--------------------------------------------------------
<<The {U}nfortunate {T}raveller (1594) by Thomas Nashe
is a picaresque novel about [I]ack [WILTON]'s adventures
through the European continent in which he finds himself
swept up in the currents of 16th-century history.>>
.
.
https://www.youtube.com/watch?v=zWQgR8_b9rU ........................................................
https://en.wikipedia.org/wiki/The_Unfortunate_Traveller
<<Henry Howard, {E}arl of {S}urrey (1516/1517 – 19 January 1547) functions as a sustained travel partner for [I]ack [WILTON], and the two journey to Italy to fulfill the Earl's pledge to defend the honor of his beloved Geraldine in a tournament.
Although the poet was in truth married to Frances de Vere, Nashe fashions Geraldine into the beloved object of the poet's courtly affections. Surrey and Jack pass through Rotterdam, where they meet both Erasmus & Sir Thomas More. The pair reaches the
university city of Wittenberg, which enables Nashe to mock the customs of Renaissance academia. Cornelius Agrippa reveals in an enchanted mirror the image of Surrey's beloved, "weeping on her bed" which causes Surrey to burst into poetry. Passing into
Italy Jack and Surrey exchange identities as a security measure and because the earl means "to take more liberty of behaviour." The two engage in acts of deceit and trickery with pimps, prostitutes, and counterfeiters.>>
------------------------------------------------------------
. The Tempest: Act IV, scene I
.
CALIBAN:
. Th{E} drop{S|I]e dro[W]ne th[I]s foo[L]e, wha[T] doe y[O]u mea[N]e
. To doate thus on such luggage? let's alone
. And doe the murther first: if he awake,
. From toe to crowne hee'l fill our skins with pinches,
. Make us *STRANGE* stuffe.
..............................
. . <= 5 =>
.
. T h {E} d .r
. o p {S}[I] e
. d r .o [W] n
. e t .h [I]{S}
. f o .o [L]{E},
. w h .a [T]{D}
. o e .y [O] u
. m e .a [N] e
.
{E.S.} 5
[I.WILTON] 5
{S.E.D.} 5
-------------------------------------------------
____ (1939) Encyclopedia Britannica on "Drama"
.
____ *HERODOTUS* had a lot to say
_ about *TRAGEDY* (i.e., a *GOAT-SONG*) being a PATHOS
_____ (i.e., the violent death of Dionysus/Osiris
_______ by *SPARAGMOS* or dismemberment):
.
<<...we have the express testimony of *HERODOTUS* that the ritual
_worship of Dionysus (the god of Drama) was the same as the ritual
___ worship of Osiris such that it involved a "sparagmos"
_ (dismemberment), mourning, search, discovery & resurrection.>>
.
____ HowEVER, *HERODOTUS* avoided directly mentioning
____ Dionysus OR Osiris in this regard:
.
____ "When the Egyptians lament the god
___ whom I may not name in this connection"
_ "They lament but whom they lament I must not say" -- *HERODOTUS*
.
__ For in the manner of ancient religion, it was always necessary
____ that Dionysus or Osiris be represented by some surrogate. .......................................................
In fact, ALL TRAGIC HEROS are simply surrogates of Dionysus/Osiris:
.
<<We find a frequent sparagmos of beings who have committed some sin:
.
____ Actaeon by hounds
____ Dirce by a bull
____ Orpheus by Maenads
____ Lycurgus by horses
____ Pentheus by Maenads
____ HYPPOLYTUS by horses
.
This use of a surrogate was made easier by the fact that both at
Eleusis & in the Osiris rite the myth was conveyed by *tableaux*
____ (i.e., 'things shown') rather than by words.
.
___ Thus the death of Pentheus, wearing Dionysiac dress,
_ would be shown by exactly the same tableau as that of Dionysus.
.
____ THE TRUTH COULD BE SHOWN TO THE WISE
_ AND AT THE SAME TIME *VEILED FROM THE UNKNOWING*
.
____ Such facts help to explain the charge of
_ "profaning the mysteries" brought against Aeschylus.>> ------------------------------------------------------------
. Sylvie and Bruno by Lewis Carroll
“And I don’t believe the Goat sang it at all!”
“It did, though!” said Bruno. “It singed it right froo.
I sa[W]ed it singing with its long beard--”
“It couldn’t sing w[I]th its beard,” I said, hoping
to puzzle the little fel[L]ow: “a beard isn’t a voice.”
“Well then, oo couldn’t walk wi[T]h Sylvie!”
Bruno cried triumphantly. “Sylvie isn’t a f[O]ot!”
I thought I had better follow Sylvie’s example,
a[N]d be silent for a while. Bruno was too sharp for us. ......................................................
. . . . . . . . . . . <= 42 =>
.
. ItsingeditrightfrooIsa [W] editsingingwithitsl
. ongbeardItcouldntsingw [I] thitsbeardIsaidhopi
. ngtopuzzlethelittlefel [L] owabeardisntavoiceW
. ellthenoocouldntwalkwi [T] hSylvieBrunocriedtr
. iumphantlySylvieisntaf [O] otIthoughtIhadbette
. rfollowSylviesexamplea [N] dbesilentforawhileB
. runowastoosharpforus
.
[WILTON] 42
-------------------------------------------------------------------
. SYLVIE AND BRUNO CONCLUDED by Lewis Carroll
.
“The sun is setting,” said Lady Muriel, rising and leading the way to
the open windo[W]. “Just look at the western sky! What lovely crimson t[I]nts! We shall have a glorious day to-morrow——” We had fo[L]lowed her across the room, and were standing in a li[T]tle group, talking in low
tones in the gathering gl[O]om, when we were startled by the voice of
the sick ma[N], murmuring words too indistinct for the ear to catch. ......................................................
. . . . . . . . . . . <= 42 =>
.
. ThesunissettingsaidLady .M. urielrisingandlead
. ingthewaytotheopenwindo [W] Justlookattheweste
. rnskyWhatlovelycrimsont [I] ntsWeshallhaveaglo
. riousdaytomorrowWehadfo [L] lowedheracrossther
. oomandwerestandinginali [T] tlegrouptalkinginl
. owtonesinthegatheringgl [O] omwhenwewerestartl
. edbythevoiceofthesickma [N] murmuringwordstooi
. ndistinctfortheeartocat c h
.
[WILTON] 42 --------------------------------------------------------------------
https://en.wikipedia.org/wiki/42_(number)#Works_of_Lewis_Carroll ...............................................
Examples of Lewis Carroll's use of 42:
1) Alice's Adventures in Wonderland has 42 illustrations.
2) Alice's attempts at multiplication (chapter 2 of Alice in Wonderland)
work if one uses base 18 to write the first answer, and increases the base
by threes to 21, 24, etc. (the answers working up to 4 × 12 = "19" in base 39), but breaks" precisely when one attempts the answer to 4 × 13 in base 42, leading Alice to declare "oh dear! I shall never get to twenty at that rate!"
3) Rule Forty-two in Alice's Adventures in Wonderland
("All persons more than a mile high to leave the court").
4) Rule 42 of the Code in the preface to The Hunting of the Snark
("No one shall speak to the Man at the Helm").
5) In "fit the first" of The Hunting of the Snark the Baker had
"forty-two boxes, all carefully packed, With his name painted clearly on each."
6) The White Queen's age is "one hundred and one, five months and a day"
or 37,044 days. If the Red Queen is regarded as the same age,
their combined age is 74,088 days, or 42 × 42 × 42. ...............................................
In 1966, mathematician Paul Cooper theorized that the fastest, most efficient way to
travel across continents would be to bore a straight hollow tube directly through the
Earth, connecting a set of antipodes, remove the air from the tube and fall through.
Even if the tube does not pass through the exact center of the Earth, the time for
a journey powered entirely by gravity (known as a gravity train) always works out
to be 42 minutes, so long as the tube remains friction-free, as while the force of gravity would be lessened, the distance traveled is reduced at an equal rate.
The same idea was proposed, without calculation by
Lewis Carroll in 1893 in Sylvie and Bruno Concluded: .......................................................
“Can you explain the process?” said Lady Muriel.
“Without using that language, that I ca’n’t speak fluently?”
“Easily,” said Mein Herr. “Each railway is in a long tunnel, perfectly straight: so of course the _middle_ of it is nearer the centre of
the globe than the two ends: so EVERy train runs half-way _down_-hill,
and that gives it force enough to run the _other_ half _up_-hill.” --------------------------------------------------
. Sylvie and Bruno Concluded by Lewis Carroll
.. The Beggar's Return
.
"What's the matter with the Prince?"
.
"He's--what you said," Bruno replied looking at the Professor.
"That hard word." And he looked to Sylvie for assistance.
.
" *PORCUPINE* ," said Sylvie.
.
"No, no!" the Professor corrected her. Pre-occupied, you mean."
.
"No, it's *PORCUPINE* ," persisted Sylvie. "Not that other word
at all. And please will you come? The house is all in an uproar."
("And oo'd better bring an uproar-glass wiz oo!" added Bruno.)
.
We got up in great *HASTE* , and followed the children upstairs.
No one took the least notice of me, but I wasn't at all surprised
at this, as I had long realized that I was quite invisible
to them all--even to Sylvie and Bruno.
.
All along the gallery, that led to the Prince's apartment, an excited
crowd was surging to and fro, and the Babel of voices was deafening:
against the door of the room three strong men were leaning, vainly
trying to shut it--for some great animal inside was constantly
bursting it half open, and we had a glimpse, before the men could
push it back again, of the head of a furious wild beast, with great
fiery eyes and gnashing teeth. Its voice was a sort of mixture-
-there was *the roaring of a LION , and the bellowing of a BULL* ,
and now and then a scream like a gigantic PARROT.
"There is no judging by the voice!"
the Professor cried in great excitement. "What is it?''
he shouted to the men at the door. And a general chorus
of voices answered him " *PORCUPINE* !
Prince UGGUG has turned into a *PORCUPINE* !"
.
"A new Specimen!" exclaimed the delighted Professor.
"Pray let me go in. It should be labeled at once!" -----------------------------------------------------
“So this Boy——”
“But it wasn’t _me_, oo know!” Bruno interru{P}ted.
“And oo needn’t try to look as if it was, Mi{S}ter Sir!”
I represented, respectfully, that {I} was trying to
look as if it wasn’t. “—he was a mi{D}dling good Boy——”
“He were a _welly_ good Boy!” Bru{N}o corrected her.
“And he never did nothing h{E} wasn’t told to do——”
“_That_ doesn’t make a good Bo{Y}!”
Sylvie said contemptuously.
...........................................
. . . . . . . . . . . . <= 35 =>
.
. ButitwasntmeooknowBrunointerru {P} tedA
. ndooneednttrytolookasifitwasMi {S} terS
. irIrepresentedrespectfullythat {I} wast
. ryingtolookasifitwasnthewasami {D} dlin
. ggoodBoyHewereawellygoodBoyBru {N} ocor
. rectedherAndheneverdidnothingh {E} wasn
. ttoldtodoThatdoesntmakeagoodBo {Y}
{P.SIDNEY} 35 : Prob. in S & B ~ 1 in 60 -----------------------------------------------------
Quote from: "Shadowplay" Asquith, Clare
http://catholicforum.fisheaters.com/index.php?topic=3422942.0;wap2
<<England was not a free society. The precarious Tudor regime made sophisticated use of propaganda and exercised tight control over
the country's small number of licensed printing presses..... A
contemporary ballad survives lamenting "little John Nobody, that
durst not speak"-the silenced voice of the Catholic opposition.
...The first surprise is the size of the Catholic opposition to the
new Protestant order. It was in a majority right up to the end of
the 16th century. A powerful group, it was easily capable of removing
the regime that oppressed it. Yet there was no organised opposition:
most religious dissidents chose the path of passive resistence.
Even at the time, the extent of John Nobody's silence was puzzling.
Earlier in the book Asquith describes the martyrdom of Richard
Whiting, last abbot of Glastonbury Abbey. She mentions the
chapel that once stood there, dedicated to Our Lady and built
out of *REEDS* , when the area was still surrounded by sea and
called Ynys-witrin, "the Island of Glass" ["l'îlE DE VERRE"].
Asquith goes on to describe the subsequent theft of Catholic
land and treasures, the sale of Abbey stones for use in
new buildings and the ruthless dismantling of an intricate
Christian culture at the hands of political reformers.>> -----------------------------------------------------
Hamlet = Sidney in _Shadowplay_ by Clare Asquith ....................................................
1) Hamlet's hair is compared to the
. *QUILLS upon the FRETFUL PORCUPINE* ....................................................
. Joseph Hall: (Virgidemiarum, V, 3, 1-4.)
.
. The *SATYR* should be like the *PORCUPINE*,
. That shoots sharpe QUILS out in each angry line,
. And wounds the blushing CHEEKE, and fiery eye,
. *Of him that HEARES, and READETH guiltily* .>> ...................................................
*HYPERION to a SATYR* ; so loving to my mother - Hamlet: I, ii
.
How oft from
. *PHOEBUS do they flee to PAN* - Earle of Oxenforde. ......................................................
2) Hamlet is thirty while Sidney, who had to work hard to
over come his boyish appearance, died at the age of 32.
At 30, he was writing a new version of his Arcadia, in
which: "the problems and dilemmas faced by the characters
are often insoluble; there is no right course of action "
.
3) Sidney's role as patron & practitioner of literature
[e.g., _A Defence of Poesie_] is recalled when Hamlet
reproves Polonius for failing to show respect to actors.
.
4) Ophilia uses the word *RICH* ; to describe Hamlet's
letters, a reminder of the famous puns on the word
*RICH* in Sidney's love poems to Penelope *RICH* . ......................................................
. Hamlet > Act III, scene I
.
OPHELIA: My lord, I have remembrances of yours,
. That I have longed long to *RE-DEliVER* ;
. I pray you, now receive them.
.
HAMLET: No, not I; I nEVER gave you aught.
OPHELIA: My honour'd lord, you know right well you did;
. And, with them, words of so *SWEET BREATH* composed
. As made the things more *RICH* : their perfume lost,
. Take these again; for to the noble mind
. *RICH* gifts wax poor when givers prove unkind. .........................................................
5) Fulke Greville = Horatio.
.
6) Osric = Oxford ("ridiculously foppish Italianate courtier")
.
7) Sidney "was wont even while hunting...to take his Table book out
of his pocket, & write down his notions as they came into his head." ................................................................
HAMLET: My tables,--meet it is I set it down,
. That one may smile, and smile, and be a villain;
. At least I'm sure it may be so in Denmark:
.
. [Writing]
.
. So, uncle, there you are. Now to my word;
. It is 'Adieu, adieu! remember me.'
. I have sworn 't. ...................................................................
8) "Peculiar volatility" of Sidney's temperament in which "periods
of melancholy lethargy alternated with bursts of manic energy."
.
9) Sidney is "wonderfully beloved & admired by his countrymen"
.
10) Sidney dies of an infected wound
. and is accorded the honor of a soldier's funeral.
.
11) *THE REST IS* silence" =
___ *THE REST IS FAME* " [ *CÆTERA FAMA* ]
.
http://www.artfund.org/artwork/2234/portrait-of-sir-philip-sidney -------------------------------------------------------------------
http://www.sirbacon.org/links/spenser2.html http://www.sirbacon.org/links/spenser.html
.
<<The title page [of Edmund SPENSer's Faerie Queen (1617)].
.
The bear & staff identify the Earl of Leicester.
Opposite is Queen Elizabeth with the
*LION RAMPANT* and the scepter at her side.
These figures represent 'supporters' in heraldic parlance
& sustain between them a shield bearing
[Philip Sidney's Family crest, a *PORCUPINE* ].
.
. In the bottom oval we again see
. the *BOAR* regarding a ROSEBUSH.
.
___ *NON TIBI SPIRO*
. ( *NOT OF THY BREATHE* )
____ is on the scroll,>>
.
The title page is IDENTICAL to the title-page of Sir Philip Sidney's
1598 _The Countess of Pembroke's Arcadia_ (London, William
Ponsonbie) on page 110 _The Shakespeare Legacy_ by Jean Wilson. ---------------------------------------------------------
. Troilus and Cressida Act 2, Scene 1
.
AJAX: Do not, *PORPENTINE*, do not: my fingers itch. --------------------------------------------------------
. The Comedy of Errors Act 3, Scene 1
.
ANTIPHOLUS OF EPHESUS: [To ANGELO] Get you home
. And fetch the *CHAIN*; by this I know 'tis made:
. Bring it, I pray you, to the *PORPENTINE*;
. For there's the house: that *CHAIN* will I bestow--
. Be it for nothing but to spite my wife--
. Upon mine hostess there: good sir, make *HASTE* .
.
. Act 3, Scene 2
.
ANGELO: I know it well, sir, lo, here is the *CHAIN*.
. I thought to have ta'en you at the *PORPENTINE*:
. The *CHAIN* unfinish'd made me stay thus long.
.
. Act 4, Scene 1
.
ANTIPHOLUS OF EPHESUS: [To ANGELO]
. Good Lord! you use this dalliance to excuse
. Your breach of promise to the *PORPENTINE*.
. I should have chid you for not bringing it,
. But, like a *SHREW* , you first begin to brawl.
.
. Act 5, Scene 1
.
DROMIO OF EPHESUS: Sir, he dined with her there, at the *PORPENTINE*. ----------------------------------------------------------
17th-century References to Shakespeare's Stratford Monument
by David Kathman
.
In 1693, a Mr. Dowdall visited Stratford and wrote down some of his observations in a letter. He wrote [Shakspere Allusion Book, II, 391]:
"The 1st Remarkable place in this County that I visit(T)ed was
S{T}ratf(O)rd supe{R} avon, (W)here I s{A}w the (E)ffigie{S}
of ou(R) Englis{H} tragedian, mr. Shakspeare." ..................................................
___ <= 12 =>
.
. T h e 1 s t R e m a r k
. a b l e p l a c e i n t
. h i s C o u n t y t h a
. t I v i s i t(T)e d w a
. s S{T}r a t f(O)r d s u
. p e{R}a v o n(W)h e r e
. I s{A}w t h e(E)f f i g
. i e{S}o f o u(R)E n g l
. i s{H}t r a g e d i a n,
. m r.S h a k s p e a r e."
.
{TRASH} 12
(TOWER) 12
---------------------------------------------------
Sweet swan of Avon! what a fight it were
To see thee in our waters ye{T} appea{R}e,
And m{A}ke tho{S}e flig{H}ts upon the bankes of Tha[M]es,
.
___ <= 6 =>
.
. .s. w a n o f
. .A. v o n!w h
. .a. t a f 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,
That so did t[A]ke Eliza, and ou[R] James !
But stay, [I] see thee in the [He]misphere
Advanc'd, and made a Constellation there !
.
____ <= 13 =>
.
. 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
..................................................
THE LA. [MARI]e [He]rbert COUNTESSE OF PEMBROOKE. ----------------------------------------------------
TO THE ONLIE BEGETTER OF THESE INSVING SONNETS
________ <= 17 =>
.
. [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]
.
WELL WISHING ADVENTVRER IN SETTING FORTH -TT ---------------------------------------------------------
. [WIT-RIN] = *of Glass* = *DE VERRE* ..........................................................
[WIT]ts Rec[R]eat[I]o[N] Selected from the Finest Fancies
of Moderne Muses, with a Thousand Outlandish Proverbs
.
1640 *Witts Recreation*: To Mr. William Shake-spear
.
To Mr, William Shakspeare.
.
Shakspeare, we must be silent in thy praise,
'Cause our [E]n[CO]mions will but bla{S}t thy bays.
Which env{Y} could not ; that thou {D}idst do well,
Let thi{N}e own histories prove thy chronicle. ........................................
____ <= 17 =>
.
. C a u s e o u r[E]n[C O]m i o n s
. w i l l b u t b l a{S}t t h y b a
. y s.W h i c h e n v{Y}c o u l d n
. o t;t h a t t h o u{D|i)d s t d o
. w e l l,L e t t h i{N|e)o w n h i
. s t o r i e s p r o v e t h y c h
. r o n i c l e.
........................................
. [E]n[CO]mions
. [ECO] nomin(i)s
...........................................................
"[E]dwardus [C]omes [O]xon{iensis}"
Brincknell Inquest 1567
http://ist-socrates.berkeley.edu/~ahnelson/DOCS/brinck.html ------------------------------------------------------------
Was THOMAS LODGE the "PAGE that sERVED Oxford's WIT" in 1623? ........................................................
david kathman wrote:
<<In 1596, in his *WITS MISERy* THOMAS LODGE 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 (c. 1558 - September 1625) was an English dramatist
and writer of the Elizabethan % Jacobean periods. He was born about
1558 at West HAM, the second son of Sir Thomas Lodge, who was Lord
Mayor of the City of London in 1562-1563. His mother's stepfather
was Sir William Laxton, another Lord Mayor of the City of London.
Thomas' brother, William, married Mary, the daughter
of the Master of the REVEls, Thomas Blagrave.
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.>> --------------------------------------------------------
. EPIGRAMS. BOOK I. The Author B. J.
64. To [Robert (Cecil) Earl of Salisbury. (May 4, 1608)]
. Upon the Accession of the Treasurership to him. .........................................................
NOt glad, like those that have new Hopes, or Suits,
With thy *NEW PLACE* , bring I [T]hese ear[L]y Fruits
[O]f Love, an[D] what the [G]olden Ag[E] did hold
A Treasure, Art: Condemn'd in th' Age of Gold.
...............................
. . . <= 8 =>
. *N E W P L A .C. E*
. .b r i n g I [T] h
. .e s e e a r [L] y
. .F r u i t s [O] f
. .L o v e,a n [D] w
. .h a t t h e [G] o
. .l d e n A g [E] d
. .i d h o l d .A T
. .r e a s u r .e,
.
[T LODGE] 8
----------------------------------------------
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 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 like night,
And despaires day, but for thy Volumes light. ........................................
Shine forth, <= 11 =>
. .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
------------------------------------------
In his Frontline essay, William Murphy
mentions THOMAS LODGE once and only once: ..........................................
Thirty-Six Plays in Search of an Author
by William M. Murphy, Union College Symposium 1964
http://tinyurl.com/296qhc
...holding that such distinguished literature must be the work
of a commi[T]tee. Its members wou[L]d include, in additi[O]n to
BACON and Oxfor[D], Robert GREENE, Geor[G]e PEELE, Samuel DANI[E]L,
Thomas NASHE, *THOMAS LODGE*, Michael Drayton, and Thomas Dekker.
.
_________ <= 17 =>
.
. m u s t .b. e t h e w o r k o f a c
. o m m i [T] t e e.I t s m e m b e r
. s w o u [L] d i n c l u d e,i n a d
. d i t i [O] n t o B a c o n a n d O
. x f o r [D] R o b e r t G r e e n e,
. G e o r [G] e P e e l e,S a m u e l
. D a n i [E] l,T h o m a s N a s h e,
.*T H O M .A. S L O D G E* -----------------------------------------------------------
Concluding nine lines of Ovid's _Metamorphoses_ translated:
Now have I brought a worke to end which neither Jove's
fierce wrath Nor sword nor fire nor *FRETting age* , with
all the force it hath Are able to abolish quite, &c. -----------------------------------------------------------------
For a Tablet at Penshurst
Robert Southey (1774-1843)
ARE days of old familiar to thy mind,
O Reader? Hast thou let the midnight hour
Pass unpercei{V|E}d, whilst thou in fancy lived
With high-born beauties and enamor{E|D} chiefs,
Sharing their hopes, and, with a breathless joy
Whose exp{E}ctation touched the VERGE of pain,
Following their dangerous fo{R}tunes? If such lore
Hath ever thrilled thy bosom, thou wilt tread
As with a pilgrim's reverential thoughts
The groves of Penshurst. Sidney here was born,--
Sidney, than whom no gentler, braver man
His own delightful genius e{V|E}r feign{E|D},
Illust{R}ating th{E} vales of Arcady
With courteous courage and with loyal loves.
Upon his natal day an acorn here
Was plante{D}; it gr{E}w up a {S}tate[L]y oak,
[A]nd in [T]he be[A]uty o[F] its strength it stood
And flourished, when his {P|E|R}ishable part
Had mould{E|R|E}d dust to dust. That stat{E|L|Y} oak
Itself hath moulde{R|E|D} now, but Sidney's *FAME*
Endureth in his own immortal works.
{VEER|ED} 54
{VERE|ED} 8
[FATA|L{SED}] -5
{PEER|ERLE|DYER} 22
----------------------------------------------------
A Lover's Complaint
(Published in 1609 with "Sonnets")
.
{F}rom off a hill whose concave womb re-worded
{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;
[E]re long espied a fickle maid full pale,
[T]earing of papers, breaking rings a-twain,
[S]torming her world with sorrow's *WIND and RAIN* . ---------------------------------------------------------------
. ODYSSEY - Homer (tr. Samuel Butler)
.
<<ULYSSES struck the son of Damastor with a *SPEAR* in close fight,
while Telemachus hit Leocritus son of Evenor in the belly, and
the DART went clean through him, so that he fell forward full
on his face upon the ground.>>
.
<<I can *throw a DART*
farther than any one else can shoot an arrow.>> -------------------------------------------------------------
On The Countesse Dowager of Pembroke : Mary (Sidney) Herbert,
.
_ (U)nderneath this sable Herse
_ (LYES) the subiect of all verse:
_ (SYD)ne(YES) sister, Pembroke's Mother:
_ Death, ere thou hast slaine another,
_ Faire, & Learn'd, & good as she,
_ Tyme shall *throw a DART* at thee. -----------------------------------------------------------
. King Henry VI, Part ii Act 3, Scene 1
.
YORK: And fought so long, till that his thighs with *DARTs*
. Were almost like a *sharp-QUILL'd PORPENTINE* ;
. And, in the end being rescued, I have seen
. Him caper upright like a wild Morisco,
. *SHAKING* the bloody *DARTs* as he his bells. .......................................................
*PHEON* , n. (Her.) A bearing representing the head of a
*DART* or javelin, with long barbs engrailed on the inner edge. ------------------------------------------------------------
.
http://home.freeuk.net/sidsoft/pensinfo.html
.
<<The *PORCUPINE* is used as the Sidney Family crest. The family arms
show a *PORCUPINE* and a lion on either side of the Sidney *PHEON*>> --------------------------------------------------------------
<<On 30 March 1741, after a one-year courtship, Sterne
married Elizabeth Lumley (1714-1773). Sterne's biographer
Arthur H. Cash quotes a characterization of her
by a cousin, the famous bluestocking Elizabeth Montagu:
.
'Mrs. Sterne is a Woman of great integrity & has many virtues,
but they stand *like QUILLS upon the fretfull PORCUPINE* ' .........................................................
The Penshurst village pub the Leicester Arms, was once
called the *PORCUPINE* & Sir Philip Sidney's funeral
helm (on display at Penshurst Place) is surmounted by
a *PORCUPINE* now, sadly, missing most of it's *QUILLS* .>> -------------------------------------------------------
. Hamlet (Quarto 1, 1603) Act I, scene V
.
Ghost: Nay pitty me not, but to my vnfolding
. *Lend thy listning EARE* , but that I am forbid
. To tell the secrets of my prison house
. I would a tale vnfold, whose lightest word
. Would harrow vp thy soule, freeze thy yong blood,
. Make thy two eyes like stars start from their spheres,
. Thy knotted and combined locks to part,
. And each particular haire to stand on end
. *Like QUILS vpon the FRETFULL PORPENTINE* ,
. But this same *BLAZON* must not be, to EARS of flesh and blood
. Hamlet, if *EUER* thou didst thy deere father loue. ------------------------------------------------------------ .
http://shakespeareauthorship.com/wds1.html
.
. Some interesting 5-letter Rollett strings
. "found in arrays based on the first 144 letters
. of the dedication to Shakespeare's Sonnets.":
.
. *PHEON* : 1106d (Sidney *PHEON* crest) .......................................................
http://www.heraldica.org/topics/famous/pics/sidney.jpg -------------------------------------------------------
. . . 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 [WANT]ing,
[A]nd so my pattent back againe is sweruing. --------------------------------------------------------
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 29
.
WHen in disgrace with Fortune and mens eyes,
I all alone beweepe my out-cast state,
And trouble *DEAFE* heauen with my bootlesse cries,
And looke vpon my selfe and *curse my FATE* .
Wishing me like to one more *RICH* in hope, .................................................
27 [F]or thee, and for my selfe, noe quiet finde.
28 [A]nd night doth nightly make greefes length seeme stronger.
29 [T]hat then I skorne to change my state with Kings.
30 [A]ll losses are restord, and sorrowes end. ---------------------------------------------------------
<<Michelangelo Florio (1515-1572) became Italian tutor to Lady Jane
Grey and in the family of William Herbert, 1st Earl of Pembroke,
father of Henry Herbert, 2nd Earl of Pembroke who would become the
husband of Mary Sidney, sister of Philip Sidney. He dedicated a book
to Henry Herbert and Jane Grey. John Florio (1553-1625) lived some
years with the Henry Wriothesley. William Herbert, 3rd Earl of
Pembroke, also befriended him. In his will, Florio left gifts to the
Earl of Pembroke, clearly on condition that he looked after his second
wife, Rose. Florio was named French and Italian tutor to Prince Henry
and afterwards became a gentleman of the privy chamber and Clerk of
the Closet to the Queen Consort Anne of Denmark, whom he also
instructed in languages.>> .........................................................
Florio (John) Florio's Second Frutes.
* On the verso of signature A 6 will be found th{E} poem
"Phaeto{N} to his frien{D} Florio," ascr{I}bed to Shake{S}peare
(see Mr. {SIDNE}y Lee's Life of the Poet, page 73 ) : ---------------------------------------------------------
. [FATE] : {PHAET}
.........................................................
"{PHAET}on to his friend Florio."
"Sweete friend, whose name agrees with t{H}y incre(A|S}e
. How fi(T) {A} riuall (A|R}t thou o(F) {T}he Spring?
. <F|O]r when ea[C]h branch[E] hath left his flourishing
And green-lockt Sommer's shadie pleasure's cease ;
.
(FATA) -8
{TRASH} -8
[ECO] -8
.
She makes the Winters stormes repose in peace
. <A>nd spends her franchise on [E]ach livin[G] thing,
. <T>he [D]azies spr[O]ut, (t)he li(T|L]e birds doo sing,
Hearbes gummes and plant(E)s doo vaunt of their release. .........................................
__ <= 9 =>
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