HIRAM(e)
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http://tinyurl.com/kc3yf3z
http://www.perseus.tufts.edu/hopper/text?doc=Ov.+Met.+1&redirect=true
..............................................
P. Ovidius Naso, Metamorphoses
Arthur Golding, Ed.
..............................................
Of shapes transformde to bodie[S] straunge, I purpose to entreate,
Ye gods vo[U]chsafe (for you are they ywrought this wœd[R]ous feate)
To further this mine enterpris[E]. And from the world begunne,
Graunt that my [V]erse may to my time, his course directly runne.
..............................................
. <= 35 =>
.
. Ofshapestransformdetobodie [S] straunge
. IpurposetoentreateYegodsvo [U] chsafefo
. ryouaretheyywroughtthiswŋd [R] ousfeate
. Tofurtherthismineenterpris [E] Andfromt
. heworldbegunneGrauntthatmy [V] ersemayt
. omytimehiscoursedirectlyru n ne
.
[VERUS] -35
..............................................
Before the Sea and Lande were made, and Heaven that all doth hide,
In all the worlde one onely face of nature did abide,
Which Chaos hight, a huge rude heape, and nothing else but even
A heavie lump and clottred clod (o){F} seedes togither dr(i)[V]en,
Of things at stri(f)[E] among themselves, f(o)[R] want of order due.
No (s)[U]nne as yet with ligh(t)[S]ome beames the shap(e)lesse world did vew.
No Moone in growing did repayre hir hornes with borowed light.
..............................................................
. <= 18 =>
.
. A h e a v i e l u m p a n d c l o t
. t r e d c l o d (o){F}s e e d e s t o
. g i t h e r d r (i)[V]e n O f t h i n
. g s a t s t r i (f)[E]a m o n g t h e
. m s e l v e s f (o)[R]w a n t o f o r
. d e r d u e N o (s)[U]n n e a s y e t
. w i t h l i g h (t)[S]o m e b e a m e
. s t h e s h a p (e) l e s s e w o r l
. d d i d v e w.
.
[{F}VERUS] 18
Prob. of 2 [VERUS]s ~ 1 in 16,750
(oi foste) 18 : "or you were" (Italian)
--------------------------------------------
- PHOENIX AND TURTLE (Version #1)
.
. LET the bird of loudest lay,
. On the sole Arabian tree,
. Herald sad and trumpet be,
. To whose sound cha[S]te wings obey.
. But tho[U] shrieking harbinge[R],
. Foul precurrer of th[E] fiend,
. Augur of the fe[V]er's end,
. To this troop {COME} thou not near!
......................................
______ <= 18 =>
.
. L e t t h e b i r d o f l o u d e s
. t l a y O n t h e s o l e A r a b i
. a n t r e e H e r a l d s a d a n d
. t r u m p e t b e T o w h o s e s o
. u n d c h a[S]t e w i n g s o b e y
_- B u t t h o[U]s h r i e k i n g h a
_- r b i n g e[R]F o u l p r e c u r r
__-e r o f t h[E]f i e n d A u g u r o
___f t h e f e[V]E R{S}e n d T o t h i
_ s t r o o p{C O M E}t h o u n o t n e a r
.
Prob. of [VERUS] ~ 1 in 1600 (any skip)
--------------------------------------------
- PHOENIX AND TURTLE (Version #2)
.
______ <= 18 =>
.
. L e t t h e b i r d o f l o u d e s
. t l a y O n t h e s o l e A r a b i
. a n t r e e H e r a l d s a d a n d
. t r u m p e t b e T o w h o s e s o
. u n d c h a[S]t e w i n g s o b e y
_ B u t t h o[U]s h r i e k i n g h a
_ r b i n g e[R]F o u l p r e c u r r
__e r o f t h[E]f i e n d A u g u r o
__f t h e f e[V]E R s e n d T o t h i
. s t r o u p{E|C O M E}t h o u n o t
. n e a r
.
Prob. of *EVERUS* ~ 1 in 12,240 (any skip)
........................................
. {ed}ouard{[U]s} *VERUS* , COMES Oxoniae,
. Vicecomes Bulbeck, Dominus de Scales
. & Badlismer, D. Magnus Angliae Ca-
. merarius: Lectori. S. D.
------------------------------------------------------
http://comp.uark.edu/~mreynold/aulicus.html
[V]envs and Adonis
.
TO TH[E] RIGHT HONORABLE
Hen[R]ie Wriothesley,
Earl[E] of Southampton,
and Baron of Titchfield.
.
[VERE] 18 : Prob. ~ 1 in 105
-------------------------------------------------------------------
17th-century References to Shakespeare's Stratford Monument
http://shakespeareauthorship.com/monrefs.html
.
<<In 1631, a year before his death, John WeEVER published the massive
Ancient Funerall Monuments, which recorded many inscriptions from
monuments around England, particularly in Canterbury, Rochester,
London, and Norwich. Shakespeare's monument does not appear in the
published book, but two of WeEVER's notebooks, containing his drafts
for most of the book as well as many unpublished notes, survive as
Society of Antiquaries MSS. 127 and 128. In one of these notebooks,
under the heading "Stratford upon Avon," WeEVER recorded the poems
from Shakespeare's monument and his gravestone, as follows:
..........................................................
. Iudcio Pilum, Genio Socratem, Arte Maronem
. Terra tegit, populus maeret, Olympus habet.
. Stay Passenger, why goes[T] thou by so fast
. Read i[F] your canst whome env[I]ous death hath plac'd
. [W]ithin this monument [S]hakespeare with who[M]e
. Quick Nature dy'd wh[O]se name doth deck his [T]ombe
. far more then co{S}t, sith all yt hee hath {W}ritt
. L(E)ave(S) liv(I)ng A(R)t but page to serve hi{S W}itt.
.
. ob Ano doi 1616 AEtat. 53. 24 die April
.
. Good frend for Iesus sake [F]orbeare
. To digg th{e d[U]s}t enclosed heare
. Bl[E]st bee ye man that spa[R]es these stones
. And c[U]rst bee hee that move[S] my bones.
.........................................................
In the margin opposite the heading "Stratford upon Avon",
WeEVER wrote "Willm Shakespeare the famous poet",
.
and opposite the last two lines of the epitaph
he wrote "vpo[n] the grave stone".>>
...................................................
____________ <= 18 =>
.
. P a s s e n g e r w h y g o e s [T] t
. h o u b y s o f a s t R e a d i [F] y
. o u r c a n s t w h o m e e n v [I] o
. u s d e a t h h a t h p l a c d [W] i
. t h i n t h i s m o n u m e n t [S] h
. a k e s p e a r e w i t h w h o [M] e
. Q u i c k N a t u r e d y d w h [O] s
. e n a m e d o t h d e c k h i s [T] o
. m b e f a r m o r e t h e n c o {S} t
. s i{T}h a l l y t h e e h a t h {W} r
. i t{T}L(E)a v e(S)l i v(I)n g A (R) t
. b u{T}p a g e t o s e r v e h i {S W}
. i t{T}
(RISE) -4
[TOM SWIFT] -18
Prob. of [TOM SWIFT] ~ 1 in 2,230,000 (any skip)
................................................
_________ <= 18 =>
.
. G O(O) D {F} r e n d f(O)r J e s u s s
. a k(E)[F]{O} r b e a r(E)T(O)d i g g t
. h{e d [U]{S} t e n c l(O)s(E)d h e a r
. e B l [E]{S} t b e e y(E)m a n t h a t
. s p a [R]{E} s t h e{S}e s t o n e s A
. n d c [U]_r s t b e{E}h e e t h a t m
. o v e [S]_M y b o n{E}s
........................................
{FOSSE} 18 : A grave (Old French)
[{F}UERUS] 18 ~ 1 in 23,800 (any skip)
Prob. of *UERUS* ~ 1 in 1090 (any skip)
-----------------------------------------------------------
______ Hamlet (Q2, 1604) Act I, Scene V
http://internetshakespeare.uvic.ca/Annex/Texts/Ham/Q2/scene/1.5
.
Ghost: No reckning made, but sent to my account
. Withall my {IMPE}R{F}ECTions on my hea[D],
. O h{o}rrible, ô horribl[E], mo{s}t horrible.
. If tho[U] ha{s}t natur{e} in thee b[E]are it not,
. Let not the [R]oyall bed of Denmark[E] be
. A couch for luxury and damned incest.
..................................................
______ <= 18 =>
.
. N o r e c k n i n g m a d e,b u t s
. e n t t o m y a c c o u n t W i t h
. a l l m y(I M P E)R{F}E C T i o n s
. o n m y h e A[D]O h{O}r r i b l e ô
. h o r r i b L[E]M o{S}t h o r r i b
. l e I f t h O[U]h a{S}t n a t u r e
. i n t h e e B[E]a_r{E}i t n o t L e
. t n o t t h E[R]o y a l l b e d o f
. D e n m a r k[E]b e A c o u c h f o
. r l u x u r Y a n d d a m n e d i n
. c e s t
........................................
{FOSSE} 18 : A grave (Old French)
[DEUERE] 18
------------------------------------------------------
____ Sonnet 18
. But thy eternall Sommer shall not fade,
. Nor loos{E} po{S}se{S}si{O}n o{F} that faire thou ow'st,
. Nor shall *DEATH* brag thou wandr'st in his shade,
. When in eternall lines to time thou grow'st,
{FOSSE} -3
-----------------------------------------------------
____ Sonnet 8
.
MVsick to heare, why hear'st thou musick sadly,
Sweets with sweets warre not, ioy delights in ioy:
Why lou'st thou that which thou receaust not gladly,
Or else receau'st with pleasur[E] thine annoy?
.
If the tr[U]e concord of well tun[E]d sounds,
By vnions ma[R]ried do offend thine [E]are,
They do but sweet[L]y chide thee, who conf[O]unds
In singlenesse the parts that thou should'st beare:
.....................................................
______ <= 18 =>
.
. O r e l s e r e c e a u's t w i t h
. p l e a s u r [E] t h i n e a n n o y?
. I f t h e t r [U] e c o n c o r d o f
. w e l l t u n [E] d s o u n d s,B y v
. n i o n s m a [R] r i e d d o o f f e
. n d t h i n e [E] a r e,T h e y d o b
. u t s w e e t [L] y c h i d e t h e e,
. w h o c o n f [O] u n d s
............................................
[E.UERE,L.O.] 18
-----------------------------------------------------
Sonnet 104
TO me [F]aire friend you nEVE[R] can be old,
For as you w[E]re when first your ey[E] I eyde,
Such seemes yo[U]r beautie still: Thre[E] Winters colde,
Haue from the forrests shooke three summers pride,
.....................................................
______ <= 18 =>
.
. T O m e [F] a i r e f r i e n d y o u
. n E V E [R] c a n b e o l d,F o r a s
. y o u w [E] r e w h e n f i r s t y o
. u r e y [E] I e y d e,S u c h s e e m
. e s y o [U] r b e a u t i e s t i l l:
. T h r e [E] W i n t e r s c o l d e,
..............................................
[E.UEER,F.] -18
--------------------------------------------------------
http://en.wikipedia.org/wiki/18_%28number%29
..............................................
1) The number of years in the Saros cycle of eclipses of the sun and moon
2) The Hebrew word for "life" is חי (chai), which has a numerical value of 18. Consequently, the custom has arisen in Jewish circles to give donations and monetary gifts in multiples of 18 as an expression of blessing for long life.
*HIRAM* (Hebrew חירָם "high-born" = 51 = 33 + 18 = 3 x 17).
3) Joseph Heller's novel Catch-22 was originally named Catch-18 because of the Hebrew meaning of the number, but was amended to the published title to avoid confusion with another war novel, Mila 18.
-----------------------------------------------
_________ <= 17 =>
. T O T H E (O) N L I E B E G E T T E
. R O F T H (E) S E I N S V I N G S O
. N N E T S [M] R W H A L L {H} A P P I
. N E S S E [A] N D T H A T {E} T E R N
. I T I E P [R] O M I S E D {B} Y O V R
. E V E R L [I] V I N G P O {E} T W I S
. H E T H T [H (E)]W E L L W I S H I N
. G A D V E N T V R E R I N S E T T
. I N G F O R T H T T
[HIRAM(e)] -17
{HEBE} 17
-----------------------------------------------------------
http://www.wwnorton.com/college/english/nael/16century/topic_4/tplatt...
.
Thomas Platter, a native of Basel, visited England in 1599.
The following excerpt from his diary, translated from the
German, describes the many popular amusements and spectacles
to be witnessed in Elizabethan London. (~8112 letters)
................................................
T{He}re are a great many [I]nns, taverns,
and bee[R]-gardens scatt(e)red [A]bout the city,
where [M]uch a[MUSE]m(E)nt {M}ay {Be} had with ea(T)ing, drinking,
fiddl(I)ng, {a}nd the rest, as fo(R) instance in our hostel{R}y,
which was visited by players almost da{I}ly. And what is
pa[r]ticularly curious is t(H)at the women as w[e]ll as the men, in
fact more often than they, [w]ill frequent the taverns or ale-houses
f[o]r enjoyment. They count it a great honour [t]o be taken there
and given wine with sugar to drink; and if one woman only is
invited, then she will bring three or four other women along and
they gaily toast each other; the husband afterwards thanks him who
has given his wife such pleasure, for they deem it a real kindness.
_________ <= 17 =>
. T {H e} r e a r e a g r e a t m a n
. y [I] n n s,t a v e r n s, a n d b e
. e [R] g a r d e n s s c a t t (e) r e
. d [A] b o u t t h e c i t y,w h e r
. e [M] u c h a[M U S E]m (E) n t {M} a y
. {B e} h a d w i t h e a (T) i n g, d r
. i n k i n g,f i d d l (I) n g {A} n d
. t h e r e s t,a s f o (R) i n s t a
. n c e i n o u r h o s (T) e l {R} y,w
. h i c h w a s v i s i (T) e d b y p
. l a y e r s a l m o s (T) d a {I} l y.
. A n d w h a t i s p a [R] t i c u l
. a r l y c u r i o u s i s t (H) a t
. t h e w o m e n a s w [E] l l a s t
. h e m e n,i n f a c t m o r e o f
. t e n t h a n t h e y [W] i l l f r
. e q u e n t t h e t a v e r n s o
. r a l e-h o u s e s f [O] r e n j o
. y m e n t.T h e y c o u n t i t a
. g r e a t h o n o u r [T] o b e t a
. k e n t h e r e a n d g i v e n
- wine with sugar to drink;
{HIRAM(e)} 17
{HIRAM(e)} 34
[TOWER] -34
[{Be}MARI{He}] -17 Prob. ~ 1 in 250 (skip 17)
--------------------------------------------------
Thomas PLATTer (b.1574) of
[BA]sle [C]ant[ON]
[BACON] latens:
(Latin present participle of lateō) lurking, skulking, hiding
[BASL]e c[ANT]on
[ST. ALBAN] once
.......................................................
http://195.167.241.43/globe/education/distancelearning/distancelearni...
.
<<In (1909) a series of remarkable documents concerning the Globe
came to light. In the German-language journal of English philology,
Anglia, Dr. Gustav Binz published excerpts from a traveler's
account of a visit to England in 1599. Thomas PLATTer
(b.1574), a Swiss of [BA]sle [C]ant[ON], had written:
.
On September 21st after lunch, about two o'clock, I and my party
crossed the water, and there in the house with the thatched
roof witnessed an excellent performance of the tragedy of
the 1st Emperor JC with a cast of some *15 people* ....>>
. (Schanzer, "PLATTer's Observations" 466-7)
....................................................
Twain's Baconiana: _Is Shakespeare Dead?_ (1909)
------------------------------------------------------
. H.G. Wells » The PLATTner Story (1897)
.
<<Gottfried PLATTner is a school teacher made to chemically analyze a
"GREEN powder" of uncertain origin by his students, and, upon lighting
the powder on fire, is violently launched into a mysterious parallel
dimension next to ours where *MUTE* "Watchers of the Living",
obviously deceased souls or alternate versions of
existing people in our world, take keen interest in us.>>
.
"There the story of PLATTner's experiences ends. I have resisted,
I believe successfully, the natural disposition of a writer of
fiction to dress up incidents of this sort. I have told the thing
as far as possible in the order in which PLATTner told it to me."
--------------------------------------------------------
Dr. Isaac Hull PLATT in the Conservator (1897):
.
_ *H[ONO](r)i(F)i[CAB]ilitudinitatibus* - L.L.L.
_ *Hi ludi, tuiti sibi, (Fr.) [BACONO] nati*
.
*These plays entrusted to themselves proceeded from Fr. Bacon*
.........................................................
Northumberland Manuscript (1846) :
.
_ *H[ONO](r)i(F)i[CAB]ilitudino*
_ *Initio hi ludi (Fr.) [BACONO]*
.........................................................
http://tinyurl.com/7aonlo5
http://www.argosybooks.com/shop/argosy/171747.html
Sylva Sylvarum, Sive Historia naturalis...
a Francisco [BACONO]. Latio transscripta a Iabobo Grutero.
Sylva sylvarum, or, a natural history in ten centuries:
.......................................................
Saggi morali del signore FRancesco [BACONO], cavaglire inglese.
Con vn altro trattato Della sapienza de gli antichi.
1617 / 1618 Tobie Matthew Italian translation of Bacon's
_The essays, or, Counsels, civil and moral of Sir FRANCis BACON
with a table of the colours of good and evil :
whereunto is added The wisdom of the antients_
---------------------------------------------------------
http://www.wwnorton.com/college/english/nael/16century/topic_4/tplatt...
Thomas Platter, A Swiss Tourist in London
Thomas Platter, a native of Basel, visited England in 1599. The
following excerpt from his diary, translated from the German,
describes the many popular amusements and spectacles to be witnessed
in Elizabethan London. (~8112 letters)
<<On September 21st after lunch, about two o'clock, I and my party
crossed the water, and there in the house with the thatched roof
witnessed an excellent performance of the tragedy of the first Emperor
Julius Caesar with a cast of some fifteen people; when the play was
over, they danced VERy marvellously and gracefully together as is
their wont, two dressed as men and two as women.
On another occasion not far from our inn, in the suburb at
Bishopsgate, if I remember, also after lunch, I beheld a play in which
they presented diverse nations and an Englishman struggling together
for a maiden; he overcame them all except the German who won the girl
in a tussle, and then sat down by her side, when he and his servant
drank themselves tipsy, so that they were both fuddled and the servant
proceeded to hurl his shoe at his master's head, whereupon they both
fell asleep; meanwhile the Englishman stole into the tent and
absconded with the German's prize, thus in his turn outwitting the
German; in conclusion they danced VERy charmingly in English and Irish
fashion. Thus daily at two in the afternoon, London has two, sometimes
three plays running in different places, competing with each other,
and those which play best obtain most spectators. The playhouses are
so constructed that they play on a raised platform, so that EVERyone
has a good view. There are different galleries and places, howEVER,
where the seating is better and more comfortable and therefore more
expensive. For whoEVER cares to stand below only pays one English
penny, but if he wishes to sit he enters by another door and pays
another penny, while if he desires to sit in the most comfortable
seats, which are cushioned, where he not only sees EVERything well,
but can also be seen, then he pays yet another English penny at
another door. And during the performance food and drink are carried
round the audience, so that for what one cares to pay one may also
have refreshment. The actors are most expensively and elaborately
costumed; for it is the English usage for eminent lords or knights at
their decease to bequeath and leave almost the best of their clothes
to their serving men, which it is unseemly for the latter to wear,
so that they offer them then for sale for a small sum to the actors.
How much time then they may merrily spend daily at the play
EVERyone knows who has EVER seen them play or act.
There is also in the city of London not far from the horse-market,
which occupies a large site, a house where cock-fights are held
annually throughout three quarters of the year (for in the remaining
quarter they told me it was impossible since the feathers are full of
blood), and I saw the place, which is built like a theatre. In the
center on the floor stands a circular table covered with straw and
with ledges round it, where the cocks are teased and incited to fly
at one another, while those with wagers as to which cock will win sit
closest around the circular disk, but the spectators who are merely
present on their entrance penny sit around higher up, watching with
eager pleasure the fierce and angry fight between the cocks, as these
wound each other to death with spurs and beaks. And the party whose
cock surrenders or dies loses the wager; I am told that stakes on a
cock often amount to many thousands of crowns, especially if they have
reared the cock themselves and brought their own along. For the master
who inhabits the house has many cocks besides, which he feeds in
separate cages and keeps for this sport, as he showed us. He also
had sEVERal cocks, none of which he would sell for less than twenty
crowns; they are VERy large but just the same kind as we have in our
country. He also told us that if one discovered that the cocks' beaks
had been coated with garlic, one was fully entitled to kill them at
once. He added too, that it was nothing to give them brandy before
they began to fight, adding what wonderful pleasure there was in
watching them.
EVERy Sunday and Wednesday in London there are bearbaitings on the
other side of the water. . . . The theatre is circular, with galleries
round the top for the spectators; the ground space down below, beneath
the clear sky, is unoccupied. In the middle of this place a large bear
on a long rope was bound to a stake, then a number of great English
mastiffs were brought in and shown first to the bear, which they
afterwards baited one after another: now the excellence and fine
temper of such mastiffs was evinced, for although they were much
struck and mauled by the bear, they did not give in, but had to
be pulled off by sheer force, and their muzzles forced open with
long sticks to which a broad iron piece was attached at the top.
The bears' teeth were not sharp so they could not injure the dogs;
they have them broken short. When the first mastiffs tired,
fresh ones were brought in to bait the bear.
* * *
With these and many more amusements the English pass their time,
learning at the play what is happening abroad; indeed men and
womenfolk visit such places without scruple, since the English
for the most part do not travel much, but prefer to learn
foreign matters and take their pleasures at home.
T[H]ere are a great many [I]nns, taverns,
and bee[R]-gardens scatt(E)red [A]bout the city,
where [M]uch amusement {m}ay b(E) had with eating, drinking,
fiddling, {a}nd the rest, as for instance in our hostel{r}y,
which was visited by players almost da{i}ly. And what is
pa[r]ticularly curious is t{h}at the women as w[e]ll as the men, in
fact more often than they, [w]ill frequent the taverns or ale-houses
f[o]r enjoyment. They count it a great honour [t]o be taken there
and given wine with sugar to drink; and if one woman only is
invited, then she will bring three or four other women along and
they gaily toast each other; the husband afterwards thanks him who
has given his wife such pleasure, for they deem it a real kindness.
In the ale-houses tobacco or a species of wound-wort are also
obtainable for one's money, and the powder is lit in a small pipe, the
smoke sucked into the mouth, and the saliva is allowed to run freely,
after which a good draught of Spanish wine follows. This they regard
as a curious medicine for defluctions, and as a pleasure, and the
habit is so common with them, that they always carry the instrument on
them, and light up on all occasions, at the play, in the taverns or
elsewhere, drinking as well as smoking together, as we sit over wine,
and it makes them riotous and merry, and rather drowsy, just as if
they were drunk, though the effect soon passes — and they use it so
abundantly because of the pleasure it gives, that their preachers cry
out on them for their self-destruction, and I am told the inside of
one man's veins after death was found to be covered in soot just like
a chimney. The herb is imported from the Indies in great quantities,
and some types are much stronger than others, which difference one can
immediately taste; they perform queer antics when they take it. And
they first learned of this medicine from the Indians, as Mr. Cope, a
citizen of London who has spent much time in the Indies, informed me;
I visited his collection with Herr Lobelus, a London physician,
and saw the following objects.
This same Mr. Cope inhabits a fine house in the Snecgas;
he led us into an apartment stuffed with queer foreign objects
in EVERy corner, and amongst other things I saw there,
the following seemed of interest.
. An African charm made of teeth.
. Many weapons, arrows, and other things made of fishbone.
. Beautiful Indian plumes, ornaments, and clothes from China.
. A handsome cap made out of goosefoots from China.
. A curious Javanese costume.
. A felt *CLOAK* from Arabia.
. Shoes from many strange lands.
. An Indian stone axe, like a thunderbolt.
. Beautiful coats from Arabia.
. A string instrument with but one string.
. Another string instrument from Arabia.
. The horn and tail of a rhinoceros,
____ is a large animal like an elephant.
. A fan made out of a single leaf.
. Curious wooden and stone swords.
. The twisted horn of a bull seal.
. A round horn which had grown on an English woman's forehead.
. An embalmed child (Mumia).
. Leathern weapons.
. The bauble and bells of Henry VIII's fool.
. A unicorn's tail.
* * *
This city of London is not only brimful of curiosities but so populous
also that one simply cannot walk along the streets for the crowd.
Especially EVERy quarter when the law courts sit in London and they
throng from all parts of England for the terms to litigate in numerous
matters which have occurred in the interim, for EVERything is saved up
till that time; then there is a slaughtering and a HANGing, and from
all the prisons (of which there are sEVERal scattered about the town
where they ask alms of the passers by, and sometimes they collect so
much by their begging that they can purchase their freedom) people are
taken and tried; when the trial is over, those condemned to the {ROPE}
are placed on a cart, each one with a {ROPE} about his neck, and the
HANGman drives with them out of the town to the *GALLOWS*, called
Tyburn, almost an hour away from the city; there he fastens them up
one after another by the {ROPE} and drives the cart off under the
*GALLOWS*, which is not VERy high off the ground; then the criminals'
friends come and draw them down by their feet, that they may die
all the sooner. They are then taken down from the *GALLOWS* and buried
in the neighboring cemetery, where stands a house haunted by such
MONSTERS that no one can live in it, and I myself saw it. Rarely
does a law day in London in all the four sessions pass without some
twenty to thirty persons — both men and women — being gibbeted.
----------------------------------------------------------
Now some are "born to be HANGed" while others are made.
Those made to be HANGed through Freemason initiation use
A {ROPE'S} END called a CABLETOW for the HANGman's noose:
----------------------------------------------------------
. Tempest Act 1 Scene 1
.
GONZALO: I have great comfort from this fellow: methinks
. he hath no drowning mark upon him; his complexion
. is *PERFECT GALLOWS*. Stand fast, good Fate, to his
. HANGing: make the {ROPE} of his *DESTINY* our CABLE,
. for our own doth little advantage. If {HE BE}
. not born to be HANGed, our case is miserable.
---------------------------------------------------------------
. T O T H E o n L I E B E G E T T
. E {r}o F T{H} e S E I N S U I N G
. S {o}N n{E} T S (M) R W H a l l H A
. P {p}I{N}e S S E (A) N D T H A T E
. T {e|R}n I T I E P (R)o M I S E D
. B {Y}o U R E V E R l(I) V I N G P
. O.E. T W I S H E T H T (H) E W E L
. L [W] I S H I N G A D V E N T U R
. E [R] I N S E T T I N G {f o r} T H
. T O T H E O N L I[E|B E G E T T E R
. O F T H E S E I N[S|U I N G S O N N
. E T S M R W H A L[L|H}A P P I N E S
. S E A N D T H A T{E|T|e}R N I T I E
. P R O M I S E D{B|Y|O]U{r}E V E R L
. I V I N G P O{E}T W|I]S H{e}T H T H
. E W E L L W I S H I N G A{d v e)N T
. U R E R I N S E T T I N G F O R T H
----------------------------------------------------
Ben Jonson (1623) _To the Memory of Shakespeare_
........................................
. My Shakespeare, rise ; I Will no{T LODGE} THee by
. Chaucer, or Spenser, or bid Beaumont lye
. A little further to make thee a roome ;
. Thou art a Moniment, without a tombe,
........................................
. 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 !
.{B}ut stay, [I] see th{E}e in the {He}misp{He}re
. Advanc'd, and made a Constellation there !
. Shine forth, thou StarrE Of Poets, and wi[T]h rage,
. Or inf[L]uence, chide, [O]r cheere the [D]rooping Sta[G]e;
. Which, sinc[E] thy flight fro' hence, hath mourn'd li{K(e)NIGHT},
. And despaires day, but for thy Volumes light.
........................................
_____ <= 12 =>
.
. S w e e t s w a n o f A
. v o n! w h a t a {S I G}(H)
. t i t w e r e T {O} s e (E)
. t h e e i n o u {R} w a (T)
. e r s y e t a p p e a r
. e, A n d m a k e t h o s
. e f l i g h t s u p o n
. t {H e B} a n k e {S} o f T
. <H> a [M] e} s, T h a {T} s o d
. <I> d t [A] k e E l {I} z a, a
. <N> d o u [R] J a m {E} s! B u
. <T> s t a y [I] s e e t h e
. (E) i n t h e {H e} m i s p
. {H e} r e A d v a n c' d, a
. n d m a d e a C o n s t
. e l l a t i o n t h e r
. e! S h i n e f o r t h, t
. h o u S t a r r e o f P
. o e t s, a n d w i [T] h r
. a g e, O r i n f [L] u {E} n
. c e, c h i d e,[O] r {C} h e
. e r e t h e [D] r {O} o p i
. n {G} S (T) a [G] e; W h i c h,
. s {I} n c [E] t h y f l i g
. h t f r o'(H) e n c e, h a
. t h m o u r n' d l i k e
. n i g h t, A n d d e s p
. a i r e s d a y, b u t f
. o r t h y V o l u m e s
. l i g h t.
.
[{He/Be}MARI{He}] 13
{STIE} 12
<HINT> 12
{GISOR}
{E.C.O.} 11
[T LODGE] 11 Prob. with skip < 12 ~ 1 in 600
....................................................
THE LA. [MARI]e {He}r{Be}rt COUNTESSE OF PEMBROOKE.
--------------------------------------------------------------
Alinda => Aliena
Rosalynde => her *PAGE* Ganymede (loved by P{H}o{eBe})
....................................................
Was THOMAS LODGE the:
"PAGE (of William Stanley) that served Oxford's WIT" in 1623?
----------------------------------------------------
[MARI] {He}rbert? : [{He}MARI{He}]
.............................................
_________ <= 17 =>
. T O T H E {O} N L I E{B e} [G] E T T E
. R O F T {H e} S E I N S V [I] N G S O
. N N E T S [M] R W H A L L {H} A P P I
. N E S S E [A] N D T H A T {E} T E R N
. I T I E P [R] O M I S E D {B} Y O V R
. E V E R L [I] V I N G P O {E} T W I S
. H E T H T {H e} W E L L W I S H I N
.[G]A D V E N T V R E R I N S E T T
.[I]N G F O R T H T T
[{He}MARI{He}] 17 Prob. ~ 1 in 840 (any skip)
{HEBE} 17
....................................................
THE LA. [MARI]e {He}r{Be}rt COUNTESSE OF PEMBROOKE.
--------------------------------------------------------
http://tinyurl.com/cffn8h9
.
Thomas Platter, a native of Basel, visited England in 1599.
The following excerpt from his diary, translated from the
German, describes the many popular amusements and spectacles
to be witnessed in Elizabethan London. (~8112 letters)
................................................
T{He}re are a great many [I]nns, taverns,
and {Be}e[R]-gardens scatt(E)red [A]bout the city,
w{He}re [M]uch a[MUSE]m(E)nt {M}ay {Be} had with ea(T)ing, drinking,
fiddl(I)ng, {a}nd the rest, as fo(R) instance in our hostel{R}y,
which was visited by players almost da{I}ly. And what is
pa[r]ticularly curious is t(H)at the women as w[e]ll as the men, in
fact more often than they, [w]ill frequent the taverns or ale-houses
f[o]r enjoyment. They count it a great honour [t]o be taken there
and given wine with sugar to drink; and if one woman only is
invited, then she will bring three or four other women along and
they gaily toast each other; the husband afterwards thanks him who
has given his wife such pleasure, for they deem it a real kindness.
_________ <= 17 =>
. T {H e} r e a r e a g r e a t m a n
. y [I] n n s,t a v e r n s, a n d{B e}
. e [R] g a r d e n s s c a t t (E)r e
. d [A] b o u t t h e c i t y,w {H e}r
. e [M] u c h a[M U S E]m (E) n t {M}a y
. {B e} h a d w i t h e a (T) i n g,d r
[{Be}MARI{He}] 17 Prob. ~ 1 in 250 (skip 17)
-------------------------------------------------------
_The Countess of Pembroke's Arcadia_ (1593) Dedication
TO MY DEARE LADIE AND SISTER, THE COUNTESSE OF PEMBROKE.
.
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*
...............................................
. {HEBE} , Cup-bearer of the Gods
http://www.perseus.tufts.edu/Herakles/hebe.html
.
<< {HEBE} was worshipped as a goddess of *PARDONs*>>
--------------------------------------------------------
http://library.thinkquest.org/5175/images/grave1.jpg
...............................................
. GOOD FREND FOR [IE]{SVS}' SAKE FOR[BE]ARE,
___ TO DIGG THE DV[ST] ENCLOASED [HE]ARE:
. BLESTE BE Ye MAN Yt SPA[RE]S THES STONES,
_ AND CVRST BE HE Yt MO[VE]S MY BONES.
...............................................
On the 14th anniversary of Anne Hathaway's death [Aug. 6, 1637].
Ben Jonson was BURIED UPRIGHT leaning against the WALL
. of his Westminster Abbey crypt as requested:
.
. ' *TWO FEET BY TWO FEET*
. *WILL* do for all I *WANT* '. - Ben Jonson
--------------------------------------------------.
http://blog.iloveshakespeare.com/?page_id=49
On worthy {M}aster Shakespeare and his Poems.
A mind reflecting ages p{A}st,whose cleere
And equall surface can make things appea{R}e
Distant a Thousand yeares,and represent
Them in their l{I}vely colours,just extent.
To out-run hasty Time, retrieve t{H}e *FATES* ,
.....................................................
__________ <= 48 =>
Onworthy {M} a sterShakespeareandhisPoemsAmindreflect
ingagesp {A} s twhosecleereAndequallsurfacecanmakethi
ngsappea {R} e DistantaThousandyearesandrepresentThem
intheirl {I} v elycoloursjustextentTooutrunhastyTimer
etrievet {H e}*FATES*
.
{MARI He.} 48
.....................................................
This, and much more which cannot be express`d
But by himselfe, his tongue, and his own brest,
Was Shakespeare`s freehold; which his cunning braine
Improv`d by favour of the nine-fold t[R]a[I]n[E], T[H]e
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.
.....................................................
__________ <= 45 =>
buskind *MUSE* theCom {M} ickeQueenethegrandAndlowder
toneofC lion imbleh {A} ndAndnimblerfooteofthemelod
iouspai reTh esilve {R} voycedLadythemostfaireCalli
opewhos espe akings {I} lencedauntsAndshewhoseprays
ethehea venl ybodyc {H} ants
.
{MARI H.} 45
-------------------------------------------------------------
The Tragedy of King Richard the third. Containing, His
treacherous Plots against 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.
...........................................
As it hath beene lately Acted - <= 18 =>
.
. 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 {1,025,000} Q1(1597)
[{C}ountesse of pembrooke: mary SIDNEY]
-------------------------------------------------------------
http://www.sourcetext.com/sourcebook/library/barrell/08shreds.htm
.
King of Shreds and Patches
An Examination of the Alleged Credentials of Sir Edward Dyer
as the "Great Reviser" of the Shakespearean Works
Copyright 1943 by Charles Wisner Barrell
The Shakespeare Fellowship News-Letter, April 1943.
.
<<In *1597* SIDNEY's beloved sister, {MARY SIDNEY}
the {C}ountess of Pembroke, tried to bring about a
marriage between Oxford's daughter, Bridget Vere, and
her eldest son, William Herbert, later Earl of Pembroke;
while Oxford's youngest daughter, Susan, did become
the wife of Philip Herbert, Earl of Montgomery, the nephew
and namesake of the same Sir Philip SIDNEY that Alden
Brooks declares Lord Oxford seriously plotted to "murder."
It is hardly necessary to point out the fact that Shakespeare's
First Folio is dedicated to these two "incomparable brethren"
— one of whom was the poet Earl of Oxford's son-in-law.>>
----------------------------------------------
____ Romeo and Juliet (Quarto 1, 1597)
...............................................
The Prologu{E}.
.
. TWo houshold Frends alike in dign{I}tie,
. (In faire Verona, where we lay ou{R} Scen[E])
. From ciuill broyles b[R]oke i(N)to enmit{I}e,
. {VV}hos[E] ciu(I)ll wa{R}re mak{E}s ci[V]i(L|L) h{A}nds vncleane.
. Fr(o|M} f(o)rt{H} the fata(L)l l(O)ynes of these two f(o|E]s,
. A paire of starre-c[R|o)st Louers tooke th[E]ir (L)ife:
. {VV}hose misa(d|V|e)ntures, piteous ou[E]rthrowes,
.(Through t{H}e continuing of the{I}r Fathers strife,
. An{D} death-markt passag{E} of their Parents rage)
. Is now the two howres traffique of our S(T)age.
. The w(H)ic(H) if you with pati(E)nt (E)ares attend,
. {VV}ha(T) he(R)e we want wee'l studi(E) to amend.
...................................
. The Prologu{E} T- <= 17 =>
.
- W o h o u s h o l d F r e n d s a
_ l i k e i n d i g n{I}t i e I n f
- a i r e V e r o n a w h e r e w e
- l a y o u{R}S c e n[E]F r o m c i
_ u _i_ l_l_b r o y l e{S}b[R]o k e i
. (N) t o e n m i t{I}e W h o s[E]c i
- u (I) l_l_w a{R}r e m a k{E}s c i[V]
- i (L){L}h{A}n d s v n c l e a n e F
- r (o){M}f{o}r t{H}t h e f a t a(L)l
- l (O) y n e s{O}f t h e s e t w o f
. (o)[E] s A p a i r e o f s t a r r e
- c [R|(o)s t l O u e r s t o o k e t
- h [E] i r(L)i f e W h o s e m i s a
. (d|V|e) n t u r e s p i t e o u s o
- u [E] r t h r o w e s T h r o u g h
_ t {H} e c o n t i n u i n g o f t h
_ e {I} r F a t h e r s s t r i f e A
- n {D} d e a t h m a r k t p a s s a
- g {E} o f t h e i r P a r e n t s r
- a (G) e I s n o w t h e t w o h o w
_ r (E) s t r a f f i q u e o f o u r
- S (T) a g e T h e w(H)i c(H)i f y o
_ u _w i t h_p a_t_i(E)n t(E)a r e s
_ a t t e n d_W h a(T)h e(R)e w e w
_ a n t_w e_e l_s t u d i(E)t o a m
- e n d.
..........................................
{HENRI} -29
[VERE] -19 {Bridget ?}
{MARI S.} -15
(I, Lo. O.)[E. (de) VERE] -17
{HIDE}(GET)/(HET)/(HERE) 17
--------------------------------------------
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.
---------------------------------------------------
Benson & Cotes's 1640 Sonnets publication
http://en.wikipedia.org/wiki/John_Benson_%28publisher%29
......................................................
TO THE READ[E]R. The[R]e presu{M|E] (und[E]r f{A|V]o[U|R])
to p{R|E]s[E]nt to {Y|O|U|R] view {S|o]m[E] exce[L|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 =>
. 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(idney)}
[Lo. O., E. VERE]
[Lo. UERE] [UERE]
.....................................
Prob. of [MARY S.] ~ 1 in 8,000
Prob. of 2[UERE]s ~ 1 in 1,800
Prob. of [EVERE] ~ 1 in 1,000
in the first 69 letters.
-----------------------------------------------
_____ As You Like It Act 4, Scene 1
.
ROSALIND: Say 'a day,' without the ' *EVER*.'
. No, no, Orlando; men are
. April when they *WOO* ,
. December when they *WED* :
. maids are {MA(r)Y} when they are maids,
. but the sky changes when they are wives.
--------------------------------------------------
_____ The Taming of the Shrew Act 1, Scene 1
.
GREMIO: Would I had given him the best horse
. in Padua to begin his *WOOing* that would
. thoroughly *WOO* her, *WED* her and bed her
. and rid the house of her!
---------------------------------------------------
_____ All's Well That Ends Well Act 2, Scene 1
.
KING: --see that you come
. Not to *WOO* honour, but to *WED* it; when
. The bravest questant shrinks, find what you seek,
. That *FAME* may cry you loud: I say, farewell.
-----------------------------------------------------
Hamlet: Welcome good Friends. Oh 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 altitude of a Choppine.
..........................................................
______________ <= 25 =>
.
. 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.
.
[SIDNEY] -25
---------------------------------------------------
____ Richard III Q3 (1602)
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:
.
with the whole course of his {D|E]{TESTED} life,
and most {DEsER[V]{ED} {DE}ath. As it hath bene
lat[E|L}y Acted by the Right Honou[R|A}ble
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.
.......................................................
with the whole <= 23 =>
.
. 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 Prob. ~ 1 in 68
{TELA} 23
----------------------------------------------------------
. Harvey's Apostrophe ad eundem (1578)
(Apostrophe to the same man, i.e. De Vere)
.............................................
Virtus fronte habitat: Mars occupat ora; Minerva
In dextra latitat: Bellona in corpore regnat:
Martius ardor inest; scintillant lumina:
vultus {TELA} vibrat: quis non redivivum iuret Achillem?
O age, magne *COMES* ,
------------------------------------------------
http://shakespeareauthorship.com/eulogies.html
COTES's 2nd Folio of Shakespeare's works(1632), in addition to the
eulogies from the First Folio, contains three additional ones. The
first of these, "An Epitaph on the admirable Dramaticke Poet, W.
Shakespeare," was unsigned in the Folio, but later appeared in John
Milton's 1645 Poems with the date 1630. The second eulogy, also
unsigned, is entitled "Upon the Effigies of my worthy Friend, the
Author Maister William Shakespeare, and his Workes." The third,
signed only with the initials "I.M.S.," is a well-written 77-line
poem called "On Worthy Master Shakespeare and his Poems."
...............................................................
"I.M.S." = I, Mary Sidney {MARI.H}
....................................................
These gently 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],
'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.>>
--------------------------------------------------
__ 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* .
--------------------------------------------------------------
1580: Dedication to Oxford
in John Lyly's Euphues and 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 nEUER 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 ow- <= 21 =>
.
_ 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 reques{TES, T}hen fearefull of others
....................................................
If I should coyne a wor- <= 51 =>
.
. [S]eitwouldbethoughtthattheformerwasframedbychaunceas
. [P|R]otogenesdidthefoameofhisdoggeifabetterforflatteri
. [E|A]sNarcissusdidwhoonlywasinlouewithhisownfaceifnone
. [A|T]ailasfrowardastheMusitionwhobeingentreatedwillsca
. [R|S]esingsolfabuthotdesiredstraineaboueEla.Buttheirimp
. -o-rtu<N>itieadm<I>ttednoe<X>cuseins<O>muchthatIwasenforcedto
. -p-referretheirfriendshipbeforemineownefainebeingmore
. -c-arefulltosatisfietheirreques{TEST}henfearefullofothers
.
[SPEAR] 51
[STAR] -51
<OXIN> -8
--------------------------------------------------------------
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-like her dresses,
Prowd lust-stung Tarqu[I]ne seeking still to prove h[E]r:
Romea Richard, more whose [N]ames I know not,
Their sugre[D] tongues, and power attract[I]ve beuty
Say they are Saint[S] althogh that Sts they shew not
For thousands vowes to them subiective dutie:
. They burn in love thy children Shakespear *HET THEm* ,
. Go, wo thy *MUSE* more Nymphish brood beget them.
....................................................
__________ <= 23 =>
.
. P r o w d 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]
.
[SIDNEI] -23
...............................................
[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?).>>
----------------------------------------------------------------
http://shakespeareauthorship.com/rep.html
.
<<William Covell's _Polimanteia_ (1595) lists *SIDNEI* , 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 *EUERliuing 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
-------------------------------------------------------------
The Tragedy of King Richard the third. Containing, His
treacherous Plots against 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.
...........................................
As it hath beene lately Acted - <= 18 =>
.
. 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 {1,025,000} Q1(1597)
[{C}ountesse of pembrooke: mary SIDNEY]
--------------------------------------------------------------
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).>>
--------------------------------------------------------
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 six 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.>>
---------------------------------------------------------------
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.
...........................................
with the whole course of his detested life,
and most <= 33 =>
.
. DEsE [R] VEDofdeathAsithathbeenel-atel
___ yAct [E] dbytheKingsMaiestiesserv-ants
_- Newl [Y] augmentedByWilliamShakes-pear
_- eLon [D] onPrintedbyThomasCreedea-ndar
__ etob [E] soldbyMathewLawedwelling-inPa
__ ulsC -h- urchyardattheSigneoftheF{OXEN}
__ eare -S- Austinsgate
.
[EDYER] -33 {22,000} Q5(1612)
------------------------------------------
# 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)
MARI{He} --- ---- --- (1 in 2,000,000)
MARI{H} 833 2881 898 (1 in 900,000)
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)
---------------------------------------------------
Newsgroups: humanities.lit.authors.shakespeare
From: kmack2...@my-deja.com
Subject: Re: Sidney Marlowe
Date: 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?"
---------------------------------------------------
. Astrophel and Stella LXXXIV
.
High way, [S]ince you m[Y] chiefe Pe[R]nassus 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
.........................
. Astrophel and Stella XCII
.
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
---------------------------------------------------
. _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 *[STALLION]* .
Ma[Y]be, like Soc[R]ates, he had [A] midwife to [Mother] 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."
.
[1st Earl of Salisbury, her son would marry his niece]>>
------------------------------------------------------
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,
................................
The life and strang- <= 18 =>
.
. [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
-----------------------------------------------
*THE REST IS* silence" - Hamlet
*THE REST IS FAME* " - Sidney motto
[ *CÆTERA FAMA* ]
--------------------------------------------------
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.
................................................
But, thou'lt s- <= 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 *EUER*
. 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*
---------------------------------------------------
http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=9047
Fulke Greville
Birth: Oct. 3, 1554
Death: Sep. 30, 1628
http://s3.amazonaws.com/findagrave/photos/2001/222/grevillefulke.jpg
<<Statesman, Author. The son of Sir Fulke Greville, 4th Baron
Willoughby de Broke, he was born in Warwickshire, England, and
educated at Shrewsbury School and Cambridge University. He was
a close friend of Sir Philip Sidney. Greville was a favorite
courtier of Queen Elizabeth I, who knighted him in 1597 and
made him a Rear Admiral in the *Royal Navy*. After serving
four terms in Parliament, he was *Treasurer of the Navy* from
1598 to 1604 and Chancellor of the Exchequer from 1614 to 1621.>>
----------------------------------------------------------------
<<In 1856, William Henry Smith put forth the claim that the author
of Shakespeare's plays was Sir Francis Bacon, a major scientist,
philosopher, courtier, diplomat, essayist, historian and
successful politician, who served as Solicitor General (1607),
Attorney General (1613) and Lord Chancellor (1618).>>
.
http://en.wikipedia.org/wiki/Shakespearean_authorship_question
------------------------------------------------------------
William Henry Smith (From Wikipedia)
.
<<William Henry Smith (*24 June* 1825 ' *6 October* 1891) was
the son of William Henry Smith (1792-1865). He was born in London
and educated at Tavistock Grammar School before joining the
business with his father in 1846. As a result of his involvement,
the business became a household name (W H Smith), and the practice
of selling books & newspapers at railway stations began.
In 1868 he was elected Member of Parliament for Westminster
as a Conservative, and was appointed Financial Secretary to the
Treasury 6 years later when Disraeli returned as Prime Minister.
In 1877 he became First Lord of the Admiralty. The appointment
gave rise to the character of Sir Joseph Porter, KCB,
in Gilbert and Sullivan's comic opera H.M.S. Pinafore).
W. S. Gilbert's Pinafore lyrics are scathing:
.
. I grew so rich that I was sent
. By a pocket borough into Parliament.
. I always voted at my party's call,
. And I never thought of thinking for myself at all.
. I thought so little, they rewarded me
. By making me the Ruler of the Queen's Navee!
.
Smith would be known by the derisive nickname "Pinafore
Smith" during his three years in the post of First Lord.>>
----------------------------------------------------
<<Sir Joseph realizes that Ralph should have been the *CAPTAIN* ,
and the *CAPTAIN* should have been Ralph. He summons both, & they
emerge WEARing one another's uniforms: Ralph is now middle-class,
and in command of the *PINAFORE* , while the former *CAPTAIN*
is now a common sailor. Sir Joseph's marriage with Josephine is
now impossible. As he explains it, "love levels all ranks...to a
considerable extent, but it does not level them as much as that."
He gives her to now-Captain Rackstraw. The former *CAPTAIN* , with
his rank reduced, is free to marry Buttercup. Sir Joseph settles
for his cousin *HEBE* , and all ends in general rejoicing.>>
-----------------------------------------------
"Sir Joseph Porter's Song" Sir William Schwenck Gilbert
("When I was a Lad I served a Term")
from H. M. S. Pinafore (1878)
.
Enter Sir Joseph with Cousin *HEBE*.
.
SONG - SIR JOSEPH.
.
I am the monarch of the sea,
The ruler of the Queen's Navee,
Whose praise Great Britain loudly chants.
.
COUSIN *HEBE*. And we are his sisters, and his cousins and his aunts!
.
RELATIVES. And we are his sisters, and his cousins, and his aunts!
.
SIR JOSEPH. When at *ANCHOR HERE* I ride,
. My bosom swells with pride,
. And I snap my fingers at a foeman's taunts;
.
COUSIN *HEBE*. And so do his sisters, and his cousins, and his aunts!
.
ALL. And so do his sisters, and his cousins, and his aunts!
.
SIR JOSEPH. But when the breezes blow,
. I generally go below,
. And SEEK the seclusion that a cabin grants;
.
COUSIN *HEBE*. And so do his sisters, and his cousins, and his aunts!
.
ALL. And so do his sisters, and his cousins, and his aunts!
. His sisters and his cousins,
. Whom he reckons up by dozens,
. And his aunts!
.
SONG - SIR JOSEPH.
.
. When I was a lad I served a term
. As office boy to an Attorney's firm.
. I cleaned the windows and I swept the floor,
. And I polished up the handle of the big front door.
. I polished up that handle so carefullee
. That now I am the Ruler of the Queen's Navee!
.
The object of Gilbert's satire is not so much
the person of publisherand politician W. H. Smith
as the system that in essence de-professionalized
command positions in the British armed forces, & promoted
those with wealth and political connections rather than
military ability. Thus, Gilbert was in effect attacking
the long-standing aristocratic tradition of purchasing
commissions. Instead of "serving a term" as a midshipman
(which was the conventional route leading to officer status
and ship's command), Sir Joseph has taken a strictly political
route to the Admiralty. His being accompanied by "Cousin *HEBE*
"may be Gilbert's method of ridiculing thinking of himself
as an Olypian deity, for *HEBE* was the patron goddess
of youth & youthful beauty, and cupbearer of the gods
- in Greek mythology - her cup was said to have the ability
to retore old men to youthful vigour (as demonstrated by
Sir Joseph's prancing around the stage). That *HEBE*
eventually married the deified hero Herakles may also be
significant in Gilbert's resolving the problem of the marriage
of Sir Joseph and Captain Corcoran's daughter, Josephine. >>
.........................................
I Could Go on Singing (1963)
Gregory Phillips / Matt / Cousin *HEBE*
--------------------------------------------------
__ Hamlet (1603: Bad Quarto 1) Act 5 Scene 1
.
Hamlet: An excellent fellow by the Lord Horatio,
. This *SEAUEN YEARES* haue I noted it: the toe of the pesant,
. *COMES so neere the heele of the courtier* ,
. That hee gawles his kibe, I prethee tell mee one thing,
. How long will a man lie in the ground before hee rots?
.
Clowne: I faith sir, if *HEE BE* not rotten [B]efore
. *HE BE* laide in, [A]s we haue many pocky [C]orses,
. He will last y[O]u, eight yeares, *a tan[N]er*
. Will last you eight yeares full out, or nine.
.
Hamlet: And why *A TANNER* ?
.
Clowne: Why his hide is so tanned with his trade,
. That it will holde out water, that's a parlous
. Deuourer of your dead body, a great soaker.
.............................................
Clowne: I faith sir, <= 17 =>
.
. --- i f*H E E B E*n o t {R} o t t e n
. [B] e f o r e*H E B E*l {A} i d e i n
. [A] s w e h a u e m a n {Y} p o c k y
. [C] o r s e s H e w i l {L} l a s t y
. [O] u e i g h t y e a r {E} s a t a n
. [N] e r W i l l l a s t {Y} o u
.
[BACON] 17 {244,000}
--------------------------------------------------------
http://library.thinkquest.org/5175/images/grave1.jpg
...............................................
. GOOD FREND FOR [IE]{SVS}' SAKE FOR[BE]ARE,
___ TO DIGG THE DV[ST] ENCLOASED [HE]ARE:
. BLESTE BE Ye MAN Yt SPA[RE]S THES STONES,
_ AND CVRST BE HE Yt MO[VE]S MY BONES.
...............................................
On the 14th anniversary of Anne Hathaway's death [Aug. 6, 1637].
Ben Jonson was BURIED UPRIGHT leaning against the WALL
. of his Westminster Abbey crypt as requested:
.
. ' *TWO FEET BY TWO FEET*
. *WILL* do for all I *WANT* '. - Ben Jonson
...............................................
http://library.thinkquest.org/5175/images/grave1.jpg
___________ [IE] [BE] [RE]
__________ [ST] [HE] [VE]
........................................
___ *STIE / HEBE* : *VERE*
........................................
http://shakespeareauthorship.com/array2.html
. 0807d: NTENSH *STIE* VGHENVTT
. 1713d: GI *HEBE* IN
. 1909u: R *VERE* HSI
-----------------------------------------
Hamlet: Give me your *PARDON* , sir:
. I've done you wrong;
. But *PARDON* 't, as you are a gentleman.
...............................................
. _DiscoVERiEs_ by Ben Jonson (1640)
. De Shakespeare *NOSTRAT*
http://my.execpc.com/~berrestr/jon-sha.html
.
<<But hee redeemed his vices, with his vertues.
. There was *EVER* more in him to be praysed,
. then to be *PARDONed* .>>
...............................................
. *HEBE* , Cup-bearer of the Gods
http://www.perseus.tufts.edu/Herakles/hebe.html
.
<< *HEBE* was worshipped as a goddess of *PARDONs*
or forgiveness; freed prisoners would *HANG their CHAINS*
in the sacred grove of her sanctuary at Phlius.>>
------------------------------------------------
http://www.philological.bham.ac.uk/anagrams/
.
<<Even more curious is the one for Southampton,
which explicitly states that he had been convicted
of treason on false testimony inspired by envy.>>
.............................................
. HENRICUS URIOTHESLEUS
_____ per anagramma
. THESEUS NIL REUS HIC RUO
.
.[I]ure quidem poteras hanc fundere ab ore querelam,
.[S]ors tibi dum ficto crimine dura fuit:
"[N]il reus en Theseus censura sortis iniquae
.[H]ic ruo, livoris traditus arbitrio."
.[A]t nunc mutanda ob mutata pericla querela est.
.[I]nclite, an innocuo pectore teste rues?
.[N]on sane. Hac haeres vacuo dat *VIVERE* cura,
.[C]ollati imperii sub Iove sceptra gerens.
.............................................
. *ISNHAINC* {anagram} *IN CHAINS*
.
*Victorious though IN CHAINS* ) "In Vinculus Invictus"
Motto in Tower Painting: http://www.gorki.net/Art/fa12.html
.............................................
. 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
---------------------------------------------------
Art Neuendorffer
http://tinyurl.com/kc3yf3z
http://www.perseus.tufts.edu/hopper/text?doc=Ov.+Met.+1&redirect=true
..............................................
P. Ovidius Naso, Metamorphoses
Arthur Golding, Ed.
..............................................
Of shapes transformde to bodie[S] straunge, I purpose to entreate,
Ye gods vo[U]chsafe (for you are they ywrought this wœd[R]ous feate)
To further this mine enterpris[E]. And from the world begunne,
Graunt that my [V]erse may to my time, his course directly runne.
..............................................
. <= 35 =>
.
. Ofshapestransformdetobodie [S] straunge
. IpurposetoentreateYegodsvo [U] chsafefo
. ryouaretheyywroughtthiswŋd [R] ousfeate
. Tofurtherthismineenterpris [E] Andfromt
. heworldbegunneGrauntthatmy [V] ersemayt
. omytimehiscoursedirectlyru n ne
.
[VERUS] -35
..............................................
Before the Sea and Lande were made, and Heaven that all doth hide,
In all the worlde one onely face of nature did abide,
Which Chaos hight, a huge rude heape, and nothing else but even
A heavie lump and clottred clod (o){F} seedes togither dr(i)[V]en,
Of things at stri(f)[E] among themselves, f(o)[R] want of order due.
No (s)[U]nne as yet with ligh(t)[S]ome beames the shap(e)lesse world did vew.
No Moone in growing did repayre hir hornes with borowed light.
..............................................................
. <= 18 =>
.
. A h e a v i e l u m p a n d c l o t
. t r e d c l o d (o){F}s e e d e s t o
. g i t h e r d r (i)[V]e n O f t h i n
. g s a t s t r i (f)[E]a m o n g t h e
. m s e l v e s f (o)[R]w a n t o f o r
. d e r d u e N o (s)[U]n n e a s y e t
. w i t h l i g h (t)[S]o m e b e a m e
. s t h e s h a p (e) l e s s e w o r l
. d d i d v e w.
.
[{F}VERUS] 18
Prob. of 2 [VERUS]s ~ 1 in 16,750
(oi foste) 18 : "or you were" (Italian)
--------------------------------------------
- PHOENIX AND TURTLE (Version #1)
.
. LET the bird of loudest lay,
. On the sole Arabian tree,
. Herald sad and trumpet be,
. To whose sound cha[S]te wings obey.
. But tho[U] shrieking harbinge[R],
. Foul precurrer of th[E] fiend,
. Augur of the fe[V]er's end,
. To this troop {COME} thou not near!
......................................
______ <= 18 =>
.
. L e t t h e b i r d o f l o u d e s
. t l a y O n t h e s o l e A r a b i
. a n t r e e H e r a l d s a d a n d
. t r u m p e t b e T o w h o s e s o
. u n d c h a[S]t e w i n g s o b e y
_- B u t t h o[U]s h r i e k i n g h a
_- r b i n g e[R]F o u l p r e c u r r
__-e r o f t h[E]f i e n d A u g u r o
___f t h e f e[V]E R{S}e n d T o t h i
_ s t r o o p{C O M E}t h o u n o t n e a r
.
Prob. of [VERUS] ~ 1 in 1600 (any skip)
--------------------------------------------
- PHOENIX AND TURTLE (Version #2)
.
______ <= 18 =>
.
. L e t t h e b i r d o f l o u d e s
. t l a y O n t h e s o l e A r a b i
. a n t r e e H e r a l d s a d a n d
. t r u m p e t b e T o w h o s e s o
. u n d c h a[S]t e w i n g s o b e y
_ B u t t h o[U]s h r i e k i n g h a
_ r b i n g e[R]F o u l p r e c u r r
__e r o f t h[E]f i e n d A u g u r o
__f t h e f e[V]E R s e n d T o t h i
. s t r o u p{E|C O M E}t h o u n o t
. n e a r
.
Prob. of *EVERUS* ~ 1 in 12,240 (any skip)
........................................
. {ed}ouard{[U]s} *VERUS* , COMES Oxoniae,
. Vicecomes Bulbeck, Dominus de Scales
. & Badlismer, D. Magnus Angliae Ca-
. merarius: Lectori. S. D.
------------------------------------------------------
http://comp.uark.edu/~mreynold/aulicus.html
[V]envs and Adonis
.
TO TH[E] RIGHT HONORABLE
Hen[R]ie Wriothesley,
Earl[E] of Southampton,
and Baron of Titchfield.
.
[VERE] 18 : Prob. ~ 1 in 105
-------------------------------------------------------------------
17th-century References to Shakespeare's Stratford Monument
http://shakespeareauthorship.com/monrefs.html
.
<<In 1631, a year before his death, John WeEVER published the massive
Ancient Funerall Monuments, which recorded many inscriptions from
monuments around England, particularly in Canterbury, Rochester,
London, and Norwich. Shakespeare's monument does not appear in the
published book, but two of WeEVER's notebooks, containing his drafts
for most of the book as well as many unpublished notes, survive as
Society of Antiquaries MSS. 127 and 128. In one of these notebooks,
under the heading "Stratford upon Avon," WeEVER recorded the poems
from Shakespeare's monument and his gravestone, as follows:
..........................................................
. Iudcio Pilum, Genio Socratem, Arte Maronem
. Terra tegit, populus maeret, Olympus habet.
. Stay Passenger, why goes[T] thou by so fast
. Read i[F] your canst whome env[I]ous death hath plac'd
. [W]ithin this monument [S]hakespeare with who[M]e
. Quick Nature dy'd wh[O]se name doth deck his [T]ombe
. far more then co{S}t, sith all yt hee hath {W}ritt
. L(E)ave(S) liv(I)ng A(R)t but page to serve hi{S W}itt.
.
. ob Ano doi 1616 AEtat. 53. 24 die April
.
. Good frend for Iesus sake [F]orbeare
. To digg th{e d[U]s}t enclosed heare
. Bl[E]st bee ye man that spa[R]es these stones
. And c[U]rst bee hee that move[S] my bones.
.........................................................
In the margin opposite the heading "Stratford upon Avon",
WeEVER wrote "Willm Shakespeare the famous poet",
.
and opposite the last two lines of the epitaph
he wrote "vpo[n] the grave stone".>>
...................................................
____________ <= 18 =>
.
. P a s s e n g e r w h y g o e s [T] t
. h o u b y s o f a s t R e a d i [F] y
. o u r c a n s t w h o m e e n v [I] o
. u s d e a t h h a t h p l a c d [W] i
. t h i n t h i s m o n u m e n t [S] h
. a k e s p e a r e w i t h w h o [M] e
. Q u i c k N a t u r e d y d w h [O] s
. e n a m e d o t h d e c k h i s [T] o
. m b e f a r m o r e t h e n c o {S} t
. s i{T}h a l l y t h e e h a t h {W} r
. i t{T}L(E)a v e(S)l i v(I)n g A (R) t
. b u{T}p a g e t o s e r v e h i {S W}
. i t{T}
(RISE) -4
[TOM SWIFT] -18
Prob. of [TOM SWIFT] ~ 1 in 2,230,000 (any skip)
................................................
_________ <= 18 =>
.
. G O(O) D {F} r e n d f(O)r J e s u s s
. a k(E)[F]{O} r b e a r(E)T(O)d i g g t
. h{e d [U]{S} t e n c l(O)s(E)d h e a r
. e B l [E]{S} t b e e y(E)m a n t h a t
. s p a [R]{E} s t h e{S}e s t o n e s A
. n d c [U]_r s t b e{E}h e e t h a t m
. o v e [S]_M y b o n{E}s
........................................
{FOSSE} 18 : A grave (Old French)
[{F}UERUS] 18 ~ 1 in 23,800 (any skip)
Prob. of *UERUS* ~ 1 in 1090 (any skip)
-----------------------------------------------------------
______ Hamlet (Q2, 1604) Act I, Scene V
http://internetshakespeare.uvic.ca/Annex/Texts/Ham/Q2/scene/1.5
.
Ghost: No reckning made, but sent to my account
. Withall my {IMPE}R{F}ECTions on my hea[D],
. O h{o}rrible, ô horribl[E], mo{s}t horrible.
. If tho[U] ha{s}t natur{e} in thee b[E]are it not,
. Let not the [R]oyall bed of Denmark[E] be
. A couch for luxury and damned incest.
..................................................
______ <= 18 =>
.
. N o r e c k n i n g m a d e,b u t s
. e n t t o m y a c c o u n t W i t h
. a l l m y(I M P E)R{F}E C T i o n s
. o n m y h e A[D]O h{O}r r i b l e ô
. h o r r i b L[E]M o{S}t h o r r i b
. l e I f t h O[U]h a{S}t n a t u r e
. i n t h e e B[E]a_r{E}i t n o t L e
. t n o t t h E[R]o y a l l b e d o f
. D e n m a r k[E]b e A c o u c h f o
. r l u x u r Y a n d d a m n e d i n
. c e s t
........................................
{FOSSE} 18 : A grave (Old French)
[DEUERE] 18
------------------------------------------------------
____ Sonnet 18
. But thy eternall Sommer shall not fade,
. Nor loos{E} po{S}se{S}si{O}n o{F} that faire thou ow'st,
. Nor shall *DEATH* brag thou wandr'st in his shade,
. When in eternall lines to time thou grow'st,
{FOSSE} -3
-----------------------------------------------------
____ Sonnet 8
.
MVsick to heare, why hear'st thou musick sadly,
Sweets with sweets warre not, ioy delights in ioy:
Why lou'st thou that which thou receaust not gladly,
Or else receau'st with pleasur[E] thine annoy?
.
If the tr[U]e concord of well tun[E]d sounds,
By vnions ma[R]ried do offend thine [E]are,
They do but sweet[L]y chide thee, who conf[O]unds
In singlenesse the parts that thou should'st beare:
.....................................................
______ <= 18 =>
.
. O r e l s e r e c e a u's t w i t h
. p l e a s u r [E] t h i n e a n n o y?
. I f t h e t r [U] e c o n c o r d o f
. w e l l t u n [E] d s o u n d s,B y v
. n i o n s m a [R] r i e d d o o f f e
. n d t h i n e [E] a r e,T h e y d o b
. u t s w e e t [L] y c h i d e t h e e,
. w h o c o n f [O] u n d s
............................................
[E.UERE,L.O.] 18
-----------------------------------------------------
Sonnet 104
TO me [F]aire friend you nEVE[R] can be old,
For as you w[E]re when first your ey[E] I eyde,
Such seemes yo[U]r beautie still: Thre[E] Winters colde,
Haue from the forrests shooke three summers pride,
.....................................................
______ <= 18 =>
.
. T O m e [F] a i r e f r i e n d y o u
. n E V E [R] c a n b e o l d,F o r a s
. y o u w [E] r e w h e n f i r s t y o
. u r e y [E] I e y d e,S u c h s e e m
. e s y o [U] r b e a u t i e s t i l l:
. T h r e [E] W i n t e r s c o l d e,
..............................................
[E.UEER,F.] -18
--------------------------------------------------------
http://en.wikipedia.org/wiki/18_%28number%29
..............................................
1) The number of years in the Saros cycle of eclipses of the sun and moon
2) The Hebrew word for "life" is חי (chai), which has a numerical value of 18. Consequently, the custom has arisen in Jewish circles to give donations and monetary gifts in multiples of 18 as an expression of blessing for long life.
*HIRAM* (Hebrew חירָם "high-born" = 51 = 33 + 18 = 3 x 17).
3) Joseph Heller's novel Catch-22 was originally named Catch-18 because of the Hebrew meaning of the number, but was amended to the published title to avoid confusion with another war novel, Mila 18.
-----------------------------------------------
_________ <= 17 =>
. T O T H E (O) N L I E B E G E T T E
. R O F T H (E) S E I N S V I N G S O
. N N E T S [M] R W H A L L {H} A P P I
. N E S S E [A] N D T H A T {E} T E R N
. I T I E P [R] O M I S E D {B} Y O V R
. E V E R L [I] V I N G P O {E} T W I S
. H E T H T [H (E)]W E L L W I S H I N
. G A D V E N T V R E R I N S E T T
. I N G F O R T H T T
[HIRAM(e)] -17
{HEBE} 17
-----------------------------------------------------------
http://www.wwnorton.com/college/english/nael/16century/topic_4/tplatt...
.
Thomas Platter, a native of Basel, visited England in 1599.
The following excerpt from his diary, translated from the
German, describes the many popular amusements and spectacles
to be witnessed in Elizabethan London. (~8112 letters)
................................................
T{He}re are a great many [I]nns, taverns,
and bee[R]-gardens scatt(e)red [A]bout the city,
where [M]uch a[MUSE]m(E)nt {M}ay {Be} had with ea(T)ing, drinking,
fiddl(I)ng, {a}nd the rest, as fo(R) instance in our hostel{R}y,
which was visited by players almost da{I}ly. And what is
pa[r]ticularly curious is t(H)at the women as w[e]ll as the men, in
fact more often than they, [w]ill frequent the taverns or ale-houses
f[o]r enjoyment. They count it a great honour [t]o be taken there
and given wine with sugar to drink; and if one woman only is
invited, then she will bring three or four other women along and
they gaily toast each other; the husband afterwards thanks him who
has given his wife such pleasure, for they deem it a real kindness.
_________ <= 17 =>
. T {H e} r e a r e a g r e a t m a n
. y [I] n n s,t a v e r n s, a n d b e
. e [R] g a r d e n s s c a t t (e) r e
. d [A] b o u t t h e c i t y,w h e r
. e [M] u c h a[M U S E]m (E) n t {M} a y
. {B e} h a d w i t h e a (T) i n g, d r
. i n k i n g,f i d d l (I) n g {A} n d
. t h e r e s t,a s f o (R) i n s t a
. n c e i n o u r h o s (T) e l {R} y,w
. h i c h w a s v i s i (T) e d b y p
. l a y e r s a l m o s (T) d a {I} l y.
. A n d w h a t i s p a [R] t i c u l
. a r l y c u r i o u s i s t (H) a t
. t h e w o m e n a s w [E] l l a s t
. h e m e n,i n f a c t m o r e o f
. t e n t h a n t h e y [W] i l l f r
. e q u e n t t h e t a v e r n s o
. r a l e-h o u s e s f [O] r e n j o
. y m e n t.T h e y c o u n t i t a
. g r e a t h o n o u r [T] o b e t a
. k e n t h e r e a n d g i v e n
- wine with sugar to drink;
{HIRAM(e)} 17
{HIRAM(e)} 34
[TOWER] -34
[{Be}MARI{He}] -17 Prob. ~ 1 in 250 (skip 17)
--------------------------------------------------
Thomas PLATTer (b.1574) of
[BA]sle [C]ant[ON]
[BACON] latens:
(Latin present participle of lateō) lurking, skulking, hiding
[BASL]e c[ANT]on
[ST. ALBAN] once
.......................................................
http://195.167.241.43/globe/education/distancelearning/distancelearni...
.
<<In (1909) a series of remarkable documents concerning the Globe
came to light. In the German-language journal of English philology,
Anglia, Dr. Gustav Binz published excerpts from a traveler's
account of a visit to England in 1599. Thomas PLATTer
(b.1574), a Swiss of [BA]sle [C]ant[ON], had written:
.
On September 21st after lunch, about two o'clock, I and my party
crossed the water, and there in the house with the thatched
roof witnessed an excellent performance of the tragedy of
the 1st Emperor JC with a cast of some *15 people* ....>>
. (Schanzer, "PLATTer's Observations" 466-7)
....................................................
Twain's Baconiana: _Is Shakespeare Dead?_ (1909)
------------------------------------------------------
. H.G. Wells » The PLATTner Story (1897)
.
<<Gottfried PLATTner is a school teacher made to chemically analyze a
"GREEN powder" of uncertain origin by his students, and, upon lighting
the powder on fire, is violently launched into a mysterious parallel
dimension next to ours where *MUTE* "Watchers of the Living",
obviously deceased souls or alternate versions of
existing people in our world, take keen interest in us.>>
.
"There the story of PLATTner's experiences ends. I have resisted,
I believe successfully, the natural disposition of a writer of
fiction to dress up incidents of this sort. I have told the thing
as far as possible in the order in which PLATTner told it to me."
--------------------------------------------------------
Dr. Isaac Hull PLATT in the Conservator (1897):
.
_ *H[ONO](r)i(F)i[CAB]ilitudinitatibus* - L.L.L.
_ *Hi ludi, tuiti sibi, (Fr.) [BACONO] nati*
.
*These plays entrusted to themselves proceeded from Fr. Bacon*
.........................................................
Northumberland Manuscript (1846) :
.
_ *H[ONO](r)i(F)i[CAB]ilitudino*
_ *Initio hi ludi (Fr.) [BACONO]*
.........................................................
http://tinyurl.com/7aonlo5
http://www.argosybooks.com/shop/argosy/171747.html
Sylva Sylvarum, Sive Historia naturalis...
a Francisco [BACONO]. Latio transscripta a Iabobo Grutero.
Sylva sylvarum, or, a natural history in ten centuries:
.......................................................
Saggi morali del signore FRancesco [BACONO], cavaglire inglese.
Con vn altro trattato Della sapienza de gli antichi.
1617 / 1618 Tobie Matthew Italian translation of Bacon's
_The essays, or, Counsels, civil and moral of Sir FRANCis BACON
with a table of the colours of good and evil :
whereunto is added The wisdom of the antients_
---------------------------------------------------------
http://www.wwnorton.com/college/english/nael/16century/topic_4/tplatt...
Thomas Platter, A Swiss Tourist in London
Thomas Platter, a native of Basel, visited England in 1599. The
following excerpt from his diary, translated from the German,
describes the many popular amusements and spectacles to be witnessed
in Elizabethan London. (~8112 letters)
<<On September 21st after lunch, about two o'clock, I and my party
crossed the water, and there in the house with the thatched roof
witnessed an excellent performance of the tragedy of the first Emperor
Julius Caesar with a cast of some fifteen people; when the play was
over, they danced VERy marvellously and gracefully together as is
their wont, two dressed as men and two as women.
On another occasion not far from our inn, in the suburb at
Bishopsgate, if I remember, also after lunch, I beheld a play in which
they presented diverse nations and an Englishman struggling together
for a maiden; he overcame them all except the German who won the girl
in a tussle, and then sat down by her side, when he and his servant
drank themselves tipsy, so that they were both fuddled and the servant
proceeded to hurl his shoe at his master's head, whereupon they both
fell asleep; meanwhile the Englishman stole into the tent and
absconded with the German's prize, thus in his turn outwitting the
German; in conclusion they danced VERy charmingly in English and Irish
fashion. Thus daily at two in the afternoon, London has two, sometimes
three plays running in different places, competing with each other,
and those which play best obtain most spectators. The playhouses are
so constructed that they play on a raised platform, so that EVERyone
has a good view. There are different galleries and places, howEVER,
where the seating is better and more comfortable and therefore more
expensive. For whoEVER cares to stand below only pays one English
penny, but if he wishes to sit he enters by another door and pays
another penny, while if he desires to sit in the most comfortable
seats, which are cushioned, where he not only sees EVERything well,
but can also be seen, then he pays yet another English penny at
another door. And during the performance food and drink are carried
round the audience, so that for what one cares to pay one may also
have refreshment. The actors are most expensively and elaborately
costumed; for it is the English usage for eminent lords or knights at
their decease to bequeath and leave almost the best of their clothes
to their serving men, which it is unseemly for the latter to wear,
so that they offer them then for sale for a small sum to the actors.
How much time then they may merrily spend daily at the play
EVERyone knows who has EVER seen them play or act.
There is also in the city of London not far from the horse-market,
which occupies a large site, a house where cock-fights are held
annually throughout three quarters of the year (for in the remaining
quarter they told me it was impossible since the feathers are full of
blood), and I saw the place, which is built like a theatre. In the
center on the floor stands a circular table covered with straw and
with ledges round it, where the cocks are teased and incited to fly
at one another, while those with wagers as to which cock will win sit
closest around the circular disk, but the spectators who are merely
present on their entrance penny sit around higher up, watching with
eager pleasure the fierce and angry fight between the cocks, as these
wound each other to death with spurs and beaks. And the party whose
cock surrenders or dies loses the wager; I am told that stakes on a
cock often amount to many thousands of crowns, especially if they have
reared the cock themselves and brought their own along. For the master
who inhabits the house has many cocks besides, which he feeds in
separate cages and keeps for this sport, as he showed us. He also
had sEVERal cocks, none of which he would sell for less than twenty
crowns; they are VERy large but just the same kind as we have in our
country. He also told us that if one discovered that the cocks' beaks
had been coated with garlic, one was fully entitled to kill them at
once. He added too, that it was nothing to give them brandy before
they began to fight, adding what wonderful pleasure there was in
watching them.
EVERy Sunday and Wednesday in London there are bearbaitings on the
other side of the water. . . . The theatre is circular, with galleries
round the top for the spectators; the ground space down below, beneath
the clear sky, is unoccupied. In the middle of this place a large bear
on a long rope was bound to a stake, then a number of great English
mastiffs were brought in and shown first to the bear, which they
afterwards baited one after another: now the excellence and fine
temper of such mastiffs was evinced, for although they were much
struck and mauled by the bear, they did not give in, but had to
be pulled off by sheer force, and their muzzles forced open with
long sticks to which a broad iron piece was attached at the top.
The bears' teeth were not sharp so they could not injure the dogs;
they have them broken short. When the first mastiffs tired,
fresh ones were brought in to bait the bear.
* * *
With these and many more amusements the English pass their time,
learning at the play what is happening abroad; indeed men and
womenfolk visit such places without scruple, since the English
for the most part do not travel much, but prefer to learn
foreign matters and take their pleasures at home.
T[H]ere are a great many [I]nns, taverns,
and bee[R]-gardens scatt(E)red [A]bout the city,
where [M]uch amusement {m}ay b(E) had with eating, drinking,
fiddling, {a}nd the rest, as for instance in our hostel{r}y,
which was visited by players almost da{i}ly. And what is
pa[r]ticularly curious is t{h}at the women as w[e]ll as the men, in
fact more often than they, [w]ill frequent the taverns or ale-houses
f[o]r enjoyment. They count it a great honour [t]o be taken there
and given wine with sugar to drink; and if one woman only is
invited, then she will bring three or four other women along and
they gaily toast each other; the husband afterwards thanks him who
has given his wife such pleasure, for they deem it a real kindness.
In the ale-houses tobacco or a species of wound-wort are also
obtainable for one's money, and the powder is lit in a small pipe, the
smoke sucked into the mouth, and the saliva is allowed to run freely,
after which a good draught of Spanish wine follows. This they regard
as a curious medicine for defluctions, and as a pleasure, and the
habit is so common with them, that they always carry the instrument on
them, and light up on all occasions, at the play, in the taverns or
elsewhere, drinking as well as smoking together, as we sit over wine,
and it makes them riotous and merry, and rather drowsy, just as if
they were drunk, though the effect soon passes — and they use it so
abundantly because of the pleasure it gives, that their preachers cry
out on them for their self-destruction, and I am told the inside of
one man's veins after death was found to be covered in soot just like
a chimney. The herb is imported from the Indies in great quantities,
and some types are much stronger than others, which difference one can
immediately taste; they perform queer antics when they take it. And
they first learned of this medicine from the Indians, as Mr. Cope, a
citizen of London who has spent much time in the Indies, informed me;
I visited his collection with Herr Lobelus, a London physician,
and saw the following objects.
This same Mr. Cope inhabits a fine house in the Snecgas;
he led us into an apartment stuffed with queer foreign objects
in EVERy corner, and amongst other things I saw there,
the following seemed of interest.
. An African charm made of teeth.
. Many weapons, arrows, and other things made of fishbone.
. Beautiful Indian plumes, ornaments, and clothes from China.
. A handsome cap made out of goosefoots from China.
. A curious Javanese costume.
. A felt *CLOAK* from Arabia.
. Shoes from many strange lands.
. An Indian stone axe, like a thunderbolt.
. Beautiful coats from Arabia.
. A string instrument with but one string.
. Another string instrument from Arabia.
. The horn and tail of a rhinoceros,
____ is a large animal like an elephant.
. A fan made out of a single leaf.
. Curious wooden and stone swords.
. The twisted horn of a bull seal.
. A round horn which had grown on an English woman's forehead.
. An embalmed child (Mumia).
. Leathern weapons.
. The bauble and bells of Henry VIII's fool.
. A unicorn's tail.
* * *
This city of London is not only brimful of curiosities but so populous
also that one simply cannot walk along the streets for the crowd.
Especially EVERy quarter when the law courts sit in London and they
throng from all parts of England for the terms to litigate in numerous
matters which have occurred in the interim, for EVERything is saved up
till that time; then there is a slaughtering and a HANGing, and from
all the prisons (of which there are sEVERal scattered about the town
where they ask alms of the passers by, and sometimes they collect so
much by their begging that they can purchase their freedom) people are
taken and tried; when the trial is over, those condemned to the {ROPE}
are placed on a cart, each one with a {ROPE} about his neck, and the
HANGman drives with them out of the town to the *GALLOWS*, called
Tyburn, almost an hour away from the city; there he fastens them up
one after another by the {ROPE} and drives the cart off under the
*GALLOWS*, which is not VERy high off the ground; then the criminals'
friends come and draw them down by their feet, that they may die
all the sooner. They are then taken down from the *GALLOWS* and buried
in the neighboring cemetery, where stands a house haunted by such
MONSTERS that no one can live in it, and I myself saw it. Rarely
does a law day in London in all the four sessions pass without some
twenty to thirty persons — both men and women — being gibbeted.
----------------------------------------------------------
Now some are "born to be HANGed" while others are made.
Those made to be HANGed through Freemason initiation use
A {ROPE'S} END called a CABLETOW for the HANGman's noose:
----------------------------------------------------------
. Tempest Act 1 Scene 1
.
GONZALO: I have great comfort from this fellow: methinks
. he hath no drowning mark upon him; his complexion
. is *PERFECT GALLOWS*. Stand fast, good Fate, to his
. HANGing: make the {ROPE} of his *DESTINY* our CABLE,
. for our own doth little advantage. If {HE BE}
. not born to be HANGed, our case is miserable.
---------------------------------------------------------------
. T O T H E o n L I E B E G E T T
. E {r}o F T{H} e S E I N S U I N G
. S {o}N n{E} T S (M) R W H a l l H A
. P {p}I{N}e S S E (A) N D T H A T E
. T {e|R}n I T I E P (R)o M I S E D
. B {Y}o U R E V E R l(I) V I N G P
. O.E. T W I S H E T H T (H) E W E L
. L [W] I S H I N G A D V E N T U R
. E [R] I N S E T T I N G {f o r} T H
. T O T H E O N L I[E|B E G E T T E R
. O F T H E S E I N[S|U I N G S O N N
. E T S M R W H A L[L|H}A P P I N E S
. S E A N D T H A T{E|T|e}R N I T I E
. P R O M I S E D{B|Y|O]U{r}E V E R L
. I V I N G P O{E}T W|I]S H{e}T H T H
. E W E L L W I S H I N G A{d v e)N T
. U R E R I N S E T T I N G F O R T H
----------------------------------------------------
Ben Jonson (1623) _To the Memory of Shakespeare_
........................................
. My Shakespeare, rise ; I Will no{T LODGE} THee by
. Chaucer, or Spenser, or bid Beaumont lye
. A little further to make thee a roome ;
. Thou art a Moniment, without a tombe,
........................................
. 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 !
.{B}ut stay, [I] see th{E}e in the {He}misp{He}re
. Advanc'd, and made a Constellation there !
. Shine forth, thou StarrE Of Poets, and wi[T]h rage,
. Or inf[L]uence, chide, [O]r cheere the [D]rooping Sta[G]e;
. Which, sinc[E] thy flight fro' hence, hath mourn'd li{K(e)NIGHT},
. And despaires day, but for thy Volumes light.
........................................
_____ <= 12 =>
.
. S w e e t s w a n o f A
. v o n! w h a t a {S I G}(H)
. t i t w e r e T {O} s e (E)
. t h e e i n o u {R} w a (T)
. e r s y e t a p p e a r
. e, A n d m a k e t h o s
. e f l i g h t s u p o n
. t {H e B} a n k e {S} o f T
. <H> a [M] e} s, T h a {T} s o d
. <I> d t [A] k e E l {I} z a, a
. <N> d o u [R] J a m {E} s! B u
. <T> s t a y [I] s e e t h e
. (E) i n t h e {H e} m i s p
. {H e} r e A d v a n c' d, a
. n d m a d e a C o n s t
. e l l a t i o n t h e r
. e! S h i n e f o r t h, t
. h o u S t a r r e o f P
. o e t s, a n d w i [T] h r
. a g e, O r i n f [L] u {E} n
. c e, c h i d e,[O] r {C} h e
. e r e t h e [D] r {O} o p i
. n {G} S (T) a [G] e; W h i c h,
. s {I} n c [E] t h y f l i g
. h t f r o'(H) e n c e, h a
. t h m o u r n' d l i k e
. n i g h t, A n d d e s p
. a i r e s d a y, b u t f
. o r t h y V o l u m e s
. l i g h t.
.
[{He/Be}MARI{He}] 13
{STIE} 12
<HINT> 12
{GISOR}
{E.C.O.} 11
[T LODGE] 11 Prob. with skip < 12 ~ 1 in 600
....................................................
THE LA. [MARI]e {He}r{Be}rt COUNTESSE OF PEMBROOKE.
--------------------------------------------------------------
Alinda => Aliena
Rosalynde => her *PAGE* Ganymede (loved by P{H}o{eBe})
....................................................
Was THOMAS LODGE the:
"PAGE (of William Stanley) that served Oxford's WIT" in 1623?
----------------------------------------------------
[MARI] {He}rbert? : [{He}MARI{He}]
.............................................
_________ <= 17 =>
. T O T H E {O} N L I E{B e} [G] E T T E
. R O F T {H e} S E I N S V [I] N G S O
. N N E T S [M] R W H A L L {H} A P P I
. N E S S E [A] N D T H A T {E} T E R N
. I T I E P [R] O M I S E D {B} Y O V R
. E V E R L [I] V I N G P O {E} T W I S
. H E T H T {H e} W E L L W I S H I N
.[G]A D V E N T V R E R I N S E T T
.[I]N G F O R T H T T
[{He}MARI{He}] 17 Prob. ~ 1 in 840 (any skip)
{HEBE} 17
....................................................
THE LA. [MARI]e {He}r{Be}rt COUNTESSE OF PEMBROOKE.
--------------------------------------------------------
http://tinyurl.com/cffn8h9
.
Thomas Platter, a native of Basel, visited England in 1599.
The following excerpt from his diary, translated from the
German, describes the many popular amusements and spectacles
to be witnessed in Elizabethan London. (~8112 letters)
................................................
T{He}re are a great many [I]nns, taverns,
and {Be}e[R]-gardens scatt(E)red [A]bout the city,
w{He}re [M]uch a[MUSE]m(E)nt {M}ay {Be} had with ea(T)ing, drinking,
fiddl(I)ng, {a}nd the rest, as fo(R) instance in our hostel{R}y,
which was visited by players almost da{I}ly. And what is
pa[r]ticularly curious is t(H)at the women as w[e]ll as the men, in
fact more often than they, [w]ill frequent the taverns or ale-houses
f[o]r enjoyment. They count it a great honour [t]o be taken there
and given wine with sugar to drink; and if one woman only is
invited, then she will bring three or four other women along and
they gaily toast each other; the husband afterwards thanks him who
has given his wife such pleasure, for they deem it a real kindness.
_________ <= 17 =>
. T {H e} r e a r e a g r e a t m a n
. y [I] n n s,t a v e r n s, a n d{B e}
. e [R] g a r d e n s s c a t t (E)r e
. d [A] b o u t t h e c i t y,w {H e}r
. e [M] u c h a[M U S E]m (E) n t {M}a y
. {B e} h a d w i t h e a (T) i n g,d r
[{Be}MARI{He}] 17 Prob. ~ 1 in 250 (skip 17)
-------------------------------------------------------
_The Countess of Pembroke's Arcadia_ (1593) Dedication
TO MY DEARE LADIE AND SISTER, THE COUNTESSE OF PEMBROKE.
.
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*
...............................................
. {HEBE} , Cup-bearer of the Gods
http://www.perseus.tufts.edu/Herakles/hebe.html
.
<< {HEBE} was worshipped as a goddess of *PARDONs*>>
--------------------------------------------------------
http://library.thinkquest.org/5175/images/grave1.jpg
...............................................
. GOOD FREND FOR [IE]{SVS}' SAKE FOR[BE]ARE,
___ TO DIGG THE DV[ST] ENCLOASED [HE]ARE:
. BLESTE BE Ye MAN Yt SPA[RE]S THES STONES,
_ AND CVRST BE HE Yt MO[VE]S MY BONES.
...............................................
On the 14th anniversary of Anne Hathaway's death [Aug. 6, 1637].
Ben Jonson was BURIED UPRIGHT leaning against the WALL
. of his Westminster Abbey crypt as requested:
.
. ' *TWO FEET BY TWO FEET*
. *WILL* do for all I *WANT* '. - Ben Jonson
--------------------------------------------------.
http://blog.iloveshakespeare.com/?page_id=49
On worthy {M}aster Shakespeare and his Poems.
A mind reflecting ages p{A}st,whose cleere
And equall surface can make things appea{R}e
Distant a Thousand yeares,and represent
Them in their l{I}vely colours,just extent.
To out-run hasty Time, retrieve t{H}e *FATES* ,
.....................................................
__________ <= 48 =>
Onworthy {M} a sterShakespeareandhisPoemsAmindreflect
ingagesp {A} s twhosecleereAndequallsurfacecanmakethi
ngsappea {R} e DistantaThousandyearesandrepresentThem
intheirl {I} v elycoloursjustextentTooutrunhastyTimer
etrievet {H e}*FATES*
.
{MARI He.} 48
.....................................................
This, and much more which cannot be express`d
But by himselfe, his tongue, and his own brest,
Was Shakespeare`s freehold; which his cunning braine
Improv`d by favour of the nine-fold t[R]a[I]n[E], T[H]e
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.
.....................................................
__________ <= 45 =>
buskind *MUSE* theCom {M} ickeQueenethegrandAndlowder
toneofC lion imbleh {A} ndAndnimblerfooteofthemelod
iouspai reTh esilve {R} voycedLadythemostfaireCalli
opewhos espe akings {I} lencedauntsAndshewhoseprays
ethehea venl ybodyc {H} ants
.
{MARI H.} 45
-------------------------------------------------------------
The Tragedy of King Richard the third. Containing, His
treacherous Plots against 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.
...........................................
As it hath beene lately Acted - <= 18 =>
.
. 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 {1,025,000} Q1(1597)
[{C}ountesse of pembrooke: mary SIDNEY]
-------------------------------------------------------------
http://www.sourcetext.com/sourcebook/library/barrell/08shreds.htm
.
King of Shreds and Patches
An Examination of the Alleged Credentials of Sir Edward Dyer
as the "Great Reviser" of the Shakespearean Works
Copyright 1943 by Charles Wisner Barrell
The Shakespeare Fellowship News-Letter, April 1943.
.
<<In *1597* SIDNEY's beloved sister, {MARY SIDNEY}
the {C}ountess of Pembroke, tried to bring about a
marriage between Oxford's daughter, Bridget Vere, and
her eldest son, William Herbert, later Earl of Pembroke;
while Oxford's youngest daughter, Susan, did become
the wife of Philip Herbert, Earl of Montgomery, the nephew
and namesake of the same Sir Philip SIDNEY that Alden
Brooks declares Lord Oxford seriously plotted to "murder."
It is hardly necessary to point out the fact that Shakespeare's
First Folio is dedicated to these two "incomparable brethren"
— one of whom was the poet Earl of Oxford's son-in-law.>>
----------------------------------------------
____ Romeo and Juliet (Quarto 1, 1597)
...............................................
The Prologu{E}.
.
. TWo houshold Frends alike in dign{I}tie,
. (In faire Verona, where we lay ou{R} Scen[E])
. From ciuill broyles b[R]oke i(N)to enmit{I}e,
. {VV}hos[E] ciu(I)ll wa{R}re mak{E}s ci[V]i(L|L) h{A}nds vncleane.
. Fr(o|M} f(o)rt{H} the fata(L)l l(O)ynes of these two f(o|E]s,
. A paire of starre-c[R|o)st Louers tooke th[E]ir (L)ife:
. {VV}hose misa(d|V|e)ntures, piteous ou[E]rthrowes,
.(Through t{H}e continuing of the{I}r Fathers strife,
. An{D} death-markt passag{E} of their Parents rage)
. Is now the two howres traffique of our S(T)age.
. The w(H)ic(H) if you with pati(E)nt (E)ares attend,
. {VV}ha(T) he(R)e we want wee'l studi(E) to amend.
...................................
. The Prologu{E} T- <= 17 =>
.
- W o h o u s h o l d F r e n d s a
_ l i k e i n d i g n{I}t i e I n f
- a i r e V e r o n a w h e r e w e
- l a y o u{R}S c e n[E]F r o m c i
_ u _i_ l_l_b r o y l e{S}b[R]o k e i
. (N) t o e n m i t{I}e W h o s[E]c i
- u (I) l_l_w a{R}r e m a k{E}s c i[V]
- i (L){L}h{A}n d s v n c l e a n e F
- r (o){M}f{o}r t{H}t h e f a t a(L)l
- l (O) y n e s{O}f t h e s e t w o f
. (o)[E] s A p a i r e o f s t a r r e
- c [R|(o)s t l O u e r s t o o k e t
- h [E] i r(L)i f e W h o s e m i s a
. (d|V|e) n t u r e s p i t e o u s o
- u [E] r t h r o w e s T h r o u g h
_ t {H} e c o n t i n u i n g o f t h
_ e {I} r F a t h e r s s t r i f e A
- n {D} d e a t h m a r k t p a s s a
- g {E} o f t h e i r P a r e n t s r
- a (G) e I s n o w t h e t w o h o w
_ r (E) s t r a f f i q u e o f o u r
- S (T) a g e T h e w(H)i c(H)i f y o
_ u _w i t h_p a_t_i(E)n t(E)a r e s
_ a t t e n d_W h a(T)h e(R)e w e w
_ a n t_w e_e l_s t u d i(E)t o a m
- e n d.
..........................................
{HENRI} -29
[VERE] -19 {Bridget ?}
{MARI S.} -15
(I, Lo. O.)[E. (de) VERE] -17
{HIDE}(GET)/(HET)/(HERE) 17
--------------------------------------------
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.
---------------------------------------------------
Benson & Cotes's 1640 Sonnets publication
http://en.wikipedia.org/wiki/John_Benson_%28publisher%29
......................................................
TO THE READ[E]R. The[R]e presu{M|E] (und[E]r f{A|V]o[U|R])
to p{R|E]s[E]nt to {Y|O|U|R] view {S|o]m[E] exce[L|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 =>
. 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(idney)}
[Lo. O., E. VERE]
[Lo. UERE] [UERE]
.....................................
Prob. of [MARY S.] ~ 1 in 8,000
Prob. of 2[UERE]s ~ 1 in 1,800
Prob. of [EVERE] ~ 1 in 1,000
in the first 69 letters.
-----------------------------------------------
_____ As You Like It Act 4, Scene 1
.
ROSALIND: Say 'a day,' without the ' *EVER*.'
. No, no, Orlando; men are
. April when they *WOO* ,
. December when they *WED* :
. maids are {MA(r)Y} when they are maids,
. but the sky changes when they are wives.
--------------------------------------------------
_____ The Taming of the Shrew Act 1, Scene 1
.
GREMIO: Would I had given him the best horse
. in Padua to begin his *WOOing* that would
. thoroughly *WOO* her, *WED* her and bed her
. and rid the house of her!
---------------------------------------------------
_____ All's Well That Ends Well Act 2, Scene 1
.
KING: --see that you come
. Not to *WOO* honour, but to *WED* it; when
. The bravest questant shrinks, find what you seek,
. That *FAME* may cry you loud: I say, farewell.
-----------------------------------------------------
Hamlet: Welcome good Friends. Oh 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 altitude of a Choppine.
..........................................................
______________ <= 25 =>
.
. 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.
.
[SIDNEY] -25
---------------------------------------------------
____ Richard III Q3 (1602)
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:
.
with the whole course of his {D|E]{TESTED} life,
and most {DEsER[V]{ED} {DE}ath. As it hath bene
lat[E|L}y Acted by the Right Honou[R|A}ble
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.
.......................................................
with the whole <= 23 =>
.
. 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 Prob. ~ 1 in 68
{TELA} 23
----------------------------------------------------------
. Harvey's Apostrophe ad eundem (1578)
(Apostrophe to the same man, i.e. De Vere)
.............................................
Virtus fronte habitat: Mars occupat ora; Minerva
In dextra latitat: Bellona in corpore regnat:
Martius ardor inest; scintillant lumina:
vultus {TELA} vibrat: quis non redivivum iuret Achillem?
O age, magne *COMES* ,
------------------------------------------------
http://shakespeareauthorship.com/eulogies.html
COTES's 2nd Folio of Shakespeare's works(1632), in addition to the
eulogies from the First Folio, contains three additional ones. The
first of these, "An Epitaph on the admirable Dramaticke Poet, W.
Shakespeare," was unsigned in the Folio, but later appeared in John
Milton's 1645 Poems with the date 1630. The second eulogy, also
unsigned, is entitled "Upon the Effigies of my worthy Friend, the
Author Maister William Shakespeare, and his Workes." The third,
signed only with the initials "I.M.S.," is a well-written 77-line
poem called "On Worthy Master Shakespeare and his Poems."
...............................................................
"I.M.S." = I, Mary Sidney {MARI.H}
....................................................
These gently 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],
'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.>>
--------------------------------------------------
__ 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* .
--------------------------------------------------------------
1580: Dedication to Oxford
in John Lyly's Euphues and 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 nEUER 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 ow- <= 21 =>
.
_ 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 reques{TES, T}hen fearefull of others
....................................................
If I should coyne a wor- <= 51 =>
.
. [S]eitwouldbethoughtthattheformerwasframedbychaunceas
. [P|R]otogenesdidthefoameofhisdoggeifabetterforflatteri
. [E|A]sNarcissusdidwhoonlywasinlouewithhisownfaceifnone
. [A|T]ailasfrowardastheMusitionwhobeingentreatedwillsca
. [R|S]esingsolfabuthotdesiredstraineaboueEla.Buttheirimp
. -o-rtu<N>itieadm<I>ttednoe<X>cuseins<O>muchthatIwasenforcedto
. -p-referretheirfriendshipbeforemineownefainebeingmore
. -c-arefulltosatisfietheirreques{TEST}henfearefullofothers
.
[SPEAR] 51
[STAR] -51
<OXIN> -8
--------------------------------------------------------------
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-like her dresses,
Prowd lust-stung Tarqu[I]ne seeking still to prove h[E]r:
Romea Richard, more whose [N]ames I know not,
Their sugre[D] tongues, and power attract[I]ve beuty
Say they are Saint[S] althogh that Sts they shew not
For thousands vowes to them subiective dutie:
. They burn in love thy children Shakespear *HET THEm* ,
. Go, wo thy *MUSE* more Nymphish brood beget them.
....................................................
__________ <= 23 =>
.
. P r o w d 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]
.
[SIDNEI] -23
...............................................
[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?).>>
----------------------------------------------------------------
http://shakespeareauthorship.com/rep.html
.
<<William Covell's _Polimanteia_ (1595) lists *SIDNEI* , 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 *EUERliuing 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
-------------------------------------------------------------
The Tragedy of King Richard the third. Containing, His
treacherous Plots against 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.
...........................................
As it hath beene lately Acted - <= 18 =>
.
. 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 {1,025,000} Q1(1597)
[{C}ountesse of pembrooke: mary SIDNEY]
--------------------------------------------------------------
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).>>
--------------------------------------------------------
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 six 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.>>
---------------------------------------------------------------
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.
...........................................
with the whole course of his detested life,
and most <= 33 =>
.
. DEsE [R] VEDofdeathAsithathbeenel-atel
___ yAct [E] dbytheKingsMaiestiesserv-ants
_- Newl [Y] augmentedByWilliamShakes-pear
_- eLon [D] onPrintedbyThomasCreedea-ndar
__ etob [E] soldbyMathewLawedwelling-inPa
__ ulsC -h- urchyardattheSigneoftheF{OXEN}
__ eare -S- Austinsgate
.
[EDYER] -33 {22,000} Q5(1612)
------------------------------------------
# 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)
MARI{He} --- ---- --- (1 in 2,000,000)
MARI{H} 833 2881 898 (1 in 900,000)
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)
---------------------------------------------------
Newsgroups: humanities.lit.authors.shakespeare
From: kmack2...@my-deja.com
Subject: Re: Sidney Marlowe
Date: 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?"
---------------------------------------------------
. Astrophel and Stella LXXXIV
.
High way, [S]ince you m[Y] chiefe Pe[R]nassus 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
.........................
. Astrophel and Stella XCII
.
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
---------------------------------------------------
. _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 *[STALLION]* .
Ma[Y]be, like Soc[R]ates, he had [A] midwife to [Mother] 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."
.
[1st Earl of Salisbury, her son would marry his niece]>>
------------------------------------------------------
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,
................................
The life and strang- <= 18 =>
.
. [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
-----------------------------------------------
*THE REST IS* silence" - Hamlet
*THE REST IS FAME* " - Sidney motto
[ *CÆTERA FAMA* ]
--------------------------------------------------
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.
................................................
But, thou'lt s- <= 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 *EUER*
. 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*
---------------------------------------------------
http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=9047
Fulke Greville
Birth: Oct. 3, 1554
Death: Sep. 30, 1628
http://s3.amazonaws.com/findagrave/photos/2001/222/grevillefulke.jpg
<<Statesman, Author. The son of Sir Fulke Greville, 4th Baron
Willoughby de Broke, he was born in Warwickshire, England, and
educated at Shrewsbury School and Cambridge University. He was
a close friend of Sir Philip Sidney. Greville was a favorite
courtier of Queen Elizabeth I, who knighted him in 1597 and
made him a Rear Admiral in the *Royal Navy*. After serving
four terms in Parliament, he was *Treasurer of the Navy* from
1598 to 1604 and Chancellor of the Exchequer from 1614 to 1621.>>
----------------------------------------------------------------
<<In 1856, William Henry Smith put forth the claim that the author
of Shakespeare's plays was Sir Francis Bacon, a major scientist,
philosopher, courtier, diplomat, essayist, historian and
successful politician, who served as Solicitor General (1607),
Attorney General (1613) and Lord Chancellor (1618).>>
.
http://en.wikipedia.org/wiki/Shakespearean_authorship_question
------------------------------------------------------------
William Henry Smith (From Wikipedia)
.
<<William Henry Smith (*24 June* 1825 ' *6 October* 1891) was
the son of William Henry Smith (1792-1865). He was born in London
and educated at Tavistock Grammar School before joining the
business with his father in 1846. As a result of his involvement,
the business became a household name (W H Smith), and the practice
of selling books & newspapers at railway stations began.
In 1868 he was elected Member of Parliament for Westminster
as a Conservative, and was appointed Financial Secretary to the
Treasury 6 years later when Disraeli returned as Prime Minister.
In 1877 he became First Lord of the Admiralty. The appointment
gave rise to the character of Sir Joseph Porter, KCB,
in Gilbert and Sullivan's comic opera H.M.S. Pinafore).
W. S. Gilbert's Pinafore lyrics are scathing:
.
. I grew so rich that I was sent
. By a pocket borough into Parliament.
. I always voted at my party's call,
. And I never thought of thinking for myself at all.
. I thought so little, they rewarded me
. By making me the Ruler of the Queen's Navee!
.
Smith would be known by the derisive nickname "Pinafore
Smith" during his three years in the post of First Lord.>>
----------------------------------------------------
<<Sir Joseph realizes that Ralph should have been the *CAPTAIN* ,
and the *CAPTAIN* should have been Ralph. He summons both, & they
emerge WEARing one another's uniforms: Ralph is now middle-class,
and in command of the *PINAFORE* , while the former *CAPTAIN*
is now a common sailor. Sir Joseph's marriage with Josephine is
now impossible. As he explains it, "love levels all ranks...to a
considerable extent, but it does not level them as much as that."
He gives her to now-Captain Rackstraw. The former *CAPTAIN* , with
his rank reduced, is free to marry Buttercup. Sir Joseph settles
for his cousin *HEBE* , and all ends in general rejoicing.>>
-----------------------------------------------
"Sir Joseph Porter's Song" Sir William Schwenck Gilbert
("When I was a Lad I served a Term")
from H. M. S. Pinafore (1878)
.
Enter Sir Joseph with Cousin *HEBE*.
.
SONG - SIR JOSEPH.
.
I am the monarch of the sea,
The ruler of the Queen's Navee,
Whose praise Great Britain loudly chants.
.
COUSIN *HEBE*. And we are his sisters, and his cousins and his aunts!
.
RELATIVES. And we are his sisters, and his cousins, and his aunts!
.
SIR JOSEPH. When at *ANCHOR HERE* I ride,
. My bosom swells with pride,
. And I snap my fingers at a foeman's taunts;
.
COUSIN *HEBE*. And so do his sisters, and his cousins, and his aunts!
.
ALL. And so do his sisters, and his cousins, and his aunts!
.
SIR JOSEPH. But when the breezes blow,
. I generally go below,
. And SEEK the seclusion that a cabin grants;
.
COUSIN *HEBE*. And so do his sisters, and his cousins, and his aunts!
.
ALL. And so do his sisters, and his cousins, and his aunts!
. His sisters and his cousins,
. Whom he reckons up by dozens,
. And his aunts!
.
SONG - SIR JOSEPH.
.
. When I was a lad I served a term
. As office boy to an Attorney's firm.
. I cleaned the windows and I swept the floor,
. And I polished up the handle of the big front door.
. I polished up that handle so carefullee
. That now I am the Ruler of the Queen's Navee!
.
The object of Gilbert's satire is not so much
the person of publisherand politician W. H. Smith
as the system that in essence de-professionalized
command positions in the British armed forces, & promoted
those with wealth and political connections rather than
military ability. Thus, Gilbert was in effect attacking
the long-standing aristocratic tradition of purchasing
commissions. Instead of "serving a term" as a midshipman
(which was the conventional route leading to officer status
and ship's command), Sir Joseph has taken a strictly political
route to the Admiralty. His being accompanied by "Cousin *HEBE*
"may be Gilbert's method of ridiculing thinking of himself
as an Olypian deity, for *HEBE* was the patron goddess
of youth & youthful beauty, and cupbearer of the gods
- in Greek mythology - her cup was said to have the ability
to retore old men to youthful vigour (as demonstrated by
Sir Joseph's prancing around the stage). That *HEBE*
eventually married the deified hero Herakles may also be
significant in Gilbert's resolving the problem of the marriage
of Sir Joseph and Captain Corcoran's daughter, Josephine. >>
.........................................
I Could Go on Singing (1963)
Gregory Phillips / Matt / Cousin *HEBE*
--------------------------------------------------
__ Hamlet (1603: Bad Quarto 1) Act 5 Scene 1
.
Hamlet: An excellent fellow by the Lord Horatio,
. This *SEAUEN YEARES* haue I noted it: the toe of the pesant,
. *COMES so neere the heele of the courtier* ,
. That hee gawles his kibe, I prethee tell mee one thing,
. How long will a man lie in the ground before hee rots?
.
Clowne: I faith sir, if *HEE BE* not rotten [B]efore
. *HE BE* laide in, [A]s we haue many pocky [C]orses,
. He will last y[O]u, eight yeares, *a tan[N]er*
. Will last you eight yeares full out, or nine.
.
Hamlet: And why *A TANNER* ?
.
Clowne: Why his hide is so tanned with his trade,
. That it will holde out water, that's a parlous
. Deuourer of your dead body, a great soaker.
.............................................
Clowne: I faith sir, <= 17 =>
.
. --- i f*H E E B E*n o t {R} o t t e n
. [B] e f o r e*H E B E*l {A} i d e i n
. [A] s w e h a u e m a n {Y} p o c k y
. [C] o r s e s H e w i l {L} l a s t y
. [O] u e i g h t y e a r {E} s a t a n
. [N] e r W i l l l a s t {Y} o u
.
[BACON] 17 {244,000}
--------------------------------------------------------
http://library.thinkquest.org/5175/images/grave1.jpg
...............................................
. GOOD FREND FOR [IE]{SVS}' SAKE FOR[BE]ARE,
___ TO DIGG THE DV[ST] ENCLOASED [HE]ARE:
. BLESTE BE Ye MAN Yt SPA[RE]S THES STONES,
_ AND CVRST BE HE Yt MO[VE]S MY BONES.
...............................................
On the 14th anniversary of Anne Hathaway's death [Aug. 6, 1637].
Ben Jonson was BURIED UPRIGHT leaning against the WALL
. of his Westminster Abbey crypt as requested:
.
. ' *TWO FEET BY TWO FEET*
. *WILL* do for all I *WANT* '. - Ben Jonson
...............................................
http://library.thinkquest.org/5175/images/grave1.jpg
___________ [IE] [BE] [RE]
__________ [ST] [HE] [VE]
........................................
___ *STIE / HEBE* : *VERE*
........................................
http://shakespeareauthorship.com/array2.html
. 0807d: NTENSH *STIE* VGHENVTT
. 1713d: GI *HEBE* IN
. 1909u: R *VERE* HSI
-----------------------------------------
Hamlet: Give me your *PARDON* , sir:
. I've done you wrong;
. But *PARDON* 't, as you are a gentleman.
...............................................
. _DiscoVERiEs_ by Ben Jonson (1640)
. De Shakespeare *NOSTRAT*
http://my.execpc.com/~berrestr/jon-sha.html
.
<<But hee redeemed his vices, with his vertues.
. There was *EVER* more in him to be praysed,
. then to be *PARDONed* .>>
...............................................
. *HEBE* , Cup-bearer of the Gods
http://www.perseus.tufts.edu/Herakles/hebe.html
.
<< *HEBE* was worshipped as a goddess of *PARDONs*
or forgiveness; freed prisoners would *HANG their CHAINS*
in the sacred grove of her sanctuary at Phlius.>>
------------------------------------------------
http://www.philological.bham.ac.uk/anagrams/
.
<<Even more curious is the one for Southampton,
which explicitly states that he had been convicted
of treason on false testimony inspired by envy.>>
.............................................
. HENRICUS URIOTHESLEUS
_____ per anagramma
. THESEUS NIL REUS HIC RUO
.
.[I]ure quidem poteras hanc fundere ab ore querelam,
.[S]ors tibi dum ficto crimine dura fuit:
"[N]il reus en Theseus censura sortis iniquae
.[H]ic ruo, livoris traditus arbitrio."
.[A]t nunc mutanda ob mutata pericla querela est.
.[I]nclite, an innocuo pectore teste rues?
.[N]on sane. Hac haeres vacuo dat *VIVERE* cura,
.[C]ollati imperii sub Iove sceptra gerens.
.............................................
. *ISNHAINC* {anagram} *IN CHAINS*
.
*Victorious though IN CHAINS* ) "In Vinculus Invictus"
Motto in Tower Painting: http://www.gorki.net/Art/fa12.html
.............................................
. 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
---------------------------------------------------
Art Neuendorffer
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