-----------------------------------------
*the Turtle an[d Phoenix]* Version II
......................................
. 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 : (Oxford's Latin name)
. Prob. at start ~ 1 in 6,860
......................................
. Fro{M} this se{S}sion in{T}erdict
. {E}very fo{W}l of ty{RA}nt wing,
. Save the eagle, feather'd king:
. Keep the obsequy so strict.
. Let the priest in surplice white,
. That defunctive music can,
. Be the death-divining swan,
. Lest the requ[I]em lack {H}i[S] righ{T}.
. And [T]ho{U} trebl[E]-{D}ated c{RO|W],
. That thy s[A]ble gende[R] makest
. Wi[T]h the breath thou givest and takest,
. 'Mongst our mourners shalt thou go.
......................................
. . . <= 8 =>
.
. . . . .F r o{M}t
. .h i s s e{S}s i
. .o n i n{T}e r d
. .i c t{E}v e r y
. .f o{W}l o f t y
. {R A}n t w i n g,
. .S a v e t h e e
. .a g l e,f e a t
. .h e r'd k i n g:
. .K e e p t h e o
. .b s e q u y s o
. .s t r i c t.L e
. .t t h e p r i e
. .s t i n s u r p
. .l i c e w h i t
. .e,T h a t d e f
. .u n c t i v e m
. .u s i c c a n,B
. .e t h e d e a t
. .h-d i v i n i n
. .g s w a n,L e s
. .t t h e r e q u
. [I]e m l a c k{H}
. .i[S]r i g h{T}A
. .n d[T]h o{U}t r
. .e b l[E|D}a t e
. .d c{R O|W]T h a
. .t t h y s[A]b l
. .e g e n d e[R]m
. .a k e s t W i[T]
. .h t h e b r e a
. .t h t h o u g i
. .v e s t a n d t
. .a k e s t,
.
[I.STEWART] 9 Prob. ~ 1 in 137,000
{M.STEWA/R} 7
{H.TUDO/R} 7

I(ames) STEWART (19 June 1566 – 27 March 1625)
M(ary) STEWART, Queen of Scots (8 Dec. 1542 – 8 Feb. 1587) mom
H(enry) TUDOR (28 Jan. 1457 – 21 Apr. 1509) great-grandfather ......................................
. Whereupon it made this threne
. To the phoenix and the dove,
. Co-su(P)remes (A)nd sta(R)s of lo(V)e,
. As ch(O)rus to their tragic scene.
......................................
___ <= 6 =>
.
. C o-s u (P) r
. e m e s (A) n
. d s t a (R) s
. o f l o (V) e,
. A s c h (O) r
. u s t o .t. h
. e i r t .r. a
. g i c s .c. e
. n e.
.
(PARVO) 6 : (Rutland/Manners' motto)
. Prob. at end ~ 1 in 15,000
.......................................
the Phoenix [and Turtle]

[and Turtle]
[et rutland]
--------------------------------------------
. . . . KJV EZEKIEL 41
.
4-6 So he measured the length thereof, twenty cubit[S]; and the

breadth, twenty cubits, before [T]he temple: and he said unto me,

This is th[E] most holy place. After he measured the [W]all of
the house, six cubits; and the breadth of every side chamber,
four cubits, [R]ound about the house on every side. And [T]he
side chambers were three, one over another, and thirty in order;

[STEWART] 32 : shortest positive skip in modern KJV --------------------------------------------------------- http://tinyurl.com/zv93mdf
.
_The MINERVA BRITANNA_ Banner Folding clearly demonstrates
how the Equidistant Linear Sequence decoding is to be performed: ..........................................................
"all thinges perish and come to theyr last end, but workes
of learned WITS & monuments of Poetry abide *for EVER* ." ......................................................
_______ <= 7 =>
.
. [V] I {V} I T U R
. [I] N .G {E} N I O
. [C] Æ (T) E {R} A M
. [O] R (T) I S {E} R
. [U. N (T)]
.
{VERE} 8
[VICOU/NT] 7
.
Key?: Triple (T)AU & first word ......................................................
1579: Dedication to Oxford in the only edition of
. Geoffrey Gates' The Defence of Militarie profession.
.
. TO THE RIGHT honorable, Edward de \VERE\, Earle of
. Oxenford, [VICOUNT] Bulbecke, Lord of Escales
. and Baldesmere, and Lord great Chamberlaine of England. ----------------------------------------------------------
Shakespearean tragedies based on Plutarch: ......................................
Antony and Cleopatra
Timon of Athens
Iulius Caesar
Coriolanus
................................................
Plutarch's Lives Englished by Sir THOMAS NORTH
in Ten Volumes, Vol. 5 *LYSANDER* (1595)

http://tinyurl.com/qal8ahq

To him selfe they sent immediately that which they call Scytala...
The Scytala is in this sort. When the Ephori doe send a Generall,
or an Admirall to the warres, they cause two litle round staues
to be made [etc.]... These two litle staues they call Scytales.
Ibid., This litle scrowle of parchment also is called
as the rowle of wodde, Scytala. ...........................................................
<<The *SCYTALE* is the oldest known military ciphering method.
In the year 404 B.C. only one of five messengers survived the
grueling march from Persia back to the Spartan general *LYSANDER*.
The messenger gave *LYSANDER* his belt and *LYSANDER* winded his
belt around the so-called *SCYTALE*. Thus he was informed that
the Persians planned an attack, he prepared for this attack
and was able to fend it successfully.>> - Simon Singh

http://tinyurl.com/l4b4rvk ...........................................................
HERMIA: *LYSANDER RIDDLES VERy* prettily:
. Now much beshrew my MANNERS and my pride,
. If Hermia meant to say *LYSANDER LIED*. ---------------------------------------------------------
*LYSANDER RIDDLES VERy* prettily: A Midsummer Night's Dream: II, ii ...........................................................
Hoyday, a *RIDDLE*! neither good nor bad! King Richard III: IV, iv
His currish *RIDDLES* sort not with this place. King Henry VI, part III: V, v Upon this *RIDDLE* runs the wisdom of the world. Measure for Measure: III, ii Some enigma, some *RIDDLE*: Love's Labour's Lost: III, i
No enigma, no *RIDDLE*, no l'envoy; Love's Labour's Lost: III, i
But *RIDDLE-like* lives sweetly where she dies! All's Well that Ends Well: I, iii
So there's my *RIDDLE*: one that's dead is quick: All's Well that Ends Well: V, iii
You have not the book of *RIDDLES* Merry Wives of Windsor: I, i
Book of *RIDDLES*! why, did you not lend it to alice Merry Wives of Windsor: I, i
In *RIDDLES* and affairs of death; Macbeth: III, v ...........................................................
A fustian *RIDDLE*! Twelfth Night: II, v ----------------------------------------------------------------
. Twelfth Night (Folio 1, 1623) II, v
.
Mal. I may command where I adore, but silence like a Lucresse knife:
. With bloodlesse stroke my heart doth gore,
. [M.O.A.I.] d[O]th sw[A]y my l[I]fe.
.
Fa. A fustian *RIDDLE*.
.
To. Excellent Wench, say I.
.
Mal. [M.O.A.I.] d[O]th sw[A]y my l[I]fe.
. Nay but first let me see, let me see, let me see. .........................................................
. . <= 4 =>
.
. [M. O. A. I.]
. .d [O] t .h
. .s .w [A] y
. .m .y .l [I]
. .f .e.
.
[MOAI] : Prob. ELS in repeated nonsense phrase ~ 1 in 1092 ...........................................................
Fab. What dish a poyson has she drest him?

To. And with what wing the stallion checkes at it?

Mal. I may command, where I adore: Why shee may
command me: I serue her, she is my Ladie. Why this is
euident to any formall capacitie. There is no obstruction
in this, and the end: What should that Alphabeticall po-
sition portend, if I could make that resemble something
in me? Softly, [M.O.A.I.] -------------------------------------------------------
Mal. M,O,A,I. This simulation is not as the former:
and yet to crush this a little, it would bow to mee, for *EVERy*
one of these Letters are in my name. Soft, here followes
prose: If this fall into thy hand, revolve. In my stars
I am above thee, but be not affraid of greatnesse: Some
are become great, some atcheeves greatnesse, and some
have greatnesse thrust uppon em. Thy fates open theyr
hands, let thy blood and spirit embrace them, and to inure
thy selfe to what thou art like to be: cast thy humble
slough, and appeare fresh. Be opposite with a kinsman,
surly with servants: Let thy tongue tang arguments of
state; put thy selfe into the tricke of singularitie.
Shee thus advises thee, that sighes for thee. .......................................................
Remember who commended thy yellow stockings, and wi{S}h'd
to see thee *EVER* cros(S)e garter'd: I say remember,

goe [T]oo, tho[U] art ma[D]e if th[O]u desi[R]'st to be so:

If not, let me see th{E}e a *{STEWA}RD* s(T)ill,

the fellow of servants, and not {W}oorthie to touch
Fortunes fingers Farewell, Shee th{A}t would alt(E)r
services with thee, the fortunate unhappy daylight and
champian discovers not more: This is open, I (W)ill bee
proud, I will reade politicke Authours, I will baffle
Sir Toby, I will wash off grosse acqu(A)int{A}nce,
I {W}ill b{E} poin{T} devi{S}e, the VERy man. .......................................................
{STEWA} -5, 44, 83 : Prob. in full speech ~ 1 in 3450
[TUDOR] 6 : Prob. in center of 3{STEWA}s ~ 1 in 1000 .......................................................
I do not now foole my selfe, to let imagination iade mee;
for *EVERy* reason excites to this, that my Lady loves me.
She did commend my yellow stockings of late,
shee did praise my legge being crosse-garter'd,
and in this she manifests her selfe to my love, &
with a kinde of iniunction drives mee to these habites of
her liking. I thanke my starres, I am happy: I will bee
strange, stout, in yellow stockings, and crosse Garter'd,
even with the swiftnesse of putting on. Iove, and my
starres be praised. Heere is yet a postscript. Thou canst
not choose but know who I am. If thou entertainst my love, let
it appeare in thy smiling, thy smiles become thee well. Therefore
in my presence still smile, deero my sweete, I prethee. Iove
I thanke thee, I will smile, I wil do *EVERy* thing that thou
wilt have me. ------------------------------------------------------------------- [MA]LVOL[IO]: *M, O, A, I* ; this simulation is not as the former;
. and yet, to crush this a little, it would bow to me,
. for EVERy one of these letters are in my name. ................................................................
*VOLL* : full, fraught, plenteous, replete (German)
.
*MOAI* : *BEAUTIFUL* (Frisian: A West Germanic language spoken
in the *NORTHWESTERN NETHERLANDS* ; a near relative of English.) ................................................................
OLIVIA: O, what a deal of scorn looks *BEAUTIFUL*
_____ In the contempt and anger of his lip!
.
<< *MOAI* are monolithic human figures carved from rock on
Easter Island, between 1250 & 1500 CE. Easter Island was
found and named by its first recorded European visitor,
the *DUTCH* explorer Jacob Roggeveen in 1722.>> ------------------------------------------------------------------
1688 : EASTER Island spotted by English? : Captain Davis
1722 : EASTER Island discovered by Dutch: Adm. Roggeveen (April 6)
1770 : EASTER Island rediscovered? : Spain's Felipe Gonzalas
1774 : EASTER Island visited by Capt. Cook
1864 : EASTER Island BOUSTROPHEDONIC hieroglyphs found!! .......................................................
. BOUSTROPHEDONIC
[from the Greek meaning "as the *OX PLOUGHs* ] http://www.quinion.com/words/weirdwords/ww-bou1.htm
.
<<Of or relating to text written from left to right
. and right to left in alternate lines.
.
Mainly of interest to palaeographers, this is a form of writing
. which occurs principally in very ancient or rare texts.
.
Examples are the RONGO-RONGO script of EASTER ISLAND,
some of those in the Etruscan language, a few early Latin
inscriptions and some ancient Greek texts created in
a transitional period at about 500BC before which writing
ran from right to left but afterwards from left to right.>> ---------------------------------------------------------
The RONGO-RONGO of EASTER Island The *MAMRAI* Tablet
.
<<The *MAMRAI* Tablet is the only rongorongo text
the meaning of part of which is known: a LUNAR CALENDAR
. identified as such by Thomas Barthelin 1958.>>

http://www.rongorongo.org/
http://www.rongorongo.org/corpus/mamari.html --------------------------------------------------------------- boustrophedontic rongorongo *MAMRAI* cryptogram: *RARMAI* ---------------------------------------------------------------
. "RARMAI" (it will do; it is easy) ----------------------------------------------------------------
<<Then crossing his arms on his breast with Yojo between,
he called for the coffin lid ( *HATCH* he called it) to be placed
over him. *The head part turned over with a LEATHER hinge* ,
and there lay QUEEQUEG in his coffin with little but his composed
countenance in view. "RARMAI" (it will do; it is easy)
he murmured at last,& signed to be replaced in his hammock.
.
Seeing how [sailors] spent their wages in that place also, poor
QUEEQUEG gave it up for lost. Thought he, *it's a wicked world*
in all meridians; I'll die a pagan. And thus an old idolator
at heart, he yet lived among these Christians, wore their clothes,
and tried *TO TALK THEIR GIBBERISH* . Hence the *QUEEr ways*
about him, though now some time from home.>> -------------------------------------------------------------
. <<A terricolous vively-onview this;
. QUEE(r) and it continues to be QUAK(y).
. *A HATCH* , a celt, an earshare the pourquose
. of which was to cassay the earthcrust at all of hours,
.
. *furrowards, bagawards, like yoxen at the turnpaht*
.
. Here say figurines billycoose arming and mounting.
. Mounting and arming bellicose figurines see here.
. *FUTHORC* >> - Finnegans Wake p.18 -----------------------------------------------------
1851 MOBY DICK; OR THE WHALE by Herman Melville
. Chapter vi - THE STREET
.
No town-bred *DANDY WILL* compare with a COUNTRY-bred one - I mean
a downright *BUMPKIN DANDY* - a fellow that, in the dog-days, WILL
mow his two acres in BUCKSKIN GLOVES for fear of TANNING his hands.
Now when a *COUNTRY DANDY* like this takes it into his head to
make *a distinguished reputation* , and joins the great whale-fishery,
you should see the comical things he does upon reaching the seaport.
In bespeaking his sea-outfit, he orders bell-buttons to his waistcoats;
straps to his canvas trowsers. Ah, poor Hay-Seed! how bitterly
will burst those straps in the first howling gale, when thou art
driven, straps, buttons, and all, down the throat of *THE TEMPEST* .
.
But think not that this famous town has only harpooneers,
cannibals, and *BUMPKINS* to show her visitors. Not at all.
. Still New Bedford is a QUEER place. -------------------------------------------------------------------
[CARPENTER (resuming work).
Well, well, well! Stubb knows him best of all, and Stubb always says
he's QUEER; says nothing but that one sufficient little word QUEER;
he's QUEER, says Stubb; he's QUEER- QUEER, QUEER; and keeps
dinning it into Mr. Starbuck all the time- QUEER- sir- QUEER,
QUEER, VERY QUEER. And HERE's his leg.>>
.
<<[the CARPENTER] forthwith with all the indifferent
promptitude of his character, proceeded into the forecastle
and took Queequeg's measure with great accuracy, regularly
chalking Queequeg's person as he shifted *the RULE*
.
. "Ah! POOR FELLOW! he'll have to die now,"
. ejaculated the Long Island sailor.
.
. Going to his vice-bench, the CARPENTER for
. convenience sake and general reference,
.
. now *TRANSFERRINGLY MEASURED ON*

it the exact length the coffin was to be, and then made the
transfer permanent by cutting two notches at its extremities.>> ----------------------------------------------------------
_ *trans(F)err(I)ngl(Y) mea(SU)red on* - _Moby Dick_
.
___ t .r. a n
___ s (F) e r
___ r (I) n g
___ l (Y) m e
___ a (S) U r
___ e .d. o n
.
___________ . . . . . . . . . . [S]
. r o g e r m a n n e r s, e. r [U] t l a n d
___________ . . . . . . . . . . [F]
___________ . . . . . . . . . . [I]
___________ . . . . . . . . . . [Y]
.
. *SUFIY* - *WISE, PIOUS* ----------------------------------------------------------
. Hamlet, Prince of Denmark Act 5, Scene 1
.
First Clown: What is he that builds stronger than either
. *the MASON* , the shipwright, or *the CARPENTER* ? ------------------------------------------------------------------
ISAIAH 44:13 *The CARPENTER stretcheth out his RULE* ; he marketh
. it out with a line; he fitteth it with planes, and he marketh it
. out with *the COMPASS* , and maketh it after the figure of a man,
according to the beauty of a man; that it may remain in the house.
. He HEWeth him down cedars, and taketh the CYPRESS and the oak, ----------------------------------------------------------------
"The village CARPENTER . . . lays out his work by
EMPIRICAL rules learnt in his apprenticeship." --H. SPENCER. ---------------------------------------------------------
Claudius reads Hamlet's letter to Laertes:
. (Act 4, Scene 7) [ 1604 Quarto 2 ]
.
'High and mighty, you shall know I am set naked on your
kingdom, to morrow shall I begge leaue to see your kingly
eyes, when I shal first asking you pardon, there-vnto
recount the occasion of my suddaine returne.' ........................................................
*Roger Manners* dies in 1612...and Shakspere & Burbage
make an impresa for the 6th Earl of Rutland in 1613. ........................................................
Claudius reads Hamlet's letter to Laertes:
. (Act 4, Scene 7) [ 1623 Folio ]
.
'High and Mighty, you shall know I am set naked on your
Kingdome. To morrow shall I begge leaue to see your Kingly
Eyes. When I shall (first asking your Pardon thereunto)
recount th'Occasions of my sodaine,
.
. *AND MORE STRANGE RETURN.' 'HAMLET.'* --------------------------------------------------------
The new added phrase *AND MORE STRANGE RETURN.*
is a near anagram for *roger manners, e. rutland*
.
And with *hamlet* it can be rearranged to form a *sword* : ----------------------------------------------------------
. << *and more strange return. hamlet* >>
.
___________ . . . . . . . . . . . . [H]
___________ . . . . . . . . . . . . [A]
___________ . . . . . . . . . . . . [M]
. r o g e r m a n n e r s, e. r u t [L] a n d
___________ . . . . . . . . . . . . [E]
___________ . . . . . . . . . . . . [T]
___________ . . . . . . . . . . . . [T] ---------------------------------------------------------------
. _MOBY DICK_ CHAPTER 107 "The CARPENTER"
.
<<You might almost say, that this STRANGE uncompromisedness
in him involved *a sort of unintelligence* ; for in his
numerous trades, he did not seem to work so much by reason
or by instinct, or simply because *he had been TUTORed to it*
, or by any intermixture of all these, even or UNEVEN;
but merely by kind of DEAF & DUMB, spontaneous literal process.
.
He was a pure manipulater; his BRAIN,
if he had EVER had one, must have early oozed
along into the muscles of his fingers. He was like
one of those unreasoning but still highly useful,
.
. *MULTUM IN PARVO* ,
.
Sheffield contrivances, assuming the exterior-
though a little swelled- of a common pocket knife;
but containing, not only blades of various sizes,
but also screw-drivers, cork-screws, tweezers,
awls, pens, rulers, nail-filers, countersinkers.>> ........................................................
*roger manners, e. rutland*, motto is *MULTUM IN PARVO* ___________________________________ *Much in Little* --------------------------------------------------------
SEBASTIAN: A lady, sir, though it was said she much
. resembled me, was yet of many accounted *BEAUTIFUL* :
.
VIOLA: 'Tis *BEAUTY TRULY* blent,
.
OLIVIA: I will give out *DIVERS schedules of my BEAUTY* :
. it shall be inventoried, and EVERy particle
. and utensil labelled to my WILL:
.
VIOLA: There is a fair behavior in thee, captain;
And though that nature with a *BEAUTeous wall*
.
VIOLA: Most radiant, exquisite and unmatchable *BEAUTY*,
--I pray you, tell me if this be the lady of the house,
for I never saw her: I would be loath to cast away
my speech, for besides that it is excellently well
penned, I have taken great pains to con it.
*Good BEAUTies* , let me sustain no scorn; I am
very comptible, even to the least sinister usage.
.
Clown: Two faults, madonna, that drink and good counsel
will amend: for give the dry fool drink, then is
the fool not dry: bid the dishonest man mend
himself; if he mend, he is no longer dishonest;
if he cannot, let the botcher mend him. Any
thing that's mended is but patched: virtue that
transgresses is but patched with sin; and sin that
amends is but patched with virtue. If that this
simple syllogism will serve, so; if it will not,
what remedy? As there is no true cuckold but calamity,
*so BEAUTY's a flower* . The lady bade take
away the fool; therefore, I say again, take her away.
.
VIOLA: I see you what you are, you are too proud;
But, if you were the devil, you are fair.
My lord and master loves you: O, such love
Could be but recompensed, though you were
crown'd *The nonpareil of BEAUTY* !
.
ANTONIO: But O how vile an idol proves this god
. Thou hast, Sebastian, done good feature shame.
. In nature there's no blemish but the mind;
. None can be call'd deform'd but the unkind:
. *Virtue is BEAUTY, but the BEAUTeous evil*
. Are empty trunks o'erflourish'd by the devil. -----------------------------------------------------
. . . Twelfth Night (Folio 1, 1623) I, iii
.
An. And I thought that, I'de forsweare it.
. Ile ride home to morrow sir Toby.
.
To. Pur-quoy my deere knight?
.
An. What is purquoy? Do, or not do? I would I had bestowed
. that time in the tongues, that I haue in fencing dancing,
. an[D] b[E]a[R]e-[B]a[Y]ting: O had I but followed the Arts. ------------------------------------------------------------ http://tinyurl.com/px4754h

*STRANGE NEWES*, Of the intercepting certaine {L}etters,
and a C{O}nvoy of Verse[S], as they were g[O]ing
P(R)ivilie [T]o vict(U)all th[E] Low Cou(N)trie[S].

Unda imp(E)lli[T]ur unda.

By {T}ho. {NASHE} Gentleman. ...................................................
[Ovid: "One wave is driven forward with an other."] ...................................................
. . . . . <= 13 =>
.
. *S .T. R A N G .E .N E W E S*
. .O .f. t h e i .n .t e r c e
. .p .t. i n g c .e .r t a i n
. .e {L} e t t e .r .s,a n d a
. .C {O} n v o y {O} f V e r s
. .e [S] a s t h {E} y w e r e
. .g [O] i n g P (R) i v i l i
. .e [T]{O}v i c t (U) a l l t
. .h [E]{L}o w C o u (N) t r i
. .e [S] U n d a i m p (E) l l
. .i [T] u r u n d a.B .y. T h
. .o {N .A S H E}
.
[SO TEST] 12 : Prob. ~ 1 in 3,000
(RUNE) 13 : Prob. ~ 1 in 21
...................................................
. To the most copious Carminist of our time,
. and famous persecutor of Priscian, his *VER(i)E*
. friend Maister Apis *LAPIS*: {T}ho. {NASHE} wisheth
. new strings to his old tawnie Purse, and all honour
[A]b[L]e [I]n[C]r[E]a[S]e of acquaintance *IN THE CELLAR*.
.
[ALICE S] 2
--------------------------------------------------------------
[ALICE S]PENCER: Merry Wife of Lord *STRANGE* Act 1, Scene 1 .............................................................
SIMPLE: *BOOK of Riddles!* why, did you not lend it to
. *[ALICE S]HORTCAKE* upon All-hallowmas last,
. a fortnight afore *MICHAELMAS* ? ...........................................................
SHORTCAKE, n. An unsweetened breakfast cake shortened
. with *BUTTER* , rolled thin, and baked.
.
*SPENCER*, n. [OF. d(E.SPENS)i(ER).]
. One who has the care of the *SPENCE, or BUTTERY* . ...........................................................
. *[ALICE S]PENCER*/(a.k.a. SHORTCAKE) was the WIDOW
. of Ferdinando Stanley - Lord *STRANGE* & sister-in-law
. of William Stanley who died on *MICHAELMAS* 1642
. (Cervantes 95th birthday).
.
William Stanley (6th Earl of Derby) married Edward de Vere's
. daughter Elizabeth and fathered Lord *STRANGE*
. James Stanley Governor of the Isle of Mann. -------------------------------------------------------
Art Neuendorffer

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