i t e g
. [O] n.B e a u t y o r e-s n o
. [W]'d a n d b a r e n e s e u
. [E] r y w h e r e,T h e n w e
. [R] e n o t s u m m e r s d i
. [S] t i l l a t i o n l e f t

A liquid prisoner pent in *WALLS of GLASSE* ,

[TOWERS] 14 {640,000}
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(Tarot card type) *TOWER* murders which I connect to Oxford:

1) Daedalus (/Arthur Golding)
tossing Perdix (/Edward de Vere) off of a *TOWER*
out of envy for his superior talents,

2) Hercules(/Oxford) tossing his friend Iphitus(/Sidney?)
off of a *TOWER* over some trivial disagreement and
consequently becoming a slave of Omphale(Elizabeth).
..........................................................
http://www.bulfinch.org/fables/bull19.html

<<Hercules in a fit of madness killed his friend Iphitus, and was
condemned for this offence to become the slave of Queen Omphale for
three years. While in this service the hero's nature seemed changed.
He lived effeminately, wearing at times the dress of a woman,
and carding & spinning wool with the hand-maidens of Omphale,
while the queen wore his lion's skin.>>
-----------------------------------------------------------
Lady Clara Vere de Vere (1842) - Alfred Lord Tennyson

KIND HEARTS ARE MORE THAN CORONETS,
And simple faith than Norman blood.

I know you, Clara Vere de Vere,
You pine among your halls and *TOWERS*;
The languid light of your proud eyes
Is wearied of the rolling hours.
In glowing health, with boundless wealth,
But sickening of a vague disease,
You know so ill to deal with time,
You needs must play such pranks as these.

Clara, Clara Vere de Vere,
If time be heavy on your hands,
Are there no beggars at your gate,
Nor any poor about your lands?
O, teach the orphan-boy to read,
Or teach the orphan-girl to sew;
Pray Heaven for a human heart,
And let the foolish yeoman go.
--------------------------------------------------------------
The Bell-Tower - a short story by Herman Melville
--------------------------------------------------------------
CHAPTER IX. OUR VOYAGE TO *ICE-LAND*
Journey to the Center of the Earth - by Jules *VERnE*
.
On the 2nd of the month [i.e, *St. ELMO's Day* ],
at two in the morning, our precious cargo of luggage
was taken on board the good ship *VALKYRIE*

We followed, and were *VERy* politely introduced by the
captain to a small cabin with two standing bed places,
neither *VERy* well ventilated nor *VERy* comfortable.
But in the cause of science men are expected to *SUFFER* .
.
"Well, and have we *A FAIR wind* ?" cried my uncle,
. in his *most MELLIFLUOUS accents* .
.
"An excellent wind!" replied Captain Bjarne;
"we shall leave the Sound, going *FREE* with all sails set."
.
A few minutes afterwards, the schooner started before the wind,
under all the canvas she could carry, and entered the channel.
An hour later, the capital of Denmark seemed to sink into the waves,
and we were at no great distance from the coast of *Elsinore* .
My uncle was delighted; for myself, moody and dissatisfied,
I appeared almost to expect a glimpse of *the ghost of Hamlet* .
.
"Sublime madman," thought I, "you doubtless would approve our
proceedings. You might perhaps even follow us to the center of
the earth, there to resolve your eternal doubts."
.
But no ghost or anything else appeared upon the ancient walls. The
fact is, the castle is much later than the time of the heroic prince
of Denmark. It is now the residence of the keeper of the Strait of
the Sound, and through that Sound more than *FIFTEEN* thousand
vessels of all nations pass *EVERy* year.
.
The castle of Kronborg soon disappeared in the murky atmosphere, as
well as *THE TOWER OF HELSINBORG* which raises its head on the Swedish
Bank. And here the schooner began to feel in earnest the breezes of
the Kattegat. The Valkyrie was swift enough, but with all sailing
boats there is the same uncertainty. Her cargo was coal, furniture,
pottery, woolen clothing, and a load of corn. As usual, the
crew was small, *FIVE* Danes doing the whole of the work.
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<<They were tales of Grail Princes who were turned into frogs, of Swan
Knights who roamed the WASTELAND, and of Dragon Princesses locked in
*TOWERS* or put to sleep for hundreds of years. In the course of their
persecution, the Elf Maidens were pricked with bodkins, fed with
poisoned apples or condemned to servitude - while their champions swam
great lakes, battled through thickets and scaled mighty *TOWERS* to
secure and protect the matrilinear heritage of the Albi-gens. They
include such well-known stories as Sleeping Beauty, Cinderella, Snow
White and Rapunzel. In all cases, the underlying theme is the same,
with the Bloodline Princess kept (through drugging, imprisonment or
some form of restraint) out of reach of the Grail Prince who has to
find and release her in order to preserve the dynasty and perpetuate
the line. For the most part, the establishment of the "Mother Church"
was symbolised by a malevolent stepmother, an evil witch or some other
jealous female with an opposing vested interest. Always, the stories
are reminiscent of the Lost Bride of the King in the Old Testament's
Song of Solomon. Their content also embodies the forlorn aspect of
Mary Magdalene, the bride of Jesus, whose royal heritage and maternal
legacy were so thoroughly undermined by the Christian bishops.>>

- Sir Laurence Gardner Nexus Magazine, (August-September 1999).
--------------------------­------------------------------­--
http://my.nctm.org/eresources/view_article.asp?article_id=6221&page=6

When viewed from above, the basic shape of the Globe Theater
is a regular icosagon (a 20-sided polygon).

The swastika is an irregular icosagon also called
the gammadion or fylfot, which symbolized good luck
in ancient Arabic and Indian cultures.
---------------------------------------------------------------------
<<Every May and June, [gypsies] would congregate in the fields below
Rosslyn Castle where they would perform their plays. Sir William
Sinclair(/Singlear) is said to have made available two *TOWERS* of the
castle for them to occupy; the *TOWERS* came to be known as 'Robin
Hood;' and 'Little John.' _Robin Hood and Little John_ was a favourite
May-tide play performed by English and Scottish gypsies even though it
was banned by the Scottish Parliament on June 20 1555: 'No one should
act as Robin Hood, Little John, Abbot of Unreason(/Friar Tuck) or
Queen of May(/Maid Marion). 'Robin Hood' was derived from the old
Celtic & Saxon fertility or vegetation deity and was interchangeable
with 'Green Robin', 'Robin of the Greenwood', 'Robin Goodfellow', and
Shakespeare's Puck. On May Day there would be a festival of
unabashedly pagan origin acted around the 'May Pole'. On Midsummer's
Day, many village virgins would be ushered into the 'greenwood' to
undergo sexual initiation at the hands of a youth playing Robin Hood
or Robin Goodfellow, while Friar Tuck, would officiate the 'nuptials.'
May Day was, in fact, nothing more than a pagan orgy or fertility
rite that produced an annual crop of 'sons of Robin'/Robinsons/
Robertsons.>>
-- _The Temple and the Lodge_ Baigent & Leigh
---------------------------------------------------------------
Centered 20-gonal (or icosagonal) numbers:

1,21,61,121,201,301,421,561,721,901,1101,1321,1561,1821,...
...................................................
The Symmetries of the Baptistery and the Leaning *TOWER* of Pisa
http://www.nexusjournal.com/96/speiser.html

David Speiser - Scuola Normale Superiore, Pisa and
Institut de Physique Théorique, Louvain-la-Neuve

<<The round Leaning *TOWER* of Pisa consists of a massive ground floor
with a blind arcade, six tiers of open arches, and a smallish drum
(tamburo). While the symmetry of a circle is an infinite one, the
number of architectural elements of the *TOWER* reduce it to a finite
one. The 15-fold and 30-fold symmetry of the Leaning *TOWER* is
extremely rare, if not unique. The Pisans of those times delighted in
mathematical relationships in building design: they knew what they
were doing when they constructed a pentadecagonal campanile.

The Baptistery is not as harmonious as the Leaning *TOWER*. It
consists of four levels, and counting a garland of arches, there are
five elements to be analyzed. The Romanesque ground floor consists of
a blind arcade of 20 arches resting on 20 pilasters. The second level
displays a striking "symmetry clash": a 12-fold symmetry. That this
clash is not more manifest is due to the garland, which consists of
60 columns supporting 60 arches. Since 3 x 20 = 60 = 5 x 12 it stands
in a consonant relation to the levels below and above as well as to
the one it conceals. The third level returns to a 20-fold symmetry.
The 12-fold symmetry of the cupola is again sharply at odds
with the first and the third level.

Entering the Baptistery, one is captivated by the upward surge of the
pillars and columns of the innermost space, crowned by the cupola.
Everything in the interior is subordinated to the dominant 12-fold
symmetry. Yet another "clash" is strikingly apparent: not counting the
cupola, only two interior levels correspond to three exterior levels!

The symmetry clashes help reconstruct the history of the Baptistery
construction. In 1185 the original plan for the exterior was replaced
by that of Guidolotto, who, if not the designer of the Leaning
*TOWER*, was strongly influenced by it. His design involved the
regular pentagon and pentadecagon, which had appeared for the first
time in the construction of the Leaning *TOWER*. But Guidolotto's
capolavoro was not to everybody's liking. Circa 1221, the quarrels
ended with the 12-fold symmetry triumphant. A 3rd reversal, circa
1278, revived the icosagonal symmetry.

The consequence of the symmetry clashes was a continuous striving
for reconciliation. Despite this, the Baptistery is overwhelming,
especially in the light of a full moon.>>
--------------------------------------------------------------
Chap. 8, _THIS STAR OF ENGLAND_ by Dorothy & Charlton Ogburn
. http://www.sourcetext.com/sourcebook/Star/ch08.html
.
<<IN JANUARY 7, 1575, Lord Oxford set forth with his retinue,
consisting, as Burghley noted in his diary, of "two gentlemen,
two grooms, one payend, a harbinger, a housekeeper & a trenchman."
.
Before the end of May the traveller reached Venice,
where he declined a generous offer on the part of
[titular Grand Prior] *Sir RICHARD SHELLEY* of
a furnished house, to continue his journey.>>
--------------------------------------------------------------
____ Priors & Grand Priors of English Langue,
. Sovereign Order of St. JOHN of Jerusalem and of Malta.
.
. THOMAS TRESHAM 1557-1559
. *RICHARD SHELLEY* 1557-1590
---------------------­------------------------------­---------
http://www.montaguemillennium.­com/research/crusaders.htm
.
<< "... the Knights (these would be the Hospitallers, ed.), having
lost their stronghold ... to Timur the Lame ("Tamurlane",) in 1402,
were establishing a new base at Bodrum, the site of the ancient
Halicarnassus & its famous Mausoleum, stone from which was used in the
construction of the Christian fortress dedicated to St. Peter. This
fortress was to act not simply as a military post, but also as a
refuge for fugitive Christians from the Ottoman Empire. ...
.
The castle of St. Peter itself provides striking witness to English
participation. Over the gateway to one of its *TOWERS*, known as the
English *TOWER*, 26 coats of arms were set up in stone, including
those of Henry IV, the Prince of Wales, the dukes of Clarence,
Bedford, & Gloucester (the kings sons), the duke of York, and the
families of Grey, Zouche, DE LA POLE, Neville, Percy, Holland,
Beauchamp, BURLEIGH, STRANGE, Arundel, MONTAGUE, Stafford, DE VERE,
Courtenay, FitzHugh, Cresson, WOOLFE, and FAIRFAX, many of who could
boast of both long and recent crusading traditions." (Tyerman)>>
....................................................
26 ACTORS LISTED ON THE FIRST FOLIO
26 coats of arms on the "English *TOWER*"
-----------------------------------------------------------
http://www.taheke.co.nz/VCprisonr.html
SIR WALTER RALEIGH (Ralegh)

<<Sir Walter Raleigh was confined in the *TOWER* on three separate
occasions. He was initially imprisoned (Brick *TOWER*) by Queen
Elizabeth I in 1592 after she learned of his involvement with one of
her maids of honour - Bess Throckmorton - whom he later secretly
married. A jealous queen, it took him some time to regain her favour
but she finally relented and he led an English attack on the Spanish
city of Cadiz in 1596. In 1601 he saved the Queen from a rebellion
led by Robert Devereux, 2nd Earl of Essex. Gleefully, no doubt,
he presided at the execution. His fortunes declined after
the death of the queen in 1603.

The new monarch, James I believed that Raleigh opposed his accession
and had him committed to the Bloody Tower on a charge of treason. His
death sentence was staid at the last minute, but he spent a total of
thirteen years imprisoned within the Bloody *TOWER*.

His wife and young son Wat joined him after the *TOWER* had been
extensively renovated including the addition of an upper floor in
1605-6 so as to house the Raleigh's and their attendants. Sir Walter
and two servants took the first floor. It must have been a squeeze
with the addition of wardrobe chests, books, papers and the like.
His wife, the boy and female servants occupied the upper floor.

Lady Raleigh was allowed to come and go as she pleased and, in fact
left with young Wat in 1604 when there was an outbreak of plague.
Things couldn't have been all that bad because a second son - Carew -
was born in the Bloody *TOWER* and baptized in St. Peter ad Vincula -
the *TOWER's* chapel - on the 15th February, 1606.

Raleigh was allowed to grow rare herbs in the Lieutenant's garden
and work on scientific experiments in the garden shed.

All sorts of famous people visited him including James I's queen and
the young Prince of Wales, Henry. Young Henry admired Sir Walter and
despised his father the king for keeping such a 'bird in a cage'. The
young prince was tutored by Sir Walter and showed a great deal of
interest in the 'History of the World' which Sir Walter was writing
with the help of the playwright Ben Jonson, who kept him supplied with
reference material. Young Wat may have become jealous of the time his
father spent with others because he was reputed to have been bad
tempered, arrogant and disrespectful.

Eventually, Raleigh's health began to fail through long imprisonment
and sadness at the death - typhoid - in 1612 of Prince Henry, his
patron and admirer. With him died Raleigh's hope of release.
Fortunately, the lure of gold was so great that in 1616, James I freed
Raleigh and sent him to South America with two ships which the king
expected to have returned to him, filled with gold. Wat went too,
hoping to make a name for himself. Sir Walter became ill on the voyage
and was left behind in Trinidad while son Wat continued on up the
Orinoco River. King James had made it very clear that they were not to
bother the Spanish in any way since delicate treaties had been signed.
Unfortunately, Wat didn't heed the warnings, attacked a Spanish
settlement and was killed. News of his son's death devastated
Raleigh who returned to England a broken man.

King James was so upset, especially when the ships came back without
any gold, that he imprisoned Sir Walter again and finally had him
executed on the 29th of October, 1618 in front of the Palace of
Westminster. He is buried at St. Margaret's, Westminster.>>
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http://home.eol.ca/~cumulus/ch7.htm

<<When a child was born on 21 March 1581 to one of her maids of honor,
Anne Vavasor (19), Elizabeth clapped the infant & mother into the
*TOWER*. When Elizabeth found out that de Vere was the father, he was
searched for, found, placed under arrest (29 April), brought back and
put in the *TOWER*. Stratfordians say he had 'taken French leave';
Oxfordians just say all three were put in the *TOWER*. It makes little
difference. The Queen was outraged. His Court life as it had been
with Elizabeth was finished.

Elizabeth released Anne Vavasour, her infant son, and de Vere from the
*TOWER* after a few months, but he was banished from the Court.
However, all was not yet over in the Vavasour affair. Thomas Knyvet a
'well connected courtier' generally said to be 'apparently a kinsman
of Anne Vavasour" attacked de Vere with a 'sword.' In the ensuing
'sword' 'rapier' fight both men were wounded, de Vere apparently
seriously. Street fighting later erupted between retainers on both
sides over the next year or two, and 4 men were killed. [This] seems
more like the conduct of an infuriated lover than a kinsman. It was
not until 1585 that Thomas Vavasour issued a somewhat lengthy formal
challenge in writing, accusing de Vere of leaving others to do his
fighting and saying don't hide behind your nobility for 'I am a
gentleman.' He continued 'if there be yet any spark of honour left in
thee, or iota of regard for thy decayed reputation...' Apparently de
Vere did not take up the challenge. Meanwhile, Burghley seems to have
pleaded with the Queen on de Vere's behalf, pointing out that
imprisonment and injury was double punishment for the same offence.
He concluded de Vere was 'ruined' as far as she and her Court were
concerned. But after 'some bitter words and speeches' the Queen
pardoned de Vere in mid 1583 and he was allowed to return to Court,
though clearly things could never be the same between them.

The child was called EDWARD VERE. 'By the time he was 17 he
was a distinguished soldier fighting with Sir Horatio de Vere
in the Low Countries, and something of a poet as well.'

'In 1607 he was knighted, (as Sir EDWARD VERE), having
distinguished himself as a CAPTAIN under Sir Francis Vere.'

'Eventually he became a lieutenant colonel.' None of these
comments tell us how he was raised, but the references to
the two 'fighting de Veres' who were Oxford's cousins, plus
EDWARD Vere's military history suggest he was probably raised
by Horatio or Francis de Vere.

Anne Vavasour married a few years later but subsequently left her
husband to become the mistress of Sir Henry Lee. She bore him an
illegitimate child and after his death re-married, was convicted
of bigamy and fined £200. We're told the fine was later remitted,
but not told why.>> - Edward Furlong
-----------------------------------------------------------------------
Anthony VAN DYCK born in Antwerp on Sunday March 21, 1599
Anne Vavasor gives birth to EDWARD Vere on Tuesday March 21, 1581

Va.'s Raleigh released from the *TOWER* on Friday March 21, 1616
Va.'s POCAHONTAS dies at St. George's on Friday March 21, 1617

Mildred COOKE marries William Cecil on Saturday March 21, 1545
Cranmer COOKS right hand on Saturday March 21, 1556
Arthur BROOKE drowns in Greyhound wreck on Saturday March 21, 1562
Gabriel Harvey's epistle to Young on Saturday March 21, 1573

_Uncle Tom's Cabin_ published on Saturday March 20, 1852
-----------------------------------------------------------------------
Crucifixion = Jerusalem + VERnal Equinox: March 20/21
-----------------------------------------------------------------------
Henry IV dies (in Jerusalem Chapel) on Monday March 20, 1413
+314
------
Isaac Newton dies (=> Jerusalem Chapel) on Monday March 20, 1727
--------------------------------------------------------------------
http://www.worldramp.net/~wyatt/HTM/Sirhenry.htm

<<Henry Wiatt father of Thomas Wiatt who married Elizabeth Brooke is
said by historians to have been the most beloved man in England. He
was very close to Henry Tudor later Henry VII with whom he attended
Eton, a matter whiich greatly disturbed Richard III who feared Tudor
connection with the wealthy, much loved Wiatt. For this reason
Richard III had Wyatt imprisoned in a *TOWER* in Scotland, where he
was required to wear instruments of torture during the imprisonment.
Denied of clothing, enough to keep warm, & food enough to survive, a
cat named *ACATAR* brought him a pigeon daily which kept him alive.>>
..........................................................
*ACATAR* - Spanish: To obey, to accept, to comply with.
----------------------------------------------------------------
The cats in the *TOWER*
http://www.fortunecity.com/greenfield/dreams/383/towercat.htm

<<The *TOWER* of London has been a home for many prisoners during its
long history. A grim and foreboding place like this seems to be an
unlikely home for two cats to set up home. But during the Tudor and
Elizabethan eras, a cat gave loyal comfort to one of those
unfortunates incarcerated there. During the bitter struggle between
the Yorkest and Lancastrians in the War of the Roses, Sir Henry Wyatt
was taken prisoner by King Richard III, in 1483, and sent to the
*TOWER*. This was quite a difference in life for him, as he had once
been the Governor of the *TOWER*, and now he had a rather different
view on life in the *TOWER*. Being a well known cat lover living in
Allington Castle it was said of him that he "ever used to make much of
a cat". Stories say that while in the *TOWER* he was visited by a
stray cat which made its way to his cell through a CHIMNEY. The cat
often used to leave the cell and come back with pigeons which it gave
to Wyatt. It is said these were cooked for him by a friendly gaoler
and made up for the meagre rations that were fed to the prisoners. It
was surmised that when he was first incarcerated he would become
succumb to illness and starvation, but the gifts of food that the cat
brought kept him alive until he was later released. Later Sir Henry
had a memorial built to his cat friend in a church at Boxley in Kent.
He also remembered him in a painting of him in 1532. Several years
later, in 1601, when the reign of Queen Elizabeth was nearing its end,
Henry Wriothesley, the third Earl of Southampton, was incarcerated in
the Tower of London for supporting The Earl of Essex's rebellion.
During his stay there he was joined by his favourite cat, a black and
white female called Trixie. The Earl being a nobleman, had two houses,
one country mansion in Gloucestershire and another, Southampton House,
in London. One story says the cat made its own way across London from
Southampton House, scaled the walls and clambered across the roofs
until it found the CHIMNEY of his cell and climbed down to join the
Earl. We know that the cat kept Wriothesley company because many
years later after the event, the tale was put into writing by Thomas
Pennant an antiquarian. The cat was also included in a portrait
commissioned by Wriothesley around 1603, and painted by John de Critz
the Elder. Trixie is shown as a black cat with white markings to her
face, a snowy white bib, and white forepaws ,sitting by the right
arm of the Earl with a quizzical look upon her face.>>
-------------------------------------------------------------------
. 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* !
----------------------------------------------------------
Thomas Nashe *IN CHAINS* : http://tinyurl.com/3sy4by7
----------------------------------------------------------
1) "The Globe on the Banksyde" burned down
(i.e., "was removed") on St. Peter's day.
.
2) De Vere was crucified upside down like St. Peter:
----------------------------------------------------------
. TOTHEO - [N] l ___{I} _ EBE G ____ ETTERO
. FTHESE_- [I] n __-{S} - UIN G ____ SONNET
. SMrWha_- [L] L __ [H]A P_<P> I__ [N] ESSEA
. NDthat___ [E] T __ [E]R N_<I> T__-[I] EPROM
. ISEDB Y O u ___- [R]E _ V <E> R_ [L] IVING
. POEtW I s h ____ [E]T __ H [T] H__-[E] WELLW
. IShIN- G a _____ [d V e] __ N [T] u ______ ReRINS
. EtTIN G fort----_________ H [T] t
.
____________ <= 19 =>
---------------------------------------------------
St Peter ad Vincula (London) From Wikipedia,
.
<<The Chapel Royal of St. Peter ad Vincula ("St. Peter in chains")
is the parish church of the Tower of London, dating from 1520 & is
a Royal Peculiar. The name refers to St. Peter's imprisonment under
Herod in Jerusalem. The Chapel is probably best known as the burial
place of some of the most famous prisoners executed at the Tower.>>
------------------------------------------------------------
San Pietro in Vincoli
.
http://www.cptryon.org/hoagland/travels/stpeterchains/index.html
http://www.cptryon.org/hoagland/travels/stpeterchains/moses.html
.
The Church of St Peter *IN CHAINS* Rome: Michaelangelo's Moses
---------------------------------------------------------
*IN VINCULIS* : "in chains/bonds/fetters"
*NIL VICINUS* : "no neighbor"
*UNCIVIL SIN*
.
("Victorious though in chains") *IN VINCULIS INVICTUS*
Motto in Tower Painting: http://www.gorki.net/Art/fa12.html
http://ladysarafina.home.att.net/wriothesley.JPG
.............................................
http://www.philological.bham.ac.uk/anagrams/
.
<<Even more curious is the [anagramma] 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.
.............................................
. 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
.............................................
______ *ISNHAINC*
______ *IN CHAINS*
..................................................
*Victorious though IN CHAINS* : *In VINCULUS Invictus*
Motto in Tower Painting: http://www.gorki.net/Art/fa12.html
--------------------------------------------------------------------
Richard Nathan wrote:

> I was recently watching the 1939 film, "The *TOWER* Of London"
> starring Rasil Rathbone as Richard III. The film doesn't use any
> of Shakespeare's dialogue, but is another look at Richard III
> as a villain. Near the beginning of the film, while Henry VI
> is still alive but Edward IV has assumed the crown,
> the Earl of Oxford is put to death.
----------------------------------------------------------

http://www.queens.cam.ac.uk/page-306
Shakespeare and Queens'
.
<<On 1 March 1595, at the Bachelors' Commencement (what we now
call the Matriculation Dinner), the Bats' predecessors staged the most
successful production in their history, the comedy of Laelia, directed
and partly performed by two Fellows in the presence of the mighty Earl
of Essex (who stayed in the Lodge in the room which was then named the
Essex Chamber in his honour). Essex was so taken with the quality of
the performance that he arranged for the two Fellows (who, by the way,
carried on as a successful double act, first as Senior and Junior
Bursar, and later as Dean and Archbishop of York) to come down to
London and act before Queen Elizabeth herself in a 'Device' of his
own at the important festivity of Queen's Day on 17 November.
.
A second-year Queensman, John WeEVER (1576-1632), who himself had
burning literary and theatrical ambitions, was so starry-eyed at
these events that he penned the following epigram - as far as I
know, the only eye-witness account of an early Queens' production:
..................................................
In Georgium Meriton, & Georgium Mountaine
Your entertaine (nor can I passe away)
of Essex with farre-famed Laelia,
.
Nor fore the Queen you[R] service [O]n Queens [D]ay
When s[U]ch a Mais[T]er with you beareth sway,
.
How can Queenes College EVER then decay?
No. Yet Queenes College EVERmore hath beene
Is and will be, of Colleges the Queene.
.......................................
Nor fore <= 8 =>
.
. T h e -Q- U E E N
. y o u [R] s e r v
. i c e [O] n Q u e
. e n s [D] a y W h
. e n s [U] c h a M
. a i s [T] e r
.
with you beareth sway,
.
[TUDOR] 8 {153,000}
---------------------------------------------------------
http://f01.middlebury.edu/FS010A/students/Minerva/014.JPG
14. Fatum subscribat Eliza.
To the most excellent Princesse Elizabeth,
onely Daughter to our Soveraigne

Lord King Iames, King of Great Britaine.
.
Elisabetha Steuarta. Has Artes beata velit.
Faire Princesse, great, religious, modest, wise,
By birth, by zeale, behauiour, iudgment sound,
By whose faire arme, my Muse did first arise,

That crept before full lowly on [T]he gro[U]nd,
And [D]urst n[O]t yet f[R]om her DARKE SHADE aspire,

Till thou sweete Sunne, didst helpe to raise her higher.
Thus since by thee, shee hath her life and sappe,
And findes her growth by thy deere cherishment,
In thy faire eie consistes her future hap:
Heere write her fate, her date, her banishment,
Or may she that day-lasting Lillie be,
Or Soli-seqvivm e're to follow thee.
.
[TUDOR] 6 {215,000}
---------------------------------------------
(1632) Second Folio dedication:
.
On worthy Master Shakespeare and his Poems.
.
This, and much more which cannot be express`d
But by himself[E], his [T]ong[U]e, an[D] his [O]wn b[R]est,
Was Shakespeare`s freehold; which his cunning braine
Improv`d by favour of the nine-fold traine,
The buskind Muse, the Commicke Queene, the grand
And lowder tone of Clio; nimble hand,
And nimbler foote of the melodious paire,
The silver-voyced Lady the most faire
Calliope, whose speaking silence daunts,
And she whose prayse the heavenly body chants.
.
- The friendly admirer of his I.M.S.
.................................................
_ <= 4 =>
.
. -B- u t b
. -y- h i m
. -s- e l f
. [E] h i s
. [T] o n g
. [U] e a n
. [D] h i s
. [O] w n b
. [R] e s t
.
[E.TUDOR] 4 {2,900,000}
-----------------------------------------------------
http://www.baconlinks.com/VVILL/Psalm46.html
.
The Psalms 46 (1611) [~ 813 letters]
.
God is our refuge and strength: a very present helpe in trouble.
Therfore will not we feare, though (T)he earth be remoued: and
tho(U)gh the mountaines be carie(D) into the midst of the se{A}.
Th(O)ugh the waT[E]rs thereof roa[R]e, And be troubl[E]d, thoUgh
the MO[U]ntaines *SHAKE* with th[E] swelling thereof. The[R]e is
a r(I)uer, the stream[E]s (H)erof shall make gl{A}d the citie
of God: the holy place of the Tabernacles of the most High.
.......................................................
_________ <= 23 =>
.
. (T) h e e a r t h b e r e m o u e d:a n d t h o
. (U) g h t h e m o u n t a i n e s b e c a r i e
. (D) i n t o t h e m i d s t o f t h e s e{A}T h
. (O) u g h t h e w a t[E]r s(T)h e r e o f r o a
. [R] e,a n d b(E)t r o u b l[E]d,t h o u g h t(H)
. {E} m o[U]n t a i n e s*S H A K(E)*
.
(TUDOR, E.) 23 {400,000}
..................................................
______ <= 16 =>

. t h e m i d s t o f t h e s e{A}
. T h(O)u g h t h e w a T[E]r s(T)
. h e r e o f r o a[R]e,A n d b(E)
. t r o u b l[E]d,t h o U g h t(H)
.{E}M O[U]n t a i n e s*S H A K(E)*
. w i t h t h[E]s w e l l i n g(T)
. h e r e o f T h e[R]e i s a r(I)
. u e r,t h e s t r e a m[E]s w(H)
. e r o f s h a l l m a k e g l{A}
. d t h e c i t i e o f G o d:
.
[UERE] 13
{UERE} 19 {1,500 for each}
..............................................................
The Psalms 46 (1611) [~ 813 letters]
.
God is in the midst of her: she shal not be moued; God shall helpe
her, and that right early. The heathen raged, the kingdomes were
mooued: he vttered his voyce, the earth mel[T]ed. {T}he Lord of hosts
is with vs; the God [O]f Iacob is {O}ur refuge. Come, behold the
[W]orkes of the Lord, {W}hat desolations he[E] hath made in the
earth. H{E} maketh war[R]es to cease vnto the end of the ea{R}th:
................................................................
______ <= 34 =>

t h e k i n g d o m e s w e r e m o o u e d:h e v t t e r e d h i s
v o y c e,t h e e a r t h m e l[T]e d{T}h e L o r d o f h o s t s i
s w i t h v s;t h e G o d[O]f I a c o.b i s{O}u r r e f u g e.C o m
e,b e h o l d t h e[W]o r k e s o f t h e L o r d{W}h a t d e s o l
a t i o n s h[E]e h a t h m a d e i n t h e e a r t h.H{E}m a k e t
h w a r[R]e s t o c e a s e v n t o t h e e n d o f t h e e a{R}t h:
.
[TOWER] 31
{TOWER} 37 {15,000 each}
.................................................
vnto the end of [TH]e ea{R}th: h[EE]
br(E)ake[TH T]h(E) bow, and c(U)tteth th(E) *SPEARE*
in sunder, he burneth the chariot in the fire. Be stil,
and know that I am God: I will bee exalted among the
heathen, I will be exalted in the earth. The Lord
of hosts is with vs; the God of Iacob is our refuge.
.................................................
____ <= 8 =>
.
. v -n- t o t h e e
. n -d- o f[T H]e e
. a {R} t h:h[E E]b
. r (E) a k e[T H T]
. h (E) b o w{A}n d
. c (U) t t e{T}h t
. h (E) *S P E{A}R E*
. i n s u n{D}e r
.
(E.UEER) -8 {25,000}
{DATA} -8 : gifts
-----------------------------------------------------
You shall to the *TOWER*. Henry VIII: I, i
.
As, to the *TOWER*, I thought, I would have play'd Henry VIII: I,ii
...................................................
You be convey'd to the *TOWER* a prisoner; Henry VIII: V, iii
...................................................
Nor stony *TOWER*, nor walls of beaten brass, Julius Caesar: I, iii
...................................................
Child rowland to the *DARK TOWER* came, Lear: III, iv
...................................................
Strong as a *TOWER* in hope, I cry amen. Richard II: I, iii
.
You must to pomfret, not unto the *TOWER*. Richard II: V, i
...................................................
Would serve to scale another hero's *TOWER*,
- The Two Gentlemen of Verona: III, i
...................................................
A *TOWER'd* citadel, a pendent rock, Antony & Cleopatra: IV, xiv
...................................................
From off the battlements of yonder *TOWER*; Romeo and Juliet: IV, i
...................................................
The strongest castle, *TOWER*, and town,
The golden bullet beats it down.
(From Sonnets to Sundry Notes of Music, IV)
------------------------------------------------
Faustus: Was this the face that launch’d a thousand ships,
. And burnt the *TOPLESS TOWERS* of Ilium?
------------------------------------------------
Steeples and moss-grown *TOWERS*. Henry IV, part I: III, i
...................................................
To *TOWERS* and windows, yea, to chimney-tops, Julius Caesar: I, i
...................................................
That these great *TOWERS*, trophies and schools Timon of Athens: V,iv
...................................................
Heralds, from off our *TOWERS* we might behold, John: II, i

Ha, majesty! how high thy glory *TOWERS*, John: II, i

And like an *EAGLE o'er his aery TOWERS*, John: V, ii
--------------------------------------------------
http://en.wikipedia.org/wiki/Lathom

<<Ferdinando Stanley died on 16 April 1594. For a month after
his death, his company of players performed at their home of
*LATHOM House* , Lancashire as The Countess of Derby's Men.
They had been at *LATHOM House* shortly before the Earl's
death and had been known then as the Earl of Derby's Men.
The castle known as *LATHOM House*, built in the Middle Ages,
had 18 *TOWERS* , and was surrounded by a moat eight yards
wide, its drawbridge defended by a gateway *TOWER* .
-------------------------------------------------------------
Lathom House: one of the estates, and family seat of,
Sir Henry Stanley and Margaret Clifford
http://www.renfaireman.net/QueensCourt/lathom_house.htm

The seat of the Lathoms, passed into the Stanley family by the
marriage of Isabel de Lathom with Sir John Stanley, the ancestor of
the Earls of Derby. Previous to 1496 one of those rude wooden
mansions, common to that period, did exist, from whose portals many a
noble train had passed for the tournament or the battle. In 1496 the
ancient pile made way for a more celebrated successor, shown here,
within which, in the words of the old poem, might be ,"lodged kyngys
three." Whilst Thomas Lord Stanley, who became the first Earl of
Derby, was absent assisting Henry VII., ballad lore tells us Lathom
House was destroyed, and that, on his return, he rebuilt it :-

This is the later mansion, the fortress then existing during the
reign of Queen Elizabeth and was the same which is said to have
furnished Henry VII., who visited his father-in-law, Earl Thomas,
shortly after its erection. The form of Lathom House is described as
"The bright bower of Lathom " as having "nine *TOWERS* on high," and "
nine in the utter walls," which representation gives the idea of a
moated outer court, with a turreted gateway, and other *TOWERS*
in the walled circuit, and, within this enclosure, an embattled
mansion, also crowned with turrets, with the Eagle *TOWER*
rising majestically above all the rest, forming an inner court.

Six of the nine *TOWERS*' names are:

1) the Eagle *TOWER*,
2) the *TOWER* of Madness,
3) the Little *TOWER*,
4) the *TOWER* at the Kitchen Bridge,
5) the Chapel *TOWER*, and
6) the Private *TOWER*.

Besides all that is said hitherto of the walls, *TOWERS*, and moat,
there is something so particular and romantic in the general situation
of this house, as if Nature herself had formed it for a stronghold or
place of security.
------------------------------------------------
___ Sonnet 64

. WHen I haue seene by times fell hand defaced
. The rich proud cost of outworne buried age,
. When sometime *loftie TOWERS* I see downe rased,
. And *BRASSE eternall* slaue to mortall rage.
------------------------------------------------------
______ Pericles Prince of Tyre Act 1, Scene 4

CLEON: Whose *TOWERS BORE HEADS so high they kiss'd the CLOUDS* ,
. And *STRANGERS* ne'er beheld but wondered at;
------------------------------------------------------
______ Troilus and Cressida Act 4, Scene 5

ULYSSES: Sir, I foretold you then what would ensue:
. My prophecy is but half his journey yet;
. For yonder walls, that pertly front your town,
. Yond *TOWERS , whose wanton tops do buss the CLOUDS* ,
. Must kiss their own feet.
------------------------------------------------------
______ The Tempest Act 4, Scene 1
.
PROSPERO: And, like the baseless fabric of this vision,
. The *CLOUD-capp'd TOWERS* , the gorgeous palaces,
. The solemn TEMPLES, the great globe itself,
. Ye all which it inherit, shall dissolve
. And, like this insubstantial pageant faded,
. Leave not a *RACK* behind.
......................................................
. http://www.sirbacon.org/gallery/west.htm
.
. The *CLOUD CUPT TOW'RS* ,
. The Gorgeous Palaces
. The Solemn Temples,
. The Great Globe itself
. Yea all which it Inherit,
. *Shall Dissolue* ;
. And like the baseless *FnBRICK* of a Vision
. Leave not a *WRECK* behind."
------------------------------------------------
1580: Dedication to Oxford by Anthony Munday
in Zelauto. The fountaine *OF FAME* .
.
TO THE RIGHT HONORABLE, HIS
singuler good Lord and Maister, Edward de Vere,
... Antony Munday, visbeth *ALL HAPPINES* in this
Honorable estate, and after death *ETERNALL LIFE* .
.
And loe Right Honourable, among such expert heads,
such pregnaunt inuentions, and such commendable
writers, as preferre to your seemely selfe,
woo{R}k{E|S] {W}o{O}r{T}hy of [E]tern[A]ll me[M]ory:
.
[STEAM] 5
{TOWER} -2 {495,000}
.................................................
1588: Dedication to Oxford in Anthony Munday's Palmerin d'Oliva.
.
AMong the Spartane[S] righ[T] nobl[E] Lord, [A]nd so[M]etime
my honorable Maister, *NOTHING* was accounted mor odious,
then to forgetfulnes of the seruaunt towardes his Maister:
.
[STEAM] 5
--------------------------------------------
"On Shakspeare" (1630) John Milton
.
What needs my Shakspeare for his honor'd Bones
The labor of an age in piled Stones,
Or that his hallow'd relics should be hid
Under a Star-ypointing Pyramid?
.
Dear son of memory, great *HEIR OF FA{M}E* ,
Wh{A}t ne{E}d'st {T}hou {S}uch.....
.
{STEAM} -4
.
.............. weak witness of {THY NAME}?
Thou in *our [W]ONDER and ASTON[I]SHMENT*
Hast bui[L|T} thyself a live[L|O}ng Monument.
Fo(r) {W}hilst to th'sha(M|E} of slow-endeavo{R}ing art,
.............................................
______ <= 14 =>
.
. {T H Y N A M E}T h o u i n o
_ u r [W] O n d e r a n d a s t
_ o n [I] S h m e n t H a s t b
_- u i [L|T} t h y s e l f a l i
_ v e [L|O} n g M o n u m e n t
_ F o (r|W} h i l s t t o t h s
. h a (M|E} o f s l o w e n d e
- a v -o{R} i n g a r t
.
(Mr.) [WILL.] / {TOWER} 14
.
____ Sonnet 17x8
.
Make but {MY NAME} thy love, and love that still,
And then thou lovest me, for {MY NAME} is '[WILL].'
................................
Thy easy numbers flow, and that each heart
Hath from the leaves of *THY unvalu'd Book*
Those Delphic lines with *DEEP* impression took,
Then thou our fancy of itself bereaving,
Dost make us Marble with too much conceiving;
And so Sepulcher'd in such pomp dost lie,
That Kings for such a Tomb would wish to die.
---------------------------------------------
Sir William Davenant's Madagascar (1638)
In Remembrance of Master William Shakspeare. Ode.
.
Beware, delighted poets, when you sing,
To welcome nature in the early spring,
Your numerous feet not tread
{T}he banks of Av{O}n ; for each flo{W}'r,
As it ne'er kn{E}w a sun or show'{R},
Hangs there the pensive head.
..................................
______ <= 12 =>
.
{T} h e b a n k s o f A v
{O} n f o r e a c h f l o
{W} r A s i t n e e r k n
{E} w a s u n o r s h o w
{R}
.
{TOWER} 12 {45,000}
-----------------------------------------------------
Digges commendatory poem to the 1640 edition of Poems:
.
. Vpon Master W ILLIAM S H A K E S P E A R E,
. the Deceased Authour, and his P O E M S .
.
Yet these sometimes, even at a friends desire
Acted, have scarce defrai’d the Seacoale fire
And doore-keepers : when let but Falstaffe come,
Hall, Poines, the rest you scarce shall have a roome
All is so pester’d : let but Beatrice
And Benedicke be seene, loe in a trice
The Cockpit Galleries, Boxes, all are full
To heare Maluoglio that crosse ga[R]ter’d Gull.
Briefe, th[E]re is nothing in his [W]it fraught Booke,
Wh[O]se sound we would no[T] heare, on whose worth looke
Like old *COYNED GOLD, whose lines in EVERy PAGE* ,
Shall passe *TRUE* to succeeding age.
But why doe I dead Sheakspeares praise recite,
Some second Shakespeare must of Shakespeare write;
For me tis needlesse, since an host of men,
Will pay to clap his praise, to free my Pen.
..........................................
To heare Maluoglio that crosse ga-
.
________ <= 17 =>
.
[R] t e r d G u l l B r i e f e t h
[E] r e i s n o t h i n g i n h i s
[W] i t f r a u g h t B o o k e W h
[O] s e s o u n d w e w o u l d n o
[T]
.
[TOWER] -17 {31,000}
-----------------------------------------------------
http://internetshakespeare.Vvic.ca/Annex/Texts/Ham/Q2/scene/3.4
Hamlet (Q2) Act 3, Scene 4
.
Gertrude: This is the *VERy COYNAGE* of your braine,
. This bodilesse creation extacie is *VERy* cunning in.
.
Hamlet: My pulse as yours doth temperatly keepe time,
. And makes as healthfull m(U)sicke, it is not madnesse
. That I haue vttr(E)d, bring me to the TEST,
. And the matter *Will reWO(R)D* , which madnesse
. Would gambole from, mother f(O)r loue of grace,
. Lay not that flattering vnction to your soule
. That not your trespasse but my madnesse speakes,
. It will but skin and filme the vlcerous place
. Whiles RANCK corruption mining all within
. Infects VNS[E]ENE , confesse you[R] selfe to heauen,
. R[E]pent what's past, a[V]oyd what is to com[E],
. And doe no{T} sprea[D] the c{O}mpost on th[E] {W}EEDES
. To mak{E} them RANCK(E|R}, forgiue me this my ve(R)tue,
. For in the fatness(E) of these pursie times
. (V)ertue it selfe of vice *must pardon beg* ,
. Yea curbe and wooe for leaue to doe him good.
.
. In- <= 15 =>
.
__ f e c t s V N S[E]E N E c o n f e s
__ f e s s e y o u[R]s e l f e t o h e
. o h e a u e n R[E]p e n t w h a t s
__ a t s p a s t a[V]o y d w h a t i s
__ t i s t o c o m[E]A n d d o e n o{T}
. n o T s p r e a[D]t h e c{O}m p o s
__ p o s t o n t h[E|W}E E D E S T o m
_ T o m a k{E}t h-e-m R A N C K E R f
__(E|R}f o r g i u-e-m e t h i s m y v
__ m y v e(R)t u e-F-o r i n t h e f a
__ e f a t n e s s(E)o f t h e s e p u
__ e p u r s i e t-i-m e s(V)e r t u e
___t u e i t s e l-f-e o f v i c e
.
_____ *must PARDON beg* ,
Yea curbe and wooe for leaue to doe him good.
.
{TOWER} 11 {50,000}
[EDEVERE] -15
(VERE) -19
-----------------------------------------------------
_____ Venus and Adonis.
.
Paying what [R]ansome th[E] insulter [W]illeth:
Wh[O]se vultur [T]hought doth pitch the price so hie,
.
[TOWER] -9
...........................................
_____ The Rape of Lucrece
.
Beautie it selfe doth of it selfe pe[R]swade,
The [E]ies of men [W]ithout an [O]rator,
Wha[T] needeth then Apologies be made
To set forth that which is so singuler?
.
[TOWER] -9 {62,000}
...........................................
That shee her plaints a lit[T]le while d[O]th stay,
Pa[W]sing for m[E]ans to mou[R]ne some newer way.
.
[TOWER] 9 {62,000}
----------------------------------------------------------
Miles Coverdale (1535) The boke of Iob. Chap. 41
.
One is so ioyned to another, that no <AYRE> can come in: Yee one
hangeth so vpon another, and sticke so together, that they can not
be sundered. His nesinge is like a glisteringe {FYRE}, and his eyes
like the mornynge shyne. Out of his mouth go torches and {FYRE}
brandes, out off his nostrels there goeth a *SMOKE* ,
.
like as out off an hote seetinge *POTT*.
.
...He starte[T]h n[O]t a[W]ay[E] fo[R] him
that bendeth the bowe, & as for slynge stones,
he careth as moch for stubble as for them. He counteth the
hammer no better then a strawe, *he LAUGHETH* him to scorne
that *SHAKETH the SPEARE*. He treadeth the golde in the myre
like þe sharpe potsherdes. He maketh the depe to seeth and
boyle like a *POTT*, and stereth the (SEE) together like
an oyntment. The waye is light after him, the depe is his
walkynge place. Vpon [EARTH] is there no power like vnto his,
for he is so made, that he feareth not.
--------------------------------------------------
http://shakespeareauthorship.com/monrefs.html
.
17th-century References to Shakespeare's Stratford Monument
by David Kathman
.
In 1693, a Mr. Dowdall visited Stratford and wrote down
some of his observations in a letter. He wrote,
.
. The 1st Remarkable place in this County that I visit[T]ed was
. Stratf[O]rd super avon, [W]here I saw the [E]ffigies of ou[R]
. English tragedian, mr. Shakspeare.
- [Shakspere Allusion Book, II, 391]
................................................
I visit- <= 12 =>
.
. [T] e d w a s S t r a t f
. [O] r d s u p e r a v o n,
. [W] h e r e I s a w t h e
. [E] f f i g i e s o f o u
. [R] E n g l i s h
.
tragedian, mr. Shakspeare.
.
[TOWER] 12 {45,000}
................................................
Dowdall then goes on to give the inscriptions from the monument
and the gravestone, along with some stories about Shakespeare
that the 80 year old parish clerk had told him.>>
-------------------------------------------------------
How We Know That Shakespeare Wrote Shakespeare:
The Historical Facts by Tom Reedy and David Kathman
.
<<In 1638, Sir William Davenant's Madagascar contained the following
poem, entitled "In Remembrance of Master William Shakspeare. Ode."
.
. Beware, delighted poets, when you sing,
. To welcome nature in the early spring,
. Your numerous feet not tread
. [T]he banks of Av[O]n ; for each flo[W]'r,
. As it ne'er kn[E]w a sun or show'[R],
. Hangs there the pensive head.
................................................
______ <= 12 =>
.
. [T] h e b a n k s o f A v
. [O] n;f o r e a c h f l o
. [W]'r,A s i t n e'e r k n
. [E] w a s u n o r s h o w'
. [R],
.
Hangs there the pensive head.
.
[TOWER] 12 {45,000}
................................................
. Each tree, whose thick and spreading growth hath made
. Rather a night beneath the boughs than shade,
. Unwilling now to grow,
. Looks like the plume a captain wears,
. Whose rified falls are steep'd i' the tears
. Which from his last rage flow.
.
. The piteous river wept itself away
. Long since, alas ! to such a swift decay,
. [T]hat reach the map, and look
. [I]f you a river there can spy,
. [A]nd, for a river, your mock'd eye
. [W]ill find a shallow brook.
.
Davenant specifically associates the poet Shakespeare with
the Avon river, like Jonson in his First Folio poem, and also
calls him "Master," as befitting William Shakespeare's social
position. This testimony deserves to be taken seriously, because
significant evidence indicates that William Shakespeare was a friend
of the Davenant family. William (1606-1668) used to hint that he was
Shakespeare's bastard son; several independent 17th-century sources
report that Shakespeare used to stay at the Davenants' tavern in
Oxford on his journeys between Stratford and London; William's
brother Robert Davenant personally told John Aubrey that
"Mr. William Shakespeare here gave him a hundred kisses"
during these visits.>>
---------------------------------------------------
http://www.shakespearefellowship.org/etexts/si/08-2.htm
.
. VISION OF A FAIR MAID, WITH ECHO VERSES.
.
Sitting alone upon my thoughts in melancholy mood,
In sight of sea, and at my back an ancient hoary wood,
I saw a fair young lady come her secret fears to wail,
Clad all in colour of a nun, and covered with a veil.
Yet (for the day was calm and clear) I might discern her face,
As one might see a damask rose hid under crystal glass.
Three tim[E]s with her soft hand ful[L] hard on her left side sh[E]
knocks, And sigh'd so sor[E] as might have made some [P]ity in,
the rocks. From si[G]hs and shedding amber tears
into sweet song she brake,
................................................
Three tim- <= 20 =>
.
. [E] s w i t h h e r s o f t h a n d f u l
. [L] h a r d o n h e r l e f t s i d e s h
. [E] k n o c k s,A n d s i g h'd s o s o r
. [E] a s m i g h t h a v e m a d e s o m e
. [P] i t y i n,t h e r o c k s.F r o m s i
. [G] h s
.
and shedding amber tears into sweet song she brake,
.
[GPEELE] -20 {1,170,000}
................................................
When thus the Echo answer'd her to *EVERy WORD* she spake..
.
Oh heavens, who was the first that bred in me this fever?
- Vere.
.
Who was the first that gave
[T]he w[O]und, [W]hos[E] fea[R] I wear for EVER? - Vere.
.
What tyrant, Cupid, to my harm, usurps thy golden quiver?
- Vere.
.
What wight first caught this heart, and, can from bondage it deliver?
- Vere.
.......................
_ <= 4 =>
.
. [T] h e w
. [O] u n d
. [W] h o s
. [E] f e a
. [R]

[TOWER] 4 {165,000}
------------------------------------------
The Psalms 46 (Modern)

God is our refuge and strength,
a very present helpe in trouble.
Therefo[R]e will not we f[E]are,
though th[E] earth be reMO[V]ED,
...........................................
______ <= 12 =>

. T h e r e f o [R] e w i l
. l n o t w e f [E] a r e,t
. h o u g h t h [E] e a r t
. h b e r e [M O V E D],
...........................................
and though the mountains be carried into the midst of the sea;
though the waters thereof roar and be troubled,
though the mountains *SHAKE* with the swelling thereof.
There is a river, the streams whereof shall make glad the city of God,
the holy place of the tabernacles of the Most High.

God is in the midst of her;
she shall not be MO[V]ED:
God shall help h[E]r, and that right ea[R]ly.
The heathen rag[E]d, the kingdoms *were MOVEd* :
he uttered his voice, the earth melted.
...........................................
______ <= 16 =>

. G o d i s i n t h e m i d s t o
. f h e r;s h e s h a l l n o t b
. e [M O V E D] :G o d s h a l l h e
. l p h [E] r,a n d t h a t r i g h
. t e a [R] l y. T h e h e a t h e n
. r a g [E] d,t h e k i n g d o m s
. *w e r e M O V E d* :
-----------------------------­------------------------
In the Great Bible of 1539 translation of Psalm 46:
- "MUCH ADO" are the 100th & 101st words.
.....................................................
In the KJV translation of Psalm 46:
. - *WERE MOVED* are the 100th & 101st words.
.
___ *were MOVEd* is an anagram for
___ *Edw.Vere, O.M.*
...................................................
[ *MOVED* is, in fact, the middle word of the KJV psalm
--------------------------------------------------------
[O]xford's [M]en
............................................
*OM* : men, man. (Mantuan, Romanian)
*OM* : if, about, concerning, on, upon, (Norwegian, Swedish)
*OM* : about, per, within, into, in, inside, round. (Danish)
*OM* : on, at, by, upon, around. for, to. (Dutch, Flemish)
*OM* : elms, elm. (Catalan, Valencian)
-----------------------------------------------
The LORD of hosts is with us;
the God of Jacob is our refuge.
Come, behold the works of the LORD,
what desolations he hath made in the earth.
He maketh wars to cease unto the end of the earth;
he breaketh the bow, and cutteth the *SPEAR* in sunder;
he burneth the chariot in the fire.
Be still, and know that I am God:
I will be exalted among the heathen,
I will be exalted in the earth.
The LORD of hosts is with us;
the God of Jacob is our refuge.
---------------------------------------
Art Neuendorffer