bond

[art]

---------------------------------------------------
VPON THE AVTHOVR AND HIS [Henry Peacham's] MINERVA.

Then let not men deeme all with corp'rall ei'ne,
Eies may deluded be by false illusions:
Eies may be partiall, eiesight may decline
By weakenes, age, or by abusions.
Pride, envie, folly, may the sight pervert,
And make the eie tran[S]gresse against the heart.
With outwa[R]d ei'ne first view, and MARKE THIS BOOK[E],
{V}ariety {O}f obi(E)c{T}s much w{I}ll plea{S}e;
[W]ith inward ei'ne then on the {M}at(T)er lo[O]ke,
Foresee the Authours care, and lit[T]l{E} ease
T' (I)nvent, t' imprint, and *PUBLISH* for delight,
A{N}d for rewa(R)d but craues your good insight.
Peacha{M} my friend, I must confesse to thee,
My Insight is but weake; such as it is,
I verdict thus, no better worke I see
Of this same kinde, nothing I finde amisse,
If any fault there be, it is not thine,
The fault shall rest in mens imperfect ei'ne.

- William Segar Garter. Principall king of Armes.
......................................
___ <= 31 =>

. make-t-h-e-ei-e-tran[S]g-r-essea-g-ain-s-t-the
. hear-t-W-i-th-o-utwa[R]d-e-inefi-r-stv-i-e-wan
. dMAR-K-E-T-HI-S-BOOK[E]V-a-riety-o-fob-i(E)cTs
. much-w-I-l-lp-l-eaSe[W]i-t-hinwa-r-dei-n-e-the
. nont-h-e{M}at(T)erlo[O]k-e-Fores-e-eth-e-A-uth
. ours-c-a-r-ea-n-dlit[T]l{E}easeT(I)nve-n-t-tim
. *PRIN-T-a-n-dP-U-BLIS-H*

[TOWERS] -31 {275,000}
...............................................................
______________ <= 42 =>

-t-Withou-t-w-a[R]d-e-i-n-e-f-i-r-s-t-v-iewand-M-A-R-KETHISBOOK[E]
{V}ariety{O}f-o-b-i(E)c{T}s-m-u-c-h-w{I}llplea{S}e[W]ithinwarde-i
-n-etheno-n-t-h-e{M}a-t(T)e-r-l-o[O]k-e-Forese-e-t-h-eAuthoursc-a
-r-eandli-t[T]l{E}e-a-s-e-T(I)n-v-e-n-t-timPRI-N-T-a-ndPUBLISHf-o
-r-deligh-t-A{N}d-f-o-r-r-e-w-a(R)d-b-u-tcraue-s-y-o-urgoodinsi-g
-h-tPeach-a{M}

{VOTIS} 7
{MNEME} -41
(RITER) -44
-----------------------------------------------
*PRO PARE VOTIS EMERITE* {MNEME} (RITER)
- _The De Vere Code_ by Jonathan Bond
..............................................
. TOT ___ HEONL ____ IEBE
. GET ___ TEROF ____ THES
. EIN _____ SVING [S] _ONN
- -ET_ [S]{M}(R) WHA [L] _LHA
_ -P- [P][I]{N}(E) SSE [A] _NDT
_ -H- [A][T]{E}(T) ERN [I] _TIE
_ {P} [R][O]{M}(I) ___ [S] ED[B] _YOV
_. {R} [E][V]{E}(R) L___ [I]__V[I] _NGP
_ {O} ET___ WISH [E]- [T] _HTH
. E [W] ___ ELLWI[S.]_ [H.] _ING
. A [D V E] ___ NTV[R.]_ [E.] _RIN
. S [E] ____ TTING[F.]_ [O.] _RTH
-------------------------------------------------------------
The Psalms 46 (1611)
http://www.baconlinks.com/VVILL/Psalm46.html

God is in the midst of her: she shal not be moued; God shall helpe
her, and that right early. The heathen raged, the kingdomes were
mooued: he vttered his voyce, the earth mel[T]ed. {T}he Lord of hosts
is with vs; the God [O]f Iacob is {O}ur refuge. Come, behold the
[W]orkes of the Lord, {W}hat desolations he[E] hath made in the
earth. H{E} maketh war[R]es to cease vnto the end of the ea{R}th:
................................................................
______ <= 34 =>
.
t h e k i n g d o m e s w e r e m o o u e d:h e v t t e r e d h i s
v o y c e,t h e e a r t h m e l[T]e d{T}h e L o r d o f h o s t s i
s w i t h v s;t h e G o d[O]f I a c o.b i s{O}u r r e f u g e.C o m
e,b e h o l d t h e[W]o r k e s o f t h e L o r d{W}h a t d e s o l
a t i o n s h[E]e h a t h m a d e i n t h e e a r t h.H{E}m a k e t
h w a r[R]e s t o c e a s e v n t o t h e e n d o f t h e e a{R}t h:
.
. [TOWER]:skip 31 // {TOWER}:skip 37
---------------------------------------------------------------------
http://www.sirbacon.org/gallery/west.htm
http://www.sirbacon.org/gallery/scroll.jpg

The Cloud cup[T] {TOW'RS},
Th[E] Gorgeou[S] Palaces
[T]he [S]ol[E]mn [T]emples,...
. . .
Lea(V)e n(O)t a (W)reck behind.
...............................
__ <= 4 =>

. T h e C
. l o u d
. c u p [T]
. {T O W' R
. S},T h [E]
. G o r g
. e o u [S]
. P a l a
. c e s [T]
. h e [S] o
. l [E] m n
. [T] e m p
. l e s,
................
. L e a (V)
. e n (O) t
. a (W) r e
. c k b e
. h i n d.

[TEST] 8,-3
(VOW) 3
-------------------------------------------------
Sonnet 90

If thou wilt leaue me, do not leaue me last,
When other pettie griefes haue done their spight,
But in the onset COME, So shall I T{A}S{T}E
{A}T {F}I[R]st th[E] very [W]orst [O]f for[T]unes might.
...............................................
__ <= 5 =>
.
. s h a l l
. I (T){A}(S){T}
. (E){A}(T){F} I
. [R] s t t h
. [E] v e r y
. [W] o r s t
. [O] f f o r
. [T] u n e s
. m i g h t.

[TOWER] -5
...............................
. <= 2 =>
.
. I (T)
. {A} (S)
. {T} (E)
. {A} (T)
. {F} I

(TEST) -2
{FATA} -2
-------------------------------------------------------
How We Know That Shakespeare WROTE Shakespeare:
The Historical Facts by Tom Reedy and David Kathman
.
<<In 1638, Sir William Davenant's Madagascar contained the following
poem, entitled "In Remembrance of Master William Shakspeare. Ode."
.
. Beware, delighted poets, when you sing,
. To welcome nature in the early spring,
. Your numerous feet not tread
. [T]he banks of *AV[O]N* ; for each flo[W]'r,
. As it ne'er kn[E]w a sun or show'[R],
. Hangs there the pensive head.
................................................
______ <= 12 =>
.
. [T] h e b a n k s o f A V
. [O] N;f o r e a c h f l o
. [W]'r,A s i t n e'e r k n
. [E] w a s u n o r s h o w'
. [R],
.
Hangs there the pensive head.
.
[TOWER] 12 {45,000}
---------------------------------------------------------
http://shakespeareauthorship.com/monrefs.html
.
17th-century References to Shakespeare's Stratford Monument
by David Kathman [Shakspere Allusion Book, II, 391]
.
In 1693, a Mr. Dowdall visited Stratford and wrote down
some of his observations in a letter. He WROTE[= TOWER],
.
The 1st Remarkable place in this County that
I visit[T]ed was Stratf[O]rd super *AVON*, [W]here
I saw the [E]ffigies of ou[R] English tragedian,
mr. Shakspeare.
................................................
I visit- <= 12 =>
.
. [T] e d w a s S {T} r a t f
. [O] r d s u p e {R} A V O N,
. [W] h e r e I s {A} w t h e
. [E] f f i g i e {S} o f o u
. [R] E n g l i s {H}
.
tragedian, mr. Shakspeare.
.
[TOWER] 12 {45,000}
----------------------------------------------------
Sonnet 152

For I haue sworne deepe othes of thy deepe kindnesse:
Othes of thy love, thy truth, thy constancie,
And to inlighten thee gaue eyes to blindnesse,
Or made them swere against the thing [T]hey see.

F[O]r I haue s[W]orne the[E] faire: mo[R]e periurde eye,
To swere against the truth so foule a lie.

[TOWER] 8
------------------------------------------
Thirty-Six Plays in Search of an Author
by William M. Murphy, Union College Symposium 1964
http://www.pbs.org/wgbh/pages/frontline/shakespeare/reactions/murphya...
.
All the known evid[E]nce points to the Stratfo[R|D} Shakespeare
as the writ[E|R} of Hamlet, Macbeth, Henry [V], {A}nd the
other plays and po[E|M}s that have kept the worl[D|A}t the
author's knees *for almost four hundred years* .>>
..................................................
_________ <= (8x) 22 (.33A) =>
.
. ---- A g a i n,a l l t h e k n o w n e v i d
. [E]n c e p o i n t s t o t h e S t r a t f o
. [R|D}S h a k e s p e a r e a s t h e w r i t
. [E|R}o f H a m l e t,M a c b e t h,H e n r y
. [V|A}n d t h e o t h e r p l a y s a n d p o
. [E|M}s t h a t h a v e k e p t t h e w o r l
. [D|A}t t h e a u t h o r's k n e e s f o r a
. -l-m-o s t f o u r h u n d r e d y e a r s.
..................................................
Having decided the Real Author is, the claimants proceed to "prove"
their case. The methods have generally been two in number. The first,
popularized in an enormous book by Ignatius Donnelly, The Great
Cryptogram (1888), is to find a secret cipher in the works that
reveals the fact of Shakespeare's non-authorship and the
identi[T]y of the Real Auth[O]r. Donnelly's book [W]as persuasive,
ev[E]n though he coyly [R]efused to *REVEal THE CIPHER* itself
but only its message: that Francis Bacon wrote the works.

_____ <= 15 =>

. i d e n t i[T]y o f t h e R e
. a l A u t h[O]r.D o n n e l l
. y's b o o k[W]a s p e r s u a
. s i v e,e v[E]n t h o u g h h
. e c o y l y[R]e f u s e d t o
. *R E V E a l T H E C I P H E R*
--------------------------------------------------------------
. No-Body and Some-Body.
.
NOBODY: Thats but one wo[R]d; l[E]t t[W]o g[O] to [T]he bargain,
. if it please you. Why should I stay?
.
[TOWER] -3
--------------------------------------------------------------
. THE FAMOVS VICTORIES of HENRY THE FIFTH
.
OXFORD: And it please your Maiestie,
. I wil take that in charge,
. if you[R] grace b[E] ther[W]ith c[O]nten[T].
.
[TOWER] -7
------------------------------------
Henry IV, Part 2 (Quarto 1, 1598).

Epilogue.

First my FEARE then my cursie, last my speech.

My FEARE, is your displeasure, my cursy, my duty, & my speech,
to beg your *PARDONS* : if you looke for a good speech now, you
vndo me, for what I haue to say is of mine owne making, and
what indeed (I should say) WIL (I doubt) proue mine own MAR­
ring: but to the purpose, and so to the venture. Be it knowne to
you, as it is VERy well, I was lately here in the end of a displea­
sing play, to pray your patience for it, and to PROMISE you a bet­
ter: I meant indeed to pay you with this, which if like an il ven­
ture it com[E] unluckily home, I breake, and yo[U] my gentle cre­
ditors loose, her[E] I PROMISde you I would be, and he[R]e I com­
mit my body to you{R} merci[E]s, bat{E} me some, and I {W}ill
pay you [S|O}me, and (as mos{T} debtors do) PROMISE you infinitely:

and so *I kneele downe before you* ;
but indeed, to pray for the Queene.
...................................................
__________ <= 26 =>
.
. i t c o m[E]u n l u c k i l y h o m e,I b r e a k e,
. a n d y o[U]m y g e n t l e c r e­d i t o r s l o o
. s e,h e r[E]I P R O M I S d e y o u I w o u l d b e,
. a n d h e[R]e I c o m­m i t m y b o d y t o y o u{R}
. m e r c i[E]s,b a t{E}m e s o m e,a n d I{W}i l l p
. a y y o u[S|O}m e,a n d(a s m o s{T}d e b t o r s d
. o)P R O M I S E y o u i n f i n i t e l y:
.
[EUERE'S] 26
...................................................
__ <= 11 =>
.
. y o u{R}m e r c i[E]s,
. b a t{E}m e s o m e,a
. n d I{W}i l l p a y y
. o u[S|O}m e,a n d(a s
. m o s{T}d e b t o r s
. d o)P R O M I S E y o
. u i n f i n i t e l y:
.
{TOWER} -11
-----------------------------------------------------
Digges commendatory poem to the 1640 edition of Poems:
.
. Vpon Master W ILLIAM S H A K E S P E A R E,
. the Deceased Authour, and his P O E M S .
.
Yet these sometimes, even at a friends desire
Acted, have scarce defrai’d the Seacoale fire
And *DOORE-KEEPERs* : when let but Falstaffe come,
Hall, Poines, the rest you scarce shall have a roome
All is so pester’d : let but Beatrice
And Benedicke be seene, loe in a trice
The Cockpit Galleries, Boxes, all are full
To heare Maluoglio that crosse ga[R]ter’d Gull.
Briefe, th[E]re is nothing in his [W]it fraught Booke,
Wh[O]se sound we would no[T] heare, on whose worth looke
Like old *COYNED GOLD, whose lines in EVERy PAGE* ,
Shall passe *TRUE* to succeeding age.
But why doe I dead Sheakspeares praise recite,
Some second Shakespeare must of Shakespeare write;
For me tis needlesse, since an host of men,
Will pay to clap his praise, to free my Pen.
..........................................
To heare Maluoglio that crosse ga-
.
________ <= 17 =>
.
. [R] t e r d G u l l B r i e f e t h
. [E] r e i s n o t h i n g i n h i s
. [W] i t f r a u g h t B o o k e W h
. [O] s e s o u n d w e w o u l d n o
. [T]
.
[TOWER] -17 {31,000}
-----------------------------------------------------
http://internetshakespeare.Vvic.ca/Annex/Texts/Ham/Q2/scene/3.4
Hamlet (Q2) Act 3, Scene 4
.
Gertrude: This is the *VERy COYNAGE* of your braine,
. This bodilesse creation extacie is *VERy* cunning in.
.
Hamlet: My pulse as yours doth temperatly keepe time,
. And makes as healthfull m(U)sicke, it is not madnesse
. That I haue vttr(E)d, bring me to the *TEST* ,
. And the matter *Will reWO(R)D* , which madnesse
. Would gambole from, mother f(O)r loue of grace,
. Lay not that flattering vnction to your soule
. That not your trespasse but my madnesse speakes,
. It will but skin and filme the vlcerous place
. Whiles RANCK corruption mining all within
. Infects VNS[E]ENE , confesse you[R] selfe to heauen,
. R[E]pent what's past, a[V]oyd what is to com[E],
. And doe no{T} sprea[D] the c{O}mpost on th[E] {W}EEDES
. To mak{E} them RANCK(E|R}, forgiue me this my ve(R)tue,
. For in the fatness(E) of these pursie times
. (V)ertue it selfe of vice *must pardon beg* ,
. Yea curbe and wooe for leaue to doe him good.
.
. In- <= 15 =>
.
__ f e c t s V N S[E]E N E c o n f e s
__ f e s s e y o u[R]s e l f e t o h e
. o h e a u e n R[E]p e n t w h a t s
__ a t s p a s t a[V]o y d w h a t i s
__ t i s t o c o m[E]A n d d o e n o{T}
. n o T s p r e a[D]t h e c{O}m p o s
__ p o s t o n t h[E|W}E E D E S T o m
_ T o m a k{E}t h-e-m R A N C K E R f
__(E|R}f o r g i u-e-m e t h i s m y v
__ m y v e(R)t u e-F-o r i n t h e f a
__ e f a t n e s s(E)o f t h e s e p u
__ e p u r s i e t-i-m e s(V)e r t u e
___t u e i t s e l-f-e o f v i c e
.
_____ *must PARDON beg* ,
Yea curbe and wooe for leaue to doe him good.
.
{TOWER} 11 {50,000}
(VERE) -19
.................................
James Ferris [EDEVERE] -15 find
{ http://www.drjsferris.com }
------------------------------------------
________ The Psalms 46 (1611)

Therf-o-re-w-il-l-no-t-we-f-earethoughtheea[R]t-h-b-e-r-e-m-o-ueda
eseaT-h-ou-g-ht-h-ew-a-te-r-sthereofroarean-d-b[E]t-r-o-u-b-l-edth
herei-s-ar-i-ue-r-th-e-st{R}eameswherofshal-l-m-a-k[E]g-l-a-d-thec
tHigh-G-od-i-si-n-th{E}mi-d-stofhersheshaln-o-t-b-e-m-o[V]e-d-Gods
hekin-g-do-m-es{W}er-e-mo-o-uedhevtteredhis-v-o-y-c-e-t-h-e[E]arth
rrefu-g-eC{O}me-b-eh-o-ld-t-heworkesoftheLo-r-d-w-h-a-t-d-e-s-olat
evnto{T}he-e-nd-o-ft-h-ee-a-rthheebreaketht-h-e-b-o-w-a-n-d-c-utte
reBes-t-il-a-nd-k-no-w-th-a-tIamGodIwillbee-e-x-a-l-t-e-d-a-m-ongt
tsisw-i-th-v-st-h-eG-o-do-f-Iacobisourrefug-e

{TOWER} -88
[EVEER] -93
-----------------------------------------------------
Child rowland to the *DARK TOWER* came, Lear: III, iv
...................................................
Strong as a *TOWER* in hope, I cry amen. Richard II: I, iii
.
You must to pomfret, not unto the *TOWER*. Richard II: V, i
...................................................
Would serve to scale another hero's *TOWER*,
- The Two Gentlemen of Verona: III, i
...................................................
A *TOWER'd* citadel, a pendent rock, Antony & Cleopatra: IV, xiv
...................................................
From off the battlements of yonder *TOWER*; Romeo and Juliet: IV, i
...................................................
The strongest castle, *TOWER*, and town,
The golden bullet beats it down.
(From Sonnets to Sundry Notes of Music, IV)
--------------------------------------------------
_____ Venus and Adonis.
.
Paying what [R]ansome th[E] insulter [W]illeth:
Wh[O]se vultur [T]hought doth pitch the price so hie,
.
[TOWER] -9 {62,000}
...........................................
_____ The Rape of Lucrece
.
Beautie it selfe doth of it selfe pe[R]swade,
The [E]ies of men [W]ithout an [O]rator,
Wha[T] needeth then Apologies be made
To set forth that which is so singuler?
.
[TOWER] -9 {62,000}
...........................................
That shee her plaints a lit[T]le while d[O]th stay,
Pa[W]sing for m[E]ans to mou[R]ne some newer way.
.
[TOWER] 9 {62,000}
--------------------------------------------------------
You shall to the *TOWER*. Henry VIII: I, i
.
As, to the *TOWER*, I thought, I would have play'd Henry VIII: I,ii

You be convey'd to the *TOWER* a prisoner; Henry VIII: V, iii
......................................................
http://www.taheke.co.nz/VCprisonr.html

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

The new monarch, James I believed that Raleigh opposed his accession
and had him committed to the *Bloody TOWER* on a charge of treason.
His death sentence was staid at the last minute, but he spent
a total of 13 years imprisoned within the *Bloody TOWER*.

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

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

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

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

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

King James was so upset, especially when the ships came back without
any gold, that he imprisoned Sir Walter again and finally had him
executed on the 29th of October, 1618 in front of the Palace of
Westminster. He is buried at St. Margaret's, Westminster.>>
-----------------------------------------------------------------
<<Every May & June, [gypsies] would congregate in the fields
below Rosslyn Castle where they would perform their plays. Sir
*WILLIAM SINCLAIR* is said to have made available *TWO TOWERS*
of the castle for them to occupy; the *TOWERS* came to be known
as 'Robin Hood;' & 'Little John.' _Robin Hood & Little John_ was
a favourite May-tide play performed by English & Scottish gypsies
even though it was banned by the Scottish Parliament in 1555:
'No one should act as Robin Hood, Little John, Abbot of Unreason
(/Friar Tuck) or Queen of May(/Maid Marion). 'Robin Hood' was
derived from the old Celtic & Saxon fertility or vegetation
deity and was interchangeable with 'Green Robin', 'Robin of
the Greenwood', 'Robin Goodfellow', and Shakespeare's Puck.
On May Day there would be a festival of unabashedly pagan
origin acted around the 'May Pole'. On Midsummer's Day,
many village virgins would be ushered into the 'greenwood' to
undergo sexual initiation at the hands of a youth playing Robin Hood
or Robin Goodfellow, while Friar Tuck, would officiate the 'nuptials.'
May Day was, in fact, nothing more than a pagan orgy or fertility
rite that produced an annual crop of 'sons of Robin'/Robinsons/
Robertsons.>> -- _The Temple and the Lodge_ Baigent & Leigh
-----------------------------------------------------------------
Robinson Crusoe rescued: December 19, 1686
---------------------------------------------------------------
Emily Bronte died away from doctors
with only immediate family & *KEEPER*
her bulldog attending the funeral: DECEMBER 19, 1848
.......................................................
William Cecil, Lord Burghley

*KEEPER* of the Privy Seal 1559-1572
Lord TREASURER: 1572-1598
(attended daughter's funeral: June, 1588)
*KEEPER* of the Privy Seal 1590-1598
............................................................
Edward de Vere marries daughter of William Cecil, Lord Burghley:

Anne Cecil [OPHELIA/OPALIA age 15] on DECEMBER 19, 1571
...............................................................
___ [AURI] *of GOLD* (Latin)

[A]nna [U]xor [R]ichardi [I]ames (Mrs. Shakespeare.)
...............................................................
The festival OPALIA, was observed on DECEMBER 19.

<<The major temple was of OPS Capitolina, on the Capitoline Hill,
where Caesar had located the TREASURY.>>

<<OPS (Opis) The Roman goddess of the earth as a source of fertility,
and a goddess of abundance and wealth in general (her name means
"PLENTY"). As goddess of harvest she is closely associated
with the god Consus. She is the sister and wife of Saturn.>>
------------------------------------------------------------------
<<In that dayes TRAVELL we came by STRATFORD UPON AVON, where
IN THE CHURCH in that TOWNE there are some Monuments which
Church was built by Archbishop Stratford; Those worth observing
& of which wee tooke notice were these...A NEAT [Ox?] Monument
of that FAMOUS ENGLISH POET, Mr. WILLIAM SHAKESPEARE; who
was BORNE heere. And one of an old Gentleman a Batchelor,

*Mr. COMBe* ,

upon whose name, the sayd POET, did merrily fann up some
witty, and FACETIOUS verses, which time would nott give us
leave to sacke up.>> - HAMmond, LT., SEPTEMBER 9, 1634, DIARY
---------------------------------------------------------------
September 9 precedes 113 days
April 23 is preceded by 113 days
----------------------------------------------------------------
Tuesday September 9, 1634, Lt. Hammond (Ham.Lt.) visits Stratford.
Tuesday September 9, 1746, JOHN WARD plays Othello in Stratford.

September 9, 1566, 12 yr. old Philip Sidney visits Stratford
September 9, 1543, 9 mo. old Mary Queen of Scots crowned

Friday September 9, 1603, George Carey dies from mercury poisoning!
Friday September 9, 1608, Shakespeare's mother, Mary, buried

Friday September 9, 1513, Sidney's grandpere knighted
_______________________ & *WILLIAM SINCLAIR* dies at Flodden Field
------------------------------------------------------------------
http://www.mids.org/sinclair/600/961115.html
.
<<In this hereditary chain, Prince *HENRY SINCLAIR* became the Grand
Master of the Crafts & Guilds of Scotland, as well as being a Knight
Templar, pledged to protect the Christian ideals. He was known as
Henry "the Holy" St. Clair. He was a true leader and was chosen as the
Commander of a Templar inspired expedition to the New World in 1398.
The Templars had found a temporary refuge in Scotland, but Scotland
had neither the space nor the scope to accommodate them. They wanted
a new land where their ideals could take root and flourish.
.
His Venetian admiral, Antonio Zeno, said Prince HENRY was a man
"worthy of immortal memory because of his great bravery & goodness."
He reached America 94 years before Columbus. He treated the indigenous
people with respect, understanding, and consideration. He called them
his "beloved sons", as he recognized they had the same underlying
beliefs he had himself, namely that God and Nature was One. There is
no doubt, Henry St. Clair practiced his faith in everything he did.
Before he ended his stay in the New World, it is thought that
he applied his experience and religious beliefs in building
the *NEWPORT TOWER*, following the design lines of
the Church of the Holy Sepulchre in Jerusalem.>>
--------------------------------------------------------------------
http://en.wikipedia.org/wiki/William_Sinclair,_2nd_Earl_of_Caithness

<<*WILLIAM SINCLAIR*, 2nd Earl of Caithness (1459 – 9 September 1513)
was a Scottish nobleman born in Ravenscraig Castle, Kirkcaldy,
Scotland to William Sinclair, 1st Earl of Caithness and Marjory
Sutherland. He married Margaret Keith, daughter of Gilbert Keith.

*WILLIAM SINCLAIR* fought & died in the Battle of Flodden Field.

William & Margaret had two children: Alexander Sinclair &

*JOHN SINCLAIR* , 3rd Earl of Caithness (d. 1529),
_____ married Elizabeth Sutherland (d. 1527)
...........................................................
http://en.wikipedia.org/wiki/John_SINKLO
.
<<John SINKLO (/Sinclo, SINCKLO, Sincler, Sinkler, *SINCLAIR* )
was a member of several playing companies, including
Lord STRANGE's Men, PEMBROKE's Men, Lord CHAMBERLAIN's Men
and the King's Men. It is likely that SINKLO also performed
with Sussex's Men, following the text of Titus Andronicus
which Sussex's inherited from Pembroke's. SINKLO
is identified by name in three plays by Shakespeare
(an honour he shares with William Kemp). SINKLO's lean,
emaciated appearance singled him out for special roles:
.
1) The Induction to The Taming of the Shrew, one of the players
who tricks Christopher Sly is headed 'SINCKLO' in the First Folio.
.
2) The opening of Act 3 of Henry VI, Part 3 in a stage direction:
‘Enter SINKLO, and Humfrey, with Crosse-bowes in their hands’.
.
3) The 1600 quarto of Henry IV, Part 2 (5.4), in the stage direction:
‘Enter SINCKLO and three or foure officers’. This is replaced by
‘Enter Hostesse Quickly, Dol Tear-sheete, and Beadles’ in the
First Folio. Much is made of SINKLO's skinny physique in this role,
and the insults levelled at him by Doll and Mistress Quickly
include 'nut-hook', 'starved bloodhound' and 'thin thing'.
.
SINKLO is named by John Webster in his special Induction to Marston's
The Malcontent from 1604, being introduced by William *SLY* to
Richard Burbage as 'Master Doomsday's son, the userer'. In this
particular role, SINKLO declines the invitation to sit between
the legs of another character for fear of being taken for
a viol-de-gamba by the audience: SINKLO is therefore
associated with the role of Andrew Aguecheek in Twelfth Night
who 'plays o'the' viol-de-gamboys' (1.3.23-4).
.
In the plot of The Seven Deadly Sins,
SINKLO is named as '*A KEEPER*'.>>
...........................................................
<<The Templars were the *KEEPERS* of the Holy Grail who were
searching for Av(al)on, a paradise free from religious persecution.

Some refugee Knights Templar (and their treasure?) were welcomed by
the powerful St Clairs of Scotland, and under Prince Henry Sinclair,
participated in voyages that resulted in a settlement in
*NOVA* Scotia in 1398.>> - http://www.gate.net/~grupo/grail.html

William Sinclair was the person reputed
to have brought Enochian Magick to Scotland.>>
------------------------------------------------------------
. King Henry V > Act I, scene II

CANTERBURY: The *singing MASONS* building roofs *of GOLD* ,
......................................................
. _The History of Freemasonry_ - Albert Mackey

<<Enoch constructed underground an edifice consisting of
9 BRICK vaults situated perpendicularly beneath each other.
He then caused a *TRIANGULAR plate of GOLD* to be made.
......................................................
[AURI] *of GOLD* (Latin)

[A]nna [U]xor [R]ichardi [I]ames (Mrs. Shakespeare.)

[AURIs] "ear" (Latin)
......................................................
The Legend informs us that after Enoch had finished the
construction of the 9 vaults, fearing that the principles of the
arts & sciences which he had assiduously cultivated would be lost
in that universal deluge of which he bad received a prophetic
vision, he erected above-ground two pillars, one of *marble* ,
to withstand the destructive influences of foe, and one of *BRASS*,
to resist the action of water On the pillar of BRASS he engraved
the history of the creation, the principles of the arts & sciences,
and the doctrines of Speculative Masonry.>>
...................................................
Nor stony *TOWER*, nor walls of beaten *BRASS* - Julius Caesar: I, iii
..................................................
<<Reputed meeting place of the Gunpowder plot conspirators.
Through a letter of warning written by Tresham to a peer,
the plot was exposed. Catesby was killed and the others taken
prisoner when they were too weak or badly wounded to fight
any longer. All were executed on 31 st January 1606 except
for *FRANCIS TRESHAM*. He was sent to the *TOWER* of London
but not harshly treated. When he died shortly afterwards.>>
.
http://www.findarticles.com/cf_0/m1373/n3_v46/18099925/p2/article.jht...
http://www.theheritagetrail.co.uk/notable%20houses/rushton%20lodge.htm
.
<<The Triangular Lodge went up between 1593 and 1597. By this time
Sir Thomas felt increasingly victimised - his Catholicism, with the
penalties attendant on it, was a major factor in this. The Lodge is
an allegory on the Trinity and the forbidden Mass. It is built in
two different coloured limestones, to a plan based on an equilateral
triangle. Each side is 33 feet and 4 inches long (i.e. one-third
of a hundred) and the inscriptions on each side contain 33 letters.
There are three windows in each of the three floors and,
whenever appropriate, the trefoil which features in the Tresham
coat of arms comes into its own as yet another symbol of the Trinity
in the trefoil over the door is the motto Tres testimonium dant
(There are 3 that bear witness) from the first Epistle of St. John.
.
Everywhere space was found for inscriptions and the emblems or
conceits which were so fashionable at the time. They were intended
to convey a meaning in a more or less disguised form. Where there
are layers of meaning, as in the Tresham buildings, it is likely
that some of the clues still remain unravelled. At the Lodge,
Mass was symbolised by the Lamb and Cross and the Chalice.
One inscription is taken from the preface to the canon
of the Mass. Of all Sir Thomas' architectural creations,
the Lodge is the most detailed and complete.>>
--------------------------------------------------------------
____ Priors & Grand Priors of English Langue,
. Sovereign Order of St. JOHN of Jerusalem and of Malta.
.
. *THOMAS TRESHAM* 1557-1559
. *RICHARD SHELLEY* 1559-1590
-----------------------------------------------------
Chap. 8, _THIS STAR OF ENGLAND_ by Dorothy & Charlton Ogburn
. http://www.sourcetext.com/sourcebook/Star/ch08.html
.
<<IN JANUARY 7, 1575, Lord Oxford set forth with his retinue,
consisting, as Burghley noted in his diary, of "two gentlemen,
two grooms, one payend, a harbinger, a *houseKEEPER* & a trenchman."
.
Before the end of May the traveller reached Venice,
where he declined a generous offer on the part of
[titular Grand Prior] *Sir RICHARD SHELLEY* of
a furnished house, to continue his journey.>>
---------------------­------------------------------­---------
http://www.montaguemillennium.­com/research/crusaders.htm
.
<< "... the Knights [Hospitallers], having lost their stronghold
... to Timur the Lame ("Tamurlane",) in 1402, were establishing
a new base at Bodrum, the site of the ancient Halicarnassus & its
famous Mausoleum, stone from which was used in the construction
of the *Christian fortress dedicated to St. PETER* . This
fortress was to act not simply as a military post, but also
as a refuge for fugitive Christians from the Ottoman Empire....
.
The *Castle of St. PETER* itself provides striking witness to English
participation. Over the gateway to one of its *TOWERS*, known as the
English *TOWER*, 26 coats of arms were set up in stone, including
those of Henry IV, the Prince of Wales, the dukes of Clarence,
Bedford, & Gloucester (the kings sons), the duke of York, and the
families of Grey, Zouche, DE LA POLE, NEVILLE, *PERCY* , Holland,
Beauchamp, BURLEIGH, STRANGE, ARUNDEL, MONTAGUE, Stafford, DE VERE,
Courtenay, FitzHugh, Cresson, WOOLFE, & FAIRFAX, many of who could
boast of both long and recent crusading traditions." (Tyerman)>>
.............................................................
. 26 ACTORS LISTED ON THE FIRST FOLIO
. 26 coats of arms on the "English *TOWER*"
---------------------------------------------------------
. King Henry IV, Part i Act 3, Scene 1
.
HOTSPUR (/PERCY): Diseased nature oftentimes breaks forth
. In *STRANGE* eruptions; oft the teeming earth
. Is with a kind of colic pinch'd and vex'd
. By the *imprisoning of unruly WIND*
. Within her womb; which, for enlargement striving,
. *SHAKES* the old beldam earth and *TOPPLES* down
. Steeples and *MOSS-grown TOWERS*. At your birth
. Our grandam earth, having this distemperature,
. In passion shook.
.............................................................
<<The earliest recorded weather vane honored the Greek god
Triton, and adorned the *TOWER of the Winds* in Athens
which was built by the astronomer Andronicus in 48 B.C.
The figure, which is believed to have been 4 to 8 feet long,
had the head and torso of a man and the tail of a fish.>>

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

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

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

The old stone Newport *TOWER*,
*octagonal* in Norway's style:
discovered when the first white set'lers
fled massive Mass. for li'l Rhode Isle.
............................................................
New England, in general, and Roger Williams'
Newport, Rhode Island, in particular, were both
"a paradise free from religious persecution."
-----------------------------------------------------------
. The Taming of the Shrew (Folio 1, 1623)
. Prologue [~ 9,000 letters]
............................................
*SINCKLO* : I thinke 'twas Soto that your honor meanes.

Lord. 'Tis *VERiE TRUE* , thou didst it excellent:
. Well you are come to [M]e in happie time,
. The rather for I h[A]ue some s{P}ort in {H}and,
. Wh{E}rein y{O}u[R] cun{N}ing can assist me much.
. There [I]s a Lord will heare you play to nig[H]t;
.
{PHEON} 6 {130,000}
[MARI H.] 28 {33,000}
..........................................................
http://www.bl.uk/treasures/shakespeare/players.html

<<John SINCKLO (or Sinclo, or Sincler)
was a player with *PEMBROKE’s Men* in 1592.
By 1598 he was acting with the Lord Chamberlain’s Men.
SINCKLO was apparently very thin, and his roles seem
to have included Slender in The Merry Wives of Windsor.
His acting career seems to have lasted from 1592 to 1604.>>
-----------------------------------------------------
http://www.baconlinks.com/VVILL/Psalm46.html
.
The Psalms 46 (1611) [1032 = 43x3x8 letters]
.
God is our refuge and strength: a very present helpe in trouble.
Therfore will not we feare, though (T)he earth be remoued: and
tho(U)gh the mountaines be carie(D) into the midst of the se{A}.
Th(O)ugh the waT[E]rs thereof roa[R]e, And be troubl[E]d, thoUgh
the MO[U]ntaines *SHAKE* with th[E] swelling thereof. The[R]e is
a r(I)uer, the stream[E]s (H)erof shall make gl{A}d the citie
of God: the holy place of the Tabernacles of the most High.
.......................................................
_________ <= 23 =>
.
. (T) h e e a r t h b e r e m o u e d:a n d t h o
. (U) g h t h e m o u n t a i n e s b e c a r i e
. (D) i n t o t h e m i d s t o f t h e s e{A}T h
. (O) u g h t h e w a t[E]r s(T)h e r e o f r o a
. [R] e,a n d b(E)t r o u b l[E]d,t h o u g h t(H)
. {E} m o[U]n t a i n e s*S H A K(E)*
.
(TUDOR, E.) 23 {400,000}
..................................................
______ <= 16 =>

. t h e m i d s t o f t h e s e{A}
. T h(O)u g h t h e w a T[E]r s(T)
. h e r e o f r o a[R]e,A n d b(E)
. t r o u b l[E]d,t h o U g h t(H)
.{E}M O[U]n t a i n e s*S H A K(E)*
. w i t h t h[E]s w e l l i n g(T)
. h e r e o f T h e[R]e i s a r(I)
. u e r,t h e s t r e a m[E]s w(H)
. e r o f s h a l l m a k e g l{A}
. d t h e c i t i e o f G o d:
.
{E}[UERE] 16 : *COMPASS/'Y'/PHEON* {500,000}
.
"{A HIT) , {A} very palpable (HIT)."
..............................................
. O, could he but have drawne his [WIT]
. As well in BRASSE, as he hath [HIT]
. His face ; the print would then surpasse
. All, that *WAS EVER WRIT IN BRASSE* .
------------------------------------------------
___ Sonnet 64

. WHen I haue seene by times fell hand defaced
. The rich proud cost of outworne buried age,
. When sometime *loftie TOWERS* I see downe rased,
. And *BRASSE eternall* slaue to mortall rage.
-------------------------------------------------
"On Shakspeare" (1630) John Milton
.
What needs my Shakspeare for his honor'd Bones
The labor of an age in piled Stones,
Or that his hallow'd relics should be HID

___ Under a Star-Ypointing PYramid:
........................................................
The Psalms 46 (1611) [1032 = 129 X 8 letters]
.
God is in the midst of her: she shal not be moued; God shall helpe
her, and that right early. The heathen raged, the kingdomes were
mooued: he vttered his voyce, the earth mel[T]ed. {T}he Lord of hosts
is with vs; the God [O]f Iacob is {O}ur refuge. Come, behold the
[W]orkes of the Lord, {W}hat desolations he[E] hath made in the
earth. H{E} maketh war[R]es to cease vnto the end of the ea{R}th:
................................................................
______ <= 34 =>
.
t h e k i n g d o m e s w e r e m o o u e d:h e v t t e r e d h i s
v o y c e,t h e e a r t h m e l[T]e d{T}h e L o r d o f h o s t s i
s w i t h v s;t h e G o d[O]f I a c o.b i s{O}u r r e f u g e.C o m
e,b e h o l d t h e[W]o r k e s o f t h e L o r d{W}h a t d e s o l
a t i o n s h[E]e h a t h m a d e i n t h e e a r t h.H{E}m a k e t
h w a r[R]e s t o c e a s e v n t o t h e e n d o f t h e e a{R}t h:
.
[TOWER] 31
{TOWER} 37 {15,000 each}
.................................................
vnto the end of [TH]e ea{R}th: h[EE]
br(E)ake[TH T]h(E) bow, and c(U)tteth th(E) *SPEARE*
*IN SUNDER*, he burneth the chariot in the fire. Be stil,
and know that I am God: I will bee exalted among the
heathen, I will be exalted in the earth. The Lord
of hosts is with vs; the God of Iacob is our refuge.
.................................................
____ <= 8 =>
.
. v -n- t o t h e e
. n -d- o f[T H]e e
. a {R} t h:h[E E]b
. r (E) a k e[T H T]
. h (E) b o w{A}n d
. c (U) t t e{T}h t
. h (E) *S P E{A}R E*
. i n s u n{D}e r
.
(E.UEER) -8 : *SQUARE* {15,000}
{DATA} -8 : gifts
------------------------------------------------------
Ben Jonson's: An Ode, or Song, by all the Muses.
In Celebration of her Majesties Birth-day. 1630.

Mel. What though the thrifty *TOWER*,
. And Guns there, spare to pour
. Their Noises forth in Thunder:
. As fearful to awake
. This City, or to *SHAKE*
. Their guarded Gates *ASUNDER* ?

Thal. Yet, let our Trumpets sound;
. And *cleave both Air and Ground* ,
. With beating of our Drums:
. Let *EVERy Lyre* be strong,
. Harp, Lute, Theorbo sprung,
. With touch of dainty Thums!

Eut. That when the Quire is full,
. The Harmony may pull
. The Angels from their *SPhEARS* :
----------------------------------------------------
____ Sonnet 5
.
For nEUER resting time leads Summer on,
To hidious winter and confounds him there,
Sap checkt with frost and lus[T]ie leau's quite g[O]n.
Beauty ore-sno[W]'d and barenes eu[E]ry where,
Then we[R]e not summers di[S]tillation left
A liquid prisoner pent in *WALLS of GLASSE*,
..........................................
Sap checkt with frost and lus-
.
______ <= 14 =>
.
. [T] i e l e a u's q u i t e g
. [O] n.B e a u t y o r e-s n o
. [W]'d a n d b a r e n e s e u
. [E] r y w h e r e,T h e n w e
. [R] e n o t s u m m e r s d i
. [S] t i l l a t i o n l e f t
.
A liquid prisoner pent in *WALLS of GLASSE* ,
.
[TOWERS] 14 {640,000}
-------------------------------------------------------
__ Chapter 9: " *TOWER of Glass* "

<<" *TOWER of Glass* " refers to a see through, hour glass shaped,
allegorical tower of the Fisher King, that in fact existed at the
Templar refuge in Nova Scotia. The *TOWER* may have existed before
1398 & was reconstructed by Sinclair & his men with the aid of the
Micmac Indians and was similar to the NEWPORT & New Ross *TOWERS*.
The relationship between the Westford Knight and the location of
the *WHITE TOWER* demonstrates that clues were left by Sinclair,
albeit it in a sublime manner, indicating the exact location
of the *TOWER* and the front and back door to
an underground cave/abandoned copper mine.>>
-------------------------------------------------------
http://en.wikipedia.org/wiki/The_Tower_%28Tarot_card%29

<<The Tower (Tarot card #16) is the sixteenth trump or Major Arcana
card in most cartomancy Tarot decks. It is not used as part of any
game. This card follows immediately after The Devil in all Tarots that
contain it, and is considered an ill omen. Some early painted decks
such as the Visconti-Sforza tarot do not contain it. It may be a
reference to the biblical story of the Tower of Babel, where God
destroys a tower built by mankind to reach Heaven. Alternatively, the
Harrowing of Hell was a frequent subject in late medieval liturgical
drama, and Hell could be depicted as a great gate knocked *ASUNDER*
by Jesus Christ, with accompanying pyrotechnics.>>
..........................................................
1) Daedalus (/Arthur Golding)
tossing Perdix (/Edward de Vere) off of a *TOWER*
out of envy for his superior talents,
.
2) Hercules tossing his friend Iphitus
off of a *TOWER* over some trivial disagreement and
consequently becoming a slave of OMphale(Elizabeth).
..........................................................
http://en.wikipedia.org/wiki/Iphitos

<<Iphitos was the son of Eurytus, king of Oechalia, and a descendant
of OXylus. After defeating Eurytus in an archery contest, Heracles was
accused of stealing Eurytus's cattle as revenge because he was not
given the prize, Iole. During his search for the cattle, Iphitos met
Odysseus in Messenia, befriended him, and gave Odysseus his father
Eurytus's bow. Iphitus took Heracles's cattle, and was ultimately
killed when Heracles, in a fit of madness, threw him off a wall
in the city of Tiryns.
..........................................................
http://www.bulfinch.org/fables/bull19.html

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

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

I know you, Clara Vere de Vere,
You pine among your halls and *TOWERS*;
The languid light of your proud eyes
Is wearied of the rolling hours.
In glowing health, with boundless wealth,
But sickening of a vague disease,
You know so ill to deal with time,
You needs must play such pranks as these.
-----------------------------------------------------------------------
<<They were tales of Grail Princes who were turned into frogs, of Swan
Knights who roamed the WASTELAND, and of Dragon Princesses locked in
*TOWERS* or put to sleep for hundreds of years. In the course of their
persecution, the Elf Maidens were pricked with bodkins, fed with
poisoned apples or condemned to servitude - while their champions swam
great lakes, battled through thickets and scaled mighty *TOWERS* to
secure and protect the matrilinear heritage of the Albi-gens. They
include such well-known stories as Sleeping Beauty, Cinderella, Snow
White and Rapunzel. In all cases, the underlying theme is the same,
with the Bloodline Princess kept (through drugging, imprisonment or
some form of restraint) out of reach of the Grail Prince who has to
find and release her in order to preserve the dynasty and perpetuate
the line. For the most part, the establishment of the "Mother Church"
was symbolised by a malevolent stepmother, an evil witch or some other
jealous female with an opposing vested interest. Always, the stories
are reminiscent of the Lost Bride of the King in the Old Testament's
Song of Solomon. Their content also embodies the forlorn aspect of
Mary Magdalene, the bride of Jesus, whose royal heritage and maternal
legacy were so thoroughly undermined by the Christian bishops.>>

- Sir Laurence Gardner Nexus Magazine, (August-September 1999).
--------------------------------------------------------------
The *BELL-TOWER* - a short story by Herman Melville
--------------------------------------------------------------
Journey to the Center of the Earth - by Jules *VERnE*
CHAPTER IX. OUR VOYAGE TO ICE-LAND
.
On the 2nd of the month [i.e, *St. ELMO's Day* ],
at two in the morning, our precious cargo of luggage
was taken on board the good ship *VALKYRIE*

We followed, and were *VERy* politely introduced by the
captain to a small cabin with two standing bed places,
neither *VERy* well ventilated nor *VERy* comfortable.
But in the cause of science men are expected to *SUFFER* .
.
"Well, and have we *A FAIR wind* ?" cried my uncle,
. in his *most MELLIFLUOUS accents* .
.
"An excellent wind!" replied Captain Bjarne;
"we shall leave the Sound, going *FREE* with all sails set."
.
A few minutes afterwards, the schooner started before the wind,
under all the canvas she could carry, and entered the channel.
An hour later, the capital of Denmark seemed to sink into the waves,
and we were at no great distance from the coast of *Elsinore* .
My uncle was delighted; for myself, moody and dissatisfied,
I appeared almost to expect a glimpse of *the ghost of Hamlet* .
.
"Sublime MADMAN," thought I, "you doubtless would approve our
proceedings. You might perhaps even follow us to the center
of the earth, there to resolve your eternal doubts."
.
But no ghost or anything else appeared upon the ancient walls.
The fact is, the castle is much later than the time of the heroic
prince of Denmark. It is now the residence of the *KEEPER* of
the Strait of the Sound, and through that Sound more than
*FIFTEEN* thousand vessels of all nations pass *EVERy* year.
.
The castle of Kronborg soon disappeared in the murky atmosphere, as
well as *THE TOWER OF HELSINBORG* which raises its head on the Swedish
Bank. And here the schooner began to feel in earnest the breezes of
the Kattegat. The Valkyrie was swift enough, but with all sailing
boats there is the same uncertainty. Her cargo was coal, furniture,
pottery, woolen clothing, and a load of corn. As usual, the
crew was small, *FIVE* Danes doing the whole of the work.
--------------------------­------------------------------­--
http://my.nctm.org/eresources/view_article.asp?article_id=6221&page=6

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

The swastika is an irregular icosagon also called
the gammadion or fylfot, which symbolized good luck
in ancient Arabic and Indian cultures.
...................................................
Centered 20-gonal (or icosagonal) numbers:

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

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

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

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

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

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

<<"God bless Captain Vere!" Syllables so unanticipated
coming from one with the ignominious *HEMP* about his neck-
a conventional felon's benediction directed aft towards the quarters
of
honor; syllables too DEliVERE in the clear melody of a singing-bird on
the point of launching from the twig, had a phenomenal effect, not
unenhanced by the rare personal beauty of the young sailor
spiritualized
now thro' late experiences so poignantly profound. Without volition
as it were, as if indeed the ship's populace were but the vehicles
of some vocal current electric, with one voice from alow and aloft
came a resonant sympathetic ECHO- "God bless Captain Vere!"

And yet at that instant Billy alone must have been in their hearts,
even as he was in their eyes. At the pronounced words and the
spontaneous ECHO that voluminously rebounded them, Captain Vere,>>
----------------------------------------------------------------
. God Bless CAPTAIN (EDWARD) VERE
.............................................................
http://home.eol.ca/~cumulus/ch7.htm

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

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

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

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

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

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

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

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

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

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

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

---------------------------------------------------------------------
To *TOWERS* and windows, yea, to *CHIMNEY-tops* - Julius Caesar: I, i
......................................................................
The cats in the *TOWER*
http://www.fortunecity.com/greenfield/dreams/383/towercat.htm

<<The *TOWER* of London seems to be an unlikely home for two cats
to set up home. But during the Tudor & Elizabethan eras, a cat gave
loyal comfort to one of those unfortunates incarcerated there.
During the War of the Roses, Sir Henry Wyatt was taken prisoner
by King Richard III, in 1483, and sent to the *TOWER*.
Henry Wyatt had once been the Governor of the *TOWER*.
Being a well known cat lover living in Allington Castle
it was said of him that he "EVER used to make much of a cat".
Stories say that while in the *TOWER* he was visited by a stray
cat which made its way to his cell through a CHIMNEY. The cat often
used to leave the cell and come back with pigeons which it gave
to Wyatt. It is said these were cooked for him by a friendly gaoler
and made up for the meagre rations that were fed to the prisoners. It
was surmised that when he was first incarcerated he would become
succumb to illness and starvation, but the gifts of food that the cat
brought kept him alive until he was later released. Later Sir Henry
had a memorial built to his cat friend in a church at Boxley in Kent.
He also remembered him in a painting of him in 1532. Several years
later, in 1601, when the reign of Queen Elizabeth was nearing its end,
Henry Wriothesley, the third Earl of Southampton, was incarcerated in
the Tower of London for supporting The Earl of Essex's rebellion.
During his stay there he was joined by his favourite cat, a black and
white female called Trixie. The Earl being a nobleman, had two houses,
one country mansion in Gloucestershire and another, Southampton House,
in London. One story says the cat made its own way across London from
Southampton House, scaled the walls and clambered across the roofs
until it found the CHIMNEY of his cell and climbed down to join the
Earl. We know that the cat kept Wriothesley company because many
years later after the event, the tale was put into writing by Thomas
Pennant an antiquarian. The cat was also included in a portrait
commissioned by Wriothesley around 1603, and painted by John de Critz
the Elder. Trixie is shown as a black cat with white markings to her
face, a snowy white bib, and white forepaws ,sitting by the right
arm of the Earl with a quizzical look upon her face.>>
---------------------------------------------------------------
. Antony and Cleopatra Act 5, Scene 2
.
CLEOPATRA: Shall they hoist me up
. And show me to the shouting varletry
. Of censuring Rome? Rather a ditch in Egypt
. Be gentle grave unto me! rather on *NILUS' mud*
. Lay me stark naked, and let the water-flies
. Blow me into abhorring! rather make
. My country's high PYRAMIDES my *GIBBET*,
. And *HANG me up IN CHAINS* !
----------------------------------------------------------
Thomas Nashe *IN CHAINS* : http://tinyurl.com/3sy4by7
----------------------------------------------------------
1) "The Globe on the Banksyde" burned down
(i.e., "was removed") on St. Peter's day.
.
2) De Vere was crucified upside down like St. Peter:
----------------------------------------------------------
. TOTHEO - [N] l ___{I} _ EBE G ____ ETTERO
. FTHESE_- [I] n __-{S} - UIN G ____ SONNET
. SMrWha_- [L] L __ [H]A P_<P> I__ [N] ESSEA
. NDthat___ [E] T __ [E]R N_<I> T__-[I] EPROM
. ISEDB Y O u ___- [R]E _ V <E> R_ [L] IVING
. POEtW I s h ____ [E]T __ H [T] H__-[E] WELLW
. IShIN- G a _____ [d V e] __ N [T] u ______ ReRINS
. EtTIN G fort----_________ H [T] t
.
____________ <= 19 =>
--------------------------------------------------------------
St Peter ad Vincula (London) From Wikipedia,
.
<<The Chapel Royal of St. Peter ad Vincula ("St. Peter in chains")
is the parish church of the Tower of London, dating from 1520 & is
a Royal Peculiar. The name refers to St. Peter's imprisonment under
Herod in Jerusalem. The Chapel is probably best known as the burial
place of some of the most famous prisoners executed at the Tower.>>
------------------------------------------------------------
San Pietro in Vincoli
.
http://www.cptryon.org/hoagland/travels/stpeterchains/index.html
http://www.cptryon.org/hoagland/travels/stpeterchains/moses.html
.
The Church of St Peter *IN CHAINS* Rome: Michaelangelo's Moses
---------------------------------------------------------
*IN VINCULIS* : "in chains/bonds/fetters"
*NIL VICINUS* : "no neighbor"
*UNCIVIL SIN*
.
("Victorious though in chains") *IN VINCULIS INVICTUS*
Motto in Tower Painting: http://www.gorki.net/Art/fa12.html
http://ladysarafina.home.att.net/wriothesley.JPG
.............................................
http://www.philological.bham.ac.uk/anagrams/
.
<<Even more curious is the [anagramma] for Southampton,
which explicitly states that he had been convicted
of *treason on false testimony inspired by ENVY* .>>
.............................................
. HENRICUS URIOTHESLEUS
. per anagramma
. THESEUS NIL REUS HIC RUO
.
.[I]ure quidem poteras hanc fundere ab ore querelam,
.[S]ors tibi dum ficto crimine dura fuit:
"[N]il reus en Theseus censura sortis iniquae
.[H]ic ruo, livoris traditus arbitrio."
.[A]t nunc mutanda ob mutata pericla querela est.
.[I]nclite, an innocuo pectore teste rues?
.[N]on sane. Hac haeres vacuo dat *VIVERE* cura,
.[C]ollati imperii sub Iove sceptra gerens.
.............................................
. HENRY WRIOTHESLEY by an anagram
. ('HERE I FALL, *THESEUS, GUILTY OF NOTHING* ')
.
Justly you were able to pour forth this complaint from
your mouth, your lot was harsh while a false accusation
prevailed. 'L.O. , Theseus is guilty of *NOTHING ,HERE*
I fall by an unfair lot's censure, betrayed by *ENVY's*
whim.' But now the complaint is to be altered, because
of altered perils. Great man, do you take a fall
with an innocent heart bearing witness? Not at all.
The *HEIR* , wielding the scepter of rule conferred
under Jove's auspices, grants you to live FREE of this
.............................................
http://www.philological.bham.ac.uk/anagrams/text.html
.............................................
______ *ISNHAINC*
______ *IN CHAINS*
..................................................
*Victorious though IN CHAINS* : *In VINCULUS Invictus*
Motto in Tower Painting: http://www.gorki.net/Art/fa12.html
---------------------------------------------------------
http://f01.middlebury.edu/FS010A/students/Minerva/014.JPG
.
14. *FATUM* subscribat Eliza.
To the most excellent Princesse Elizabeth,
onely Daughter to our Soveraigne

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

That crept before full lowly on [T]he gro[U]nd,
And [D]urst n[O]t yet f[R]om her DARKE SHADE aspire,
.
[TUDOR] 6 {215,000}
--------------------------------------------------------
http://www.queens.cam.ac.uk/page-306
Shakespeare and Queens'
.
<<On 1 March 1595, at the Bachelors' Commencement (what we now
call the Matriculation Dinner), the Bats' predecessors staged the most
successful production in their history, the comedy of Laelia, directed
and partly performed by two Fellows in the presence of the mighty Earl
of Essex (who stayed in the Lodge in the room which was then named the
Essex Chamber in his honour). Essex was so taken with the quality of
the performance that he arranged for the two Fellows (who, by the way,
carried on as a successful double act, first as Senior and Junior
Bursar, and later as Dean and Archbishop of York) to come down to
London and act before Queen Elizabeth herself in a 'Device' of his
own at the important festivity of Queen's Day on 17 November.
.
A second-year Queensman, John WeEVER (1576-1632), who himself had
burning literary and theatrical ambitions, was so starry-eyed at
these events that he penned the following epigram - as far as I
know, the only eye-witness account of an early Queens' production:
..................................................
In Georgium Meriton, & Georgium Mountaine
Your entertaine (nor can I passe away)
of Essex with farre-famed Laelia,
.
Nor fore the Queen you[R] service [O]n Queens [D]ay
When s[U]ch a Mais[T]er with you beareth sway,
.
How can Queenes College EVER then decay?
No. Yet Queenes College EVERmore hath beene
Is and will be, of Colleges the Queene.
.......................................
Nor fore <= 8 =>
.
. T h e -Q- U E E N
. y o u [R] s e r v
. i c e [O] n Q u e
. e n s [D] a y W h
. e n s [U] c h a M
. a i s [T] e r
.
with you beareth sway,
.
[TUDOR] 8 {153,000}
---------------------------------------------
(1632) Second Folio dedication:
.
On worthy Master Shakespeare and his Poems.
.
This, and much more which cannot be express`d
But by himself[E], his [T]ong[U]e, an[D] his [O]wn b[R]est,
Was Shakespeare`s freehold; which his cunning braine
Improv`d by favour of the nine-fold traine,
The buskind Muse, the Commicke Queene, the grand
And lowder tone of Clio; nimble hand,
And nimbler foote of the melodious paire,
The silver-voyced Lady the most faire
Calliope, whose speaking silence daunts,
And she whose prayse the heavenly body chants.
.
- The friendly admirer of his I.M.S.
.................................................
_ <= 4 =>
.
. -B- u t b
. -y- h i m
. -s- e l f
. [E] h i s
. [T] o n g
. [U] e a n
. [D] h i s
. [O] w n b
. [R] e s t
.
[E.TUDOR] 4 {2,900,000}
------------------------------------------------
Faustus: Was this the face that launch’d a thousand ships,
. And burnt the *TOPLESS TOWERS* of Ilium?
------------------------------------------------
That these great *TOWERS*, trophies and schools Timon of Athens: V,iv
...................................................
Heralds, from off our *TOWERS* we might behold, John: II, i
Ha, majesty! how high thy glory *TOWERS*, John: II, i
--------------------------------------------------
http://en.wikipedia.org/wiki/Lathom

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

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

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

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

Besides all that is said hitherto of the walls, *TOWERS*, and moat,
there is something so particular and romantic in the general
situation of this house, as if Nature herself had formed it
for a stronghold or place of security.
------------------------------------------------------
______ Pericles Prince of Tyre Act 1, Scene 4

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

ULYSSES: Sir, I foretold you then what would ensue:
. My prophecy is but half his journey yet;
. For yonder walls, that pertly front your town,
. Yond *TOWERS , whose wanton tops do buss the CLOUDS* ,
. Must kiss their own feet.
------------------------------------------------------
______ The Tempest Act 4, Scene 1
.
PROSPERO: And, like the baseless fabric of this vision,
. The *CLOUD-capp'd TOWERS* , the gorgeous palaces,
. The solemn TEMPLES, the great globe itself,
. Ye all which it inherit, shall dissolve
. And, like this insubstantial pageant faded,
. Leave not a *RACK* behind.
......................................................
. http://www.sirbacon.org/gallery/west.htm
.
. The *CLOUD CUPT TOW'RS* ,
. The Gorgeous Palaces
. The Solemn Temples,
. The Great Globe itself
. Yea all which it Inherit,
. *Shall Dissolue* ;
. And like the baseless *FnBRICK* of a Vision
. Leave not a *WRECK* behind."
------------------------------------------------
1580: Dedication to Oxford by Anthony Munday
in Zelauto. The fountaine *OF FAME* .
.
TO THE RIGHT HONORABLE, HIS
singuler good Lord and Maister, Edward de Vere,
... Antony Munday, visbeth *ALL HAPPINES* in this
Honorable estate, and after death *ETERNALL LIFE* .
.
And loe Right Honourable, among such expert heads,
such pregnaunt inuentions, and such commendable
writers, as preferre to your seemely selfe,
woo{R}k{E|S] {W}o{O}r{T}hy of [E]tern[A]ll me[M]ory:
.
[STEAM] 5
{TOWER} -2 {495,000}
.................................................
1588: Dedication to Oxford in Anthony Munday's Palmerin d'Oliva.
.
AMong the Spartane[S] righ[T] nobl[E] Lord, [A]nd so[M]etime
my honorable Maister, *NOTHING* was accounted mor odious,
then to forgetfulnes of the seruaunt towardes his Maister:
.
[STEAM] 5
--------------------------------------------
"On Shakspeare" (1630) John Milton
.
What needs my Shakspeare for his honor'd Bones
The labor of an age in piled Stones,
Or that his hallow'd relics should be hid
Under a Star-Ypointing Pyramid?
.
Dear son of memory, great
*HEIR OF FA{M}E* , Wh{A}t ne{E}d'st {T}hou {S}uch...
.
{STEAM} -4
.
.............. weak witness of {THY NAME}?
Thou in *our [W]ONDER and ASTON[I]SHMENT*
Hast bui[L|T} thyself a live[L|O}ng Monument.
Fo(r) {W}hilst to th'sha(M|E} of slow-endeavo{R}ing art,
.............................................
______ <= 14 =>
.
. {T H Y N A M E}T h o u i n o
_ u r [W] O n d e r a n d a s t
_ o n [I] S h m e n t H a s t b
_- u i [L|T} t h y s e l f a l i
_ v(E)[L|O} n g M o n u m e n t
_ F(O)(r|W} h i l s t t o t h s
. h a (M|E} o f s l o w e n d e
- a v (O|R} i n g a r t
.....................................
*OM* (Mr.) [WILL.] / {TOWER} 14
(O)xford's (M)en
.
____ Sonnet 136
.
Make but {MY NAME} thy love, and love that still,
And then thou lovest me, for {MY NAME} is '[WILL].'
.............................................
Thy easy numbers flow, and that each heart
Hath from the leaves of *THY unvalu'd Book*
Those Delphic lines with *DEEP* impression took,
Then thou our fancy of itself bereaving,
Dost make us Marble with too much conceiving;
And so Sepulcher'd in such pomp dost lie,
That Kings for such a Tomb would wish to die.
-----------------------------------------------
________ Sonnet 76

WHy is my verse so barren of new pride?
So far from variation or quicke change?
Why with the time do I not glance aside
To new found methods, and to compounds strange?

Why write I still all one, euer the same,
And keepe inuention in a noted weed,
That euery word doth almost fel my name,
Shewing their birth, and where they did proceed?

O know sweet love I alwaies write of you,
And you and love are still my argument:
So all my best is dressing old words new,
Spending againe what is already spent:

For as the Sun is daily new and old,
So is my love still telling what is told,
.............................................
______ <= 14 => [by 32]
.
. W H y i s m y v -e- r s e s o
. b a r r e n o f -n- e w p r i
.................................
. n o t e d w e e -d-,T h a t e
. u e r y w o r d -d- o t h a l
.
. m o s t f e l {M Y} n a m e,S
. h e w i n g t h [E] i r b i r
. t h,a n d w h e [R](E)t h e y
. d i d p r o c(E)[E](D)O k n o
. w s w e e t l(O)[V](E)I a l w
. a i e s w r i t [E](O)f y o u,
. A n d y o u a n [D] l o v e a
. r e s t i l l {M Y} a r g u m
................................
. m y l o v e s t -i- l l t e l
. l i n g w h a t -i- s t o l d
.................................
James Ferris [DEVERE] -14 find
{ http://www.drjsferris.com }
-------------------------------------------------------
Miles Coverdale (1535) The boke of Iob. Chap. 41
.
One is so ioyned to another, that no <AYRE> can come in: Yee one
hangeth so vpon another, and sticke so together, that they can not
be sundered. His nesinge is like a glisteringe {FYRE}, and his eyes
like the mornynge shyne. Out of his mouth go torches and {FYRE}
brandes, out off his nostrels there goeth a *SMOKE* ,
.
like as out off an hote seetinge *POTT*.
.
...He starte[T]h n[O]t a[W]ay[E] fo[R] him
that bendeth the bowe, & as for slynge stones,
he careth as moch for stubble as for them. He counteth the
hammer no better then a strawe, *he LAUGHETH* him to scorne
that *SHAKETH the SPEARE*. He treadeth the GOLDE in the myre
like þe sharpe potsherdes. He maketh the depe to seeth and
boyle like a [POTT], and stereth the (SEE) together like
an oyntment. The waye is light after him, the depe is his
walkynge place. Vpon [EARTH] is there no power like
vnto his, for he is so made, that he feareth not.
-------------------------------------------------------------
Constance [POTT]: b. January 22, 1862, Wednesday - d. 1957
-- Francis BACON: b. January 22, 1561, Wednesday

*************** January 22, 1607*********
"Love Labour's Lost" & "ROMEO & JULIET" registered.
.............................................................
* [P]assions of JULIET, and her ROMEO ;
* [O]r till I heare a Scene more nobly take,
* [T]hen when thy half-Sword parlying Romans spake.
* [T]ill these, till any of thy Volumes rest

Shall with more fire, more feeling be exprest,
Be sure, our Shake-speare, thou canst *nEVER DyE* ,
But crown'd with Lawrell, live eternally. - L. Digges. 1623
---------------------------------------------------
http://www.shakespearefellowship.org/etexts/si/08-2.htm
.
. VISION OF A FAIR MAID, WITH ECHO VERSES.
.
Sitting alone upon my thoughts in melancholy mood,
In sight of sea, and at my back an ancient hoary wood,
I saw a fair young lady come her secret fears to wail,
Clad all in colour of a nun, and covered with a veil.
Yet (for the day was calm and clear) I might discern her face,
As one might see a damask rose hid under crystal glass.
Three tim[E]s with her soft hand ful[L] hard on her left side sh[E]
knocks, And sigh'd so sor[E] as might have made some [P]ity in,
the rocks. From si[G]hs and shedding amber tears
into sweet song she brake,
................................................
Three tim- <= 20 =>
.
. [E] s w i t h h e r s o f t h a n d f u l
. [L] h a r d o n h e r l e f t s i d e s h
. [E] k n o c k s,A n d s i g h'd s o s o r
. [E] a s m i g h t h a v e m a d e s o m e
. [P] i t y i n,t h e r o c k s.F r o m s i
. [G] h s
.
and shedding amber tears into sweet song she brake,
.
[GPEELE] -20 {1,170,000}
................................................
When thus the Echo answer'd her to *EVERy WORD* she spake..
.
Oh heavens, who was the first that bred in me this fever?
- Vere.
.
Who was the first that gave
[T]he w[O]und, [W]hos[E] fea[R] I wear for EVER? - Vere.
.
What tyrant, Cupid, to my harm,
usurps thy golden quiver? - Vere.
.
What wight first caught this heart, and,
can from bondage it deliver? - Vere.
.......................
_ <= 4 =>
.
. [T] h e w
. [O] u n d
. [W] h o s
. [E] f e a
. [R]

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

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

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

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

. G o d i s i n t h e m i d s t o
. f h e r;s h e s h a l l n o t b

. e [M O V E D] :G o d s h a l l h e
. l p h [E] r,a n d t h a t r i g h
. t e a [R] l y.T h e h e a t h e n
. r a g [E] d,t h e k i n g d o m s

. *w e r e M O V E d* :
-----------------------------­------------------------
In the Great Bible of 1539 translation of Psalm 46:
- "MUCH ADO" are the 100th & 101st words.
.....................................................
In the KJV translation of Psalm 46:
. - *WERE MOVED* are the 100th & 101st words.
.
___ *were MOVEd* is an anagram for
___ *Edw.Vere, O.M.*
...................................................
[ *MOVED* is, in fact, the middle word of the KJV psalm
--------------------------------------------------------
[O]xford's [M]en
............................................
*OM* : men, man. (Mantuan, Romanian)
*OM* : if, about, concerning, on, upon, (Norwegian, Swedish)
*OM* : about, per, within, into, in, inside, round. (Danish)
*OM* : on, at, by, upon, around. for, to. (Dutch, Flemish)
*OM* : elms, elm. (Catalan, Valencian)
----------------------------------------------------
Sonnet 59

Oh that record could with a back-ward looke,
Euen of fiue hundreth courses of the Sunne,
Show me your image in some antique booke,
Since minde at first in carrec[T]er was done.

That I might see what the [O]ld world could say,
To this composed [W]onder of your frame,
Whether we are m[E]nded, or where better they,
Or whethe[R] reuolution be the same.

[TOWER] 30
----------------------------------------------------
Sonnet 68

THus is his cheeke the map of daies out-worne,
When beauty liu'd and dy'ed as flowers do now,
Before [T]hese bastard signes of faire were b[O]rne,
Or durst inhabit on a liuing bro[W]:

Before the goulden tresses of the d[E]ad,
The right of sepulchers, were sho[R]ne away,
To liue a scond life on second head,
Ere beauties dead fleece made another gay:

[TOWER] 30
----------------------------------------------------
Sonnet 87

Thy selfe thou gau'st, thy owne worth then not knowing,
Or mee [T]o whom thou gau'st it, else mistaking,
S[O] thy great guift vpon misprision gro[W]ing,
Comes home againe, on better iudg[E]ment making.

Thus haue I had thee as a d[R]eame doth flatter,
In sleepe a King, but waking no such matter.

[TOWER] 31
----------------------------------------------------
Sonnet 110

ALas 'tis true, I haue gone he[R]e and there,
And made my selfe a motley to the vi[E]w,
Gor'd mine own thoughts, sold cheap [W]hat is most deare,
Made old offences [O]f affections new.

Most true it is, tha[T] I haue lookt on truth
Asconce and strangely: But by all aboue,
These blenches gaue my heart an other youth,
And worse essaies prou'd thee my best of love,

[TOWER] -30
-------------------------------------------------
Sonnet 111

Thence comes it that my name receiues a brand,
And almost thence my nature is subdu'd
To what it workes in, like the Dyers hand,
Pitty me then, and wish I we[R]e renu'de,

Whilst lik[E] a willing pacient I [W]ill drinke,
Potions [O]f Eysell gainst my s[T]rong infection,
No bitternesse that I will bitter thinke,
Nor double pennance to correct correction.

[TOWER] -30
----------------------------------------------------
Sonnet 121

For why should others false adulterat eyes
Giue saluation to my sportiue blood?
Or on my frailties why are fraile[R] spies;
Which in th[E]ir wils count bad [W]hat I think good?

N[O]e, I am that I am, and [T]hey that leuell
At my abuses, reckon vp their owne,
I may be straight though they them-selues be beuel
By their rancke thoughtes, my deedes must not be shown

[TOWER] -30
----------------------------------------------------
Sonnet 127

IN the ould age blacke was not counted faire,
Or if it weare it bore not beauties name:
But now is blacke beauties successiue heire,
And Beautie slanderd with a bastard shame,

For since each hand ha[T]h put on Natures power,
Fairing the f[O]ule with Arts faulse borrow'd face,
S[W]eet beauty hath no name no holy bour[E],
But is prophan'd, if not liues in disg[R]ace.

[TOWER] 30
-------------------------------------------
Art Neuendorffer