The 2nd Folio of Shakespeare's works (1632)
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"Whither the *FATES* call" is the meaning
of Sidney's motto: *QUO FATA VOCANT*
.............................................
"Whither the *FATES* carry" is the meaning
of Bermuda's motto: *QUO FATA FERUNT*
-------------------------------------------------------
http://shakespeareauthorship.com/eulogies.html
The 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 3rd,
signed only with the initials "I.M.S.," is a well-written 77-line
poem called "On *WORTHy* Master Shakespeare and his Poems."
..............................................
http://blog.iloveshakespeare.com/?page_id=49
On *WORTHy* Master Shakespeare and his Poems.
A mind reflecting ages past,whose cleere
And equall surface can make things appeare
Distant a Thousand yeares,and represent
Them in their lively colours,just extent.
To out-run hasty Time, retrive {THE FATES},
Rowle backe the heavens,blow ope the i[R]on gates
Of death and Leth[E], where (confused) ly[E]
Great heapes of ruino[u]s mortalitie.
In that d[E]epe duskie dungeon to [D]iscerne
A royall Ghost from Churles; By art to learne
The Physiognomie of shades, and give
Them suddaine birth, wondring how oft they live;
What story coldly tells, what Poets faine
At second hand, and picture without braine,
Senselesse and soullesse showes.
..............................................
__________ <= 19 =>
.
. T o o u t -r u n h a s t y T i m e,r e
. t r i v e {T H E F A T E S} R o w l e b
. a c k e t h E h e a v e n s b l o w o
. p e t h e i [R] o n g a t e s O f d e a
. t h a n d L [E] t h e w h e r e c o n f
. u s e d l y [E] G r e a t h e a p e s o
. f r u i n o [U] s m o r t a l i t i e I
. n t h a t d [E] e p e d u s k i e d u n
. g e o n t o [D] i s c e r n e A r o y a
. l l G h o s t f r o m C h u r l e s B
. y a r t t t o l e a r n e
........................................
[DE UEER] -19: Prob. at start ~ 1 in 80
------------------------------------------------
. [ON POET-{APE}] EPIGRAMS by Ben Jonson
.
Poor POET-{APE}, that would be thought our chief,
. Whose works are e'en the frippery of wit,
[F]rom brokage is become so bold a thief,
. As we, the robb'd, leave rage, and pity it.
[A]t first he made low shifts, would pick and glean,
. Buy the rEVERsion of old plays ; now grown
[T]o a little wealth, and credit in the scene,
. He takes up all, makes each man's wit his own :
[A]nd, told of this, he slights it. Tut, such crimes
. The sluggish gaping auditor devours ;
. He marks not whose 'twas first : and after-times
. May judge it to be his, as well as ours.
. Fool ! as if half eyes will not know a fleece
. From locks of wool, or shreds from the whole piece ?
----------------------------------------------------
(1603) Francis Davison’s
Anagrammata in Nomina Illustrissimorum Heroum
.............................................
http://www.philological.bham.ac.uk/anagrams/text.html
.
____ *EDOUDARUS V(e)IERUS*
_____ per anagramma
____ *AURE SURDUS VIDEO*
.
{A}uribus hisce licet studio, Fortuna, susurros
{PE}rfidiae et technas efficis esse procul,
. Attamen accipio (quae mens horrescit et auris)
. Rebus facta malis corpora surda tenus.
. Imo etiam cerno Catilinae¶ fraude propinquos
. Funere solventes *FATA* aliena suo.
.............................................
_______ *EDWARD VERE*
______ by an anagram
____ *DEAF IN MY EAR, I SEE*
Though by your zeal, FORTUNE, you keep perfidy's
murmurs & schemings at a distance, nonetheless I learn
(at which my mind & ear *QUAKE*) that our bodies have
been deafened with respect to evil affairs. Indeed,
I perceive men who come close to Catiline* in deception,
freeing other men's *FATES* by their death.
.
¶ Catiline was the rabble-rouser suppressed by *CICERO*.
His name became a watchword for incendiary troublemakers.>>
-------------------------------------------------------
. Wm Shaxpere & Anna *WHATEley* of Temple Grafton
...........................................
<<There is an old English word *WHATE* ,
. meaning fortune, *FATE* , or destiny,
I think that in a desperate moment of inspiration,
confused before the clerk, Shakespeare reached into
his heart and came out with the name of that Anne
who would have been his choice, his *FATE*, his destiny.>>
. - _The Late Mr. Shakespeare_ by Robert Nye
-------------------------------------------------------
. . . Sonnet 70
. That thou are b{L}am'd sh{A}ll not {B}e thy d{E}fect,
[F|O}r slanders m{A}rke was EUER yet the *FAIRE* ,
. The [ORNAMENT] of {B}eauty is (SUS)pect,
[A] Crow that fli[E]s in hea[V|E}ns swe[E]{TEST} ay[R]e.
. {SO} tho[U] be good,[S]lander d{O}th but approue,
[T]heir *WORTH* the greater beeing woo'd of TIME,
. {F}or Canker vice the sweetest buds doth loue,
[A]nd thou present'st a pure vnstayined prime.
. {T}hou hast past by the ambush of young daies,
{E}ither not assayld, or victor beeing charg'd,
. Yet this thy *PRAISE* cannot be soe thy *PRAISE* ,
To tye vp *ENUY*, EUERmore inlarged,
. If some (SUS)pect of ill *MASKT not thy show*,
. Then thou alone kingdomes of hearts shouldst owe.
....................................................
. <= 7 =>
.
. A C r o w
. t h a t f l i
. [E] s i n h e a
. [V] e n s s w e
. [E]{T E S T}a y
. [R] e{S O}t h o
. [U] b e g o o d,
. [S] l a n d e r
.................................................
. [E.VERUS] 7 : Prob. in any Sonnet ~ 1 in 55
.................................................
__ <= 35 =>
.
. thouareb {L} amdsh{A}llnot{B}et h yd{E}fect[F|O}rs
. landersm {A} rkewa s EUERy e tt h eF A IRET h e OR
. NAMENTof {B} eauty i sSUSp e ct[A]Cr o wtha t f li
. esinheau {E} nsswe e testa y re.S ot h oube g o od
. slanderd {O} thbut a pprou e
.
{LABEO} 6,35 : Prob. 2{LABEO}s start any Sonnet ~ 1 in 740
.........................................................
. [I]ohn [M]arston [S]atire note:
.
. So {LABEO} did complain his love was *STONE*,
. Obdurate, flinty, so relentless none:
. Yet Lynceus knows that in the end of this
. He wrought as *STRANGE* a metamorphosis.
------------------------------------------------
https://en.wikipedia.org/wiki/Thomas_Freeman_(poet)
<<Thomas Freeman, (ca. 1590–1630), was a minor English Jacobean poet
and epigramist who is mostly remembered for writing an early poem
addressed to Shakespeare. Freeman was born near Moreton-in-Marsh,
Gloucestershire, and entered Magdalen College, Oxford, in 1607 at
the age of 16 and matriculated with a Bachelor of Arts 22 June 1611.
After graduation he moved to London, and in 1614 published two
collections of epigrams in one volume, Rvbbe, and A great Caste, and
Rvnne And a great Cast: the second bowle, dedicated to Thomas, Lord
Windsor. They were addressed to many of the contemporary poets as well
as the poets of history, including Chaucer, Shakespeare, Daniel,
Donne, Spenser, Heywood, and Chapman. His last poem was written
in 1630 to commemorate the birth of Charles, Prince of Wales.
His Epigram 92 is an early example of Shakespeare criticism:
.................................................
. To Master W: Shakespeare.
.
. Shakespeare, that nimble Mercury thy braine,
. Lulls (MAN)y hundre[D] Argus-ey[E]s asleep[E],
. So fit, fo[R] all thou [F]ashionest thy vaine,
.................................................
. <= 8 =>
.
. L u l l s (M A N)
. y h u n d r e [D]
. A r g u s-e y [E]
. s a s l e e p [E],
. S o f i t,f o [R]
. a l l t h o u [F]
. a s h i o n e s
. t t h y v a i n e,
.
[FREED](MAN)
.............................................
. At th' horse-foote fountaine thou hast drunk full deepe,
.*VER(tu)Es* or vices theame to thee all one is:
. Who loVes chastE life, theRe’s *LUCRECE* for a Teacher:
. Who list read lust there’s *Venus and Adonis*,
.*TRUE* modell of a most lasciuious leatcher.
. Besides in plaies thy wit windes like Meander:
. Whence needy new-composers borrow more
. Thence Terence doth from Plautus or Menander.
. But to praise thee aright I want thy store:
.
. Then let thine owne works thine owne *WORTH UPRAISE*,
. And help t'*ADO(r)N*e thee with *DE(s)ERVE'd BAIES*.
-----------------------------------------------------
<<L'Envoy to [NARCISSUS], by Thomas Edwards,
from a poem in Cephalus & Procris (1595)>>
.
. *ADON [D|E]AFly MASKing* thro,
. Stately troupes rich conceited,
. Shew'd he well *DE(s)ERVED* to,
. Lo[V]es delight on him to gaze,
. And had not love her selfe intreated,
. Other NYMPHS had s[E]nt him *BAIES* .
.
. Eke in purple roabes distaind,
. Amid'st the Center of this clime,
. I hau[E] heard saie doth remaine,
. One whose power FLOWeth far,
. That shou{L}d h{A}ve {B}en{E} of {O}u[R] rime,
. The onely obiect and *the STAR* .
.......................................................
. <= 66 =>
.
[D|E] AFlyMASKingthroStatelytroupesrichconceitedShewdhewe l lD E sE R VE D to L
o[V] esdelightonhimtogazeAndhadnotloveherselfeintreatedO t he r NY M PH S ha d
s[E] nthimBAIESEkeinpurpleroabesdistaindAmidsttheCentero f th i sc l im e Ih a
v[E] heardsaiedothremaineOnewhosepowerFLOWethfarThatshou{L}dh{A}ve{B}en{E}of{O}
u[R] rimeTheonelyobiectandtheSTAR
.
[D|E.VEER] 66
{LABEO} 3 : Prob. in one line ~ 1 in 660
.......................................................
. Well could his bewitching pen,
. Done the MUSES obiects to vs,
. Although he differs much from men,
. Tilting under Frieries,
. Yet his golden art might woo us,
. To haue honored him with *BAIES* .
...........................................................
Diane Price: "The first remark raising a question about the
authorship of a Shakespeare work was made by contemporary
Thomaas Edwards. In 3 stanzas of a longer 1595 poem, Edwards
implied that the author of Venus & Adonis was an aristocrat."
------------------------------------------
http://www.poetrynook.com/poem/satire-9-0
. [I]ohn [M]arston [S]atire nine:
.
Grim-fac'd Reproofe , sparkle with threatning eye
Bend thy sower browes in my tart po[E]sie.
A[V]ant y[E]e cur[R]es, ho[U|L)e in [S|o)me cl(O)udie mist,
*QUAKE* to behold a sharp-fang'd Satyrist.
...........................................
. <= 5 =>
.
. m y t a r
. t p o [E] s
. i e. A [V] a
. n t y [E] e
. c u r [R] e
. s, h o [U](L)
. e i n [S](o)
. m e c l (O)
. u d i e m
. i s t, Q u
. a k e t o
. b e h o l
. d a s h a
. r p- f a n
. g' d S a t
. y r i s t.
[E.VERUS] 5: Prob. at start or end ~ 1 in 42,000
(Lo.O) 5
...............................................
...............................................
Ill-tutor'd pe[D]ant, Mortimers numb[E]rs
With muck-pit esc[U]line filth bescumb[E]rs.
Now th'{APE} chatte[R]s, and is as malecont[E]nt
As a bill-patch'd doore, whose entrailes out haue sent
And spewd theyr tenant.
...........................................
. <= 17 =>
.
. I l l-t u t o r'd p[E|D] a n t,M o
. r t i m e r s n u m b[E] r s W i t
. h m u c k-p i t e s c[U] l i n e f
. i l t h b e s c u m b[E] r s.N o w
. t h'A p e c h a t t e[R] s,a n d i
. s a s m a l e c o n t[E] n t
[E/DEUERE] 17: Prob. at start ~ 1 in 1,675
...........................................
My soule adores iudiciall schollership,
But when to seruile imitatorship
Some spruce Athenian pen is prentized,
Tis WORSE then Apish. Fie, bee not flattered
With seeming *WORTH*, fond affectation
Befits an {APE}, and mumping Babilon.
. O what a tricksie lerned (NICKI)ng straine
. Is this applauded, sencles, modern vain!
. When late I heard it from sage Mutius lips
. How il me thought such wanton Iigging skips
. Beseem'd his *GRAVER* speech. Farre flie thy *FAME*
. Most, most, of me belou'd,
...............................................
. {whose silent name One letter bounds.}
...............................................
. Thy TRUE iudiciall stile
. I EVER honour, and if my loue beguile
. Not much my hopes, then thy unvalued *WORTH*
. Shall mount faire place, when {APES} are turned *FORTH*.
--------------------------------------------------------
. Edward [DE UERE] (born April 12 1550)
. Shepheardes Calender Aprill (G-LOSS-E)
.
Yfere) together. By the mingling of the redde rose and the white is meant the uniting of the two principall houses of Lancaster and of Yorke: by whose longe discord and deadly debate this realm many yeares was sore traveiled, and almost cleane decayed. Til the famous Henry the Seventh, of the line of Lancaster, taking to wife the most vertuous Princesse Elisabeth, daughter to THE FOURTH [E|D]WARD of the house of Yorke, begat the most royal {H|E]NRY} the Eyght aforesayde, in whom was the first{E} [U]nion of the whyte rose and the redde.
Calliope) o{N|E] of the nine Muses; to whome they assigne the hon(o|R] of all poetical invention, and the firste glor{Y|E] of the heroicall verse.
..................................................
. <= 40 =>
.
.*THEFOURTH [E|D]WARD* ofthehouseofYorkebegatthe
. mostroyal {H|E]NRY}t heEyghtaforesaydeinwhomwa
. sthefirst {E|U]nio n ofthewhyteroseandtheredde
. Calliopeo {N|E]oft h enineMusestowhometheyassi
. gnethehon(o)R{ ofa l lpoeticalinventionandthef
. irsteglor {Y|E]oft h eheroicallverse
.
[E/DE UERE] 40
{HEN)R{Y} 40
...................................................
Other say that shee is the goddesse of rhetorick:
but by Virgile it is manifeste, that they mystake the thyng. For there, in hys Epigrams, that arte semeth to be attributed to Polymnia, saying, ‘Signat cuncta manu loquiturque Polymnia gestu:’ which seemeth specially to be meant of action and elocution, both special partes of rhetorick: besyde that her name, which (as some construe it) importeth great remembraunce, conteineth another part; but I holde rather with them, which call her Polymnia, or Polyhymnia, of her good singing.
Bay branches) be the signe of honor and victory, and therfore of myghty conquerors worn in theyr triumphes, and eke of famous poets, as saith Petrarch in hys Sonets, ‘Arbor vittoriosa triomphale, Honor d’imperadori e di poeti,’ &c.
The Graces) be three sisters, the daughters of Jupiter, (whose names are Aglaia, Thalia, Euphrosyne; and Homer onely addeth a fourth, sc. Pasithea) otherwise called Charites, that is, thanks: whom the poetes feyned to be the goddesses of al bountie and comelines, which therefore (as sayth Theodontius) they make three, to wete, that men first ought to be gracious and bountiful to other freely, then to receive benefits at other mens hands curteously, and thirdly, to requite them thankfully: which are three sundry actions in liberalitye. And Boccace saith, that they be paint[E|D] naked (as they were inde[E]de on the tombe of C. Juli[U]s CÆsar) the one having h[E]r backe toward us, and he[R] face fromwarde, as proc[E]eding from us: the other two toward us, noting double thanke to be due to us for the benefit we have done.
..................................................
. <= 20 =>
.
. t h a t t h e y b e p a i n t [E|D] n a k
. e d(a s t h e y w e r e i n d e[E] d e o
. n t h e t o m b e o f C.J u l i[U] s C Æ
. s a r)t h e o n e h a v i n g h[E] r b a
. c k e t o w a r d u s,a n d h e[R] f a c
. e f r o m w a r d e,a s p r o c[E] e d i
. n g f r o m u s
[E/DE UERE] 20 : Prob. of both in this GLOSSE ~ 1 in 16,500
-----------------------------------------------------------
http://www.adamghooks.net/2011/04/sidneys-porcupine.html
Sidney's porcupine by Adam G. Hooks : http://tinyurl.com/zescbqg
<<The emblem in the compartment at the bottom of [The Countesse of Pembrokes Arcadia_ the title-page once caused some confusion --
Corbett provides a lengthy explanation for the emblem, which shows a boar backing away from a marjoram bush, with the motto "{SPIRO} NON TIBI" ("I breathe out [sweet scents] but not for thee"). The general meaning is a condemnation of ignorance, that something wholesome or profitable (i.e., the marjoram bush) is perceived as poisonous by those with poor judgment (i.e., the boar). The emblem was relatively common; Erasmus, in his Adagia, included several proverbs, including this one, on a similar theme: dogs flee from baths, jackdaws from lutes, pigs from both trumpets and marjoram, and asses from lyres.
.
. McKerrow & Ferguson cite the preface
. to {T}homas {NASHE}'s Lenten Stuffe:
. http://tinyurl.com/je8x23l
.
. Most courteous unlearned lo[VER O]f Poetry, and yet a
. Po[E]t thy selfe, of no lesse p[R]ice then H.S. that in
. hono[U]r {O}f Maid-marrian gives [S]w{E}ete Margera for
. his Emp{R}esse, and puttes the Sow{E} most sawcily uppon
. som{E} great personage, what e{V}er she bee, bidding her
. (as it runnes in the old song) Go from my Garden go,
. for there no flowers for thee dooth grow.>>
...................................................
. <= 20 =>
.
. M o s t c o u r t e o u s u n l e a r n
. e d l o [V E R O]f P o e t r y,a n d y e
. t a P o [E]t t h y s e l f e,o f n o l e
. s s e p [R]i c e t h e n H.S.t h a t i n
. h o n o [U]r{O}f M a i d-m a r r i a n g
. i v e s [S]w{E}e t e M a r g e r a f o r
. h i s E m p{R}e s s e,a n d p u t t e s
. t h e S o w{E}m o s t s a w c i l y u p
. p o n s o m{E}g r e a t p e r s o n a g
. e,w h a t E{V}E R s h e b e e,
.
[VERUS] 20 : Prob. ~ 1 in 750
{VEER, E.O.}
--------------------------------------------
_ Sonnet 76 : 4 X 19 (Metonic Cycle)
.
Why write I still all one,
...........................................
. <= 19 =>
.
. E V E R {T} h e s a m e[A]n d k(E|E)p e
. i n u(E){N}(T)i o n i n a*N O T(E)D W(E)
. E D*T h {A}(T)E V 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
.
{T.NASHE} 19 Prob. skip < 20 ~ 1 in 450
[only *TNASHE* in Sonnets!]
--------------------------------------------
. <= 19 =>
.
. {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 S 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)T
..........................................
the probability of the [de.VERE] "T cross"
assuming that the 19 letters of the 2nd line:
{THESE INSUING SONNETS}
provide the # key to the ELS array is ~ 1 in 978
---------------------------------------------------------
. <= 34 =>
.
.{TERRATE (G) ITPOPUL U S M (Æ) R ETO LYMPUSHABE T}
........................................................
. STAYPAS [S] ENGERWH Y G O E (S) TTH OVBYSOFAST R
. EADIFTH [O] UCANSTW H O M {E} N VIO USDEATHHAT H
. PLASTWI [T] HINTHIS M O (N){U} M ENT {SHAKSPEARE} W
. ITHWHOM [E] QUICKNA T (U) R {E}{D} IDE {WHOSENAMED} O
. THDeCKY [S] TOMBEFA (R) M O {R}{E} tHE NCOSTSIEHA L
. LYTHEHA [T] HWRITTL E A V {E} S LIV INGARTBVTP A
. GETOSER V EHISWIT T
..........................................................
the probability of David Roper's: {DE} next to {E.UERE}
assuming that the 34 letters of the
2nd line: {TERRA TEGIT POPULUS MÆRET OLYMPUS HABET}
provide the # key to the ELS array is ~ 1 in 106,000
-------------------------------------------------------
. *GREENES, Groats - WORTH* of Witte
.
____ *VERDI* : *GREENS* (Italian)
____ *VERDI* : *WORTH* (Norwegian)
.
http://www.oxford-shakespeare.com/groatsworth.jpg
http://www.oxford-shakespeare.com/groatsworth.html
----------------------------------------------
. Sonnet 87
.
[F]or how do I hold thee but by thy granting,
[A]nd for that ritches where is my deseruing?
[T]he cause of this *FAIRE* guift in me is wanting,
[A]nd so my pattent back againe is sweruing.
---------------------------------------------
. Sonnet 60
.
[A]nd Time that gave doth now his gift confound.
[T]ime doth transfix the flourish set on youth
[A]nd delves the parallels in beauty's brow,
[F]eeds on the rarities of *NATURE'S TRUTH* ,
And *nothing* stands but for his scythe to mow:
. And yet to times in hope my VERsE shall stand,
. Praising thy *WORTH*, despite his cruel hand.
....................................................
[FATA] : Prob. of 3[FATA] Sonnet acrostics ~ 1 in 21
-----------------------------------------------------
https://en.wikipedia.org/wiki/Attius_Labeo
<<Attius {LABEO} was a Roman writer during the reign of Nero. He is remembered for the derision that greeted his Latin translations of Homer's Iliad & Odyssey, which came to epitomise bad verse. He translated the original Greek into Latin hexameters. The satirist Persius poured scorn on {LABEO}. Elizabethan satirists used the name {LABEO} as a code for a bad poet. {LABEO} appears in Joseph Hall's Satires, in which he is accused of writing bad pastoral, erotic and heroic verse, evidently a reference to poetry of the time. Likewise, *John Marston* mentions {LABEO} in Pygmalion's Image. It may be that this use of the {LABEO} persona is an attack on Shakespeare, since the lines resemble a passage in Venus and Adonis:
.................................................
. [I]ohn [M]arston [S]atire note:
.
. So {LABEO} did complain his love was *STONE*,
. Obdurate, flinty, so relentless none:
. Yet Lynceus knows that in the end of this
. He wrought as *STRANGE* a metamorphosis.
.................................................
Venus’s lines to Adonis:
.
. Art thou obdurate, flinty, hard as steel?
. Nay more than flint, for *STONE* at rain relenteth.
-------------------------------------------------------
. Edmund Spenser The Man on the Stair
http://www.sirbacon.org/mspenser.htm
.
In 1597 Joseph Hall in his Satires,
Book II, p.25 had the following passage:
.
. For shame write better {LABEO},
. or write none Or better write, or {LABEO} write alone.
. Nay, call the Cynic but a wittie fool,
. Thence to obscure his handsome drinking bole;
. Because the thirstie swain with hollow hand
. Conveyed the streame to weet his drie weasand.
. Write they that can, tho they that cannot do;
. But who knows that, but they that do not know.
.
. It is known that {LABEO} was a Roman lawyer.
.
. {LABEO} is whip't and laughs me in the face.
. Why? For I smite and hide the galled place,
. Gird but the Cynicks Helmet on his head,
. Cares he for *TALUS* or his flayle of lead?
. Long as the craftie Cuttle lieth sure
. In the black cloud of his thick vomiture;
. Who list complaine of wronged faith or *FAME*
. When he may shift it on to another name?
.
On the third line is another reference to the Cynic,
i.e., the author. The concluding lines once more
emphasize the fact that he was writing under a pen name.
.
AT THE SAME TIME THE REFERENCE TO *TALUS* OR
HIS FLAYLE OF LEAD HAS TO DO WITH THE FAIRY QUEEN.>>
-----------------------------------------------
. Last speech in the First Folio (1623):
. http://tinyurl.com/q7mtmcg
. http://tinyurl.com/q3588wk
.........................................................
Cymbeline: *{LAU}D WE {T}HE GOD{S}* ,
. And let our crooked *SMOAKES* climbe to their Nostrils
. From our blest Altars.
.....................................................
. *PUBLISH* we
. {T}his Pe{A}ce [T]o [A]{L}[L] o[U]r [S]{U}biect{S}.
.....................................................
. <= 6 =>
.
. P U B L I S
. H w e {T} h i
. s P e {A} c e
. [T] o [A]{L}[L] o
. [U] r [S]{U} b i
. e c t {S}.
.
[TALUS] 2
{TALUS} 6
........................................
Prob. of 2[TALUS]'s with skip < 7
in Last FF Speech: ~ 1 in 830,000
Prob. of a Royal Flush = 1 in 649,739
........................................................
Only 2 KJV cases of [TALUS] with skip less than 4:
.
1 Sam 12:19: for we haue added vn[T]o [A]l[L] o[U]r [S]innes,
. this euil, to aske vs *A KING* .
.
1 Sam 24:7:So Dauid stayed his seruants with these wordes, and
. suffered them not *TO RISE* agains[T] S[A]u[L]: b[U]t [S]aul
. rose vp out of the caue, and went on his way.
---------------------------------------------------------
______ Hamlet (Quarto 1, 1603)
.
Hamlet: Whose [S]c[U]l[L] w[A]s [T]his?
.
Clowne: This, a plague on him, a madde rogues it was,
. He powred once a whole flagon of Rhenish of my head,
. Why do not you know him? this was one Yorickes *SCULL* .
--------------------------------------------------------
. The Winter's Tale (Folio 1, 1623) Act IV, scene IV
.
Servant: He hath songs for man, or woman, of all sizes:
. No Milliner can so fit his customers with *GLOVES* : he has
. the prettiest Loue-songs for Maids, so without bawdrie
. (which is *STRANGE* ,) with such delicate burthens of Dil-
. do's and Fadings: Iump-her, and thump-her; and where
. some stretch-mou{T}h'd R{A}sca{L}l, wo{U}ld (a{S} it were)
. meane mischeefe, and breake a fowle gap into the Matter,
. hee makes the maid to answere, Whoop, doe me no harme
. good man: put's him off, slights him, with Whoop,
. doe mee no harme good man.
.
{TALUS} 4
-------------------------------------------------------
. PARTHENOPHIL and PARTHENOPHE &c. (1593) By B. BARNES
.................................................
To the right virtuous and most beautiful Lady,
. the *LADY STRANGE*
.
SWEET Lady! Might my humble Muse presume
Thy beauties' rare perfection to *SET OUT*
(Whom she, Pride of our English Court reputes)
Ambitious, she would assume
To blazon EVERywhere about
Thy beauty! whose dumb eloquence disputes
With fair Loves' Queen; and her, by right confutes!
But since there is no doubt
But that thy beauty's praise (which shall consume
Even Time itself) exceedeth
All British Ladies; deign my Muse's suits!
Which, unacquainted of your beauty, craves
Acquaintance! and proceedeth
T'approach so boldly! and behaves
Herself {S}o r{U}de{L}y! d{A}un{T}ed at your sight;
As eyes in darkness, at a sudden light.
.
{TALUS} -3
----------------------------------------------------
http://shakespeareauthorship.com/howdowe.html
.
. How We Know That Shakespeare Wrote Shakespeare:
. The Historical Facts by Tom Reedy and David Kathman
.
<<In 1610, John Davies of Hereford published a volume
entitled The Scourge of Folly, consisting mostly of poems
to famous people and Davies's friends. One of these poems
was addressed to Shakespeare:
...............................................
. SOME say good Will (which I, in sport, do sing)
. Had'st thou not plaid some Kingly parts in sport,
. Thou hadst bin a companion for a King ;
. And, beene a King among [T]he meaner sort.
. Some others raile ; but r[A]ile as they thinke fit,
. Thou hast no ray[L]ing, but, a raigning Wit :
. And honesty tho[U] sow'st, which they do reape ;
. So, to increa[S]e their Stocke which they do keepe.
[TALUS] 32 : Prob. ~ 1 in 493 (~Flush odds)
..............................................
Terence was an ancient Roman playwright who came from humble origins,
just like Shakespeare. Davies's references to "playing" parts "in sport"
refer to acting, and his repeated references to "kings" is a play on
the name of the King's Men; the only other poems in the volume that
similarly play on "king" are those to Robert Armin and William Ostler,
also members of the King's Men, and the poem to Armin also refers to
playing "in sport." Incidentally, this poem is demonstrably not
addressed to the Earl of Oxford in any kind of disguise, since it is
addressed in the present tense to a living person, and Oxford had been
dead for six years. (http://shakespeareauthorship.com/whynot.html )>>
----------------------------------------------------
1580: Dedication to Oxford in John Lyly's Euphues and His England.
But their importunitie admitted no excuse, in-so-much that I was
enforced to preferre their friendship before mine owne *FAME* ,
being more carefull to satisfie their reques[TES, T]hen fearefull
of o(T)hers r(E)porte(S): <SO> {T}ha(T) at th{E} last I wa{S}
content {T}o *SET* an other face to Euphues,
..............................
But their importunitie admitted no excuse, in-so-much that I was
enforced to preferre their friendship before *mine owne FAME* ,
being more carefull to satisfie their reques-
__ <= 7 =>
. s[T E S T]h e
. n f e a r E f
. u l l<O>f O(T)
. h e r<S>r(E)p
. o r t e(S|S O>
.{T}h a(T)a t t
. h{E}l a<S>t I
. w a{S}c<O>n t
. e n t{T}o
set an other face to Euphues, but yet iust behind the other,
like the Image of Ianus, not running together, lik the
Hopplitides of Parrha[S]i[U]s [L]e[A]s[T]
[TALUS] -2
they should seeme so vnlike Brothers, that they might be
both thought bastardes, the picture wherof I yeeld as common
all to view, but the patronage onely to your Lordshippe, as able
to defend, knowing that the face of Alexander stamped in copper
doth make it currant, that the name of *Cæsar* , wrought in Canuas,
is esteemed as Cambricke, that the *VERy FEATHER of an Eagle* ,
is of force to consume the Beetle.
----------------------------------------------------
Weare I *A KINGE*, I mighte com¯ande contente,
Weare I obscure, unknowne should be my cares,
And weare I deade, noe thoughts should me torment,
Nor woordes, nor wronges, nor love, nor hate, nor feares
A doubtfull choys for me of three things one to crave,
A kingdome, or a cottage, or a grave.
.........................................
Answered thus by Sir Philip Sidney.
WEARte thou *A KINGE*, yet not com¯ande content,
Sith empire none thy mind could yet suffice, *WEARte*
(T)hou obscur(E), s{T}ill care[S] would th{E}e (T)ormen{T},
B[U]t wearte thou dead, al[L] care and sorrow DYES.
[A]n easy choys of three [T]hings one to crave,
Noe kingdome, nor a cottage, but a grave.
.............................................
. <= 9 =>
.
. (T)h<O>u o b s c u
. r(E)S{T}i l l c a
. r e[S]w o u l d t
. h{E}e(T)o r m e n
. {T}B[U]t w e a r t
. e t h o u d e a d
. a l[L]c a r e a n
. d s o r r o w d y
. e<S|A]n e a s y c
. h<O>y s o f t h r
. e e[T]h i n g s o
. n e t o c r a v e
Noe kingdome, nor a cottage, but a grave.
[TALUS] -18
(TEST) 10
{TEST} -8
--------------------------------------------------------
Shakespeare's Eulogies by David Kathman
http://shakespeareauthorship.com/eulogies.html
2. Eulogies for William Shakespeare, 1616-1640
William Basse wrote a poem entitled "On Mr. Wm. Shakespeare,
he died in April 1616" (thus he was very clearly referring
to the Stratford Shakespeare). Basse was suggesting that
Shakespeare should have been buried in Westminster Abbey
next to Chaucer, Beaumont, and Spenser (Chambers, II, 226):
William Basse (Shakespeare's Poems 1640)
.
. Renowned {[S]PENS<E>R}, lie a tho[U]ght m<O>re nigh
. To [L]earn<E>d Chaucer, [A]nd rare Beaumon[T] lie
. A little nearer {SPENSER} to make room
. {FOR SHAKESPEARE}in your threefold, fourfold tomb.
..................................................
. <= 14 =>
.
. R e n o w n e d{[S] P E N S <E>}
.{R}l i e a t h o [U] g h t m <O>
. r e n i g h T o [L] e a r n <E>
. d C H a u c<E>r,[A] n d r a r
. e B E a u m<O>n [T] l i e A l
. i t T l e n<E>a r e r{S P E
. N S E R}t o m a k e r o o m
.{F O R S H A K E S P E A R E}
.
[TALUS] -14 : Prob. ~ 1 in 1080
...............................................
. To lodge all four in one bed make a shift
. Until Doomsday, for hardly will a fifth
. Betwixt this day and that by *FATE* be slain
. For whom your curtains may be drawn again.
. If your precedency in death doth bar
. {A} fourth place in your sacred sepulcher,
. {U}nder this carved marble of thine own
. {SL}eep rare tragedian Shakespeare, sleep alone,
. {T}hy unmolested peace, unshared cave,
. Possess as lord not tenant of thy grave,
. That unto us and others it may be
. Honor hereafter to be laid by thee.
------------------------------------------------------
. http://tinyurl.com/lju45g7
. http://tinyurl.com/o55w34l
.
. British Museum's Lansdowne MS. Temp. James I.
. by William Basse (c. 1622)
.
. On Mr. Wm. *SHAKESPEARE*
. h{E DYE}d in Aprill 1616.
.
. RENOW{NED} *SPENCER* lye a thought mor(E) [N|Y}e
. To lear(NED) Chaucer, anD r(A)r{E} BeaumonD lye
. A littlE {NEE(R|E|R} *SPENSER*, to make roome
. For (SHAK{E}SPEARE) iN your threefol[D], fowerfol{D} TOMBE.
............................................................
_______ <= 24 =>
.
. R E N O W {N E D}*S P E N C E R*l y e a t h o u g
. h t m o r (E)[N]{Y} e T o l e a r(N E D)C h a u c e
. r,a n(D) r (A) r {E} B e a u m o n D l y e A l i t t
. l E{N E (E)(R)[E]{R}*S P(E|N)S E R*t o m a k e r o o
. m e F o r (S) H A K{E}S P E A R E)i N y o u r t h
. r e e f o l [D] f o w e r f o l{D}T O M B E.
{DYER} 24
[NED] 48
..................................................
.(To LODGE) all fowre in one bed m{A}ke a shift
. Untill Doomesdaye, for ha{R}dly will a sift
. Betwixt ys day and yt {B}y *FATE* be slayne,
. For whom your Curta{I}nes may be drawn againe.
. If yoUr prec{E}dency in death doth barre
. A *FOURTH* place in your sacred sepulcher,
............................................
_______ <= 30 =>
.
. For*SHAK{E}SPEARE* inyourthreefoldf
. owerfol {D} TOMBE ToLODGEallfowrein
. onebedm {A} keash iftUntillDoomesda
. yeforha {R} dlywi llasiftBetwixtysd
. ayandyt {B} yFATE beslayneForwhomyo
. urCurta {I} nesma ybedrawnagaineIfy
. oUrprec {E} dency indeathdothbarreA
. fourthp l acEin yoursacredsepulcher
.
{E.DARBIE} 30 : Prob. ~ 1 in 10,300
....................................................
. Under this carved marble of thine owne,
. Sleepe, rare Tragoedian, *SHAKESPEARE* sleep alone;
. Thy unmolested peace, unshared Cave,
. Possesse as Lord, not Tenant, of the Grave,
. That unto us and others it may be
. Honor hereafter *TO BE* layde by thee. - Wm. Basse.
..........................................................
http://quod.lib.umich.edu/e/eebo/A12017.0001.001?view=toc
<<The most lamentable Romaine tragedie of Titus Andronicus
As it was plaide by the right honourable the {E}arle of {DARBIE},
*Earl of PEMBROOKE* , and Earl of Sussex their seruants.
London: Printed by Iohn Danter, and are to be sold by
Edward White & Thomas Millington, at the little North
doore of Paules at the signe of the Gunne, 1594.>>
---------------------------------------------------------
<<In _Fairie Queene_ Edmund {SPENSER} makes Sir Artegal's
IRON man [TALUS] run continually round the island of CRETE
to chastise offenders with an *IRON* flail. He represents
executive power- "SWift as a swallow & as lion strong."
When Sir Artegal fell into the power of the Amazon queen
Radigund, [TALUS] brought Britomart to the rescue.>> (1596)
......................................................
But when she parted hence, she left her groome
An *YRON* man, which did on her attend
Alwayes, to execute her stedfast doome,
And WILLed him with Artegall to wend,
And doe what EVER thing he did intend.
His name was [TALUS], made of *YRON* mould,
Immoueable, resistlesse, *WITHOUT END* .
Who in his hand an *YRON* flale did hould,
*With which he thresht out falshood, and did *TRUTH vnfould*
-------------------------------------------------------
http://tinyurl.com/ykugrfq
Edward (De Vere) Earl of Oxford poetry:
IV. COELUM NON SOLUM. (not only heaven)
A slauish Smi[T]h, of rude [A]nd rasca[L]l race,
Fo[U]nd meane[S] in time to gaine a Goddesse' grace.
.............................................
. <= 8 =>
.
. A s l a u i s h
. S m i [T] h o f r
. u d e [A] n d r a
. s c a [L] l r a c
. e F O [U] n d m e
. a n E [S] i n t i m e
.
to gaine a Goddesse' grace.
.
[TALUS] 8 : Prob. ~ 1 in 242
------------------------------------------------------
Dedicatory Verse to Oxford in Spenser's Fairie Queene.
..........................................
To the right Honourable the Earle
of Oxenford, Lord high Chamberlayne of
England. &c.
.
REc(E)ive most Noble Lord in gentle gree,
The unripe fruit of an u(N)ready wit:
Which BY THY COUNT{E|N}aunc[E| D}oth cra[V|e} to bee
D[E]f(E)nded f[R]om foule [E]n{V|I}es poisnous bit.
Which so to doe may th(E)e right w{E|L}l befit,
Sith th'antique glory of thine auncest{R}y
Under a *SHADY VELE* is therein writ,
And eke thin{E} owne lon(G) living memory,
Succeeding them in TRUE nobility:
And also for the love, which thou doest beare
To *th'Heliconian YMPS* , and they to thee,
They unto thee, and thou to them most dear[E]:
Deare as thou a[R]t unto thy self[E], so love
{T}h{A}t {L}o[V]e{S} & honours the[E], as doth behove.
..........................................
[EVERE] 8,-13, 40
{TALVS} 2
.
Prob. 3[E.VERE]s skip < 41 ~ 1 in 2,250)
Prob. {TALVS}/{TALUS}/{TALOS} skip 2 ~ 1 in 2,000
--------------------------------------------------------
Jonson, Discoveries
Poetry, in this latter age, hath proved but a m[E]an mistress to such as ha[V]e wholly addicted thems[E]lves to her, or given thei[R] names up to her family. Th[E]y who have but saluted her on the by, and now and then tendered their visits, she ha{T}h done much for, and advanced in the w{A}y of their own professions (both the {L}aw and the gospel) beyond all they co{U}ld have hoped or don[E] for themsel[V]e{S} without h[E]r favour. Whe[R]ein she doth [E]mulate the judicious but preposterous bounty of the time' s grandees, who accumulate all they can upon the PARASITE or FRESH-MAN in their friendship; but think an old client or honest servant bound by his place to write and starve.
[EVERE] 21, 11: Prob. of 2[EVERE]s in paragraph ~ 1 in 2475
{TALUS} 30 : Prob. in paragraph ~ 1 in 170
---------------------------------------------------
HOMERIC HYMN 28 : TO PALLAS
Translated by George Chapman, 1624
.
. Pallas-Minerva's Deitie, the renown'd,
. My Muse in her variety must resound;
. Migh[T]ie in counsailes; whose Illustrous Eyes
. In all resembl[A]nce represent the skies.
. A r(EVERE)nd Maid of an inf[L]exible Minde;
. In Spirit and Person strong; of Triple kinde;
. Of J[O]ve-the-great-in-counsaile's very Braine
. Tooke Prime exi[S]tence; his unbounded Brows
. Could not containe her, such impetuous Throws
. Her Birth gave way to that abrode she flew,
. And stood in Gold arm'd in her Father's view,
.*SHAKING HER SHARPE LANCE*. All Olympus shooke
.{S}o terriblie beneath her that it tooke
.{U}p in amazes all the Deities there;
.{AL} Earth resounded with vociferous Feare;
.{T}he Sea was put up all in purple Waves,
. And settld sodainly her rudest Raves;
. Hype(R)ion's radiant Sonne his swif{T}-hov'd Steedes
. A mighty Tyme staid, till h(E)r {A}rming weedes,
. As glorious as the Gods;, the b{L}ew-eyd Maid
. Tooke from h(E)r Deathlesse sho{U}lde(R)s. But then staid
. All th(E)se distemper{S}, and hea(V)en's counsailor, Jove,
. R(E)joic't that all things else his stay could mov(E).
. So I salute thee still; and still in P{RAISE}
. Thy Fame, and others', shall my Memorie {RAISE}.
.
[TALOS] 46
{TALUS} 35 : Prob. of both ~ 1 in 215
(E.VERE) -19,-57
---------------------------------------------------
. 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. - B.J.
----------------------------------------------------
The Greek/Bronze: TALOS
in its Roman/Iron form: TALUS
----------------------------------------------------
<<In GREEK mythology, *TALOS* was a man of [BRASS],
the work of Hephaestos (Vulcan), who went round the
island of CRETE thrice a day. WhenEVER he saw a STRANGER
draw near the island he either threw boulders at them
or he made himself red-hot, and embraced the STRANGER.
When Jason & the Argonauts escaped to CRETE with the GOLDen
Fleece Medea was able to remove the plug on *TALOS' ANKLE*
such that the ICHOR, his life force, FLOWED out of him.>>
....................................................
. [T]o life againe, to heare thy *BUSKIN* [*ANKLE*] tread,
. [A]nd SHAKE a stage : Or, when thy SOCKES were on,
. [L]eave thee alone, for the comparison
. [O]f all, that INSOLENT GREECE, or haughtie Rome
. [S]ent forth, or since did from their ashes come.
. probability of *TALOS* (Greek: "SUFFERER") ~ 1/1,235
-----------------------------------------------------------
. A nEVER writer, to an EVER reader. Newes.
.
<<Amongst all there is none more witty than this: and had I time
I would comment upon it, though I know it needs not, (for so much
as will make you thinke your ({T}EST)ern{E} well be{S}towd) bu{T}
for *SO MUCH WORTH* , as even poore I know [To be] stuft in it.
It *DEsERVEs* such a labour, [A]s well as the best commedy in
Terence or P[L]autus. And beleeve this, that when hee is g[O]ne,
and his commedies out of sale, you will [S]cramble for them,
.......................................................
{T}EST)ern{E} well be{S}towd) bu{T}
for so much *WORTH*, as even poore I know
...................................
_______________ <= 34 =>
. [To be] stuftinitItDEsERVEssuchalabour
. [A] swellasthebestcommedyinTerenceorP
. [L] autusAndbeleevethisthatwhenheeisg
. [O] neandhiscommediesoutofsaleyouwill
. [S] crambleforthem
[TALOS] 34
.............................................
and *SET UP* a new English inquisition.
---------------------------------------------
http://en.wikipedia.org/wiki/Talos
*TALOS* had one vein, which went from his neck to his ankle, bound
shut by only one bronze *NAIL.* The Argo, transporting Jason & the
Argonauts, approached Crete after obtaining the Golden Fleece. As
guardian of the island, *TALOS* kept the Argo at bay by hurling great
boulders at it. According to the pseudo-Apollodorus' Bibliotheke,
*TALOS* was slain either when Medea the sorceress drove him mad
with drugs, or deceived him into believing that she would make him
immortal by removing the nail. In Argonautica, Medea hypnotized him
from the Argo, driving him mad with the keres she raised, so that he
dislodged the nail, and "the ichor ran out of him like molten lead",
exsanguinating and killing him. Peter Green, translator of
Argonautica, notes that the story is somewhat reminiscent
of the story regarding the heel of Achilles.
In Argonautica, Apollonius notes that the ichor ran out like melted
lead. A.B. Cook first suggested that the single vein closed by a
nail or plug referred to the lost-wax method of casting; Robert
Graves suggests that this myth is based on a misinterpretation of
an image of Athena demonstrating the process of lost-wax casting
of steel, which Daedalus would have brought to Sardinia.>>
----------------------------------------------------
THE NEW INN: OR, The Light Heart.
. By the Author, B. Johnson.
A COMEDY. As it was n[EVER] Acted,
but most negligently Play'd by some,
the KINGS SERVANTS.
And more squeamishly Beheld and Censured by others,
the KINGS SUBJECTS.
Now at last *SET AT* Liberty to the READERS,
His Majesty's Servants and Subjects, to be judg'd of. 1631.
Lov. Why do you [S]ay so?
. Or think so envi[O]usly? do they not stil[L]
. Learn there the Cent[A]ures Skill, the Art of [T]hrace,
.........................................
. <= 18 =>
.
. W h y d o y o u [S] a y s o?O r t h i
. n k s o e n v i [O] u s l y?d o t h e
. y n o t s t i l [L] L e a r n t h e r
. e t h e C e n t [A] u r e s S k i l l,
. t h e A r t o f [T] h r a c e,
.
[TALOS] -18
.........................................
. To ride? or Pollux Mystery, to Fence?
. The Pyrrhick Gestures, both to Dance and Spring
. In Armour, to be active for the Wars?
. To study Figures, Numbers, and Proportions,
. May yield 'em great in Counsels, and the Arts
. {GRAVE NESTOR}, and the *WISE* Ulysses practis'd?
. To make their English sweet upon their Tongue!
. As Rev'rend Chaucer says?
-------------------------------------------------------
. Measure for Measure Act 2, Scene 2
.
ISABELLA: So you must be the first that gives this sentence,
. And he, that *SUFFER's*. O, it is excellent
. To have a GIANT's strength; but it is tyrannous
. To use it like a GIANT.
.
. Act 3, Scene 1
.
ISABELLA: The sense of death is most in apprehension;
. And the poor beetle, that we tread upon,
. In corporal *SUFFERANCE* finds a pang as great
. As when a GIANT dies.
---------------------------------------------------------
The Greek verb odussomai associated with Odysseus'
name can mean "to SUFFER or receive pain."
--------------------------------------------------------
http://en.wikipedia.org/wiki/Talos
<<In the Cretan tales, *TALOS* (Τάλως) or Talon (Τάλων)
was a giant man of bronze who protected Europa in Crete
from pirates & invaders by circling the island's shores
three times daily while guarding it. *TALOS* is said to
be created from a petition from Zeus to Hephaestus, to
protect Europa from persons who would want to kidnap her.>>
---------------------------------------------------------
Poeta Fit, Non Nascitur - Lewis Carroll
Poets are made not born
.
"For first you write a sentence,
And then you chop it small;
Then mix the bits, and sort them out
Jus[T] as they ch[A]nce to fal[L]:
The order [O]f the phra[S]es makes
No difference at all.
...................................
. <= 9 =>
.
. J u s [T] a s t h<E>
. y c h [A] n c e t<O>
. f a l [L] T h e o r
. d e r [O] f t h e p
. h r a [S] e s m a k
. e s N o d i f f e
. r e n c e a t a l l.
[TALOS] 9 : Prob. [TALOS] or [TALUS] ~ 1 in 20
------------------------------------------------------
Digges commendatory poem to the 1640 edition of Poems:
Written by Wil. Shakespeare, Gent. (1623? - 1635):
http://tinyurl.com/l2s76f3
.
UPON MASTER WILLIAM SHAKESPEARE,
THE DECEASED AUTHOUR, AND HIS POEMS.
.
Poets are borne not mad{E}, wh{E|N} I w{O|U|L}d p{R|O}ve
This *TRUTH* , the glad r[E]memberance I must lo[V]e
Of n[EVER] dying Shak[E]speare, who alone,
Is a[R]gument enough to mak[E] that one.
.........................................
. <= 18 =>
.
. T h i s*T R U T H*t h e g l a d r[E]
. m e m b e r a n c e I m u s t l o[V]
. e O f n[E V E R]d y i n g S h a k[E]
. s p e a r e,w h o a l o n e,I s a[R]
. g u m e n t e n o u g h t o m a k[E]
. t h a t o n e.
.
[E.VERE] 18 : Prob. near top ~ 1 in 95
..............................................
First, that he was a Poet none would doubt
That heard th' applause of what he *SEES SET OUT*
Imprinted ; where thou hast (I will not say
Reader hi{S} Workes, for t{O} contrive a P{L}ay ;
{For} him tw{A}s none) the pa{T}terne of all wit,
Art without Art unparaleld as yet.
.......................................
. <= 11 =>
.
. (I w i l l n o t s a y
. R e a d e r h i {S} W o
. r k e s,f o r t {O} c o
. n t r i v e a P {L} a y ;
. {F o r}h i m t w {A} s n
. o n e)t h e p a {T} t e
. r n e o f a l l w i t,
.
{TALOS} -11
..............................................
So have I seene, when *Cæsar* would appeare,
And on {T}he *STAGE* at h{A}lf-sword par{L}ey were,
Brut{U}s and Cassiu{S} : oh how the Audience,
Were ravish'd, with what wonder they went thence,
When some new day they would not brooke a line,
Of tedious (though well laboured) *CATILINES* ;
Sejanus too [W]as [I]rk[S]om[E], they priz'de more
Honest lago, or the jealous Moore.
.......................................
. <= 11 =>
.
. A n d o n {T} h e S t a
. g e a t h {A} l f s w o
. r d p a r {L} e y w e r
. e B r u t {U} s a n d C
. a s s i u {S}
.
{TALUS} 11
Prob. of 2 {TALUS/TALOS} with same (abs.) skip ~ 1 in 1740
----------------------------------------------------------
. EVERy Man Out Of His Humour, by Ben Jonson
. End Lines
.
MACILENTE: I? is't e'en [S]o? Well, Gentlemen, I should have
. gone in, and return'd to y[O]u as I was Asper at the first;
. but (by reason the Shift wou[L]d have been somewhat long,
. and we are loth to draw your P[A]tience farther) we'll
. intreat you to imagine it. And now ([T]hat you may see
. I will be out of Humour for company) I stand wholly
. to your kind Approbation, and (indeed) am nothing so
. peremptory as I was in the beginning: Marry, I will
. not do as Plautus in his Amphytrio, for all this
. (Summi Jovis causa, Plaudite:) beg a Plaudite for
. God's sake; but if you (out of the Bounty of your
. Good liking) will bestow it, why, you may (in time)
. make lean Macilente as fat as Sir John Falstaff.
.
[TALOS] -45 : Prob. [TALOS] or [TALUS] ~ 1 in 15
------------------------------------------------------
http://www.bartleby.com/4/208.html
John Milton. Arcades (1633)
Part of an Entertainment presented to the Countess Dowager of Derby at
Harefield by some Noble Persons of her Family; who appear on the Scene
in pastoral habit, moving toward the seat of state, with this song:
.................................................
I. Song
LOOK, Nymphs and Shepherds, look!
What sudden blaze of majesty
Is that which we from hence descry,
Too divine to be mistook?
This, this is she
To whom *OUR VOWS* and wishes bend:
Here our solemn search hath end.
*FAME*, that her high *WORTH* to {RAISE}
Seemed erst so lavish and profuse,
We may justly now accuse
Of detraction from her p{RAISE}:
Less than half we find expressed;
*ENVY bid CONCEAL the rest*.
Mark what radiant state she spreads,
In circle round her shining throne
Shooting her beams like silve{R} thre{A}ds:
Th{I}s, thi{S} is sh{E} alone,
Sitting like a Goddess bright
In the centre of her light.
.....................................
{RAISE} 5 : Prob. ~ 1 in 139
.....................................
Might she the wise Latona be,
Or the *TOWERed Cybele* ,
Mother of a hundred gods?
Juno dares not give her odds:
Who had thought this clime had held
A Deity so unparalleled?
As they came forward, the Genius of the Wood appears,
and, turning toward them, speaks.
Gen. Stay, gentle {S}wains, for, though in this disg{U}ise,
I see bright honour spark{L}e through your eyes;
Of famous {A}rcady ye a[R]e, and sprung
Of tha{T} ren[O]wned flood so often sun[G],
Divine Alpheus, who, by s[E]cret sluice,
Stole unde[R] seas to meet his Arethu(S)e;
And ye, the breathing roses of the wood,
Fair silver-buskind Nymphs, as great and good.
.....................................
[ROGER(S)] 20
{TALUS} -25
.....................................
I know this quest of yours and free intent
Was all in honour and devotion meant
To the great Mistress of yon princely shrine,
Whom with {L.O.}w r{EVERE}nce I ador[E] as mine,
And with all helpful service will comply
To fu[R]ther this night's glad solemnity,
And lead ye where ye m[A]y more near behold
What shallow-searching *FAME* hath l[E]ft untold;
Which I full oft, midst these shades alone,
Ha[V]e sat to wonder at, and gaze upon.
.....................................
{L.O.} wr {EVERE}
[E.VEARE] -45
.....................................
For know, by lot from Jov[E], I am the Power
Of this fair wood, and live in oaken bower,
To nurse the saplings tall, and curl the grove
With ringlets quaint and wanton windings wove;
And all my plants I save from nightly ill
Of noisome winds and blasting vapours chill;
And from the boughs brush off the evil dew,
And heal the harms of thwarting thunder blue,
Or what the cross dire-looking planet smites,
Or hurtful worm with cankered venom bites.
When Evening grey doth rise, I fetch my round
Over the mount, and all this hallowed ground;
And early, ere the odorous breath of morn
Awakes the slumbering leaves, or tasselled horn
Shakes the high thicket, haste I all about,
Number my ranks, and visit every sprout
With puissant words and murmurs made to bless.
But else, in deep of night, when drowsiness
Hath locked up mortal sense, then listen I
To the celestial Sirens' harmony,
That sit upon the nine enfolded spheres,
And sing to those that hold the vital shears,
And turn the adamantine spindle round
On which the *FATE* of gods and men is wound.
Such sweet compulsion doth in music lie,
To lull the daughters of Necessity,
..............................................
And keep unsteady Na[T]ure to her law,
And the low world in me[A]sured motion draw
After the heaven[L]y tune, which none can hear
Of human m[O]uld with gross unpurged ear.
And yet [S]uch music *WORTHiest* were to blaze
The peerless height of her immortal p{RAISE}
Who[S]e lustre leads us, and for her most fit,
If my inferior hand or v[O]ice could hit
Inimitable sounds. Yet, as we go,
Whate'er the ski[L]l of lesser gods can show
I will assay, her *WORTH* to celebrate,
[A]nd so attend ye toward her glittering state;
Where ye may all, [T]hat are of noble stem,
Approach, and kiss her sacred vesture's hem.
[TALOS] -30,50 : Prob. at end ~1 in 566
---------------------------------------------------------
Hamlet: Why how *UNWORTHY* a thing would you make of me?
. - ([III, 1] 1603 Q1)
.....................................................
____ *VERDIG* : *WORTHY* (Norwegian)
-------------------------------------------
Art Neuendorffer
"Whither the *FATES* call" is the meaning
of Sidney's motto: *QUO FATA VOCANT*
.............................................
"Whither the *FATES* carry" is the meaning
of Bermuda's motto: *QUO FATA FERUNT*
-------------------------------------------------------
http://shakespeareauthorship.com/eulogies.html
The 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 3rd,
signed only with the initials "I.M.S.," is a well-written 77-line
poem called "On *WORTHy* Master Shakespeare and his Poems."
..............................................
http://blog.iloveshakespeare.com/?page_id=49
On *WORTHy* Master Shakespeare and his Poems.
A mind reflecting ages past,whose cleere
And equall surface can make things appeare
Distant a Thousand yeares,and represent
Them in their lively colours,just extent.
To out-run hasty Time, retrive {THE FATES},
Rowle backe the heavens,blow ope the i[R]on gates
Of death and Leth[E], where (confused) ly[E]
Great heapes of ruino[u]s mortalitie.
In that d[E]epe duskie dungeon to [D]iscerne
A royall Ghost from Churles; By art to learne
The Physiognomie of shades, and give
Them suddaine birth, wondring how oft they live;
What story coldly tells, what Poets faine
At second hand, and picture without braine,
Senselesse and soullesse showes.
..............................................
__________ <= 19 =>
.
. T o o u t -r u n h a s t y T i m e,r e
. t r i v e {T H E F A T E S} R o w l e b
. a c k e t h E h e a v e n s b l o w o
. p e t h e i [R] o n g a t e s O f d e a
. t h a n d L [E] t h e w h e r e c o n f
. u s e d l y [E] G r e a t h e a p e s o
. f r u i n o [U] s m o r t a l i t i e I
. n t h a t d [E] e p e d u s k i e d u n
. g e o n t o [D] i s c e r n e A r o y a
. l l G h o s t f r o m C h u r l e s B
. y a r t t t o l e a r n e
........................................
[DE UEER] -19: Prob. at start ~ 1 in 80
------------------------------------------------
. [ON POET-{APE}] EPIGRAMS by Ben Jonson
.
Poor POET-{APE}, that would be thought our chief,
. Whose works are e'en the frippery of wit,
[F]rom brokage is become so bold a thief,
. As we, the robb'd, leave rage, and pity it.
[A]t first he made low shifts, would pick and glean,
. Buy the rEVERsion of old plays ; now grown
[T]o a little wealth, and credit in the scene,
. He takes up all, makes each man's wit his own :
[A]nd, told of this, he slights it. Tut, such crimes
. The sluggish gaping auditor devours ;
. He marks not whose 'twas first : and after-times
. May judge it to be his, as well as ours.
. Fool ! as if half eyes will not know a fleece
. From locks of wool, or shreds from the whole piece ?
----------------------------------------------------
(1603) Francis Davison’s
Anagrammata in Nomina Illustrissimorum Heroum
.............................................
http://www.philological.bham.ac.uk/anagrams/text.html
.
____ *EDOUDARUS V(e)IERUS*
_____ per anagramma
____ *AURE SURDUS VIDEO*
.
{A}uribus hisce licet studio, Fortuna, susurros
{PE}rfidiae et technas efficis esse procul,
. Attamen accipio (quae mens horrescit et auris)
. Rebus facta malis corpora surda tenus.
. Imo etiam cerno Catilinae¶ fraude propinquos
. Funere solventes *FATA* aliena suo.
.............................................
_______ *EDWARD VERE*
______ by an anagram
____ *DEAF IN MY EAR, I SEE*
Though by your zeal, FORTUNE, you keep perfidy's
murmurs & schemings at a distance, nonetheless I learn
(at which my mind & ear *QUAKE*) that our bodies have
been deafened with respect to evil affairs. Indeed,
I perceive men who come close to Catiline* in deception,
freeing other men's *FATES* by their death.
.
¶ Catiline was the rabble-rouser suppressed by *CICERO*.
His name became a watchword for incendiary troublemakers.>>
-------------------------------------------------------
. Wm Shaxpere & Anna *WHATEley* of Temple Grafton
...........................................
<<There is an old English word *WHATE* ,
. meaning fortune, *FATE* , or destiny,
I think that in a desperate moment of inspiration,
confused before the clerk, Shakespeare reached into
his heart and came out with the name of that Anne
who would have been his choice, his *FATE*, his destiny.>>
. - _The Late Mr. Shakespeare_ by Robert Nye
-------------------------------------------------------
. . . Sonnet 70
. That thou are b{L}am'd sh{A}ll not {B}e thy d{E}fect,
[F|O}r slanders m{A}rke was EUER yet the *FAIRE* ,
. The [ORNAMENT] of {B}eauty is (SUS)pect,
[A] Crow that fli[E]s in hea[V|E}ns swe[E]{TEST} ay[R]e.
. {SO} tho[U] be good,[S]lander d{O}th but approue,
[T]heir *WORTH* the greater beeing woo'd of TIME,
. {F}or Canker vice the sweetest buds doth loue,
[A]nd thou present'st a pure vnstayined prime.
. {T}hou hast past by the ambush of young daies,
{E}ither not assayld, or victor beeing charg'd,
. Yet this thy *PRAISE* cannot be soe thy *PRAISE* ,
To tye vp *ENUY*, EUERmore inlarged,
. If some (SUS)pect of ill *MASKT not thy show*,
. Then thou alone kingdomes of hearts shouldst owe.
....................................................
. <= 7 =>
.
. A C r o w
. t h a t f l i
. [E] s i n h e a
. [V] e n s s w e
. [E]{T E S T}a y
. [R] e{S O}t h o
. [U] b e g o o d,
. [S] l a n d e r
.................................................
. [E.VERUS] 7 : Prob. in any Sonnet ~ 1 in 55
.................................................
__ <= 35 =>
.
. thouareb {L} amdsh{A}llnot{B}et h yd{E}fect[F|O}rs
. landersm {A} rkewa s EUERy e tt h eF A IRET h e OR
. NAMENTof {B} eauty i sSUSp e ct[A]Cr o wtha t f li
. esinheau {E} nsswe e testa y re.S ot h oube g o od
. slanderd {O} thbut a pprou e
.
{LABEO} 6,35 : Prob. 2{LABEO}s start any Sonnet ~ 1 in 740
.........................................................
. [I]ohn [M]arston [S]atire note:
.
. So {LABEO} did complain his love was *STONE*,
. Obdurate, flinty, so relentless none:
. Yet Lynceus knows that in the end of this
. He wrought as *STRANGE* a metamorphosis.
------------------------------------------------
https://en.wikipedia.org/wiki/Thomas_Freeman_(poet)
<<Thomas Freeman, (ca. 1590–1630), was a minor English Jacobean poet
and epigramist who is mostly remembered for writing an early poem
addressed to Shakespeare. Freeman was born near Moreton-in-Marsh,
Gloucestershire, and entered Magdalen College, Oxford, in 1607 at
the age of 16 and matriculated with a Bachelor of Arts 22 June 1611.
After graduation he moved to London, and in 1614 published two
collections of epigrams in one volume, Rvbbe, and A great Caste, and
Rvnne And a great Cast: the second bowle, dedicated to Thomas, Lord
Windsor. They were addressed to many of the contemporary poets as well
as the poets of history, including Chaucer, Shakespeare, Daniel,
Donne, Spenser, Heywood, and Chapman. His last poem was written
in 1630 to commemorate the birth of Charles, Prince of Wales.
His Epigram 92 is an early example of Shakespeare criticism:
.................................................
. To Master W: Shakespeare.
.
. Shakespeare, that nimble Mercury thy braine,
. Lulls (MAN)y hundre[D] Argus-ey[E]s asleep[E],
. So fit, fo[R] all thou [F]ashionest thy vaine,
.................................................
. <= 8 =>
.
. L u l l s (M A N)
. y h u n d r e [D]
. A r g u s-e y [E]
. s a s l e e p [E],
. S o f i t,f o [R]
. a l l t h o u [F]
. a s h i o n e s
. t t h y v a i n e,
.
[FREED](MAN)
.............................................
. At th' horse-foote fountaine thou hast drunk full deepe,
.*VER(tu)Es* or vices theame to thee all one is:
. Who loVes chastE life, theRe’s *LUCRECE* for a Teacher:
. Who list read lust there’s *Venus and Adonis*,
.*TRUE* modell of a most lasciuious leatcher.
. Besides in plaies thy wit windes like Meander:
. Whence needy new-composers borrow more
. Thence Terence doth from Plautus or Menander.
. But to praise thee aright I want thy store:
.
. Then let thine owne works thine owne *WORTH UPRAISE*,
. And help t'*ADO(r)N*e thee with *DE(s)ERVE'd BAIES*.
-----------------------------------------------------
<<L'Envoy to [NARCISSUS], by Thomas Edwards,
from a poem in Cephalus & Procris (1595)>>
.
. *ADON [D|E]AFly MASKing* thro,
. Stately troupes rich conceited,
. Shew'd he well *DE(s)ERVED* to,
. Lo[V]es delight on him to gaze,
. And had not love her selfe intreated,
. Other NYMPHS had s[E]nt him *BAIES* .
.
. Eke in purple roabes distaind,
. Amid'st the Center of this clime,
. I hau[E] heard saie doth remaine,
. One whose power FLOWeth far,
. That shou{L}d h{A}ve {B}en{E} of {O}u[R] rime,
. The onely obiect and *the STAR* .
.......................................................
. <= 66 =>
.
[D|E] AFlyMASKingthroStatelytroupesrichconceitedShewdhewe l lD E sE R VE D to L
o[V] esdelightonhimtogazeAndhadnotloveherselfeintreatedO t he r NY M PH S ha d
s[E] nthimBAIESEkeinpurpleroabesdistaindAmidsttheCentero f th i sc l im e Ih a
v[E] heardsaiedothremaineOnewhosepowerFLOWethfarThatshou{L}dh{A}ve{B}en{E}of{O}
u[R] rimeTheonelyobiectandtheSTAR
.
[D|E.VEER] 66
{LABEO} 3 : Prob. in one line ~ 1 in 660
.......................................................
. Well could his bewitching pen,
. Done the MUSES obiects to vs,
. Although he differs much from men,
. Tilting under Frieries,
. Yet his golden art might woo us,
. To haue honored him with *BAIES* .
...........................................................
Diane Price: "The first remark raising a question about the
authorship of a Shakespeare work was made by contemporary
Thomaas Edwards. In 3 stanzas of a longer 1595 poem, Edwards
implied that the author of Venus & Adonis was an aristocrat."
------------------------------------------
http://www.poetrynook.com/poem/satire-9-0
. [I]ohn [M]arston [S]atire nine:
.
Grim-fac'd Reproofe , sparkle with threatning eye
Bend thy sower browes in my tart po[E]sie.
A[V]ant y[E]e cur[R]es, ho[U|L)e in [S|o)me cl(O)udie mist,
*QUAKE* to behold a sharp-fang'd Satyrist.
...........................................
. <= 5 =>
.
. m y t a r
. t p o [E] s
. i e. A [V] a
. n t y [E] e
. c u r [R] e
. s, h o [U](L)
. e i n [S](o)
. m e c l (O)
. u d i e m
. i s t, Q u
. a k e t o
. b e h o l
. d a s h a
. r p- f a n
. g' d S a t
. y r i s t.
[E.VERUS] 5: Prob. at start or end ~ 1 in 42,000
(Lo.O) 5
...............................................
...............................................
Ill-tutor'd pe[D]ant, Mortimers numb[E]rs
With muck-pit esc[U]line filth bescumb[E]rs.
Now th'{APE} chatte[R]s, and is as malecont[E]nt
As a bill-patch'd doore, whose entrailes out haue sent
And spewd theyr tenant.
...........................................
. <= 17 =>
.
. I l l-t u t o r'd p[E|D] a n t,M o
. r t i m e r s n u m b[E] r s W i t
. h m u c k-p i t e s c[U] l i n e f
. i l t h b e s c u m b[E] r s.N o w
. t h'A p e c h a t t e[R] s,a n d i
. s a s m a l e c o n t[E] n t
[E/DEUERE] 17: Prob. at start ~ 1 in 1,675
...........................................
My soule adores iudiciall schollership,
But when to seruile imitatorship
Some spruce Athenian pen is prentized,
Tis WORSE then Apish. Fie, bee not flattered
With seeming *WORTH*, fond affectation
Befits an {APE}, and mumping Babilon.
. O what a tricksie lerned (NICKI)ng straine
. Is this applauded, sencles, modern vain!
. When late I heard it from sage Mutius lips
. How il me thought such wanton Iigging skips
. Beseem'd his *GRAVER* speech. Farre flie thy *FAME*
. Most, most, of me belou'd,
...............................................
. {whose silent name One letter bounds.}
...............................................
. Thy TRUE iudiciall stile
. I EVER honour, and if my loue beguile
. Not much my hopes, then thy unvalued *WORTH*
. Shall mount faire place, when {APES} are turned *FORTH*.
--------------------------------------------------------
. Edward [DE UERE] (born April 12 1550)
. Shepheardes Calender Aprill (G-LOSS-E)
.
Yfere) together. By the mingling of the redde rose and the white is meant the uniting of the two principall houses of Lancaster and of Yorke: by whose longe discord and deadly debate this realm many yeares was sore traveiled, and almost cleane decayed. Til the famous Henry the Seventh, of the line of Lancaster, taking to wife the most vertuous Princesse Elisabeth, daughter to THE FOURTH [E|D]WARD of the house of Yorke, begat the most royal {H|E]NRY} the Eyght aforesayde, in whom was the first{E} [U]nion of the whyte rose and the redde.
Calliope) o{N|E] of the nine Muses; to whome they assigne the hon(o|R] of all poetical invention, and the firste glor{Y|E] of the heroicall verse.
..................................................
. <= 40 =>
.
.*THEFOURTH [E|D]WARD* ofthehouseofYorkebegatthe
. mostroyal {H|E]NRY}t heEyghtaforesaydeinwhomwa
. sthefirst {E|U]nio n ofthewhyteroseandtheredde
. Calliopeo {N|E]oft h enineMusestowhometheyassi
. gnethehon(o)R{ ofa l lpoeticalinventionandthef
. irsteglor {Y|E]oft h eheroicallverse
.
[E/DE UERE] 40
{HEN)R{Y} 40
...................................................
Other say that shee is the goddesse of rhetorick:
but by Virgile it is manifeste, that they mystake the thyng. For there, in hys Epigrams, that arte semeth to be attributed to Polymnia, saying, ‘Signat cuncta manu loquiturque Polymnia gestu:’ which seemeth specially to be meant of action and elocution, both special partes of rhetorick: besyde that her name, which (as some construe it) importeth great remembraunce, conteineth another part; but I holde rather with them, which call her Polymnia, or Polyhymnia, of her good singing.
Bay branches) be the signe of honor and victory, and therfore of myghty conquerors worn in theyr triumphes, and eke of famous poets, as saith Petrarch in hys Sonets, ‘Arbor vittoriosa triomphale, Honor d’imperadori e di poeti,’ &c.
The Graces) be three sisters, the daughters of Jupiter, (whose names are Aglaia, Thalia, Euphrosyne; and Homer onely addeth a fourth, sc. Pasithea) otherwise called Charites, that is, thanks: whom the poetes feyned to be the goddesses of al bountie and comelines, which therefore (as sayth Theodontius) they make three, to wete, that men first ought to be gracious and bountiful to other freely, then to receive benefits at other mens hands curteously, and thirdly, to requite them thankfully: which are three sundry actions in liberalitye. And Boccace saith, that they be paint[E|D] naked (as they were inde[E]de on the tombe of C. Juli[U]s CÆsar) the one having h[E]r backe toward us, and he[R] face fromwarde, as proc[E]eding from us: the other two toward us, noting double thanke to be due to us for the benefit we have done.
..................................................
. <= 20 =>
.
. t h a t t h e y b e p a i n t [E|D] n a k
. e d(a s t h e y w e r e i n d e[E] d e o
. n t h e t o m b e o f C.J u l i[U] s C Æ
. s a r)t h e o n e h a v i n g h[E] r b a
. c k e t o w a r d u s,a n d h e[R] f a c
. e f r o m w a r d e,a s p r o c[E] e d i
. n g f r o m u s
[E/DE UERE] 20 : Prob. of both in this GLOSSE ~ 1 in 16,500
-----------------------------------------------------------
http://www.adamghooks.net/2011/04/sidneys-porcupine.html
Sidney's porcupine by Adam G. Hooks : http://tinyurl.com/zescbqg
<<The emblem in the compartment at the bottom of [The Countesse of Pembrokes Arcadia_ the title-page once caused some confusion --
Corbett provides a lengthy explanation for the emblem, which shows a boar backing away from a marjoram bush, with the motto "{SPIRO} NON TIBI" ("I breathe out [sweet scents] but not for thee"). The general meaning is a condemnation of ignorance, that something wholesome or profitable (i.e., the marjoram bush) is perceived as poisonous by those with poor judgment (i.e., the boar). The emblem was relatively common; Erasmus, in his Adagia, included several proverbs, including this one, on a similar theme: dogs flee from baths, jackdaws from lutes, pigs from both trumpets and marjoram, and asses from lyres.
.
. McKerrow & Ferguson cite the preface
. to {T}homas {NASHE}'s Lenten Stuffe:
. http://tinyurl.com/je8x23l
.
. Most courteous unlearned lo[VER O]f Poetry, and yet a
. Po[E]t thy selfe, of no lesse p[R]ice then H.S. that in
. hono[U]r {O}f Maid-marrian gives [S]w{E}ete Margera for
. his Emp{R}esse, and puttes the Sow{E} most sawcily uppon
. som{E} great personage, what e{V}er she bee, bidding her
. (as it runnes in the old song) Go from my Garden go,
. for there no flowers for thee dooth grow.>>
...................................................
. <= 20 =>
.
. M o s t c o u r t e o u s u n l e a r n
. e d l o [V E R O]f P o e t r y,a n d y e
. t a P o [E]t t h y s e l f e,o f n o l e
. s s e p [R]i c e t h e n H.S.t h a t i n
. h o n o [U]r{O}f M a i d-m a r r i a n g
. i v e s [S]w{E}e t e M a r g e r a f o r
. h i s E m p{R}e s s e,a n d p u t t e s
. t h e S o w{E}m o s t s a w c i l y u p
. p o n s o m{E}g r e a t p e r s o n a g
. e,w h a t E{V}E R s h e b e e,
.
[VERUS] 20 : Prob. ~ 1 in 750
{VEER, E.O.}
--------------------------------------------
_ Sonnet 76 : 4 X 19 (Metonic Cycle)
.
Why write I still all one,
...........................................
. <= 19 =>
.
. E V E R {T} h e s a m e[A]n d k(E|E)p e
. i n u(E){N}(T)i o n i n a*N O T(E)D W(E)
. E D*T h {A}(T)E V 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
.
{T.NASHE} 19 Prob. skip < 20 ~ 1 in 450
[only *TNASHE* in Sonnets!]
--------------------------------------------
. <= 19 =>
.
. {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 S 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)T
..........................................
the probability of the [de.VERE] "T cross"
assuming that the 19 letters of the 2nd line:
{THESE INSUING SONNETS}
provide the # key to the ELS array is ~ 1 in 978
---------------------------------------------------------
. <= 34 =>
.
.{TERRATE (G) ITPOPUL U S M (Æ) R ETO LYMPUSHABE T}
........................................................
. STAYPAS [S] ENGERWH Y G O E (S) TTH OVBYSOFAST R
. EADIFTH [O] UCANSTW H O M {E} N VIO USDEATHHAT H
. PLASTWI [T] HINTHIS M O (N){U} M ENT {SHAKSPEARE} W
. ITHWHOM [E] QUICKNA T (U) R {E}{D} IDE {WHOSENAMED} O
. THDeCKY [S] TOMBEFA (R) M O {R}{E} tHE NCOSTSIEHA L
. LYTHEHA [T] HWRITTL E A V {E} S LIV INGARTBVTP A
. GETOSER V EHISWIT T
..........................................................
the probability of David Roper's: {DE} next to {E.UERE}
assuming that the 34 letters of the
2nd line: {TERRA TEGIT POPULUS MÆRET OLYMPUS HABET}
provide the # key to the ELS array is ~ 1 in 106,000
-------------------------------------------------------
. *GREENES, Groats - WORTH* of Witte
.
____ *VERDI* : *GREENS* (Italian)
____ *VERDI* : *WORTH* (Norwegian)
.
http://www.oxford-shakespeare.com/groatsworth.jpg
http://www.oxford-shakespeare.com/groatsworth.html
----------------------------------------------
. Sonnet 87
.
[F]or how do I hold thee but by thy granting,
[A]nd for that ritches where is my deseruing?
[T]he cause of this *FAIRE* guift in me is wanting,
[A]nd so my pattent back againe is sweruing.
---------------------------------------------
. Sonnet 60
.
[A]nd Time that gave doth now his gift confound.
[T]ime doth transfix the flourish set on youth
[A]nd delves the parallels in beauty's brow,
[F]eeds on the rarities of *NATURE'S TRUTH* ,
And *nothing* stands but for his scythe to mow:
. And yet to times in hope my VERsE shall stand,
. Praising thy *WORTH*, despite his cruel hand.
....................................................
[FATA] : Prob. of 3[FATA] Sonnet acrostics ~ 1 in 21
-----------------------------------------------------
https://en.wikipedia.org/wiki/Attius_Labeo
<<Attius {LABEO} was a Roman writer during the reign of Nero. He is remembered for the derision that greeted his Latin translations of Homer's Iliad & Odyssey, which came to epitomise bad verse. He translated the original Greek into Latin hexameters. The satirist Persius poured scorn on {LABEO}. Elizabethan satirists used the name {LABEO} as a code for a bad poet. {LABEO} appears in Joseph Hall's Satires, in which he is accused of writing bad pastoral, erotic and heroic verse, evidently a reference to poetry of the time. Likewise, *John Marston* mentions {LABEO} in Pygmalion's Image. It may be that this use of the {LABEO} persona is an attack on Shakespeare, since the lines resemble a passage in Venus and Adonis:
.................................................
. [I]ohn [M]arston [S]atire note:
.
. So {LABEO} did complain his love was *STONE*,
. Obdurate, flinty, so relentless none:
. Yet Lynceus knows that in the end of this
. He wrought as *STRANGE* a metamorphosis.
.................................................
Venus’s lines to Adonis:
.
. Art thou obdurate, flinty, hard as steel?
. Nay more than flint, for *STONE* at rain relenteth.
-------------------------------------------------------
. Edmund Spenser The Man on the Stair
http://www.sirbacon.org/mspenser.htm
.
In 1597 Joseph Hall in his Satires,
Book II, p.25 had the following passage:
.
. For shame write better {LABEO},
. or write none Or better write, or {LABEO} write alone.
. Nay, call the Cynic but a wittie fool,
. Thence to obscure his handsome drinking bole;
. Because the thirstie swain with hollow hand
. Conveyed the streame to weet his drie weasand.
. Write they that can, tho they that cannot do;
. But who knows that, but they that do not know.
.
. It is known that {LABEO} was a Roman lawyer.
.
. {LABEO} is whip't and laughs me in the face.
. Why? For I smite and hide the galled place,
. Gird but the Cynicks Helmet on his head,
. Cares he for *TALUS* or his flayle of lead?
. Long as the craftie Cuttle lieth sure
. In the black cloud of his thick vomiture;
. Who list complaine of wronged faith or *FAME*
. When he may shift it on to another name?
.
On the third line is another reference to the Cynic,
i.e., the author. The concluding lines once more
emphasize the fact that he was writing under a pen name.
.
AT THE SAME TIME THE REFERENCE TO *TALUS* OR
HIS FLAYLE OF LEAD HAS TO DO WITH THE FAIRY QUEEN.>>
-----------------------------------------------
. Last speech in the First Folio (1623):
. http://tinyurl.com/q7mtmcg
. http://tinyurl.com/q3588wk
.........................................................
Cymbeline: *{LAU}D WE {T}HE GOD{S}* ,
. And let our crooked *SMOAKES* climbe to their Nostrils
. From our blest Altars.
.....................................................
. *PUBLISH* we
. {T}his Pe{A}ce [T]o [A]{L}[L] o[U]r [S]{U}biect{S}.
.....................................................
. <= 6 =>
.
. P U B L I S
. H w e {T} h i
. s P e {A} c e
. [T] o [A]{L}[L] o
. [U] r [S]{U} b i
. e c t {S}.
.
[TALUS] 2
{TALUS} 6
........................................
Prob. of 2[TALUS]'s with skip < 7
in Last FF Speech: ~ 1 in 830,000
Prob. of a Royal Flush = 1 in 649,739
........................................................
Only 2 KJV cases of [TALUS] with skip less than 4:
.
1 Sam 12:19: for we haue added vn[T]o [A]l[L] o[U]r [S]innes,
. this euil, to aske vs *A KING* .
.
1 Sam 24:7:So Dauid stayed his seruants with these wordes, and
. suffered them not *TO RISE* agains[T] S[A]u[L]: b[U]t [S]aul
. rose vp out of the caue, and went on his way.
---------------------------------------------------------
______ Hamlet (Quarto 1, 1603)
.
Hamlet: Whose [S]c[U]l[L] w[A]s [T]his?
.
Clowne: This, a plague on him, a madde rogues it was,
. He powred once a whole flagon of Rhenish of my head,
. Why do not you know him? this was one Yorickes *SCULL* .
--------------------------------------------------------
. The Winter's Tale (Folio 1, 1623) Act IV, scene IV
.
Servant: He hath songs for man, or woman, of all sizes:
. No Milliner can so fit his customers with *GLOVES* : he has
. the prettiest Loue-songs for Maids, so without bawdrie
. (which is *STRANGE* ,) with such delicate burthens of Dil-
. do's and Fadings: Iump-her, and thump-her; and where
. some stretch-mou{T}h'd R{A}sca{L}l, wo{U}ld (a{S} it were)
. meane mischeefe, and breake a fowle gap into the Matter,
. hee makes the maid to answere, Whoop, doe me no harme
. good man: put's him off, slights him, with Whoop,
. doe mee no harme good man.
.
{TALUS} 4
-------------------------------------------------------
. PARTHENOPHIL and PARTHENOPHE &c. (1593) By B. BARNES
.................................................
To the right virtuous and most beautiful Lady,
. the *LADY STRANGE*
.
SWEET Lady! Might my humble Muse presume
Thy beauties' rare perfection to *SET OUT*
(Whom she, Pride of our English Court reputes)
Ambitious, she would assume
To blazon EVERywhere about
Thy beauty! whose dumb eloquence disputes
With fair Loves' Queen; and her, by right confutes!
But since there is no doubt
But that thy beauty's praise (which shall consume
Even Time itself) exceedeth
All British Ladies; deign my Muse's suits!
Which, unacquainted of your beauty, craves
Acquaintance! and proceedeth
T'approach so boldly! and behaves
Herself {S}o r{U}de{L}y! d{A}un{T}ed at your sight;
As eyes in darkness, at a sudden light.
.
{TALUS} -3
----------------------------------------------------
http://shakespeareauthorship.com/howdowe.html
.
. How We Know That Shakespeare Wrote Shakespeare:
. The Historical Facts by Tom Reedy and David Kathman
.
<<In 1610, John Davies of Hereford published a volume
entitled The Scourge of Folly, consisting mostly of poems
to famous people and Davies's friends. One of these poems
was addressed to Shakespeare:
...............................................
. SOME say good Will (which I, in sport, do sing)
. Had'st thou not plaid some Kingly parts in sport,
. Thou hadst bin a companion for a King ;
. And, beene a King among [T]he meaner sort.
. Some others raile ; but r[A]ile as they thinke fit,
. Thou hast no ray[L]ing, but, a raigning Wit :
. And honesty tho[U] sow'st, which they do reape ;
. So, to increa[S]e their Stocke which they do keepe.
[TALUS] 32 : Prob. ~ 1 in 493 (~Flush odds)
..............................................
Terence was an ancient Roman playwright who came from humble origins,
just like Shakespeare. Davies's references to "playing" parts "in sport"
refer to acting, and his repeated references to "kings" is a play on
the name of the King's Men; the only other poems in the volume that
similarly play on "king" are those to Robert Armin and William Ostler,
also members of the King's Men, and the poem to Armin also refers to
playing "in sport." Incidentally, this poem is demonstrably not
addressed to the Earl of Oxford in any kind of disguise, since it is
addressed in the present tense to a living person, and Oxford had been
dead for six years. (http://shakespeareauthorship.com/whynot.html )>>
----------------------------------------------------
1580: Dedication to Oxford in John Lyly's Euphues and His England.
But their importunitie admitted no excuse, in-so-much that I was
enforced to preferre their friendship before mine owne *FAME* ,
being more carefull to satisfie their reques[TES, T]hen fearefull
of o(T)hers r(E)porte(S): <SO> {T}ha(T) at th{E} last I wa{S}
content {T}o *SET* an other face to Euphues,
..............................
But their importunitie admitted no excuse, in-so-much that I was
enforced to preferre their friendship before *mine owne FAME* ,
being more carefull to satisfie their reques-
__ <= 7 =>
. s[T E S T]h e
. n f e a r E f
. u l l<O>f O(T)
. h e r<S>r(E)p
. o r t e(S|S O>
.{T}h a(T)a t t
. h{E}l a<S>t I
. w a{S}c<O>n t
. e n t{T}o
set an other face to Euphues, but yet iust behind the other,
like the Image of Ianus, not running together, lik the
Hopplitides of Parrha[S]i[U]s [L]e[A]s[T]
[TALUS] -2
they should seeme so vnlike Brothers, that they might be
both thought bastardes, the picture wherof I yeeld as common
all to view, but the patronage onely to your Lordshippe, as able
to defend, knowing that the face of Alexander stamped in copper
doth make it currant, that the name of *Cæsar* , wrought in Canuas,
is esteemed as Cambricke, that the *VERy FEATHER of an Eagle* ,
is of force to consume the Beetle.
----------------------------------------------------
Weare I *A KINGE*, I mighte com¯ande contente,
Weare I obscure, unknowne should be my cares,
And weare I deade, noe thoughts should me torment,
Nor woordes, nor wronges, nor love, nor hate, nor feares
A doubtfull choys for me of three things one to crave,
A kingdome, or a cottage, or a grave.
.........................................
Answered thus by Sir Philip Sidney.
WEARte thou *A KINGE*, yet not com¯ande content,
Sith empire none thy mind could yet suffice, *WEARte*
(T)hou obscur(E), s{T}ill care[S] would th{E}e (T)ormen{T},
B[U]t wearte thou dead, al[L] care and sorrow DYES.
[A]n easy choys of three [T]hings one to crave,
Noe kingdome, nor a cottage, but a grave.
.............................................
. <= 9 =>
.
. (T)h<O>u o b s c u
. r(E)S{T}i l l c a
. r e[S]w o u l d t
. h{E}e(T)o r m e n
. {T}B[U]t w e a r t
. e t h o u d e a d
. a l[L]c a r e a n
. d s o r r o w d y
. e<S|A]n e a s y c
. h<O>y s o f t h r
. e e[T]h i n g s o
. n e t o c r a v e
Noe kingdome, nor a cottage, but a grave.
[TALUS] -18
(TEST) 10
{TEST} -8
--------------------------------------------------------
Shakespeare's Eulogies by David Kathman
http://shakespeareauthorship.com/eulogies.html
2. Eulogies for William Shakespeare, 1616-1640
William Basse wrote a poem entitled "On Mr. Wm. Shakespeare,
he died in April 1616" (thus he was very clearly referring
to the Stratford Shakespeare). Basse was suggesting that
Shakespeare should have been buried in Westminster Abbey
next to Chaucer, Beaumont, and Spenser (Chambers, II, 226):
William Basse (Shakespeare's Poems 1640)
.
. Renowned {[S]PENS<E>R}, lie a tho[U]ght m<O>re nigh
. To [L]earn<E>d Chaucer, [A]nd rare Beaumon[T] lie
. A little nearer {SPENSER} to make room
. {FOR SHAKESPEARE}in your threefold, fourfold tomb.
..................................................
. <= 14 =>
.
. R e n o w n e d{[S] P E N S <E>}
.{R}l i e a t h o [U] g h t m <O>
. r e n i g h T o [L] e a r n <E>
. d C H a u c<E>r,[A] n d r a r
. e B E a u m<O>n [T] l i e A l
. i t T l e n<E>a r e r{S P E
. N S E R}t o m a k e r o o m
.{F O R S H A K E S P E A R E}
.
[TALUS] -14 : Prob. ~ 1 in 1080
...............................................
. To lodge all four in one bed make a shift
. Until Doomsday, for hardly will a fifth
. Betwixt this day and that by *FATE* be slain
. For whom your curtains may be drawn again.
. If your precedency in death doth bar
. {A} fourth place in your sacred sepulcher,
. {U}nder this carved marble of thine own
. {SL}eep rare tragedian Shakespeare, sleep alone,
. {T}hy unmolested peace, unshared cave,
. Possess as lord not tenant of thy grave,
. That unto us and others it may be
. Honor hereafter to be laid by thee.
------------------------------------------------------
. http://tinyurl.com/lju45g7
. http://tinyurl.com/o55w34l
.
. British Museum's Lansdowne MS. Temp. James I.
. by William Basse (c. 1622)
.
. On Mr. Wm. *SHAKESPEARE*
. h{E DYE}d in Aprill 1616.
.
. RENOW{NED} *SPENCER* lye a thought mor(E) [N|Y}e
. To lear(NED) Chaucer, anD r(A)r{E} BeaumonD lye
. A littlE {NEE(R|E|R} *SPENSER*, to make roome
. For (SHAK{E}SPEARE) iN your threefol[D], fowerfol{D} TOMBE.
............................................................
_______ <= 24 =>
.
. R E N O W {N E D}*S P E N C E R*l y e a t h o u g
. h t m o r (E)[N]{Y} e T o l e a r(N E D)C h a u c e
. r,a n(D) r (A) r {E} B e a u m o n D l y e A l i t t
. l E{N E (E)(R)[E]{R}*S P(E|N)S E R*t o m a k e r o o
. m e F o r (S) H A K{E}S P E A R E)i N y o u r t h
. r e e f o l [D] f o w e r f o l{D}T O M B E.
{DYER} 24
[NED] 48
..................................................
.(To LODGE) all fowre in one bed m{A}ke a shift
. Untill Doomesdaye, for ha{R}dly will a sift
. Betwixt ys day and yt {B}y *FATE* be slayne,
. For whom your Curta{I}nes may be drawn againe.
. If yoUr prec{E}dency in death doth barre
. A *FOURTH* place in your sacred sepulcher,
............................................
_______ <= 30 =>
.
. For*SHAK{E}SPEARE* inyourthreefoldf
. owerfol {D} TOMBE ToLODGEallfowrein
. onebedm {A} keash iftUntillDoomesda
. yeforha {R} dlywi llasiftBetwixtysd
. ayandyt {B} yFATE beslayneForwhomyo
. urCurta {I} nesma ybedrawnagaineIfy
. oUrprec {E} dency indeathdothbarreA
. fourthp l acEin yoursacredsepulcher
.
{E.DARBIE} 30 : Prob. ~ 1 in 10,300
....................................................
. Under this carved marble of thine owne,
. Sleepe, rare Tragoedian, *SHAKESPEARE* sleep alone;
. Thy unmolested peace, unshared Cave,
. Possesse as Lord, not Tenant, of the Grave,
. That unto us and others it may be
. Honor hereafter *TO BE* layde by thee. - Wm. Basse.
..........................................................
http://quod.lib.umich.edu/e/eebo/A12017.0001.001?view=toc
<<The most lamentable Romaine tragedie of Titus Andronicus
As it was plaide by the right honourable the {E}arle of {DARBIE},
*Earl of PEMBROOKE* , and Earl of Sussex their seruants.
London: Printed by Iohn Danter, and are to be sold by
Edward White & Thomas Millington, at the little North
doore of Paules at the signe of the Gunne, 1594.>>
---------------------------------------------------------
<<In _Fairie Queene_ Edmund {SPENSER} makes Sir Artegal's
IRON man [TALUS] run continually round the island of CRETE
to chastise offenders with an *IRON* flail. He represents
executive power- "SWift as a swallow & as lion strong."
When Sir Artegal fell into the power of the Amazon queen
Radigund, [TALUS] brought Britomart to the rescue.>> (1596)
......................................................
But when she parted hence, she left her groome
An *YRON* man, which did on her attend
Alwayes, to execute her stedfast doome,
And WILLed him with Artegall to wend,
And doe what EVER thing he did intend.
His name was [TALUS], made of *YRON* mould,
Immoueable, resistlesse, *WITHOUT END* .
Who in his hand an *YRON* flale did hould,
*With which he thresht out falshood, and did *TRUTH vnfould*
-------------------------------------------------------
http://tinyurl.com/ykugrfq
Edward (De Vere) Earl of Oxford poetry:
IV. COELUM NON SOLUM. (not only heaven)
A slauish Smi[T]h, of rude [A]nd rasca[L]l race,
Fo[U]nd meane[S] in time to gaine a Goddesse' grace.
.............................................
. <= 8 =>
.
. A s l a u i s h
. S m i [T] h o f r
. u d e [A] n d r a
. s c a [L] l r a c
. e F O [U] n d m e
. a n E [S] i n t i m e
.
to gaine a Goddesse' grace.
.
[TALUS] 8 : Prob. ~ 1 in 242
------------------------------------------------------
Dedicatory Verse to Oxford in Spenser's Fairie Queene.
..........................................
To the right Honourable the Earle
of Oxenford, Lord high Chamberlayne of
England. &c.
.
REc(E)ive most Noble Lord in gentle gree,
The unripe fruit of an u(N)ready wit:
Which BY THY COUNT{E|N}aunc[E| D}oth cra[V|e} to bee
D[E]f(E)nded f[R]om foule [E]n{V|I}es poisnous bit.
Which so to doe may th(E)e right w{E|L}l befit,
Sith th'antique glory of thine auncest{R}y
Under a *SHADY VELE* is therein writ,
And eke thin{E} owne lon(G) living memory,
Succeeding them in TRUE nobility:
And also for the love, which thou doest beare
To *th'Heliconian YMPS* , and they to thee,
They unto thee, and thou to them most dear[E]:
Deare as thou a[R]t unto thy self[E], so love
{T}h{A}t {L}o[V]e{S} & honours the[E], as doth behove.
..........................................
[EVERE] 8,-13, 40
{TALVS} 2
.
Prob. 3[E.VERE]s skip < 41 ~ 1 in 2,250)
Prob. {TALVS}/{TALUS}/{TALOS} skip 2 ~ 1 in 2,000
--------------------------------------------------------
Jonson, Discoveries
Poetry, in this latter age, hath proved but a m[E]an mistress to such as ha[V]e wholly addicted thems[E]lves to her, or given thei[R] names up to her family. Th[E]y who have but saluted her on the by, and now and then tendered their visits, she ha{T}h done much for, and advanced in the w{A}y of their own professions (both the {L}aw and the gospel) beyond all they co{U}ld have hoped or don[E] for themsel[V]e{S} without h[E]r favour. Whe[R]ein she doth [E]mulate the judicious but preposterous bounty of the time' s grandees, who accumulate all they can upon the PARASITE or FRESH-MAN in their friendship; but think an old client or honest servant bound by his place to write and starve.
[EVERE] 21, 11: Prob. of 2[EVERE]s in paragraph ~ 1 in 2475
{TALUS} 30 : Prob. in paragraph ~ 1 in 170
---------------------------------------------------
HOMERIC HYMN 28 : TO PALLAS
Translated by George Chapman, 1624
.
. Pallas-Minerva's Deitie, the renown'd,
. My Muse in her variety must resound;
. Migh[T]ie in counsailes; whose Illustrous Eyes
. In all resembl[A]nce represent the skies.
. A r(EVERE)nd Maid of an inf[L]exible Minde;
. In Spirit and Person strong; of Triple kinde;
. Of J[O]ve-the-great-in-counsaile's very Braine
. Tooke Prime exi[S]tence; his unbounded Brows
. Could not containe her, such impetuous Throws
. Her Birth gave way to that abrode she flew,
. And stood in Gold arm'd in her Father's view,
.*SHAKING HER SHARPE LANCE*. All Olympus shooke
.{S}o terriblie beneath her that it tooke
.{U}p in amazes all the Deities there;
.{AL} Earth resounded with vociferous Feare;
.{T}he Sea was put up all in purple Waves,
. And settld sodainly her rudest Raves;
. Hype(R)ion's radiant Sonne his swif{T}-hov'd Steedes
. A mighty Tyme staid, till h(E)r {A}rming weedes,
. As glorious as the Gods;, the b{L}ew-eyd Maid
. Tooke from h(E)r Deathlesse sho{U}lde(R)s. But then staid
. All th(E)se distemper{S}, and hea(V)en's counsailor, Jove,
. R(E)joic't that all things else his stay could mov(E).
. So I salute thee still; and still in P{RAISE}
. Thy Fame, and others', shall my Memorie {RAISE}.
.
[TALOS] 46
{TALUS} 35 : Prob. of both ~ 1 in 215
(E.VERE) -19,-57
---------------------------------------------------
. 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. - B.J.
----------------------------------------------------
The Greek/Bronze: TALOS
in its Roman/Iron form: TALUS
----------------------------------------------------
<<In GREEK mythology, *TALOS* was a man of [BRASS],
the work of Hephaestos (Vulcan), who went round the
island of CRETE thrice a day. WhenEVER he saw a STRANGER
draw near the island he either threw boulders at them
or he made himself red-hot, and embraced the STRANGER.
When Jason & the Argonauts escaped to CRETE with the GOLDen
Fleece Medea was able to remove the plug on *TALOS' ANKLE*
such that the ICHOR, his life force, FLOWED out of him.>>
....................................................
. [T]o life againe, to heare thy *BUSKIN* [*ANKLE*] tread,
. [A]nd SHAKE a stage : Or, when thy SOCKES were on,
. [L]eave thee alone, for the comparison
. [O]f all, that INSOLENT GREECE, or haughtie Rome
. [S]ent forth, or since did from their ashes come.
. probability of *TALOS* (Greek: "SUFFERER") ~ 1/1,235
-----------------------------------------------------------
. A nEVER writer, to an EVER reader. Newes.
.
<<Amongst all there is none more witty than this: and had I time
I would comment upon it, though I know it needs not, (for so much
as will make you thinke your ({T}EST)ern{E} well be{S}towd) bu{T}
for *SO MUCH WORTH* , as even poore I know [To be] stuft in it.
It *DEsERVEs* such a labour, [A]s well as the best commedy in
Terence or P[L]autus. And beleeve this, that when hee is g[O]ne,
and his commedies out of sale, you will [S]cramble for them,
.......................................................
{T}EST)ern{E} well be{S}towd) bu{T}
for so much *WORTH*, as even poore I know
...................................
_______________ <= 34 =>
. [To be] stuftinitItDEsERVEssuchalabour
. [A] swellasthebestcommedyinTerenceorP
. [L] autusAndbeleevethisthatwhenheeisg
. [O] neandhiscommediesoutofsaleyouwill
. [S] crambleforthem
[TALOS] 34
.............................................
and *SET UP* a new English inquisition.
---------------------------------------------
http://en.wikipedia.org/wiki/Talos
*TALOS* had one vein, which went from his neck to his ankle, bound
shut by only one bronze *NAIL.* The Argo, transporting Jason & the
Argonauts, approached Crete after obtaining the Golden Fleece. As
guardian of the island, *TALOS* kept the Argo at bay by hurling great
boulders at it. According to the pseudo-Apollodorus' Bibliotheke,
*TALOS* was slain either when Medea the sorceress drove him mad
with drugs, or deceived him into believing that she would make him
immortal by removing the nail. In Argonautica, Medea hypnotized him
from the Argo, driving him mad with the keres she raised, so that he
dislodged the nail, and "the ichor ran out of him like molten lead",
exsanguinating and killing him. Peter Green, translator of
Argonautica, notes that the story is somewhat reminiscent
of the story regarding the heel of Achilles.
In Argonautica, Apollonius notes that the ichor ran out like melted
lead. A.B. Cook first suggested that the single vein closed by a
nail or plug referred to the lost-wax method of casting; Robert
Graves suggests that this myth is based on a misinterpretation of
an image of Athena demonstrating the process of lost-wax casting
of steel, which Daedalus would have brought to Sardinia.>>
----------------------------------------------------
THE NEW INN: OR, The Light Heart.
. By the Author, B. Johnson.
A COMEDY. As it was n[EVER] Acted,
but most negligently Play'd by some,
the KINGS SERVANTS.
And more squeamishly Beheld and Censured by others,
the KINGS SUBJECTS.
Now at last *SET AT* Liberty to the READERS,
His Majesty's Servants and Subjects, to be judg'd of. 1631.
Lov. Why do you [S]ay so?
. Or think so envi[O]usly? do they not stil[L]
. Learn there the Cent[A]ures Skill, the Art of [T]hrace,
.........................................
. <= 18 =>
.
. W h y d o y o u [S] a y s o?O r t h i
. n k s o e n v i [O] u s l y?d o t h e
. y n o t s t i l [L] L e a r n t h e r
. e t h e C e n t [A] u r e s S k i l l,
. t h e A r t o f [T] h r a c e,
.
[TALOS] -18
.........................................
. To ride? or Pollux Mystery, to Fence?
. The Pyrrhick Gestures, both to Dance and Spring
. In Armour, to be active for the Wars?
. To study Figures, Numbers, and Proportions,
. May yield 'em great in Counsels, and the Arts
. {GRAVE NESTOR}, and the *WISE* Ulysses practis'd?
. To make their English sweet upon their Tongue!
. As Rev'rend Chaucer says?
-------------------------------------------------------
. Measure for Measure Act 2, Scene 2
.
ISABELLA: So you must be the first that gives this sentence,
. And he, that *SUFFER's*. O, it is excellent
. To have a GIANT's strength; but it is tyrannous
. To use it like a GIANT.
.
. Act 3, Scene 1
.
ISABELLA: The sense of death is most in apprehension;
. And the poor beetle, that we tread upon,
. In corporal *SUFFERANCE* finds a pang as great
. As when a GIANT dies.
---------------------------------------------------------
The Greek verb odussomai associated with Odysseus'
name can mean "to SUFFER or receive pain."
--------------------------------------------------------
http://en.wikipedia.org/wiki/Talos
<<In the Cretan tales, *TALOS* (Τάλως) or Talon (Τάλων)
was a giant man of bronze who protected Europa in Crete
from pirates & invaders by circling the island's shores
three times daily while guarding it. *TALOS* is said to
be created from a petition from Zeus to Hephaestus, to
protect Europa from persons who would want to kidnap her.>>
---------------------------------------------------------
Poeta Fit, Non Nascitur - Lewis Carroll
Poets are made not born
.
"For first you write a sentence,
And then you chop it small;
Then mix the bits, and sort them out
Jus[T] as they ch[A]nce to fal[L]:
The order [O]f the phra[S]es makes
No difference at all.
...................................
. <= 9 =>
.
. J u s [T] a s t h<E>
. y c h [A] n c e t<O>
. f a l [L] T h e o r
. d e r [O] f t h e p
. h r a [S] e s m a k
. e s N o d i f f e
. r e n c e a t a l l.
[TALOS] 9 : Prob. [TALOS] or [TALUS] ~ 1 in 20
------------------------------------------------------
Digges commendatory poem to the 1640 edition of Poems:
Written by Wil. Shakespeare, Gent. (1623? - 1635):
http://tinyurl.com/l2s76f3
.
UPON MASTER WILLIAM SHAKESPEARE,
THE DECEASED AUTHOUR, AND HIS POEMS.
.
Poets are borne not mad{E}, wh{E|N} I w{O|U|L}d p{R|O}ve
This *TRUTH* , the glad r[E]memberance I must lo[V]e
Of n[EVER] dying Shak[E]speare, who alone,
Is a[R]gument enough to mak[E] that one.
.........................................
. <= 18 =>
.
. T h i s*T R U T H*t h e g l a d r[E]
. m e m b e r a n c e I m u s t l o[V]
. e O f n[E V E R]d y i n g S h a k[E]
. s p e a r e,w h o a l o n e,I s a[R]
. g u m e n t e n o u g h t o m a k[E]
. t h a t o n e.
.
[E.VERE] 18 : Prob. near top ~ 1 in 95
..............................................
First, that he was a Poet none would doubt
That heard th' applause of what he *SEES SET OUT*
Imprinted ; where thou hast (I will not say
Reader hi{S} Workes, for t{O} contrive a P{L}ay ;
{For} him tw{A}s none) the pa{T}terne of all wit,
Art without Art unparaleld as yet.
.......................................
. <= 11 =>
.
. (I w i l l n o t s a y
. R e a d e r h i {S} W o
. r k e s,f o r t {O} c o
. n t r i v e a P {L} a y ;
. {F o r}h i m t w {A} s n
. o n e)t h e p a {T} t e
. r n e o f a l l w i t,
.
{TALOS} -11
..............................................
So have I seene, when *Cæsar* would appeare,
And on {T}he *STAGE* at h{A}lf-sword par{L}ey were,
Brut{U}s and Cassiu{S} : oh how the Audience,
Were ravish'd, with what wonder they went thence,
When some new day they would not brooke a line,
Of tedious (though well laboured) *CATILINES* ;
Sejanus too [W]as [I]rk[S]om[E], they priz'de more
Honest lago, or the jealous Moore.
.......................................
. <= 11 =>
.
. A n d o n {T} h e S t a
. g e a t h {A} l f s w o
. r d p a r {L} e y w e r
. e B r u t {U} s a n d C
. a s s i u {S}
.
{TALUS} 11
Prob. of 2 {TALUS/TALOS} with same (abs.) skip ~ 1 in 1740
----------------------------------------------------------
. EVERy Man Out Of His Humour, by Ben Jonson
. End Lines
.
MACILENTE: I? is't e'en [S]o? Well, Gentlemen, I should have
. gone in, and return'd to y[O]u as I was Asper at the first;
. but (by reason the Shift wou[L]d have been somewhat long,
. and we are loth to draw your P[A]tience farther) we'll
. intreat you to imagine it. And now ([T]hat you may see
. I will be out of Humour for company) I stand wholly
. to your kind Approbation, and (indeed) am nothing so
. peremptory as I was in the beginning: Marry, I will
. not do as Plautus in his Amphytrio, for all this
. (Summi Jovis causa, Plaudite:) beg a Plaudite for
. God's sake; but if you (out of the Bounty of your
. Good liking) will bestow it, why, you may (in time)
. make lean Macilente as fat as Sir John Falstaff.
.
[TALOS] -45 : Prob. [TALOS] or [TALUS] ~ 1 in 15
------------------------------------------------------
http://www.bartleby.com/4/208.html
John Milton. Arcades (1633)
Part of an Entertainment presented to the Countess Dowager of Derby at
Harefield by some Noble Persons of her Family; who appear on the Scene
in pastoral habit, moving toward the seat of state, with this song:
.................................................
I. Song
LOOK, Nymphs and Shepherds, look!
What sudden blaze of majesty
Is that which we from hence descry,
Too divine to be mistook?
This, this is she
To whom *OUR VOWS* and wishes bend:
Here our solemn search hath end.
*FAME*, that her high *WORTH* to {RAISE}
Seemed erst so lavish and profuse,
We may justly now accuse
Of detraction from her p{RAISE}:
Less than half we find expressed;
*ENVY bid CONCEAL the rest*.
Mark what radiant state she spreads,
In circle round her shining throne
Shooting her beams like silve{R} thre{A}ds:
Th{I}s, thi{S} is sh{E} alone,
Sitting like a Goddess bright
In the centre of her light.
.....................................
{RAISE} 5 : Prob. ~ 1 in 139
.....................................
Might she the wise Latona be,
Or the *TOWERed Cybele* ,
Mother of a hundred gods?
Juno dares not give her odds:
Who had thought this clime had held
A Deity so unparalleled?
As they came forward, the Genius of the Wood appears,
and, turning toward them, speaks.
Gen. Stay, gentle {S}wains, for, though in this disg{U}ise,
I see bright honour spark{L}e through your eyes;
Of famous {A}rcady ye a[R]e, and sprung
Of tha{T} ren[O]wned flood so often sun[G],
Divine Alpheus, who, by s[E]cret sluice,
Stole unde[R] seas to meet his Arethu(S)e;
And ye, the breathing roses of the wood,
Fair silver-buskind Nymphs, as great and good.
.....................................
[ROGER(S)] 20
{TALUS} -25
.....................................
I know this quest of yours and free intent
Was all in honour and devotion meant
To the great Mistress of yon princely shrine,
Whom with {L.O.}w r{EVERE}nce I ador[E] as mine,
And with all helpful service will comply
To fu[R]ther this night's glad solemnity,
And lead ye where ye m[A]y more near behold
What shallow-searching *FAME* hath l[E]ft untold;
Which I full oft, midst these shades alone,
Ha[V]e sat to wonder at, and gaze upon.
.....................................
{L.O.} wr {EVERE}
[E.VEARE] -45
.....................................
For know, by lot from Jov[E], I am the Power
Of this fair wood, and live in oaken bower,
To nurse the saplings tall, and curl the grove
With ringlets quaint and wanton windings wove;
And all my plants I save from nightly ill
Of noisome winds and blasting vapours chill;
And from the boughs brush off the evil dew,
And heal the harms of thwarting thunder blue,
Or what the cross dire-looking planet smites,
Or hurtful worm with cankered venom bites.
When Evening grey doth rise, I fetch my round
Over the mount, and all this hallowed ground;
And early, ere the odorous breath of morn
Awakes the slumbering leaves, or tasselled horn
Shakes the high thicket, haste I all about,
Number my ranks, and visit every sprout
With puissant words and murmurs made to bless.
But else, in deep of night, when drowsiness
Hath locked up mortal sense, then listen I
To the celestial Sirens' harmony,
That sit upon the nine enfolded spheres,
And sing to those that hold the vital shears,
And turn the adamantine spindle round
On which the *FATE* of gods and men is wound.
Such sweet compulsion doth in music lie,
To lull the daughters of Necessity,
..............................................
And keep unsteady Na[T]ure to her law,
And the low world in me[A]sured motion draw
After the heaven[L]y tune, which none can hear
Of human m[O]uld with gross unpurged ear.
And yet [S]uch music *WORTHiest* were to blaze
The peerless height of her immortal p{RAISE}
Who[S]e lustre leads us, and for her most fit,
If my inferior hand or v[O]ice could hit
Inimitable sounds. Yet, as we go,
Whate'er the ski[L]l of lesser gods can show
I will assay, her *WORTH* to celebrate,
[A]nd so attend ye toward her glittering state;
Where ye may all, [T]hat are of noble stem,
Approach, and kiss her sacred vesture's hem.
[TALOS] -30,50 : Prob. at end ~1 in 566
---------------------------------------------------------
Hamlet: Why how *UNWORTHY* a thing would you make of me?
. - ([III, 1] 1603 Q1)
.....................................................
____ *VERDIG* : *WORTHY* (Norwegian)
-------------------------------------------
Art Neuendorffer
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