------------------------------------------------
T O T H E R I G H T H O N O R A B L E
Henrie Wriothesley, Earle of Southampton,
and Baron of Titchfield.

RIght Honourable, I know not how I shall offend in
dedicating my unpolisht lines to your Lordship, nor
how the worlde Will censure mee for choosing so
strong a proppe to support so Weake a burthen,
onelye if your Honour seeme but pleased, I ac-
count my selfe highly praised,

and vowe to take advantage of all idle houres,

TILL I [H]AV[E] HO[N]OU[R]ED [Y]OU [W.]IT[H.] SO[M]E G[r.]

-AVER LABOUR.

[HENRY W.] 3 : Prob. in V&A [HENRY W.] dedication ~ 1 in 36,000
[W.H. Mr.] 3
..............................................................
AVER, n. [OF. AVER domestic animal, whence LL. AVERia,
pl. cattle. cf. {AVERage}.] A WORKING OX. [Obs. or Dial. Eng.] ..............................................................
Moby Dick by Herman Melville
Chapter 103: Measurement of The Whale's Skeleton

The largest, a middle one, is in width somet[H]ing less than three
fe[E]t, and in depth more tha[N] four. The smallest, whe[R]e the
spine tapers awa[Y] into the tail, is only t[W.]o inches in width,
and looks something like a white billiard-ball.

[HENRY W.] 19 : shortest skip in MD & KJV. --------------------------------------------------------------
[M]r. William SHAKESPE[A|R)ES
COMEDIES, HISTO[R|I)ES, & TRAGEDIES.
Publ[I|S)hed according to t[H(e)] True Originall Co<PIES> ...............................................
_________ <= 17 =>

. [M]R. W i l l i a m S (H) A K <E S> P E
. [A|R} E S C o m e d i (E) s,H <I> s t o
. [R|I} e s&T r a g e d (I) e s <P> u b l
. [I|S} h e d a c c o r (D) i n g t o t
. [H E} T r u e O r i g (I) n a l l C o
. {P I E S}.
.
[MARI.H(e)] -17 : Prob. ~ 1 in 4174
(*RISE*)
-----------------------------------------------
*HIRAM* (Hebrew חירָם "high-born" = 51 = 3 x 17). -----------------------------------------------
_________ <= 17 =>

. T O T H E (O) N L I E B E .G. E T T(E)
. R O F T H (E) S E I N S V .I. N G S(O)
. N N E T S [M] R W H A L L {H} A P P I
. N E S S E [A] N D T H A T {E} T E R N
. I T I E P [R] O M I S E D {B} Y O V R
. E V E R L [I] V I N G P O {E} T W I S
. H E T H T [H(E)]W E L L W .I. S H I N
. G A D V E .N. T V R E R I .N. S E T T
. I N G F O .R. T H T T

[MARI.H(e)] -17 : Prob. ~ 1 in 10,000
{HEBE} 17
[HIRAM(e)] -17
----------------------------------------------------
Ben Jonson (1623) _To the Memory of Shakespeare_ ........................................
. My Shakespeare, {RISE} ; I Will no{T LODGE} THee by
. Chaucer, or Spenser, or bid Beaumont lye
. A little further to make thee a roome ;
. Thou art a Moniment, without a tombe, ........................................
. Sweet swan of Avon! what a fight it were
. To see thee in our waters yet appeare,
. And make those flights upon the bankes of Tha[M]es,
. That so did t[A]ke Eliza, and ou[R] James !
.{B}ut stay, [I] see th{E}e in the {He}misp{He}re
. Advanc'd, and made a Constellation there !
. Shine forth, thou StarrE Of Poets, and wi[T]h rage,
. Or inf[L]uence, chide, [O]r cheere the [D]rooping Sta[G]e;
. Which, sinc[E] thy flight fro' hence, hath mourn'd li{K(e)NIGHT},
. And despaires day, but for thy Volumes light. ........................................
_____ . . . . <= 12 =>
.
. .S. w. e. e. t. s .w. a .n. o. f (A)
. .v. o. n! w. h. a .t. a {S I G}. (H)
. .t. i. t. w. e. r .e. T {O} s. e (E)
. .t. h. e. e. i. n .o. u {R} w. a (T)
. .e. r. s. y. e. t .a. p .p. e. a .r
. .e, A. n. d. m. a .k. e .t. h. o .s
. .e. f. l. i. g. h .t. s .u. p. o .n
. .t {H .e. B} a. n .k. e {S} o. f .T
. <H> a [M] e} s, T .h. a {T} s. o .d
. <I> d. t [A] k. e .E. l {I} z. a, a
. <N> d. o. u [R] J .a. m {E} s! B. u
. <T> s. t. a. y.[I] s. e .e. t. h. e
. (E) i. n. t. h. e {H e} .m. i. s. p
. {H e} .r. e. A. d .v. a .n. c' d, a
. .n. d. m. a. d. e .a. C .o. n. s. t
. .e. l. l. a. t. i .o. n .t. h. e. r
. .e! S. h. i. n. e .f. o .r. t. h, t
. .h. o. u. S. t. a .r. r .e. o. f. P
. .o. e. t. s, a. n .d. w .i [T] h. r
. .a. g. e, O. r. i .n. f [L] u {E} n
. .c. e, c. h. i. d .e,[O] r {C} h. e
. .e. r. e. t. h. e [D] r {O} o. p. i
. .n {G} S.(T) a [G] e; W. h. i. c. h,
. .s {I} n. c [E] t .h. y. f. l. i. g
. .h. t. f. r. o'(H) e. n. c. e, h. a
. .t. h. m. o. u. r .n' d. l. i. k. e
. .n. i. g. h. t, A .n. d. d. e. s. p
. .a. i. r. e. s. d .a. y, b. u. t. f
. .o. r. t. h. y. V .o. l. u. m. e. s
. .l. i. g. h. t.
.
[{He/Be}MARI{He}] 13
{STIE} 12
<HINT> 12
{E.C.O.} 11
[T LODGE] 11 Prob. with skip < 12 ~ 1 in 600 ....................................................
THE LA. [MARI]e {He}r{Be}rt COUNTESSE OF PEMBROOKE. -----------------------------------------------------
Ben Jonson (1623) _To the Memory of Shakespeare_ .............................................
My Shakespeare, rise; I will no{T LODGE} thee by
Chaucer, or Spenser, or bid Beaumont lye
A little further, to make thee a roome :
Thou art a Moniment, without a TOMBe, ......................................................
Shine *FORTH*, thou Starr{E O}f Poets, and wi[T]h rage, Or
inf[L]u{E}nce, chide, [O]r {C}heere the [D]r{O}oping Sta[G]e;
(W)hich, sinc[E] t(H)y flight fro' hence, hath mourn'd like
night, And despaires day, but for thy Volumes light. .............................................
. . . . <= 11 =>
.
. S .h. i n e*F O R T H* t
. h .o. u S t a r r{E O} f
. P .o. e t s,a n d w i [T]
. h .r. a g e.O r i n f [L]
. u {E} n c e,c h i d e,[O]
. r {C} h e e r e t h e [D]
. r {O} o p i n g S t a [G]
. e;(W) h i c h,s i n c [E]
. t (H) y f l i g h t
.
[T LODGE] 11 : Prob. at end of poem ~ 1 in 18,000
{E.C.O.} 11
..................................................
(Shortest positive ELS [T LODGE] skip in KJV = 25) -------------------------------------------------------------
. . Epilogue _ROSALYNDE OR, EUPHUES' GOLDEN LEGACY_

Here, gentlemen, may you see in Euphues' Golden Legacy, that such as
neglect their fathers' precepts, incur much prejudice; that division
in nature, as it is a blemish in nurture, so 'tis a breach of good
fortunes; that virtue is not measured by birth but by action; that
younger brethren, though inferior in years, yet may be superior to
honors; that concord is the sweetest conclusion, and amity betwixt
brothers more forceable than fortune. If you gather any fruits by
this Legacy, speak well of Euphues for writing it, and me for
fetching it. If you grace me with that favor, you encourage me
to be more forward; and as soon as I have overlooked my labors,
expect the Sailor's Calendar.
.
*T. LODGE. FINIS* ----------------------------------------------------------------
. . Henry IV, Part 1 (Quarto 1, 1598)
.
Wor. Peace coosen, say no more.
. And now I will *UNCLASPE a SECRET BOOKE* ,
. And to your quicke conceiuing discontents
. Ile read[E] you matter deepe and daun[G]erous,
. As full of perill an[D] aduenterous spirit,
. As to [O]rewalke a Current roring [L]owd,
. On the vnstedfast foo[T]ing of a *SPEARE*. ......................................................
_______ . . . . . <= 22 =>
.
. s a .y n o m o .r e A n d n o w I W. I. L L *U N
. C L .A S P E A .S E C R E T B O O K. E* A n .d t
. o y .o u r q u .i c k e c o n c e i. u. i n .g d
. i s .c o n t e .n t s I l e r e a d [E] y o .u m
. a t .t e r d e .e p e a n d d a u n [G] e r .o u
. s,A .s f u l l .o f p e r i l l a n [D] a d .u e
. n t .e r o u s .s p i r i t,A s t o [O] r e .w a
. l k .e a C u r .r e n t r o r i n g [L] o w .d,O
. n t .h e v n s .t e d f a s t f o o [T] i n .g o
. f a *S P E A R .E*.
.
[T LODGE] -22 (one of 6 *SPEARE*s) (only *SECRET BOOKE*) ----------------------------------------------------------
Commendatory poem to 1640 version of the Sonnets.
by John Warren,
.
. . *Of (M r) WilliamShakespeare*
.
WHat, lofty Shakespeare, art againe reviv'd?
.
An[D] [V]irbius like now show'st thy selfe twise liv'd,
Tis love that thus to th[E|E] is showne,
The labours his, the glory sti'l thine owne.
These learned Po[E]ms amongst thine after-birth,
That makes thy name immortall on the ea[R]th, .................................................................
. . . <= 57 =>
.
. *Of (M r) WilliamShakespeare* WHatloftyShakespeareartagainerevivd
.
. *An [D|V] irbiuslikenowshows .tthyselfetwiselivdTislovethatthusto
. *th [E|E] isshowneThelabours .histheglorystilthineowneTheselearne
. *dP o [E] msamongstthineafte .rbirthThatmakesthynameimmortallonth
. *ee a [R] th
................................
Will make the learned still admire to see,
The Muses gifts to fully infus`d on thee.
Let carping Momus barke and bite his fill,
And ignorant Davus slight thy learned skill:
Yet those who know the worth of thy desert,
An{D} with true judg{E}ment can disce{R}ne thy art,
Wi[L]l {D}e admirers [O]f th\Y\ high tun`[D] straine,
Amon[G]st whose numb[E]r let me still remaine. ................................................
. . . . . <= 13 =>
.
. Y e t t h o s e w h o k n
. o w t h e w o r t h o f t
. h y d e s e r t,A n{D}w i
. t h t r u e j u d g{E}m e
. n t c a n d i s c e{R}n e
. t h y a r t,W i[L]l{B}e a
. d m i r e r s[O]f[T]h\Y\h
. i g h t u n[D]s t r a i n
. e,A m o n[G]s t w h o s e
. n u m b[E]r l e t m e s t
. i l l r e m a i n e.
.
{DERB\Y} 13
[LODGE]. 12 : Prob. ~ 1 in 660
.
William Stanley, 6th Earl of {DERBY} died 29 September 1642. ----------------------------------------------------- http://www.oxford-shakespeare.com/documentssonnet.html
.
. . *PHAETON* to his Friend Florio
.
. Sweet friend, whose name agrees with thy increase
. How fit a rival art thou of the spring!
. For when each branch hath left his flourishing,
. And green-locked summer’s shady pleasures cease,
.
. She makes the winter’s storms repose in <P>eac[E]
. And spends her franchise on each l<I>vin[G] thing:
. The daisies spout, the littl<E> bir[D]s do sing,
. Herb{S}, gums, and plants d{O} vaunt [O]f their re{L}ease.
. So when that {A}ll our Eng[L]ish wi{T}s lay dead
. (Except the laurel tha[T] is EVERgreen)
. Thou with thy fruits our barrenness o’erspread
. And set thy flowery pleasance to be seen.
. Such fruits, such flowerets of morality
. Were ne’er befroe brought out of Italy. .................................................
. . . . . <= 33 =>
.
. She .m. akest h ew i nt e rsstormsrep o se i n <P>
. eac [E] Andsp e nd s he r franchiseon e ac h l <I>
. vin [G] thing T he d ai s iesspoutthe l it t l <E>
. bir [D] sdosi n gH e rb{S}gumsandplan t sd{O}v .a
. unt [O] fthei r re{L}ea s eSowhenthat{A}ll o u .r
. Eng [L] ishwi{T}sl a yd e adExceptthe l au r e .l
. tha [T] isEVE R gr e en
.
[T.LODGE] -33 : Prob. ~ 1 in 1,800
<PIE>. . . 33
{TALOS} . -15
...............................................
{T} o life againe, to heare thy Buskin 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. ------------------------------------------------ https://en.wikipedia.org/wiki/The_Purloined_Letter

<<"The Purloined Letter" is a short story by American author Edgar Allan Poe. It is the third of his three detective stories featuring the fictional C. Auguste Dupin, the other two being "The Murders in the Rue Morgue" and "The Mystery of Marie Rogêt".
These stories are considered to be important early forerunners of the modern detective story. It first appeared in the literary annual The Gift for 1845 (1844) and soon was reprinted in numerous journals and newspapers.
...........................................
At Paris, just after dark one gusty evening in the autumn of 18 -- , I was enjoying
the twofold luxury of meditation and a meerschaum, in company with my friend, C. Auguste Dupin, in his little back library, or book-closet, au troisime,

. No. *33* Rue Dunt, Faubourg St. Germain...

In about a [M]onth afterward he paid another visit, and found us occupied very nearly [A]s before. He took a pipe and a chair and entered into so(M)e ordinary c(O)nver [S]ation. (A)t length (I) said: "Well, but G., what of the purloined letter?
I presume y[O]u have at last made up your mind that there is no such thing as overreachi[N]g the Minister?" "Confound him, say I -- yes; I made the re-examination,
however, a[S] Dupin suggested -- bu{T} it w{A}s al{L} lab{O}r lo{S}t, as I knew it
would be."
......................................
[MASONS] 60 : Prob. in TPL ~ 1 in 15
{TALOS} . 4 : Prob. {TALOS} or {TALUS} here ~ 1 in 500
(MOAI) . 11 : Prob. here ~ 1 in 20 ----------------------------------------------------------------
I stumbled across a long youtube:

Alan Green - presenting "Dee-Coding Shakespeare" https://www.youtube.com/watch?v=upzjM7-83LE

and it got me thinking about the mispagination of page: 273/265 http://internetshakespeare.uvic.ca/Library/facsimile/book/SLNSW_F1/283/?zoom=850

So I did an ELS search for the top of page: 264 http://internetshakespeare.uvic.ca/Library/facsimile/book/SLNSW_F1/282/?zoom=850

...and discovered: {M}[MASONS]{r} skip 33 = 264/(273-265) : --------------------------------------------------------------
. Twelfth Night (First Folio, 1623) top of page 264: II, v
.
{M}al. Ioue knowes I loue, but who, Lips do not [M]ooue, no
. man must know. No man must know. Wh[A]t followes?
. The numbers alter'd: No man mu[S]t know,
. If this should be thee Maluolio?
.
T[O]. Marrie hang thee brock(E).
.
Mal. I may comma[N]d where I adore, but silenc(E) like a Lu-
. cre[S]se knife:
. With bloodlesse st(R)oke my hea{r}t doth gor(E), {M}.O.A.I. d{O}th
. sw{A}y my l{I|F|E).
.
Fa. *A FUSTIAN RIDDLE*! ........................................................
. . . . . <= 33 = 264/(273-265) =>
.
. {M} alIou e kn o .w e s I. l o uebu .t w h o L i p .sdonot
. [M] oouen o ma n .m u s t. k n owNo .m a n m u s t .knowWh
. [A] tfoll o we s .T h e n. u m bers .a l t e r d N .omanmu
. [S] tknow I ft h .i s s h. o u ldbe .t h e e M a l .uolioT
. [O] Marri e ha n .g t h e. e b rock (E)M a l I m a .ycomma
. [N] dwher e Ia d .o r e b. u t sile .n c(E)l i k e .aLucre
. [S] sekni(F)eW i .t h b l. o o dles .s e s t(R)o k .emyhea
. {r} tdoth g or(E){M O A I} d{O}thsw {A}y m y l{I|F)(E)
.
{M}[MASONS]{r} 33 : [MASONS] Prob. here ~ 1 in 1470
(FREE) -35,18 : Prob. of both here ~ 1 in 135
{MOAI} 5,1
-------------------------------------------------------- http://www.bartleby.com/153/107.html http://www.luminarium.org/renascence-editions/colin.html ...................................................
Colin Clo{UT}s Co(M|E)
Home Ag(A|I|N)e
BY ED. (S|P|E)NCER
L(O N|D)ON
PRI(N)T E D FOR WILLIAM PONSONBIE ...................................................
(MASON) 8 : Prob. ~ 1 in 5,750
(PIE) -8
(NED) 8
...................................................
Colin Clouts Co[M]E H[O]me [A]ga[I]ne ...................................................
[MOAI] 3 : Prob. ~ 1 in 135
-------------------------------------------------
from: _Big Secrets_ William Poundstone
https://sites.google.com/site/zprime21/

Masonic Secret Word: Not to be confused with the password. The Word (always capitalized) is so secret that initiates are taught it one letter at a time. First they learn A, then O, then M, and finally I. The Word is *IAOM*. You never get a straight story
as to what it means. As best as anyone can figure, it is the ineffable name of god, or some approximation thereof. The Word (or Name) is a internal linktongue-internal linktwister. It takes some practice to get it right.
...................................................
_Masonry and Its Symbols in the Light of Thinking and Destiny_
by Harold Waldwin Percival (15 April 1868 - 6 March 1953):

https://tandd.org/hlib/masonry-and-its-symbols/section06.html

<<The Word, an English translation of the Logos, as used by St. John, is not the Name. It is an expression of the full Triune Self powers, each of the three parts being represented in it by a sound, and the perfect body in which the Triune Self dwells
being also represented by a sound. The Doer part is expressed as A, the Thinker part as U or O, the Knower part as M, and the perfect body as I. The Word is I-A-O-M, in four syllables or letters. The expression of the perfect body and the Triune Self as
these sounds is an expression of the Conscious Light of the Intelligence through that Self and body. When a part in its physical body sounds as *IAOM* each of the parts sounds AOM, and each represents a Logos. The Knower is then the First Logos, the
Thinker the Second Logos and the Doer the Third Logos.

The Word is symbolized by a circle in which are a hexad of two interlaced triangles, and the point in the center. The point is the M, the triangle Aries, Leo, Sagittary is the A, the triangle Gemini, Libra, Aquarius is the U or the O, and the circle is
the fully expressed point M as well as the line of the body I. The hexad is made up of the macrocosmic signs standing for the sexless triad and the androgynous triad, the triangle of God as Intelligence and the triangle of God as nature. These letters in
which the perfect Self sounds, are symbolized in Masonry by the square and compass or the emblem of the interlaced triangles.

There is a succinct relationship of the Word with the Ineffable Name. The Word is feeling-and-desire, the Doer. The Doer is lost in the body of flesh and blood in the world of life and death. Thus the Doer is the lost Word. The body, when perfected,
serves as the instrument through which the Doer pronounces the Ineffable Name. The Ineffable Name and the embodied Word, when one is fitted to speak it, is IAOM. By so doing the body is raised from a horizontal to an upright position.

The Name is pronounced as follows: It is started by opening the lips with an “ee” sound graduating into a broad “a” as the mouth opens wider with the lips forming an oval shape and then graduating the sound to “o” as the lips form a circle,
and again modulating to an “m” sound as the lips close to a point. This point resolves itself to a point within the head.

Expressed phonetically the Name is “EE-Ah-Oh-Mmm” and is pronounced with one continuous outbreathing with a slight nasal tone in the manner described above. It can be correctly and properly expressed with its full power only by one who has brought
his physical body to a state of perfection, that is, balanced and sexless.>> ------------------------------------------------------------------------ Churchyard, Thomas, 1520?-1604. https://quod.lib.umich.edu/e/eebo/A18762.0001.001/1:7?rgn=div1;view=fulltext

The Epi[T]aph of the moste honourable, Sir Christopher H[A]tton Knight,
late Lord Chaun∣celler of England.

[L]Et droppes of blood from wounded hart, bewaile [O]ur losse of late
Teares are too base to show the [S]mart, is felt for this great state. ......................................................................
A higher place we hope thou has[T], and dost with [A]ngelles dwel[L]:
For brunt [O]f worldly broile[S] are past, as showes thy last farwell.
. FINIS.
.
[TALOS] 39,12 : Prob. of end ~ 1 in 145 -------------------------------------------------------------
david kathman wrote:

<<In 1596, *THOMAS LODGE* in his *WITS MISERy* mentioned
the "ghost which cried so MISERably at the Theatre,
*like an OISTER-WIFE*, 'HAMlet, REVEnge'.">> --------------------------------------------------------------- http://en.wikipedia.org/wiki/Thomas_Lodge

<<THOMAS LODGE (1558 - September 1625) was an English dramatist.
He was born at West HAM, the second son of Sir Thomas Lodge,
who was Lord Mayor of the City of London in 1562-1563.

Young Thomas served as *PAGE* to the Stanleys, Earls of Derby,
until approximately 1571, when he enrolled in the
Merchant-Taylors' School. From there he went on to
Trinity College, Oxford, where he took his degree in 1577.>> ---------------------------------------------
. William Webbe (c. 1550-1591)
A Discourse of English Poetrie 1586
http://www.bartleby.com/359/14.html

A Preface to the Noble {POETS} of Englande. .......................................................................
If the motion bee worthy your regard, it is enough to mooue it; if not,
my worde(S) woulde simply preuaile in perswadi(N)g you; and therefore
I rest vppon thys (O)nely request, that of your courtesie(S) you wyll
graunt passage, vnder your f(A)uourable corrections, for this my si(M)ple censure of English Poetry, wherein, if you please to runne it ouer, you
shall knowe breefely myne opinion of the most part of your accustomed Poets, and particularly, in his place, the lyttle somewhat which I haue sifted
out of my weake brayne concerning thys reformed versifying. - W.W. .......................................................................
. . . . . . . <= 31 =>
.
. m y w o r d e (S) w o u l d e s i m p l y p r e u a i l e i n p
. e r s w a d i (N) g y o u;a n d t h e r e f o r e I r e s t v p
. p o n t h y s (O) n e l y r e q u e s t,t h a t o f y o u r c o
. u r t e s i e (S) y o u w y l l g r a u n t p a s s a g e,v n d
. e r y o u r f (A) u o u r a b l e c o r r e c t i o n s,f o r t
. h i s m y s i (M) p l e c e n s u r e o f E n g l i s h P o e t r y,
.
(MASONS) -31 : prob. at end of Preface ~ 1 in 1730 ---------------------------------------------------
. [Hamlet (Quarto 2) 5.1]
.
Clown: What is he that builds {S}tronger
. {T}hen eyth{E}r [THE MAS{O}N],
. the Shy{P}wright, or the Carpenter.
........................................
. . . . <= 8 =>
.
. . . . . . W .h .a. t
. i s h e . t .h .a. t
. b u i l. (d) s {S} t
. r o n g. (e) r {T} h
. e n e y. (t) h {E} r
. [T H E M (A) S {O} N]
. t h e S. (h) y {P} w
. r i g h . t, o .r. t
. h e C a . r .p .e. n
. t e r.
.
{POETS} -8: Prob. in question: ~ 1 in 660
.
Answer: (hated) [M(A)S{O}N] {POETS} ? ------------------------------------------------------------------------ https://en.wikipedia.org/wiki/Greene%27s_Groats-Worth_of_Wit

<<[ROBERT] {G}reene's (1592) _Groats-worth of Witte, bought with a million of Repentance_ begins with an account of the brothers [ROBERT{O}] and Lucanio Gorinius, sons of a wealthy usurer. [ROBERT{O}] is a scholar, while Lucanio is being groomed to take
over the family business. After their father dies, leaving [ROBERT{O}] only a groat to buy a "groat's worth of wit", [ROBERT{O}] takes his now wealthy brother to visit the dazzling courtesan Lamilia. Lucanio is enchanted with her. The characters sing
songs, tell fables and comic anecdotes. [ROBERT{O}] attempts to make a deal with Lamilia to share the proceeds if she can fleece the naive Lucanio, but Lamilia tells Lucanio about his brother's proposal and kicks [ROBERT{O}] out of the house. [ROBERT{O}]
then meets an actor who tells [ROBERT{O}] he can make a living as a playwright. Two years later [ROBERT{O}] is a successful playwright and Lucanio is penniless, having spent all the money he inherited on Lamilia, who has now discarded him. [ROBERT{O}]
employs his brother, but Lucanio leaves and spends the remainder of his life as a pimp. [ROBERT{O}]'s success does not stop him from squandering all his money until he is left dying, once again finding himself with just one groat left.>>
------------------------------------------------------------------------ http://www.luminarium.org/renascence-editions/greene1.html

GREENS, GROATS-WORTH of Wit, bought with a million of Repentance. (1592) ...................................................................
To the Gentlemen Readers.

GEntlemen.

The Swan sings melodiously before death, that in all his life
useth but a iarring sound. Greene though able inough to write,
yet deeplyer searched with [S]ickenes than EVER heeretofore, sendes you his Swanne like songe, for tha[T] he feares he shal neer againe carroll to you woonted
lov{E} layes, ne{V}er ag[A]in{E} discove{R} to you yo{U}ths plea{S}ures. How EVER
yet sickenesse, riot, Inco[N]tinence, have at once shown their extremitie, yet if I recover, you shall a[L]l see, more fresh sprigs, then EVER sprang from me, directing you how to liv[E, Y]et not diswading ye from lo(V)e. This is the last I have writ, and I fear(E) me the last I shall writ. And how EVER I h(A)ve beene censured for some of my forme(R) bookes, yet Gentlemen I protest,
they w(E)re as I had speciall information. ...................................................................
. The Swan sings melodiously before death,
.
. . . . . . . . . . . . . <= 60 =>
.
thatinallhislif e usethbu t aiar .r. i n g soundGr e enethou g habeino u ghto writeyetdeeplye r searche d with [S] i c k enestha n EVERhee r etofore s ende syouhisSwanneli k esongef o rtha [T] h e f eareshe s halneer a gaineca r roll toyouwoontedlov{E}layesne{V}erag [A] i n{E}discove{R}toyouyo{U}thsplea{S}ures HowEVERyetsicke n esserio t Inco [N] t i n encehav e atonces h ownthei r extr emitieyetifIrec o veryous h alla [L] l s e emorefr e shsprig s thenEVE R spra ngfrommedirecti n gyouhow t oliv [E Y] e t notdisw a dingyef r om
.
[STANLE/Y] 60 : Prob. in top 3 sentences ~ 1 in 9240
{E.VERUS} 8 : Prob. in top 3 sentences ~ 1 in 570 ......................................................
. . . . <= 32 =>
.
. lo (V) eThisisthelastIhavewritandIfe
. ar (E) methelastIshallwritAndhowEVER
. Ih (A) vebeenecensuredforsomeofmyfor
. me (R) bookesyetGentlemenIprotestthe
. yw (E) reasIhadspeciallinformation
.
(VEARE) 32
...................................................................
But passing them, I commend this to your favourable censures, and
like an Embrion without shape, I feare me WILL be thrust into the world.
If I live to ende it, it shall be otherwise: if not, yet WILL I commend it to your courtesies, that you may as well be acquainted with my repentant death, as you have lamented my careles course of life. But as *NEMO ante obitum felix*, so
Acta Exitus probat: Beseeching therefore to be deemed heereof as I DE(s)ERVE,
I leave the worke to your likinges, and leave you to your delightes. ........................................................................ ........................................................................
Is it not *STRANGE* that I, to whom they al haue beene beholding: is it not like
that you, to whome they all haue beene beholding, shall (were yee in that case that I am now) bee both at once of th{E}m fo[R]saken? Yes, trust them not: f[O]r
there is an vpstart Cr{O}w, [B]eautified with our feath[E]rs, that with his Tygers
ha[RT] wrapt in a Players hyde, supposes he is as well able to b[O]mbast out
a blanke verse as the best of you: and being an a[B]solute Iohannes fac totum, is in his owne conceit the on[E]ly *SHAKE-SCENE* in a countrey. O that I might intreate you[R] rare wits to be imploied in more profitable courses: & le[T] those Apes imitate your past excellence, and neuer more acquaint them with your admired inuentions. I know the best husband of you all will neuer proue an Usurer, and the kindest of them all will neuer seeke you a kind nurse: yet whilest you may, {S}eeke you better Mais{T}ers; for it is pittie m{E}n of
such rare wits, sh{O}uld be subiect to the {P}leasure of such rude {G}roomes. ........................................................................
. . . . . . . . <= 22 =>
.
. I s i t n o t*S T R A N G E*t h a t I,t .o w
. h o m t h e y a l h a u e b e e n e b e .h o
. l d i n g:i s i t n o t l i k e t h a t .y o
. u,t o w h o m e t h e y a l l h a u e b .e e
. n e b e h o l d i n g,s h a l l(w e r e .y e
. e i n t h a t c a s e t h a t I a m n o .w)b
. e e b o t h a t o n c e o f t h{E}m f o [R]s
. a k e n?Y e s,t r u s t t h e m n o t:f [O]r
. t h e r e i s a n v p s t a r t C r{O}w,[B]e
. a u t i f i e d w i t h o u r f e a t h [E]r
. s,t h a t w i t h h i s T y g e r s h a [R T]
. w r a p t i n a P l a y e r s h y d e,
.
[ROBER/T] 22 : Prob. in *SHAKE-SCENE* paragraph ~ 1 in 225 ..................................................................
. . . . . . <= 46 =>
.
. Isitnot *S T R .A. N G E* t h a t I t o w h. omtheyalhauebeenebehold
. ingisit .n o t .l. i k e .t h a t y o u t o. whometheyallhauebeenebe
. holding .s h a .l. l w e .r e y e e i n t h. atcasethatIamnowbeeboth
. atonceo .f t h {E} m f .o r s a k e n Y e s. trustthemnotforthereisa
. nvpstar .t C r {O} w b .e a u t i f i e d w. ithourfeathersthatwithh
. isTyger .s h a [R] t w .r a p t i n a P l a. yershydesupposesheisasw
. ellable .t o b [O] m b .a s t o u t a b l a. nkeverseasthebestofyoua
. ndbeing .a n a [B] s o .l u t e I o h a n n. esfactotumisinhisowneco
. nceitth .e o n [E] l y *S H A K E-S C E N E* inacountreyOthatImighti
. ntreate .y o u [R] r a .r e w i t s t o b e. imploiedinmoreprofitabl
. ecourse .s l e [T] t h .o s e A p e s i m i. tateyourpastexcellence
.
[ROBERT] 46 : Prob. in *SHAKE-SCENE* paragraph ~ 1 in 360 ..................................................................
. . . . <= 18 =>
.
. {S} e e k e y o u b e t t e r M a i s
. {T} e r s;f o r i t i s p i t t i e m
. {E} n o f s u c h r a r e w i t s,s h
. {O} u l d b e s u b i e c t t o t h e
. {P} l e a s u r e o f s u c h r u d e
. {G} r o o m e s.
.
{G-POETS} -18 : Prob. in *SHAKE-SCENE* paragraph ~ 1 in 1325 ------------------------------------------------------------------
Scratching it and patchin{G} at with a prompt from a {P}rimer.
And what scrips {O}f nutsnolleges I peck{E}d up me meself EVERy
le{T}ter is a hard but yours {S}ure is the hardest crux EVER. ................................................................
. . . . <= 18 =>
.
. S c r a t c h i n g i t a n d p a t
c h i n{G}a t w i t h a p r o m p t
f r o m a{P}r i m e r.A n d w h a t
s c r i p s{O}f n u t s n o l l e g
e s I p e c k{E}d u p m e m e s e l
f E V E R y l e{T}t e r i s a h a r
d b u t y o u r s{S}u r e i s t h e
h a r d e s t c r u x E V E R.
.
{G POETS} 19
------------------------------------------------
THE Tragedie of King Richard the second.

As it hath beene publikely acted
by the right Honourable the
Lorde Chamberlaine his Seruants.

. L O N D O N 1 5 9 7.

Printed by Valentine Simmes for Androw Wise, and
are to be sold at his shop in Paules church yard at
the singe of the Angel.
.......................................................
. . . . . . Act V scene ii
.
Du. Alac poore Richard, where rode he the w(H)ilst?
. Yorke As in a Theat(E)r the eies of men,
. After a (W)ell-graced Actor leaue(S) the stage,
. Are ydly bent on him that enters next,
. Thinking his prattle to be tedious;
. Euen so, or with much more contempt mens eies
. Did scowle on gentle Ric. no man cried, God saue him,
. No ioyfull tongue {G}aue him his welcome (H)ome,
. But dust was throw(E)n v{P}on his sacred head:
. (W)hich with such gentle (S)orr{O}w he shooke off,
. His face still combating with t{E}ares and smiles,
. The badges of his griefe and pa{T}ience,
. That had not God for some strong purpose {S}teeld
. The hearts of men, they must perforce haue melted,
. And Barbarisme it selfe haue pittied him: .....................................................
. . . . . . . . . . <= 39 =>
.
. pooreRic h a rd .w. hererodehethew(H)i l stYorkeAs
. inaTheat(E)r th .e. eiesofmenAfter a(W)e llgracedA
. ctorleau e(S)th .e. stageAreydlybe n t o nhimthate
. ntersnex t T hi .n. kinghisprattle t o b etediousE
. uensoorw i t hm .u. chmorecontempt m e n seiesDids
. cowleong e n tl .e. RicnomancriedG o d s auehimNoi
. oyfullto n g ue {G} auehimhiswelco m e(H)omeButdus
. twasthro w(E)nv {P} onhissacredhea d(W)h ichwithsu
. chgentle(S)o rr {O} wheshookeoffHi s f a cestillco
. mbatingw i t ht {E} aresandsmilesT h e b adgesofhi
. sgriefea n d pa {T} ienceThathadno t G o dforsomes
. trongpur p o se {S} teeld
.
{G POETS} 39
(HEWS) 20,19
------------------------------------------------
To the memory of my beloued,
The AVTHOR MR. WILLIAM SHAKESPEARE:
AND what he hath left vs.
................................................
Yet mus{T} I not giue Nature all: Thy A{R}t,
My gentle Shakespeare, m{U}st enioy a part.
For though {THE POETS} matter, Nature be,
{H}is Art doth giue the fashion. ................................................
. . . . . . . <= 22 =>
.
. Y e t m u s {T} I n o t g i u e N a t u r e a

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