• =?UTF-8?B?Q8OGVEVSQSBGQU1B?= (2/3)

    From Arthur Neuendorffer@21:1/5 to All on Thu Sep 23 17:51:01 2021
    [continued from previous message]

    away when they had committed their "happy sin" or Felix culpa, but
    had burst forth anew when Michael promised man's future salvation.

    But Adam had died when *SETH* returned, so he planted
    the branch on Adam's grave, where it lasted until
    Solomon's time as a mighty tree. Solomon cut it down to build,
    but IT ALWAYS CHANGED SHAPE and was thrown down as a BRIDGE.>> ------------------------------------------------------------
    <<As Great SHAPE-SPHERE puns it.>> -- FW ...........................................................
    <<Out of syght, out of {MYND}>> -Googe: Eglogs. 1563. ---------------------------------------------------------
    Francis Bacon, Novum Organum, Bk I, Aph.120.

    <<Existence, or pure Being, is the divine Word. It simply is-
    The cabalistic formula for this is the expression, 'I AM'.

    Just -as the image of sound is its *EchO* ,
    so the image of existence is the knowl-edge of
    that existence-self-consciousness, in other words.

    There are two -basic types of consciousness:

    INNOCENT or pure consciousness that contai-ns
    the wisdom but doesn't yet know it, and
    self-consciousness or se-lf-knowledge that does know.

    Pure consciousness is associated with the pu-re but INNOCENT
    intelligence-the intelligence of the HEART-which has the
    capacity to know the wisdom that exists within it as its
    lif-e or being, but as yet is ignorant of it and what it means. .- .

    We might say, 'Oh, but I knew that already!' HowEVER, the re-ality
    is that we did not know it before, as such, and yet we had -the
    TRUTH of it already in our HEARTs. We needed something, how-EVER,
    to wake it up and bring it to our mind as knowledge of that -TRUTH.

    The cabalistic NAME for this knowledge, image or *ECHO* is 'ThaT':
    hence the complete formula or god-NAME for both the
    Holy Trinity and the SON of God is 'I AM ThaT I AM' >> ----------------------------------------------------
    . . . King John Act 5, Scene 2

    BASTARD: Indeed your drums, being beaten, will cry out;
    And so shall you, being beaten: do but start
    An *ECHO* with the clamour of thy drum,
    And even at hand a drum is ready braced
    That shall rEVERberate all as loud as thine; ------------------------------------------------------------
    I saw a fair young (LADY) come, her secret fears to wail,
    Clad all in colour of a NUN, and coVERED with a VEIL;
    -- The Earle of Oxforde.
    -----------------------------------------------------
    IN the VAILE of restles {MYND}
    I sowght in mownteyn & in mede,
    trustyng a TREUlofe for to fynd:
    vpon an hyll than toke I hede;
    a voise I herd (and nere I yede)
    in gret dolour complaynyng tho,
    'see, dere soule, my sydes blede
    Quia amore langueo.'

    -- by Anonymous (c15th century) ---------------------------------------------------
    To the right Honourable the Earle
    of Oxenford, Lord high Chamberlayne of
    England. &c.
    .
    REc(E)iue most Noble Lord in gentle gree,
    The vnripe fruit of an v(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
    Vnder a *SHADY VELE* is therein writ,
    And eke thin{E} owne lon(G) liuing memory,
    Succeeding them in TRUE nobility:
    And also for the loue, which thou doest beare
    To *th'Heliconian YMPS* , and they to thee,
    They vnto thee, and thou to them most dear[E]:
    Deare as thou a[R]t unto thy self[E], so loue
    That lo[V]es & honours the[E], as doth behoue. .............................................
    And also for the loue, which thou doest beare
    To *th'Heliconian YMPS* , and they to thee,
    They vnto thee, and thou to them most dear

    ____ <= 13 =>
    .
    . [E]{D e}a r e a s t h o u a
    . [R] t u n t o t h y s e l f
    . [E] s o l o u e T h a t l o
    . [V] e s h o n o u r s t h e
    . [E] a s d o t h b e h o u e
    .
    [EVERE] -13 (Prob.~ 1 in 91)
    ....................................
    . Rec- <= 8 =>
    .
    . (E)i u e m o s t
    . -N o b l e L o r
    . -d i n g e n t l
    . -e g r e e T h e
    . -v n r i p e f r
    . -u i t o f a n v
    . (N)r e a d y w i
    . -t W h i c h b y
    .....................
    . -T H Y C O U N T
    .....................
    . {E|N}a u n c[E|D}
    _. o t h c r a[V|e}
    _. t o b e e-D[E]f
    . (E)n d e d_f[R]o
    _. m-f o u l E[E]n
    . {V|I}e-s_p O[I]s
    _. n o u s b i(T)W
    _- h i c h s o(T)o
    .. d o e m a y(T)h
    . (E)e_r i-g h(T)w
    . {E|L}l b e f i t
    . -S i t h t h a n
    . -t i q u e g l o
    . -r y o f t h i n
    . -e a u n c e s t
    . {R}y V n d e r a
    . -s h a d y v e l
    . -e i s t h e r e
    . -i n w r i t A n
    . -d e k e t h i n
    . {E}o w n e l o n
    . (G)l i u i n g m
    . -e m o r y
    .
    Succeeding them in true nobility:
    .
    [EVERE] 8, 40 (Prob.~ 1 in 4400)
    (GREENE). -48
    .
    Robert *GREENE* died in the house
    of a SHOEMAKER named (ISAM) (1592) ------------------------------------------------------------ http://home.att.net/~tleary/GIFS/MINERVA.GIF
    .
    _The MINERVA BRITANNA_ Banner Folding clearly demonstrates
    how the Equidistant Linear Sequence decoding is to be performed: ............................................................
    . (V .I __. \V\ .I [T] U R
    .. I .N .. G \E\ {N}[I] O
    . |C||Æ||T| E \R\ {A}[M]
    . |O||R||T|I S \E\ {R}
    . |U. N. T|
    ............................................
    ______________ *COUNT VERE*
    _____*COU-RONNE* [French] *CORONET* , corona

    . [MIT] {NAR} is old Dutch for "WITH FOOL"
    .
    . VIVITUR INGENIO, CÆTERA MORTIS ERUNT.
    .
    "all thinges perish and come to theyr last end, but workes
    of learned WITS and monuments of Poetry abide *for EVER* ." -----------------------------------------------------------
    _The Faerie Queene_ dedication (1590/6) To {HENRY} Carey

    Rumours stated: He was an illegitimate child of {HENRY} VIII ..............................................
    To the right honourable the Lord of Hunsdon,
    high Chamberlaine to her Maiest{Y}.
    .
    REnowmed Lord, that fo{R} your worthi(N)esse
    And {N}oble deeds haue your d{E}serue[D] place,
    High in t{H|E) fa[V|O)ur of that Empress[E],
    The worlds sole glo[R]y and her se(X)es grac[E],
    Here eke of right ha[V]e you a worthie plac[E],
    B(O)th f(O)r {Y}our nearnes to that Faerie Queene,
    And for your owne high me{R}it in like cace,
    Of which, apparaunt proofe was to be sene,
    Whe{N} that tumultuous rage and fearfull deene
    Of Northerne reb{E}ls ye did pacify,
    And their disloiall powre defaced clene,
    T{H}e record of enduring memory.
    Liue Lord for *EvER* in this lasting verse,
    That all posteritie thy honor may reherse. .............................................
    To the right honourable the Lord of Hunsdon,
    high Chamberlaine to her Maiest-

    . . . . . . <= 18 =>

    . {Y}R E n o w m e d L o r d t h a t f
    . -o{R}y o u r w o r t h i(N)e s s e A
    . _n d{N}o b l e d e e d s h a u e y o
    _ _u r d{E}s e r u e[D]p l a c e H i g
    __ h i n t{H|E)f a[V|O)u r o f t h a t
    . -E m p r e s s[E]T h e w o r l d s s
    _- o l e g l o[R]y a n d h e r s e(X)e
    . -s g r a c[E]H e r e e k e o f r i g
    . -h t h a[V]e y o u a w o r t h i e p
    . -l a c[E]
    .
    [E-VEREV-D] -17
    {HENRY} . . -19

    Prob. of [EVEREV] skip < 18 ~ 1200 .......................................................
    REnowmed Lord, that fo{R} your wo- <= 48 =>
    .
    r t h i(N)e s s e And{N}obledeedshaueyourd{E}serue[D]place,Highi
    n t{H|E)f a[V|O)u r o f thatEmpress[E],Theworldssoleglo[R]yandher
    s e(X)e s grac[E]Hereekeofrightha[V]eyoua worthieplac[E],B(O)th
    f(O)R{Y}o u r n e a rnes tothatFaerieQueene,Andforyourownehi
    g h m e{R}i t i n like cace,Of w(H)ich,apparauntproofewastobese
    n e W h e{N}t h a t tumul(T)uous rage and fearfulldeeneOfNorthe
    r n e r e b{E}l s y e did pacify,Andtheirdisloiallpowredeface
    d c l e n e T{H}e record of enduring memory.

    {HENRY} -49 Prob. of 2 {HENRY}s skip < 50 ~ 600
    (OXEN) -47 Prob. of 2 (OXEN/OXON)s skip < 48 ~ 167 ..........................................................
    REnowmed Lord, that fo{R} your worthi(N)esse And <= 43 =>
    .
    . [N] obledeedshaueyourdEserueDp {L} a .ceHighintHEfaV
    . [O] urofthatEmpressETheworldss {O} l .egloRyandherse
    . [X] esgracEHereekeofrighthaVey {O} u .aworthieplacEB
    . [O] thfORYournearnestothatFaer. I .e .QueeneAndforyo
    .. u .rownehighmeRitinlikecaceOf. w (H) ichapparauntpr
    .. o .ofewastobeseneWheNthattumu. l (T) uousrageandfea
    . {R} fulldeeneOfNorthernerebEls. y (E) didpacifyAndth
    . {E} irdisloiallpowredefacedcle. n (E) THerecordofend
    . {U} ringmemoryLiueLordforEvERi. n (T) hislastingvers
    . {E} Thatallposteritiethyhonorm. a .y .reherse.

    {LOO} 43
    [OXON] -43
    {EUER} -43
    (TEETH) -43
    ----------------------------------------------------------------
    1580: Dedication to Oxford
    in John Lyly's Euphues and His England.

    THE first picture that Phydias the first Paynter *SHADOWED* ,
    was the protraiture of his owne person, {S}aying thus:
    if it be well, I W{I}LL paint many besides Phy{D}ias, if ill,
    it shall offend {N}one but Phydias. In the lik{E} MANNER
    fareth it with me (R{I}ght Honourable) who nEVER before
    handling the *PENsill* , did for my fyrst counterfaite, coulour
    mine owne Euphues, being of this minde, that if it wer lyked,
    I would draw more b(E)sides Eup[H]ues, if loathed, grieue. none but
    E(U)phues. S[I]nce that, some th(E)re ha(V)e ben(E), that (E)ithe[R] dissembling th{E} faultes they saw, fo(R) fe[A|R}e to discourage me,
    or n<O>t {E|X>am<I>ni<N>g th(E|M], for the lo{V}e they bore me,
    that prais{E}d mine olde worke, and vrg{E}d me to make a new,
    whose wo{R}ds I thus answered of his ....................................................
    . . . . . . . . . . <= 21 =>
    .
    . o w n e p e r s o n{S}a y i n g t h u s i
    . f i t b e w e l l I-w{I}l l p a i n t m a
    . n y b e s i d e s P-h y{D}i a s i f i l l
    . i t s h a l l o f f-e n d{N}o n e b u t P
    . h y d i a s I n t h-e l i k{E}M A N N E R
    . f a r e t h i t w i-t h m e R{I}g h t H o
    . n o u r a b l e w h-o n e u e r b e f o r
    . e h a n d l i n g t-h e p e n s i l l d i
    . d f o r m y f y r s-t c o u n t e r f a i
    . t e c o u l o u r m-i n e o w n e E u p h
    . u e s b e i n g o f-t h i s m i n d e t h
    . a t i f i t w e r l-y k e d I w o u l d d
    . r a w m o r e b(E)s-i d e s E u p[H]u e s
    . i f l o a t h e d g-r i e u e n o n e b u
    . t E(U)p h u e s S[I]n c e t h a t s o m e
    . t h(E)r e h a(V)e b-e n(E)t h a t(E)i t h
    . e[R]d i s s e m b l-i n g t h{E}f a u l t
    . e s t h e y s a w f-o(R)f e[A|R}e t o d i
    . s c o u r a g e m e-o r n<O>t{E|X>a m<I>n
    . i<N>g t h(E|M]f o r_t h e l o{V}e t h e y
    . b o r e m e t h a t_p r a i s{E}d m i n e
    . o l d e w o r k e a-n d v r g{E}d m e t o
    . m a k e a n e w w h-o s e w o{R}d s I t h
    . u s a n s w e r e d,
    .
    <OXIN> 3
    (EVEER) 5
    {SIDNEI} 22
    {EREVEER} 21
    ....................................................
    being of this . . . . <= 35 =>
    .
    . m i n d e t h a t i f itwe r lyked I w o uld d r a w m o r e
    . b(E)s-i d e s E u p[H]uesi f loath e d g-rie u e n o n e b u
    . t E(U)p h u e s S[I]n ceth a tsome t h(E)reh a(V)e b-e n(E)t
    . h a t(E)i_t h e[R]d i ssem b lingt h{E}f aul t e s t h e y s
    . a w f o(R)f e[A|R}e t odis c ourag e m e-orn<O>t{E|X>a m<I>n
    . i<N>g t h(E|M]f o r-t helo{V}ethey b o r eme t h a t-p r a i
    . s{E}d m i n e o l d e work e andrg{E}d m eto m a k e a n e w
    . w h-o s e w o{R}d s Ithu s answe r e d

    [HIRAM] 34
    (EUERE) 36 ......................................................................
    If I should coyne a wor[S]e, it would be thought that the former was
    framed by chaunce, as [P]rotogenes did the foame of his dogge, if a
    better, for flatteri[E], as Narcissus did, who only was in loue with
    his own face, if none [A]t ail, as froward as the Musition, who being entreated, will sca[R]se sing sol fa, but hot desired, straine aboue
    Ela. But their importu<N>itie adm<I>tted no e<X>cuse, in-s<O>
    much that I was enforced to preferre their friendship before
    mine owne faine, being more carefull to satisfie
    their requestes, then fearefull of others ....................................................
    If I should coyne a ... <= 51 =>
    .
    . w o r [S]e .it w ouldbet h oughtth a tthefor m erwasframedbychaunc
    . e a s [P|R] ot o genesdi d thefoam e ofhisdo g geifabetterforflatt
    . e r i [E|A] sN a rcissus d idwhoon l ywasinl o uewithhisownfaceifn
    . o n e [A|T] ai l asfrowa r dastheM u sitionw h obeingentreatedwill
    . s c a [R|S] es i ngsolfa b uthotde s iredstr a ineaboueElaButtheir
    . i m p .o r .tu<N>itieadm<I>ttednoe<X>cuseins<O>muchthatIwasenforce
    . d t o .p r .ef e rrethei r friends h ipbefor e mineownefainebeingm
    . o r e .c a .re f ulltosa t isfieth e irreque s testhenfearefullofo
    . t h e .r s
    .
    [SPEAR] 51
    [STAR] -51
    <OXIN> -8
    ---------------------------------------------------------------- http://shakespeareauthorship.com/rep.html
    .
    <<William Covell's _Polimanteia_ (1595) lists SIDNEY , Spenser,
    . Alabaster, Daniel, and Shakespeare -- but not Oxford?>> -----------------------------------------------------------------
    . "Oxford thou maist extoll thy court[E]-[DE]are-[VER]s[E]" .............................................................
    . http://home.earthlink.net/~mark_alex/1596.htm
    .
    <<1595 Printed marginal note in an epistle by William Covell appended
    to _Polimanteia, or the meanes lawfull and unlawfull to judge of the
    fall of a Commonwealth, against the frivolous and foolish conjectures
    of this age_: The author is eulogizing the poets of England as
    superior to those of foreign nations. The marginal notes appear
    to be illustrative examples in support of the main text:
    .
    . All praise Let divine Bartasse, eternally
    . worthy. praiseworthie for his weeks worke,
    . Lucrecia say the best thinges were made first
    . Sweet Shak- : Let other countries (sweet
    . speare. Cambridge) *ENUIE* , (yet admire) my
    . Eloquent *Virgil* , thy petrarch, diuine *SPENSer* .
    .*GAVESTON* . And Vnlesse I erre, (a thing easie in
    . Wanton such simplicitie) deluded by dearlie
    . Adonis. beloued {DELIA}, and fortunatelie
    .*WATSOns* fortunate Cleopatra ; *OXFORD* thou
    . heyre. maist extoll thy court(E-DE)are-(VERsE)
    . So well gra- happie Daniell, whose *SWEETE*
    . nie deser- refined muse, in *contracted shape* ,
    . veth immor- were sufficient amongst men, to
    . tall praise gaine *PARDON* of the sinne to
    . from the hand Rosemond, pittie to distressed
    . of that di- Cleopatra, and *EVERliuing praise* to
    . uine (LADY) her louing {DELIA}.
    . who like Co-
    . rinna conten-
    . ding with
    . Pindarus
    . was oft vi-
    . ctorious.
    -----------------------------------------------------
    There's an interesting relationship between:
    .

    . Publius *Vergilius MARO* &
    . Marlo's Piers *GAVESTON*
    .
    . The former was born in a *DITCH*
    . [http://www.virgil.org/vitae/a-donatus.htm]
    . while the latter died in one. ------------------------------------------------------------------ http://www.quns.cam.ac.uk/Queens/Record/1997/History/Shakes.html
    .
    <<Weever has read Venus and Adonis (published in 1593 and 1594, just
    before he came up) and the Rape of Lucrece (1594). He has either read
    or seen performances of Romeo & Juliet and Richard II or Richard III
    (all three published in 1597, in his third year), and I suggest that,
    since the next epigram is addressed to the great actor and close
    associate of Shakespeare's, Edward Alleyn, and alludes to the 'Swan'
    on the Thames, Weever had been down to London to take in some shows,
    and actually seen Shakespeare in performance.
    .
    Given that we know so tantalisingly little about Shakespeare's first
    audiences and readers, these are interesting facts in themselves.
    But most fascinating of all is something hidden in this poem, and
    recently brought to the surface in a brilliant piece of literary
    detective-work by Professor E. A. G. Honigmann. Any reader of the
    Epigrammes will feel that this particular one stands out from the
    others, not just because it is about Shakespeare, not because of
    its more elevated subject-matter (most of the verses are about
    student japes or jibes at the Senior Proctor and so on) but
    because of its different literary form. Most of the epigrams
    are fairly shapeless doggerel but this one, alone, is a sonnet
    - and the kind of sonnet known in the trade as 'Shakespearean'
    (three quatrains rhyming abab and a final couplet) after
    its greatest practitioner. Now Shakespeare's Sonnets were not
    published until ten years later, in 1609, but we know from other
    sources that they circulated in the 1590's amongst a few of his
    "private friends". Honigmann suggests that Weever is sending a
    boastful coded signal that he is part of that privileged circle.
    .
    How would a Cambridge undergraduate know Shakespeare personally? The
    clue may be in Weever's dedication of the Epigrammes to "Richard
    Houghton of Houghton Tower, Knight" Who was Houghton? He was High
    Sherrif of Lancashire and the chief landowner in Weever's part of the
    County, someone whose patronage the impoverished young writer would
    be glad to have. But he was also the nephew of Alexander Houghton,
    previous owner of Houghton Tower, who, in a paragraph of his will
    that deals with the 'players' he retained, mentions that he has a
    servant called 'William Shakeshafte'. Professor Honigmann argues
    that Shakeshafte might have been Shakespeare and that some of his
    mysterious 'lost years', after leaving Stratford Grammar School and
    before we first hear of his successes on the London stage, could have
    been spent as a tutor at Houghton Tower. If this is so, and the young
    Weever had seen Shakespeare about the place, & had later, in hope of
    patronage, kept up his contacts with the Houghtons, it would explain
    both his enthusiasm for Shakespeare's success and his eagerness to
    imply that he had inside knowledge: he is basking in reflected glory.
    And if that is so, then Queens' can help to supply an important
    missing piece in the most mysterious puzzle in English literary
    history, the true identity of William Shakespeare.>> - IAIN WRIGHT --------------------------------------------------
    ___ Hamlet (Quarto 2, 1604) Act II, scene II
    .
    Hamlet: Y'are welcome *MASTERS*, welcome all. I am glad to see
    . thee well: Welcome good Friends. O my olde Friend?
    . Th{Y} face is valiant since I saw th{E}e last: Com'st thou to
    . beard me i{N} Denmarke? What, my yong (LADY) an{D} Mi-
    . stris? Byr(LADY) your (LADISH{I}P) is neerer Heauen then when
    . I {S}aw you last, by the a[L]titude of (A) Choppine. Pray God
    . [Y]our voice (L)ike a peece of vncu[R]rant Gold be not crack'd
    . withi[N] the ring. *MASTERS*, you are all w[E]lcome: wee'l e'ne
    . to't like Frenc[H] Faulconers, flie at any thing we see: wee'l
    . haue a Speech straight. Come giue vs a tast of your qua-
    . lity: come, a passionate speech. ..........................................................
    ______________ <= 25 =>
    .
    .. Y'a r e w. e. l .c .o m e *M A S T E R S* w e l c. o .m e
    .. a l l.I a. m. g .l .a d t. o s e e t h e .e w e l. l: W e
    .. l c o m e. g. o .o .d F r. i e n d s.O m .y o l d. e .F r
    .. i e n d?T. h {Y} f .a c e. i s v a l i a .n t s i. n .c e
    .. I s a w t. h {E} e .l a s. t:C o m's t t .h o u t. o .b e
    .. a r d m e. i {N} D .e n m. a r k e?W h a .t,m y y. o .n g
    . (L A D Y)a. n {D} M .i-s t. r i s?B y r(L .A D Y)y. o .u r
    . (L A D I S. H {I} P) i s n. e e r e r H e .a u e n. t .h e
    .. n w h e n. I {S} a .w y o. u l a s t,b y .t h e a [L] t i
    .. t u d e o. f (A) C .h o p. p i n e.P r a .y G o d [Y] o u
    .. r v o i c. e (L) i .k e a. p e e c e o f .v n c u [R] r a
    .. n t G o l. d. b. e .n o t. c r a c k'd w .i t h i [N] t h
    .. e r i n g *M. A. S .T E R. S*y o u a r e .a l l w [E] l c
    .. o m e:w e. e 'l. e' n e t. o't l i k e F .r e n c [H] F a
    .. u l c o n. e. r. s, f l i. e a t a n y t .h i n g. w .e s
    .. e e:
    .
    [HENRY L.] -25
    {LA.SIDNEY} -25
    ...................................................
    Dedications to (LADY) MARIe COUNTESSE OF PEMBROOKE. --------------------------------------------------------------
    One & only [SIDNEY] with Skip of 20 or less in the entire KJV: ...............................................
    Judges 5:28-30 The mother of Sisera looked out at
    a window, and cried through the lattice, Why is his
    chariot so long in coming? why tarry the wheels of his
    .
    chariot[S]? Her w[I]se la[D]ies a[N]swer[E]d her, [Y]ea,
    .
    she returned answer to herself, Have they not sped? have they
    not divided the prey; to *EVERy* man a damsel or two; to
    Sisera a prey of *DIVERS* colors, a prey of *DIVERS* colors
    of needlework, of *DIVERS* colors of needlework on both
    sides, meet for the necks of them that take the spoil? ...............................................
    __ Barnes' Notes on Judges 5:30
    .
    <<Render the latter part of the verse "a booty of *DYED* garments
    for Sisera, a booty of *DYED* garments and of party-colored cloth,
    a *DYED* garment and two party-colored clothes for the necks of
    the booty," the spoil or booty being either captive damsels, or
    captive cattle on whose necks these clothes are to be placed
    (either as ornament or as a burden).>> --------------------------------------------------------------
    The Tragedie of King Richard the third. Conteining his
    treacherous Plots against his brother Clarence : the pittifull
    murther of his innocent Nephewes : his tyrannicall vsurpation :
    w(I)th the whole course of his d[E]tested life, and most deser[V]ed
    death. As it hath bene lat[E]ly Acted by the Right Honou[R]able
    the Lord Chamberlain[E] his seruants. Newly augmented,
    By William Shakespeare. London Printed by Thomas Creede,
    for Andrew Wise, dwelling in Paules Church-yard,
    at the signe of the Angell. 1602.
    ...........................................
    .......... <= 23 =>
    .
    . w (I) t h t h e w h o l e c o u r s e o f h i s
    . [D E] T E S T E D l i f e a n d m o s t d e s e
    . r [V] E D D E a t h A s i t h a t h b e n e l a
    . t [E] l y A c t e d b y t h e R i g h t H o n o
    . u [R] a b l e t h e L o r d C h a m b e r l a i
    . n [E] h i s s e r u a n t s.
    .
    [EVERE] 23 {22,000} Q3(1602)
    ------------------------------------------
    # finds in skips from ±2 to ±1001 ..............................................
    String.. NT . . OT . Moby Dick (4,150,000,000) ------------------------------------------------
    SIDNEY.. 57 .. 131 . . . 50 (1 in 17,400,000)
    SIDNEI. 138 .. 445 . .. 199 (1 in 5,300,000)
    MARYS.. 208 .. 583 . .. 260 (1 in 4,000,000)
    HIRAM.. 833 . 2881 . .. 898 (1 in 900,000)
    EDYER. 1185 . 3610 . . 1091 (1 in 705,000)
    EVERE. 1697 . 4951 . . 1773 (1 in 493,000)
    EVEER. 1697 . 4951 . . 1773 (1 in 493,000) -------------------------------------------------
    Benson & Cotes's
    .
    TO THE READ[E]R. The[R]e presu{M|E] (under f{A|V]our)
    to p{R|E]sent to {Y|O]ur view {S|o]me excel[L]ent and
    sweetely composed Poems, of Master William Shakespeare, Which
    in themselves appeare of the same purity, the Authour himselfe
    then living avouched ; they had not the fortune by reason of
    their Infancie in his death to have the due accomodatio of
    proportionable glory with the rest of his *EVER-living*
    Workes, yet the lines of themselves WILL afFORD you
    a more authentick approbation than my assurance any way can,
    to invite your allowance, in your perusall you shall find them
    Seren, cleere and eligantly plaine, such gentle straines as shall
    recreate and not perplexe your braine, no intricate or cloudy stuffe
    to puzzell intellect, but perfect eloquence ; such as will raise your admiration to his praise: this assurance I know will not differ from
    your acknowledgment. And certaine I am, my opinion will be seconded
    by the sufficiency of these ensuing lines ; I have beene somewhat
    solicitus to bring this forth to the perfect view of all men ;
    and in so doing glad to be serviceable for the continuance
    of glory to the *DEsERVEd Author* in these his Poems. .....................................................
    ____ <= 8 =>
    .
    .. T O T H E R [E] A
    .. D E R T H e [R] e
    .. p r e s u {M|E] u
    .. n d e r f {A|V] o
    .. u r t o p {R|E] s
    .. e n t t o {Y|O] u
    .. r v i e w {S|o] m
    .. e e x c e l [L] e
    .. n t a n d s. w. e
    .. e t e l y c. o. m
    .. p o s e d P. o. e
    .. m s
    .
    {MARY S} [Lo. O., E. VERE]
    --------------------------------------------
    .... The Rape of Lucrece
    .
    Into the chamber wickedly he stalks,
    And gazeth on her yet unstained bed.
    The curtains being close, about he walks,
    *Rolling his greedy eyeballs* in his head.
    By their high treason is his heart misled,
    Which gives the watch-word to his hand full soon
    To draw the cloud that hides the silver moon.
    Look as the fair and fiery-pointed sun,
    Rushing from forth a cloud, bereaves our sight, .....................................
    To draw the cloud that hides the silver
    .
    ____ <= 8 =>
    .
    . [M] o o n L o o k
    . [A] s t h e f a i
    . [R] a n d f i e r
    . [Y] p o i n t e d
    . [S] u n R u s h i
    - -n- g f r o m f o
    - -r- t h a c l o u
    - -d- b e r e a v e
    - -s- o u r s i g h t,
    .
    Even so, the curtain drawn, his *EYES* begun
    To WINK, being blinded with a greater light ;
    Whether it is that she reflects so bright
    That *DAZZLETH* them, or else some shame supposed,
    But blind they are and keep themselves enclos'd. ---------------------------------------------------
    Newsgroups: humanities.lit.authors.shakespeare
    From: kmack2...@my-deja.com
    Subject: Re: Sidney Marlowe
    Date: 2000/05/07
    .
    Shakespeare's predilection for the ideal society in
    the magical forest (for example, the forest of Arden)
    can be found in Sidney's "Old Arcadia":
    .
    "O sweet woods, the delight of solitariness!
    . O how much do I like your solitariness!
    . Here no treason is hid, veiled in innocence,
    . Nor *ENVY's snaky EYE* finds any harbour here,
    . Nor flatterers'venomous insinuations,
    . Nor cunning humorists' puddled opinions,
    . Nor courteous ruin of proffered usury,
    . Nor time prattled away, cradle of ignorance,
    . Nor causeless duty, nor cumber of arrogance,
    .
    . Nor trifling title of vanity *DAZZLETH* us,
    .
    . Nor golden manacles stand for a paradise,
    . Here wrong's name is unheard; slander a monster is.
    . Keep they sprite from abuse, here no abuse doth haunt.
    . What man grafts in a tree dissimulation?" ------------------------------------------------------- http://tinyurl.com/4p2w6mp {1719}
    .
    The life and strang[E] surprizing adventu[R]es
    of Robinson Cruso[E], a York mariner:
    .
    Who li[V]ed eight and twenty y[E]ars,
    ................................
    The life and strang- <= 18 =>
    .
    . [E]s u r p r i z i n g a d v e n t u
    . [R]e s o f R o b i n s o n C r u s o
    . [E]a Y o r k m a r i n e r W h o l i
    . [V|E D}e i g h t a n d t w e n t y y
    . [E]a r s
    ................................
    all alone in an un-inhabited island
    on the coast of America, near the mouth
    of the great river of Oroonoque;
    .
    having been cast on shore by shipwreck,
    wherein all the men perished but himself.
    .
    With account how he was at last as
    *STRANGELY DEliVER'D by PYRATES.
    .
    Written by himself.
    .
    London
    Printed for W. Taylor at the
    Ship-in-Pater-Noster-Row.
    MDCCXIX.
    ................................
    http://tinyurl.com/4p2w6mp Preface
    .
    If Ever th{E} story of aNy private man's
    adVentures i{N} the woRld were *WORTH*
    making publick, an{D} were acceptable
    when published, the ed{I}tor of this
    account thinks this will be {S}o.
    .
    The wonde[R]s of this man's lif[E]
    exceed all that (h[E] thinks) is to be
    fo[U]nd extant; the lif[E] of one {M}an
    being scarce c{A}pable of a greate{R}
    variety.
    .
    The stor{Y} is told with mode{S}ty,
    ................................
    _______. <= 15 =>
    .
    .. I f E v e r t h{E}s t o r y o
    .. f a N y p r i v a t e m a n s
    .. a d V e n t u r e s i{N}t h e
    .. w o R l d w e r e W O R T H m
    .. a k i n g p u b l i c k a n{D}
    .. w e r e a c c e p t a b l e w
    .. h e n p u b l i s h e d t h e
    .. e d{I}t o r o f t h i s a c c
    .. o u n t t h i n k s t h i s w
    .. i l l b e{S}o T h e w o n d e
    . [R]s o f t h i s m a n s l i f
    . [E]e x c e e d a l l t h a t h
    . [E]t h i n k s i s t o b e f o
    . [U]n d e x t a n t t h e l i f
    . [E]o f o n e{M}a n b e i n g s
    _. c a r c e c{A}p a b l e o f a
    _. g r e a t e{R}v a r i e t y T
    __ h e s t o r{Y}i s t o l d w i
    .. t h m o d e{S}t y
    ................................
    with seriousness, and with a religious
    application of events to the uses
    to which wise men always apply them,
    viz., to the instruction of others
    by this example, and to justify and
    honour the wisdom of Providence in
    all the variety of our circumstances,
    let them happen how they will.
    .
    The edito[R] believes the thing to be
    a just history o[F] fact; neither is
    there any appearance of [F]iction in
    it: And however thinks, because [A]ll
    such things are dispatched, that
    the i[M]provement of it, as well to
    the diversion [A]s
    ................................
    ....... <= 34 =>
    .
    . Theedito {R} believesthethingtobeajust
    . historyo {F} factneitheristhereanyappe
    . aranceof [F] ictioninitAndhoweverthink
    . sbecause [A] llsuchthingsaredispatched
    . thatthei [M] provementofitaswelltothed
    . iversion [A] s
    .
    [FAMA] {FR}aternitatis RC
    ................................
    to the instruction
    of the reader, will be the same;
    and as such, he thinks, without
    farther compliment to the world,
    he does them a great service in
    the publication.
    -----------------------------------------------
    *THE REST IS* silence" - Hamlet
    *THE REST IS FAME* " - Sidney motto
    [ *CÆTERA FAMA* ]
    .................................................
    Hamlet = Sidney in _Shadowplay_ by Clare Asquith --------------------------------------------------
    Marlovian Peter Bull wrote HLAS:
    .
    <<[Shakespeare's *A LOVER'S COMPLAINT*
    . starts with the acrostic *FAMA*
    . A Rosicrucian call to FAME? >>
    ..........................................
    . A Lover's Complaint Stanza 1
    .
    [F|R}OM off a hill whose concave womb reworded
    [A] plaintful story from a sistering vale,
    [M]y spirits to attend this double voice accorded,
    [A]nd down I laid to list the sad-tuned tale; -------------------------------------------------
    Or spun out Riddles, and weav'd fitty Tomes
    Of Logogriphes, and curious Palindromes,
    Or pomp'd for those hard Trifles Anagrams,
    Or Eteostichs, or those finer Flams
    Of Eggs, and Halberds, Cradles, and a Hearse,
    A pair of Scisars, and a Comb in Verse;
    Acrostichs, and Telestichs, on jump Names,
    Thou then hadst had some colour for thy Flames,
    On such my serious Follies; But, thou'lt s[A]y,
    There were so[M]e Pieces of as b[A]se allay,
    And as [F]alse stamp the{R}e; parcels of a Play,
    Fitter to see the Fire-light, than the day;
    Adulterate Moneys, such as might not go:
    Thou should'st have stay'd, till publick *FAME* said so. ................................................
    ........ <= 13 =>
    .
    . B u t,t h o u'l t s [A] y T
    . h e r e w e r e s o [M] e P
    . i e c e s o f a s b [A] s e
    . a l l a y A n d a s [F] a l
    . s e s t a m p t h e {R} e p
    . a r c e l s o f a P. l .a y
    -----------------------------------------------
    <<The 6th rule of the Rosicrucians,
    as laid down in the *FAMA* Fraternitatis
    of 1604 demanded anonymity for 100 years">> ..............................................
    <<Gnostic device: "Learn to know all but keep thyself unknown">> ..............................................
    ROS(icru)CIAN *NIC(hol)AS RO(we)* simply
    . refused to play ball when the time came. http://en.wikipedia.org/wiki/Nicholas_Rowe_(dramatist) ------------------------------------------------------------- http://spenserians.cath.vt.edu/TextRecord.php?action=GET&textsid=32802
    .
    {DELIA} and Rosamond Augmented. Cleopatra. (1594) *Samuel Daniel*
    .
    To the Right Honourable,
    the (LADY) MARIe COUNTESSE OF PEMBROOKE.
    .
    O why may not some after-comming hand,
    Unlock these limits, open our confines:
    And *breake a sunder* this imprisoning band,
    T' inlarge our spirits, and publish our dissignes;
    Planting our *ROSES* on the Apenines?
    And teach to Rhene, to Loyre, and *Rhodanus* ,
    Our *ACCENTS, and the WONDERS* of our Land,
    That they might all admire and honour us.
    .
    Whereby great *SYDNEY* and our *SPENCER* might,
    With those Po-singers beeing equalled,
    Enchaunt the world with such a SWEET delight,
    That theyr *ETERNALL* songs ( *for EVER read* ,)
    May shew what great ELIZAS raigne hath bred.
    What musique in the kingdome of her peace,
    Hath now beene made to her, and by her might,
    Whereby her *glorious FAME shall nEVER* cease. ------------------------------------------------------------- http://humphrysfamilytree.com/Herbert/2nd.earl.html
    .
    <<(LADY) Mary was a poet & translator, and a great patron of learning
    at Wilton, the (late-17th cent) diarist and folklorist John Aubrey
    says in her entry in his "Brief Lives": "In her time, Wilton House

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