[continued from previous message]

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 --------------------------------------------------------
. 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
-----------------------------------------------------------
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 =>

.<A>n d s p e n d s
. h e r f r a n c h
. i s e o n [E] a c h
. l i v i n [G] t h i
. n g<T>h e [D] a z i
. e s s p r [O] u t(t)
. h e l i (T|L] e b i
. r d s d o o s i n g,
.
(T)[LODGE] -9 Prob. ~ 1 in 800 ......................................................
. So when that all our E(N)glish *WI(t)TS* lay dead
.(<E>xce{P}t t{H}e l{A}ur{E}ll {T}hat is *(E|V)ER GREEN(E)* )
. Thou with thy Frutes our barre(N)esse o'ers{P}read
. <A|N)d set t{H}y flowrie ple{A}s(U)ance to be s{E}ene.

[S]utch fr(U|T}es, sutch flowr(R)ets of moralitie
[W]ere nere befo(R)e brought out of Italy. -- ...............................................
{PHAET} 3, 12 Prob. ~ 1 in 50,000
.
(RVNEt) -41
(RUNEt) -41
(RUNE) -35 Prob. 3(RU/VNE)s neg. skip ~ 1 in 240 ----------------------------------------------------
. Romeo and Juliet (Quarto 1, 1597) The Prologue.
.
Tvvo houshold Frends alike in dignitie,
(In faire VEROna, where we lay our Scene)
From ciuill broyles broke into enmitie,
VVhose ciuill warre makes ciuill hands vncleane.
.
[F]rom forth the *FATAll* loynes of these two foes,
[A] paire of starre-crost Louers tooke their life:
. {VV}hose misaduentures, piteous ouerthrowes,
[T]hrough the continuing of their Fathers strife,
[A]nd death-markt passage of their Parents rage
.
Is now the two howres traffique of our Stage.
The which if you with patient EARES attend,
. {VV}hat *HERE we [WANT]* wee'l studie to amend. ----------------------------------------------------
. http://home.freeuk.net/sidsoft/pensinfo.html
.
The Sidney Family arms shows a *PORCUPINE* & a lion
. . . on either side of the Sidney PHEON.
.
"Whither the *FATES CALL* " is the meaning of Sidney's motto:
.
____ *QUO FATA VOCANT*
----------------------------------------------------
. Hamlet > Act I, scene IV
.
HAMLET: My *FATE CRIES OUT* ,
. And makes each petty artery in this body
. As hardy as the Nemean lion's nERVE.
. *STILL am I CALL'D* . -----------------------------------------------------------
William Marshall engraving of of William Shakespeare on 1640 Sonnets http://www.william-shakespeare.info/william-shakespeare-marshall%20en...
.
<<Both the image of William Shakespeare by William Marshall,
adapted by from the Martin Droeshout engraving on the First Folio,
and the words of Ben Jonson have considerably changed from the
First Folio to the second, 1640 edition of Shakespeare's sonnets.
.
. . The lines below the Marshall image of William Shakespeare:
.
. This *SHADOW* is renowned Shakespear's? Soule of th' age
. The applause? Delight? The wonder of the Stage.
. Nature her selfe, was proud of his designs

[A]nd joy'd to weare the dressing of his lines,
[T]he learned will confess his works as such
[A]s neither man, nor Muse can praise to much
[F]or *EVER live thy FAME* , the world to tell,

Thy like, no age, shall *EVER* paralell >> --------------------------------------------------
. [ON *POET-APE* ] EPIGRAMS by Ben Jonson
.
Poor *POET-APE* , that would be thought our chief,
. Whose works are e'en the frippery of wit,
[F]rom brokage is become so bold a thief,
. As we, the robb'd, leave rage, and pity it.
[A]t first he made low shifts, would pick and glean,
. Buy the rEVERsion of old plays ; now grown
[T]o a little wealth, and credit in the scene,
. He takes up all, makes each man's wit his own :
[A]nd, told of this, he slights it. Tut, such crimes
. The sluggish gaping auditor devours ;
. He marks not whose 'twas first : and after-times
. May judge it to be his, as well as ours.
. Fool ! as if half eyes will not know a fleece
. From locks of wool, or shreds from the whole piece ? ---------------------------------------------------- http://www.philological.bham.ac.uk/anagrams/text.html
____ *EDOUARUS VEIERUS*
_____ per anagramma
____ *AURE SURDUS VIDEO*
.
[A]uribus hisce licet studio, Fortuna, susurros
[PE]rfidiae et technas efficis esse procul,
. Attamen accipio (quae mens horrescit et auris)
. Rebus facta malis corpora surda tenus.
. Imo etiam cerno Catilinae¶ fraude propinquos
. Funere solventes *FATA* aliena suo. .............................................
_______ *EDWARD VERE*
______ by an anagram
____ *DEAF IN MY EAR, I SEE*
.
Though by your zeal, FORTUNE, you keep perfidy's
murmurs & schemings at a distance, nonetheless I learn
(at which my mind & ear quake) that our bodies have
been deafened with respect to evil affairs. Indeed,
I perceive men who come close to Catiline* in deception,
freeing other men's *FATES* by their death.
.
¶ Catiline was the rabble-rouser suppressed by Cicero.
His name became a watchword for incendiary troublemakers.>> ----------------------------------------------------
. . . . . . Sonnet 60
.
.[A]nd Time that gave doth now his gift confound.
.[T]ime doth transfix the flourish set on youth
.[A]nd delves the parallels in beauty's brow,
.[F]eeds on the rarities of *NATURE'S TRUTH* ,
. And *nothing* stands but for his scythe to mow:
. And yet to times in hope my VERsE shall stand,
. Praising thy *WORTH*, despite his cruel hand. -------------------------------------------------
. . . Sonnet 70
.
. . That thou are blam'd shall not be thy defect,
. {F}or slanders marke was EUER yet the *FAIRE* ,
. . The [ORNAMENT] of beauty is suspect,
. {A} Crow that flies in heauens sweetest ayre.
. . So thou be good, slander doth but approue,
. {T}heir *WORTH* the greater beeing woo'd of time,
. [F]or Canker vice the sweetest buds doth loue,
. {A}nd thou present'st a pure vnstayined prime.
. [T]hou hast past by the ambush of young daies,
. [E]ither not assayld, or victor beeing charg'd,
.
. . Yet this thy praise cannot be soe thy PRAISE,
. . To tye vp ENUY, EUERmore inlarged,
. . If *some SUSpect of ill maskt* not thy show,
. . Then thou alone kingdomes of hearts shouldst owe. ..............................................
. {E}douardus *VERUS* , {COMES} Oxoniae,
. . Vicecomes Bulbeck, Dominus de Scales
. . & Badlismer, D. Magnus Angliae Ca-
. . merarius: Lectori. S. D.
.
. . http://comp.uark.edu/~mreynold/aulicus.html
.
Quae si sapientissimorum principum clarissima insignia,
si florentis reip. certissima praesidia, si optimorum
ciuium *ORNAMENTa maxima* , & suo merito, & omnium iudicio,
..
- Edward de Vere's introduction to 1577 translation
of *BALTHASAR* Castiglione's The Book of the Courtier, ---------------------------------------------------------------- http://socrates.berkeley.edu/~ahnelson/ARMADA/1589Engl.html

. . Armada Pamphlets Commissioned by Burghley

An Answer to the vntruthes, pvblished and printed in Spaine, in glorie
of their svpposed victorie atchieued against our English Navie, and
the Right Honorable Charles Lord Howard, Lord high Admiral of England,
&c. Sir Francis Drake, and the rest of the Nobles and Gentlemen,
Captaines, and Soldiers of our said Navie. First written and published
in Spanish By a Spanish Gentleman; who came hither out of the Lowe
Countries from the service of the prince of Parma, with his wife
and familie, since the overthrowe of the Spanish Armada, forsaking
both his countrie and Romish religion; as by this Treatise
(against the barbarous impietie of the Spaniards; and
dedicated to the Queenes most excellent Majestie, may appeere.

Faithfully translated by I. L. [Ihon Lyllie?/Iames Leigh?]

London, Printed by Iohn Iackson, for Thomas Cadman. 1589.

. . (L. Admirall)
. .The Admirall with Lion on his creast,
. {l}ike to Alcides on the strond of Troy:
. [A]rmd at assaie, to battell is addreast:
. [T]he sea that sawe his frownes, waxt calme and coy,
. [A]s when that Neptune with threeforked mase,
. [F]or Trojans sake, did keepe the winds in chase.
.
. . (Earle of Oxford)
. . De-Vere whose *FAME* , and loyaltie hath pearst,
. . The Tuscan clime, and through the Belgike lands,
. . By winged *FAME* , for valor is rehearst:
. . Like warlike Mars upon the hatches stands,
. . His tusked Bore gan fome for inwarde ire,
. . While *PALLAS* fild his breast, with warlike fire. -------------------------------------------------------
<<On the titlepage of the first edition
. of Venus & Adonis is the Ovidian phrase
.
. *Vilia miretur vulgus* ... "
.
or, "allow the public to admire that which is sordid.">>
. - Rowse, A.L. ed., The Annotated Shakespeare, 1984. ....................................................
. . P. Ovidius Naso, Amores http://www.thelatinlibrary.com/ovid/ovid.amor1.shtml
.
XV *VILIA miretur VULGUS* ; mihi flavus APOLLO+
. Pocula Castalia plena ministret aqua,
. Sustineamque coma metuentem frigora myrtum,
. Atque a sollicito multus amante legar!
. Pascitur in vivis Livor; post *FATA* quiescit+,
. Cum suus ex merito quemque tuetur honos.
. Ergo etiam cum me supremus adederit ignis++,
. Vivam, parsque mei multa superstes erit. --------------------------------------------------------------
. . Moby Dick (1851) - Melville
.
For an instant, the tranced boat's crew stood still; then turned.
"The ship? Great God, where is the ship?" Soon they through dim,
bewildering mediums saw her sidelong *fading PHANTOM* ,
as in the gaseous *FATA* Morgana; only the uppermost
masts out of water; while fixed by in[FAT]u[A]tion,
or fidelity, or *FATE*, to their once lofty perches, the
pagan harpooneers still maintained their sinking look-outs on
the sea. And now, concentric circles seized the lone boat itself,
and all its crew, and each floating *OAR, & EVERY LANCEPOLE*
and spinning, animate & inanimate, all round & round in one
vortex, carried the smallest chip of the Pequod out of sight. ----------------------------------------------------------
*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. -----------------------------------------------
- . The Phoenix and the Turtle
.
. LET the bird of loudest lay,
. On the sole Arabian tree,
. Herald sad and trumpet be,
.
. To whose sound *cha[S]te WINGS OBEY* .
. But tho[U] shrieking harbinge[R],
. Foul precurrer of th[E] fiend,
. Augur of the *FE[V]ER'S* end,
. To this troup{E| COME} thou not near! ........................................
. . . . . .<= 18 =>
.
. L e t t h e .b. i r d o f l o u d e s
. t l a y O n .t. h e s o l e A r a b i
. a n t r e e .H. e r a l d s a d a n d
. t r u m p e .t. b e T o w h o s e s o
. u n d c h a [S] t e w i n g s o b e y
_ B u t t h o [U] s h r i e k i n g h a
_ r b i n g e [R] F o u l p r e c u r r
__e r o f t h [E] f i e n d A u g u r o
__f t h e f e [V] E R s e n d T o t h i
. s t r o u p {E| C O M E}t h o u n o t
. n e a r
.
[E.VERUS] -18 : Prob. ~ 1/12,240 (any skip) ..............................................
. {E}douardus *VERUS*, {COME}S Oxoniae,
. . Vicecomes Bulbeck, Dominus de Scales
. . & Badlismer, D. Magnus Angliae Ca-
. . . merarius: Lectori. S. D.
.
http://comp.uark.edu/~mreynold/aulicus.html
.
Quae si sapientissimorum principum clarissima insignia,
si florentis reip. certissima praesidia, si optimorum
ciuium *ORNAMENTa maxima* , & suo merito, & omnium iudicio, ........................................................
- Edward de Vere's introduction to 1577 translation
of *BALTHASAR* Castiglione's The Book of the Courtier, -----------------------------------------------------
. . . . http://tinyurl.com/46f4htt
.
. _Summers Last Will and Testament_ -Thomas Nashe ..................................................
ORION: *SIRRAH* , wast thou that called us from our game?
____ How dared thou (being but a petty God)
____ Disturb me in the entrance of my sports?
.
SUMMER: It I, Orion, caused thee to be called.
.
ORION: It I, dread Lord, that humbly *WILL OBEY* . ------------------------------------------------------------
<<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) -------------------------------------------------------------
"-Éste es el día, ¡oh Sancho!, en el cual *SE HA DE VER* el bien que
me tiene guardado mi suerte; éste es el día, digo, en que se ha de
mostrar, tanto como en otro alguno, el valor de mi brazo, y en el que
tengo de hacer obras que queden escritas en *EL LIBRO DE LA FAMA*
por todos los venideros siglos. ¿Ves aquella *POLVAREDA* que allí
se levanta, Sancho? Pues toda es cuajada de un copiosísimo ejército
que de diversas e innumerables gentes por allí viene marchando.
.
-A esa cuenta, dos deben de ser -dijo Sancho-, porque desta parte
contraria se levanta asimesmo otra semejante *POLVAREDA*.
.
Volvió a mirarlo don Quijote, y vio que así era la *VERDAD* ;
y, alegrándose sobremanera, pensó, sin duda alguna, que
eran dos ejércitos que venían a embestirse y a encontrarse
en mitad de aquella espaciosa llanura (...)" ---------------------------------------------------------
Shelton's Don Quixote, Part 1. The Third Book
. http://www.bartleby.com/14/304.html
.
IV. Wherein Are Rehearsed the Discourses Passed between Sancho Panza
and His Lord, Don Quixote, with Other Adventures Worthy the Recital .................................
'This is, Sancho, the day wherein *SHALL BE MANIFEST* the good which
fortune hath reserved for me. This is the day wherein the force of
mine arm must be shown as much as in any other whatsoEVER; and in
it I will do such feats as shall for EVER remain recorded in the
*BOOKS OF FAME*. Dost thou see, Sancho the *DUST* which ariseth
there? Know that it is caused by a mighty army, and sundry and
innumerable nations, which come marching there.'
.
'If that be so,' quoth Sancho, 'then must there be *two armies*;
. . . for on this other side is raised as great a *DUST*.'
.
Don *Quixote* turned back to behold it, and
seeing it was *SO INDEED*, he was marvellous glad,
thinking that they were doubtlessly *two armies*, which came
to fight one with another in the midst of that spacious plain
.
[for he had his *FANTASY EVER* replenished with these battles,
enchantments, successes, ravings, loves, and challenges which
are rehearsed in books of knighthood, and all that EVER he spoke,
thought, or did, was addressed and applied to the like things.
And the *DUST* which he had seen was raised by two great
. . flocks of sheep, that came through the same field
by two different ways, and could not be discerned, by reason
of the *DUST*, until they were VERy near. Don Quixote did
affirm that they were two armies with so VERy good earnest
as Sancho believed it, and demanded of him,] -----------------------------------------------------------
. .GOOD FREND FO {R} [IE]{SVS}'_S(AKE)_ FOR[BE]ARE,
. .TO DIGG THE D {V} [ST] ____ EN(CLO)ASED [HE]ARE:
.BLESTE BE Ye MA {N} .Yt ___ . SPA{RE}S THES STONES,
. AND CVRST BE H {E} .Yt ____ . MO{VE}S MY BONES. ....................................................
. PHILIP Sidney = 1576 [HEBE] royal cupbearer.
. Edward Dyer = . 1576 [HEBE] license to PARDON
. . . . . . . . and diSPENSE with *TANNING LEATHER* . ..................................................
Nor will I frame myself to such as use,
With calm consent, to suffer such despite;

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