• The fountaine *OF FAME* (1/3)

    From Arthur Neuendorffer@21:1/5 to All on Thu Oct 14 18:55:49 2021
    ------------------------------------------------
    1580: Dedication to Oxford by Anthony Munday
    . in Zelauto. The fountaine *OF FAME*.
    .
    . TO THE RIGHT HONORABLE, HIS
    . singuler good Lord and Maister, Edward de Vere,
    .
    ... Antony Munday, visbeth *ALL HAPPINES* in this
    . Honorable estate, and after death *ETERNALL LIFE* .
    .
    . And loe Right Honourable, among such expert heads,
    . such pregnaunt inuentions, and such commendable
    . writers, as preferre to your seemely selfe,
    . woo{R}k{E|S] {W}o{O}r{T}hy of [E]tern[A]ll me[M]ory:
    .
    [STEAM]. 5
    {TOWER} -2
    ............................................................
    1588: Dedication to Oxford in Anthony Munday's Palmerin d'Oliva.
    .
    AMong the Spartane[S] righ[T] nobl[E] Lord, [A]nd so[M]etim[E]
    my honorable Maister, *NOTHING* was accounted mor odious,
    then to forgetfulnes of the seruaunt towardes his Maister:
    .
    [STEAME] 5
    -----------------------------------------------------------
    “Fain Would I Sing But Fury Makes Me Fret” https://sourcetext.com/oxfords-poems/
    ........................................
    Poems of the 1576 crisis and after as
    authentic by Dr. Grosart & Steven W. May ........................................
    . {F}ain would I sing, but fury makes me fret,
    . {A}nd Rage hath sworn to seek revenge of wrong;
    . {M}y mazed mind in malice so is set,
    . {A}s Death shall daunt my deadly dolours long;
    .
    . Patience perforce is such a pinching pain,
    . *As die I Will, or suffer wrong again* .
    .
    . I am no sot, to suffer such abuse
    . A[S] do[T]h b[E]{R E}[A]{V E} [M]y h[E]art of his delight;
    . No quiet sleep shall once possess mine eye,
    . Till wit have wrought his will on injury. ...................................................
    . . <= 3 =>
    .
    . . . A [S]
    . . d o [T]
    . . h b [E]
    . .{R E}[A]
    . .{V E}[M]
    . . y h [E]
    . . a r. t
    . . o f. h
    . . i s. d
    . . e l. i
    . . g h. t
    -----------------------------------------
    All probably written by 1576. They were all accepted as authentic
    by Dr. Grosart & published in the Fuller Worthies' Library (1872) ........................................
    . . . Aske the[M] th[A]t f[E]el!"
    Thi[S] discord it begot atheists, that honour not.
    .
    [STEAM] -3
    ........................................
    Prof. May lists this poem as "wrongly attributed" to Oxford. -----------------------------------------
    Poems of the 1576 crisis and after
    as authentic by Dr. Grosart & Steven W. May ........................................
    To entertain my thought[S], and [T]her[E] my h[A]p to [M]oan,
    That *nEVER am LESS IDLE* , lo, than when I am alone. - E. Ox.
    .
    [STEAM] 4
    ------------------------------------------------------------ https://www.historyofinformation.com/detail.php?id=10

    <<In Heron of Alexandria's numerous surviving writings are designs for automata—machines operated by mechanical or pneumatic means. These included devices for temples to instill faith by deceiving believers with "magical acts of the gods," for
    theatrical spectacles, and machines like a statue that poured wine. Among his inventions were:

    ♦ A windwheel operating a pipe organ—the first instance of wind powering a machine.

    ♦ The first automatic vending machine. When a coin was introduced through a slot on the top of the machine, a set amount of holy water was dispensed. When the coin was deposited, it fell upon a pan attached to a lever. The lever opened up a valve which
    let some water flow out. The pan continued to tilt with the weight of the coin until the coin fell off, at which point a counter-weight would snap the lever back up and turn off the valve.

    ♦ Mechanisms for the Greek theater, including an entirely mechanical puppet play almost ten minutes in length, powered by a binary-like system of ropes, knots, and simple machines operated by a rotating cylindrical cogwheel. The sound of thunder was
    produced by the mechanically-timed dropping of metal balls onto a hidden drum.

    More illustrated technical treatises by Heron survived than those of any other writer from the ancient world. His Pneumatica, which described a series of apparatus for natural magic or parlor magic, was definitely the most widely read of his works during
    the Middle Ages; more than 100 manuscripts of it survived. However, the earliest surviving copy of this text, Codex Gr. 516 in the Bibliotheca Marciana in Venice, dates from about the thirteenth century— a later date than one might expect. Conversely,
    the complete text of Heron's other widely known work, the Mechanica, survived through only a single Arabic translation made by Kosta ben Luka between 862 and 866 CE. This manuscript is preserved in Leiden University Library (cod. 51).

    The first printed edition of the complete text of the Pneumatica was the Latin translation from the Greek by mathematician and humanist Federico Commandino. The second work of Heron to be published in print was the translation from the Greek into Italian
    of Heron's work on automata by Commandino's pupil, the scientist and writer Bernardino Baldi, first issued from Venice in 1589.>>
    ------------------------------------------------------------
    The book "About automata by Hero of Alexandria (1589 edition)" https://tinyurl.com/bvpn6u77
    ..............................................
    Pneumatica (Πνευματικά), a description of machines working on air, steam or water pressure, including the hydraulis or water organ. The Pneumatica, in two books, describes a menagerie of mechanical devices, or “toys”: singing birds, puppets,
    coin-operated machines, a fire engine, a water organ, and his most famous invention, the aeolipile, the first steam-powered engine.

    Automata, a description of machines which enable wonders in banquets and possibly also theatrical contexts by mechanical or pneumatical means (e.g. automatic opening or closing of temple doors, statues that pour wine and milk, etc.)
    ----------------------------------------------
    . And Shakspeare thou, whose honey-flowing vein,
    .(Pleasing the world,) thy praises doth contain,
    . Whose Venus, and whose Lucrece, sweet and chaste,
    .{THY NAME} in *FAME's immortal book* hath plac'd,
    .*LIVE EVER* you, at least in *FAME LIVE EVER* !
    . Well may the *BODY* die , but *FAME die nEVER* . ............................................
    . A Remembrance of some English Poets.
    . . . . By Richard Barnefield, 1598. -------------------------------------------------
    ___ Venus and Adonis Stanza 10
    .
    . So soone was she along, as he was downe,
    . Each *LEANING on their ELBOWES* and their hips: .........................................
    . He saith, she is immodest, blames her misse,
    . What followes more, she murthers with a kisse.
    . Euen as an emptie Eagle sharpe by fast,
    . Tires with her beake on *FEATHER*, flesh, and bone,
    .*SHAKING her WINGS* deuouring all in hast,
    . Till either gorge be stuft, or pray be gone:
    . Euen so she kist his brow, his *CHEEKE* , his chin,
    . And where she ends, she doth anew begin.
    .
    . Forst to content, but *nEUER TO OBEY* ,
    .
    . Panting he lies, and breatheth in her face;
    . She feedeth on the (STEAME), as on a pray,
    . And calls it heauenly moisture, aire of grace,
    . Wishing her *CHEEKS* were gardens full of flowers,
    . So they were dew'd with such distilling showers. -----------------------------------------------------
    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. ........................................
    . . . . . . . <= 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
    ..................................................
    . Epilogue _ROSALYNDE OR, EUPHUES' GOLDEN LEGACY_
    .
    . 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*
    ----------------------------------------------- http://www.bartleby.com/331/186.html
    .
    . Rosalynde (1590) by *THOMAS LODGE*
    _Phoebe's Sonnet, a Reply to Montanus' Passion_

    . When Love was first begot,
    . And by the *moVER's WILL*
    . Did fall to human lot
    . His solace to fulfil,
    . Devoid of all deceit,
    . A chaste and holy fir(E)
    . Did quick[E]n (M)an's conce[I]t,
    .(A)nd women's [B]r(E)ast inspi[R]e.
    .(T)he gods th[A]t (S)aw the goo[D]
    . That mortal{S} did approve,
    .{W}ith kind and holy mood
    . Began to talk of Love.
    ...................................
    . . . . . . . <= 11 =>
    .
    . a n d h o l y f .i. r (E)
    . D i d q u i c k [E] n (M)
    . a n's c o n c e [I] t,(A)
    . n d w o m e n's [B] r (E)
    . a s t i n s p i [R] e.(T)
    . h e g o d s t h [A] t (S)
    . a w t h e g o o [D] T. h
    . a t m o r t a l {S} d. i
    . d a p p r o v e,{W} i. t
    . h k i n d a n d (H) o. l
    . y m o o d
    .
    [{W.S.} DARBIE] -11 : Prob. in song ~ 1 in 3,650,000
    . . . .(STEAME) -11
    .......................................................
    . But during this accord,
    . A wonder *STRANGE* to hear,
    . Whilst Love in deed and word
    . Most faithful did appear,
    . False-semblance came in place,
    . By Jealousy attended,
    . And with a double face
    . Both love and fancy blended;
    . Which made the gods forsake,
    . And men from fancy fly,
    . And maidens scorn a make,
    . Forsooth, and so *WILL I*. -----------------------------------------------------------
    The Tragedie of King Richard the third. Containing his
    treacherous Plots against his brother Clarence : the pittifull
    murther of his innocent Ne-phewes : his tyrannicall usurpa-
    tion : with the whole course of his detested life, and most
    dese[R]ved of death. A(S) it hath been(E) lately Act[E|D) by
    the Kings {M}aiesties servants. Newl[Y] {A}ugmented, By William
    Shak{E}-speare. Lon[D]on, Printed by {T}homas Creede, and are
    to b[E] {S}old by Mathew Lawe, dwelling in Pauls Churchyard,
    at the Signe of the Foxe, neare S. Austins gate, 1612. .................................................
    . . . . . . . . <= 11 =>
    .
    . m o s t d e s e [R] v .e
    . d o f d e a t h. A (S) i
    . t h a t h b e e. n {E} l
    . a t e l y A c t [E](D) b
    . y t h e K i n g. s {M} a
    . i e s t i e s s. e .r .v
    . a n t s N e w l [Y]{A} u
    . g m e n t e d,B. y. W .i
    . l l i a m S h a. k {E} s
    . p e a r e L o n [D] o .n,
    . P r i n t e d b. y {T} h
    . o m a s C r e e. d. e, a
    . n d a r e t o b [E]{S} o
    . l d b y M a t h. e .w .L
    . a w e
    .
    (S.E.D.). 11
    [EDYER]. -33
    {STEAME} -22
    -------------------------------------------------------
    <<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.


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