---------------------------------------------------------- https://en.wikipedia.org/wiki/Geminids

<<The Geminids is a meteor shower caused by the object 3200 *PHAETHON*, which is thought to be a Palladian asteroid with a "rock comet" orbit. This would make the Geminids, together with the Quadrantids, the only major meteor showers not originating from
a comet. The meteors from this shower are slow moving, can be seen in December and usually peak around December 6–14.

http://asterisk.apod.com/viewtopic.php?f=9&t=42039#p318310

3200 *PHAETHON* is an Apollo asteroid with an orbit that brings it closer to the Sun than any other named asteroid. For this reason, it was named after the Greek myth of Phaëthon, son of the sun god Helios. *PHAETHON* was the first asteroid to be
discovered using images from a spacecraft.>> -----------------------------------------------------------------------
<<In Greek mythology, *PHAETON* (Ancient Greek: Φαέθων) was a son of Eos by Cephalus or Tithonus. Aphrodite stole him away while he was no more
than a child to be the night-watchman at her most sacred shrines.>> .....................................................
. . . King Henry VI, part III: I, iv
.
CLIFFORD: Ay, to such mercy as his ruthless arm,
. With downright payment, show'd unto my father.
. Now *PHAETHON* hath tumbled from his car,
. And made an evening at the noontide prick. ...........................................................
<<In Ovid's Metamorphoses, *PHAETHON* is the son of Clymene and the sun-god Sol, who would often boast about being the son of the sun-god. *PHAETHON*, challenged by Epaphus and his playmates, sought assurance from his mother that his father was Sol
indeed. She gave him the requested assurance and told him to turn to his father for confirmation. He asked his father for some proof that would demonstrate his relationship with the sun. When the god swore by the river Styx to grant him whatever he
wanted, he insisted on being allowed to drive the sun chariot for a day. Sol tried to talk him out of it by telling him that not even Jupiter (the king of the gods) would dare to drive it, as the chariot was fiery hot and the horses breathed out flames.
He said: The first part of the track is steep, and one that my fresh horses at dawn can hardly climb. In mid-heaven it is highest, where to look down on earth and sea often alarms even me and makes my heart tremble with awesome fear. The last part of the
track is downwards and needs sure control. Then even Tethys herself, who receives me in her submissive waves, is accustomed to fear that I might dive headlong. Moreover, the rushing sky is constantly turning, and drags along the remote stars, and whirls
them in rapid orbits. I move the opposite way, and its momentum does not overcome me as it does all other things, and I ride contrary to its swift rotation. Suppose you are given the chariot. What will you do? Will you be able to counter the turning
poles so that the swiftness of the skies does not carry you away? Perhaps you conceive in imagination that there are groves there and cities of the gods and temples with rich gifts. The way runs through the ambush, and apparitions of wild beasts! Even if
you keep your course, and do not steer awry, you must still avoid the horns of Taurus the Bull, Sagittarius the Haemonian Archer, raging Leo and Lion's jaw, Scorpio's cruel pincers sweeping out to encircle you from one side, and Cancer's crab-claws
reaching out from the other. You will not easily rule those proud horses, breathing out through mouth and nostrils the fires burning in their chests. They scarcely tolerate my control when their fierce spirits are hot, and their necks resist the reins.
Beware, my boy, that I am not the source of a gift fatal to you, while something can still be done to set right your request!

Phaethon, however, was adamant, and thus Sol was forced to relent. When the day came, the fierce horses that drew the chariot felt that it was empty because of the lack of the sun-god's weight and went out of control. Terrified, *PHAETHON* dropped the
reins. The horses veered from their course, scorching the earth, burning the vegetation, changing much of Africa into a desert, drying up rivers and lakes and shrinking the sea. Earth cried out to Jupiter who was forced to intervene by striking *PHAETHON*
with a lightning bolt. Like a falling star, *PHAETHON* plunged blazing into the river Eridanus.>>
.....................................................
. . . King Henry VI, part III: II, vi
.
CLIFFORD: O Phoebus, hadst thou never given consent
. That *PHAETHON* should cheque thy fiery steeds,
. Thy burning car never had scorch'd the earth! ----------------------------------------------------- https://en.wikipedia.org/wiki/Phaethon

<<*PHAETON* (Phaëthon; Ancient Greek: Φαέθων) was the Ancient Greek name for the planet Jupiter, the motions and cycles of which were personified in poetry and myth. *PHAETON* was said to be the son of the Oceanid Clymene and the solar deity
Helios. *PHAETON*, challenged by his playmates, sought assurance from his mother that his father was the sun god Helios. She gave him the requested assurance and told him to turn to his father for confirmation. He asked his father for some proof that
would demonstrate his relationship with the sun. When the god promised to grant him whatever he wanted, he insisted on being allowed to drive the sun chariot for a day. According to some accounts Helios tried to dissuade *PHAETON*, telling him that even
Zeus was not strong enough to steer these horses, but reluctantly kept his promise. Placed in charge of the chariot, *PHAETON* was unable to control the horses. In some versions, the Earth first froze when the horses climbed too high, but when the
chariot then scorched the Earth by swinging too near, Zeus decided to prevent disaster by striking it down with a thunderbolt. *PHAETON* fell to earth and was killed in the process.

*PHAETON* was the good friend or lover of Cycnus (king of Liguria), who profoundly mourned his death and was turned into a swan. *PHAETON*'s seven sisters, the Heliades, also mourned his loss, keeping vigil where *PHAETON* fell to Earth until the gods
turned the sisters into poplar trees, and their tears into amber.

Dante refers to the episode in the Inferno, in "Purgatorio"
Canto IV and Paradiso Canto XVII of his Divine Comedy.

William Shakespeare uses the story of *PHAETON* in four places, most famously as an allegory in his play Richard II. He also makes Juliet wish "Phaëthon would whip [Apollo's horses] to the west" as she waits for Romeo in Romeo and Juliet 3.2.3. It also
appears briefly in The Two Gentlemen of Verona 3.1.154, and twice in Henry VI, Part 3 (1.4.33 and 2.6.12).
----------------------------------------------------- http://www.oxford-shakespeare.com/documentssonnet.html https://shakespeareoxfordfellowship.org/phaeton-sonnet/
.
. *PHAETON* to his Friend Florio
.
. Sweet friend, whose name agrees with thy increase
. How fit a rival art thou of the spring!
. For when each branch hath left his flourishing,
. And green-locked summer’s shady pleasures cease,
. She makes the winter’s storms repose in peac[E]
. And spends her franchise on each livin[G] thing:
. The daisies spout, the little bir[D]s do sing,
. Herb{S}, gums, and plants d{O} vaunt [O]f their re{L}ease.
. So when that {A}ll our Eng[L]ish wi{T}s lay dead
. (Except the laurel tha[T] is EVERgreen)
. Thou with thy fruits our barrenness o’erspread
. And set thy flowery pleasance to be seen.
. Such fruits, such flowerets of morality
. Were ne’er befroe brought out of Italy. .................................................
. . <= 33 =>
.
. She .m. akest(H)ew i nt e rsstormsrep o se i np
. eac [E] Andsp(E)nd s he r franchiseon e ac h li
. vin [G] thing(T)he d ai s iesspoutthe l it t le
. bir [D] sdosi n gH e rb{S}gumsandplan t sd{O}va
. unt [O] fthei r re{L}ea s eSowhenthat{A}ll o ur
. Eng [L] ishwi{T}sl a yd e adExceptthe l au r el
. tha [T] isEVE R gr e en
.
[T.LODGE] -33 : Prob. ~ 1 in 1,800
{TALOS} -15
...............................................
{T}o life againe, to heare thy Buskin tread,
{A}nd SHAKE a stage : Or, when thy sockes were on,
{L}eave thee alone, for the comparison
{O}f all, that insolent GREECE, or haughtie Rome
{S}ent FORTH, or since did from their ASHES come. ------------------------------------------------------ https://en.wikipedia.org/wiki/John_Florio#Tutor_to_Henry_Wriothesley

<<Giovanni Florio (1552–1625), known as John Florio, was a linguist, poet, writer, translator, lexicographer, and royal language tutor at the Court of James I.

It is not certain when John Florio took the role of tutor to Henry Wriothesley, Third Earl of Southampton. Countess Clara Longworth de Chambrun was the first to suggest that Florio had been tutoring the Southampton before 1590. She points out that in
Second Fruits (1591), there is a dialogue between John Florio and Henry, they play tennis together and go to see a play at theatre. This identification meets with some support from the fact that in the dialogue John quotes the proverb "Chi si contenta
gode", which is the motto on Florio's portrait. Moreover, the topics touched on in the Second Fruits, like primero, the theatre, love, and tennis, represent Southampton's tastes. Florio's entrance into this brilliant literary circle closely associated
with the drama, marks a very important stage in his career.

When he published his first dictionary, A World of Words, in 1598, Florio dedicated his laborious work to Henry: "In truth I acknowledge an entyre debt, not onely of my best knowledge, but of all, yea of more then I know or can, to your bounteous
Lordship most noble, most vertuous, and most Honorable Earle of Southampton, in whose paie and patronage I have lived some yeeres; to whom I owe and vowe the yeeres I have to live. But as to me, and manie more the glorious and gracious sunne-shine of
your Honor hath infused light and life: so may my lesser borrowed light, after a principall respect to your benigne aspect, and influence, afforde some lustre to some others."

On Friday 4 October 1594, John Florio took part in the famous Danvers case, backing Henry's friends in their efforts to escape. Henry Danvers and Sir Charles Denvers were the two elder sons of Sir John Danvers of Dauntsey. Both close friends to Henry
Wriothesley, they committed a crime in Wiltshire. According to one account, Henry Long was dining in the middle of the day with a party of friends in Cosham, when Henry Danvers, followed by his brother Charles and a number of retainers, burst into the
room, and shot Long dead on the spot. Master Lawrence Grose, Sheriff, was informed on the murder, and on the evening of October 12th the following scene took place at Itchen's Ferry: "The said Grose, passing over Itchen’s Ferry with his wife that
Saturday 12th, one Florio an Italian, and one Humphrey Drewell a servant of the Earl, being in the said passage boat threatened to cast Grose overboard, and said they would teach him to meddle with their fellows, with many other threatening words."

While he was engaged in the service of Henry Wriothesley, Florio produced a work which remains a landmark in the history of Italian scholarship in England. A Worlde of Wordes, or Dictionarie of the Italian and English tongues (London, 1598) is an Italianâ
€“English Dictionary, and, as such, only the second of its kind in England. Published by Edward Blount, and dedicated to Roger, Earl of Rutland, Henry, Earl of Southampton, and Lucy, Countess of Bedford, this work marked Florio as a scholar of the first
magnitude. John Florio had a close relationship with Henry Wriothesley at least until 1603, when Henry's family, Florio and other friends of the Southampton, flocked to him when he was released from the Tower.

Numerous scholars have highlighted the great influence of Florio's translation of Montaigne's Essays in Shakespeare's plays. Matthiessen, in his analysis of Florio's translation of Montaigne's Essays, suggested the similarity between Florio's and
Shakespeare's style, concluding that "Shakespeare and Florio were constantly talking with the same people, hearing the same theories, breathing the same air." Florio's biographer Clara Longworth de Chambrun made an extensive analysis of Florio's dramatic
dialogues of First Fruits, Second Fruits and passages from Montaigne's Essays, doing a comparison with Shakespeare's dialogues and pointing out some similarities between the two writers. Further textual and linguistic analysis was performed by Rinaldo C.
Simonini, who compared Florio's dramatic dialogues of First Fruits and Second Fruits with Shakespeare's plays.

Thomas Thorpe, in 1610, published a translation from Epictetus his Manuall. He dedicated this work to Florio, reminding him that he had procured a patron for an earlier work of John Healey's His apprentises essay, and hoping that he would do the same by
this one. In the three existing dedications by Thorpe, other than that to W. H., the first is addressed to Florio, the two others to the Earl of Pembroke, while the other, some years before, is addressed to the editor, Edward Blount. We thus have Thorpe'
s evidence that Florio procured him the Pembroke's patronage. He also did the same for John Healey. Florio secured the patronage of William Herbert, 3rd Earl of Pembroke for Healey's The Discovery of a New World. This work was an extremely free and
humour version of the "Latin Mundus Alter ed Idem", a satire of England. Moreover, in 1609, John Florio gave to Thomas Thorpe both his translation of Healey's Discovery of a New World and the collection of Shake-Speares sonnets.>>
-----------------------------------------------------------
THE Tragicall Historie of HAMLET Prince of Denmarke
. . . By William Shake-speare.

As it hath beene diuerse times acted by his Highnesse ser-
uants in the Cittie of London: as also in the two V-
niuersities of Cambridge and Oxford, and else-where
At London printed for N.L. and Iohn Trundell. 1603. ------------------------------------------------------
King. My lord, t'is so: but wee'le n{O} longer trifle,
. This very day shall Hamlet drinke h{I}s last,
. For presently we meane to send to him,
. Therfo{R}e Leartes be in readynes.
.
Lear. My lord, till then my s{O}ule will not bee quiet.
.
King. Come Gertred, wee'l haue {L}eartes, and our sonne,
. Made friends and Louers, as be{F}ittes them both,
. Euen as they tender vs, and loue their countr{I}e. ......................................................
. . . . . . . . . . . . <= 42 =>
.

. KingMylordtissobutweelen {O} longertrifleThisv
. erydayshallHamletdrinkeh {I} slastForpresently
. wemeanetosendtohimTherfo {R} eLeartesbeinready
. nesLearMylordtillthenmys {O} ulewillnotbeequie
. tKingComeGertredweelhaue {L} eartesandoursonne
. MadefriendsandLouersasbe {F} ittesthembothEuen
. astheytendervsandlouethe {I} rcountrie

{I.FLORIO} -42
--------------------------------------------------
HAMLET: I am but mad north-north-west: when the wind
is southerly I know a HAWK from a HANDSAW. --------------------------------------------------------------
Fabulous artificer, the HAWKlike man. You flew. Whereto?
Newhaven-Dieppe, steerage PASSENGER. Paris and back. LAPWING.
Icarus. Pater, ait. Seabedabbled, fallen, weltering. LAPWING you are.
LAPWING he. --JOYCE: Ulysses, Lestrygonians -----------------------------------------------------------------
HORATIO: This LAPWING runs away with the shell on his head. -------------------------------------------------------------- http://plexus.org/choe/icarus.html

<<Ovid tells of a twelve year old boy apprenticed by his unsuspecting
mother to the inventor, her brother, and transformed into a "chattering lapwing." As Daedalus "flung his nephew headlong down from Minerva's
sacred citadel" intending to kill him, the goddess Pallas changes the
boy into a bird, "clothing him with feathers in mid-air" (Ovid 186).>>

[source: Ovid's Metamorphoses, Book 8,
Daedalus & Icarus, lines 289 - 399]
https://tinyurl.com/y9a3ld5u

He found the body on an island shore,
now called Icaria, and at once prepared
to bury the unfortunate remains;
but while he labored a pert partridge near,
observed him from the covert of an oak,
and whistled his unnatural delight.

Know you the cause? 'Twas then a single bird,
the first one of its kind. 'Twas never seen
before the sister of Daedalus had brought
him Perdix{TALOS}, her dear son, to be his pupil.
And as the years went by the gifted youth
began to rival his instructor's art.

He took the jagged backbone of a fish,
and with it as a model made a [HAND]saw,
with sharp teeth fashioned from a strip of iron.
And he was first to make two arms of iron,
smooth hinged upon the center, so that one
would make a pivot while the other, turned,
described a circle. Wherefore Daedalus
enraged and envious, sought to slay the youth
and cast him headlong from Minerva's fane,--
then spread the rumor of an accident.

But Pallas, goddess of ingenious men,
saving the pupil changed him to a bird,
and in the middle of the air he flew
on feathered wings; and so his active mind--
and vigor of his genius were absorbed
into his wings and feet; although the name
of Perdix {TALOS} was retained.

The Partridge hides
in shaded places by the leafy trees
its nested eggs among the bush's twigs;
nor does it seek to rise in lofty flight,
for it is mindful of its former fall. ---------------------------------------------------------------------
<<OVID's *METAMORPHOSES* CONCLUDES by describing DaEDALUS' mourning &
his burial of his son [Icarus]: "As he was consigning the body of his
ill-fated son to the TOMB, a chattering LAPWING looked out from a muddy
DITCH and clapped her wings uttering a joyful note: Ovid identified
the "LAPWING" as {TALOS} DaEDALUS' nephew & apprentice, who showed so
much inventive promise that DaEDALUS grew jealous and threw him from
the Acropolis "with a LYING tale that the boy had fallen.">>
-- Don Gifford _Ulysses Annotated_ --------------------------------------------------------------------
. King Lear Act 1, Scene 4
.
Fool: I marvel what kin thou and thy daughters are:
. they'll have me whipped for speaking TRUE, thou'lt
. have me whipped for LYING; and sometimes I am
. whipped for holding my peace. I had rather be any
. kind o' thing than a fool: and yet I would not be
. thee, *NUNCLE*; thou hast pared thy wit o' both sides,
. and left nothing i' the middle: -----------------------------------------------------------------
Terry Ross wrote:

<<When the first four books of Arthur GOLDING's translation of Ovid's *METAMORPHOSES* appeared in 1565, GOLDING (and only GOLDING) was named
on the title page as the translator. When the complete edition came
out in 1567, GOLDING (and only GOLDING) was named as the translator;
moreover, the author's epistle bore GOLDING's name at its beginning
and end. GOLDING nowhere suggests that the translation was anything
but his own work. In each of the seven later editions GOLDING (and
only GOLDING) was named as the translator. Contemporaries referred to
GOLDING (and only GOLDING) as the translator. The same Arthur GOLDING translated other Latin works and was fully capable of doing the job.
Oxford, on the other hand, never translated Caesar or Seneca that we
know of, let alone Ovid. Oxford's poetry does not resemble GOLDING's.>> --------------------------------------------------------------------
ARETE, n. [F., lit., a sharp fish bone, ridge, sharp edge.] ------------------------------------------------------------
Odyssey - Homer (tr. Samuel Butler) ** BOOK VII

<<"First find the QUEEN her name is {ARETE} . ."

. Ulysses went straight through the court, still
. hidden by the *CLOAK of darkness* in which *MINERVA* had
. enveloped him, till he reached {ARETE} & King Alcinous;
. then he laid his hands upon the *KNEES* of {ARETE} and at
. that moment the miraculous darkness fell away from him.>> ...........................................................
_______________ <= 19 =>
.
. TOTHEO {N} li _ <E>B E (G) ET T ERO
. FTHESE__- {I} nS - U<I>N (G) SO N NET
. SMrWha_- {L} LH [a] P <P> I {N} E S SEA
. NDthat____{E} T _ [E|r] - N <I> T__ {I} E<P>ROM
. ISEDB Y O u ___ [R|e] V <E> R {L}<I>V ING
. <P> OEtW I s h ___ [E|t] _ H [T] H_- {E} W E LLW
. <I> ShIN-(G)a ___ [d V e] N [T] u _____Re R INS
. <E> tTIN (G)fort----_____ H [T] t ------------------------------------------------------------- http://hollowaypages.com/jonson1692cynthia.htm

CYNTHIA'S REVELS, First Acted in the Year 1600.
By the then CHILDREN of QUEEN ELIZABETH's CHAPPEL.

TO THE SPECIAL FOUNTAIN of *MANNERS*, The Court.

THou art a Bountiful and Brave Spring, and water(E)st all the Noble Plan(T)s of this Island. In th(E)e the whole Kingdom d(R)esseth it self, and is (A)mbitious to use thee as her Glass. Beware then thou render Mens Figures *TRULY*, and teach them no less
to hate their Deformities, than to love their Fo[R]ms: F[O]r, to [G]rac[E], the[R]e should come R{EVERE}nce; and no Man can call that Lovely, which is not also Venerable. It is not Powd'ring, Perfuming, and every day smelling of the Taylor, that
converteth to a Beautiful Object: but a Mind shining through any Sute, which needs no False Light, either of Riches or Honours, to help it. Such shalt thou find some here, even in the Reign of CYNTHIA, (a CRITES and an ARETE.)
.
[ROGER] 4
(ARETE) -18,1 ......................................................................... (ARETE): The Greek goddess of *VER(tu)E*, excellence, goodness & valour. -------------------------------------------------------------------- http://www.webcom.com/shownet/medea/bulfinch/bull20.html

<<DaEDALUS was so proud of his achievements that he could not bear the
idea of a rival. His sister had placed her son {TALOS}under his charge
to be taught the mechanical arts. {TALOS}was an apt scholar and gave
striking evidences of ingenuity. WALKING ON THE SEASHORE he picked
up the spine of a fish. Imitating it, he took a piece of iron
and notched it on the edge, and thus invented the HANDSAW.

He, put two pieces of iron together, connecting them
at one end with a rivet, and sharpening the other ends,
and made a pair of compasses. DaEDALUS was so envious of
his nephew's performances that he took an opportunity, when they were
together one day on the top of a high tower to push him off. But Minerva (Athena), who favours ingenuity, saw him falling, and arrested his fate
by changing him into a bird called after his name, the Partridge (or
LAPWING). This bird does not build his nest in the trees, nor take
lofty flights, but nestles in the HEDGES, and avoids high places.>> -----------------------------------------------------------------------
Stephen DEDALUS' *NUNCLE*: Richie GOuLDING ----------------------------------------------------------------------
. . . . . . Ulysses

( Richie GOuLDING, three ladies' hats pinned on his head, appears
weighted to one side by the black legal bag of Collis and Ward
on which a skull and crossbones are painted in white limewash.
He ins it and shows it full of polonies . . .)

RICHIE GOuLDING ( Bagweighted, passes the door.)

-- In asking you to remember those TWO NOBLE KINSMEN
*NUNCLE* Richie and *NUNCLE* Edmund,
Stephen answered, I feel I am asking too much perhaps.

In his broad bed *NUNCLE* Richie, pillowed and blanketed, extends
over the hillock of his knees a sturdy forearm. Cleanchested.
He has washed the upper moiety. -- Morrow, nephew.

NEVER would Richie forget that night. As long as he liVED, nEVER. ---------------------------------------------------------------- http://www.masoniclib.com/images/images0/850094449654.PDF

The Freemasons’ Guide and Compendium

<<When the King issued a written authority to his agents for the impressment of *MASONS* to work on some big building no mason could say him nay unless in the authority it was made quite clear that *MASONS* within the fee of the Church were exempt. When
no such clause was included the church mason, as any other mason, had to join the band of impressed men and tramp off to where their services were awaited. Others of the great employers-the Church and nobles-sometimes impressed *MASONS* to work at a
distance.

We believe that the earliest-known writ of impressment is dated 1333, and for the next 300 years or so the system was used from time to time. Here are a few examples: In 1360 thirteen sheriffs were ordered by the Crown to send 568 *MASONS* to Windsor; in
1361 seventeen sheriffs were ordered to send 1360 *MASONS*. Many more were wanted in following years, says Douglas Knoop, "either because the *MASONS* at Windsor had been attracted elsewhere by higher wages or had died of plague." (It is difficult to see
how the King's impressed men could have been attracted elsewhere.)

A year or two later Thomas de *MUSGRAVE*, Sheriff of York, who had been directed to send more *MASONS* to Windsor Castle, submitted a statement of expenses in which 50s. was charged for thirty red caps "with other liveries of dyed ffrustyan [FUSTIAN],"
lest the *THIRTY MASONS* chosen and taken "should escape from the custody of the conductor." But the Crown refused to pay it! (It does not look as though the *MASONS* enjoyed impressment.>>
--------------------------------------------------
. . Hamlet (Quarto 2, 1604) : III, iv
.
Hamlet: I[F] tho[U] can[S]t mu[T]ine [I]n a M[A]tro[N]s bones,
. To flaming youth let VER(tu)E be as wax
. And melt in her owne fire, proclaime no shame
. When the compulsiue ardure giues the charge,
. Since frost it selfe as actiuely doth burne,
. And reason *PARDONS WILL*.

[FUSTIAN] 4 : Prob. in these 7 lines ~ 1 in 161,000

Prob. in Shakespeare’s complete works
consisting of 118,406 lines. ~ 1 in 10 ----------------------------------------------------------------- http://en.wikipedia.org/wiki/Thomas_Sackville,_1st_Earl_of_Dorset

<<Thomas Sackville, 1st Earl of Dorset (1536 – 19 April 1608) was
an English statesman, poet, & dramatist. He was the son of Richard
Sackville, a cousin to Anne Boleyn.In the year 1572 he was one of
the Peers that sat on the trial of Thomas Howard, 4th Duke of Norfolk.
In 1586 he was selected to convey to Mary, Queen of Scots, the
sentence of death confirmed by the English Parliament.

Sackville was created Baron Buckhurst, of Buckhurst in the County
of Sussex, in 1567, and Earl of Dorset in 1604. Sackville was
an advocate of stronger enforcement of the Sumptuary Laws, which
regulated the types of clothing allowed to be worn by the various
social classes, within the military. Specifically, he dictated that
only soldiers holding the rank of Colonel or above should be permitted
to wear silk and velvet, and that Captains and all ranks below should:

"make do with *FUSTIAN* and spend the remaining money on their arms.">> ------------------------------------------------------------------- https://www.etymonline.com/word/fustian

*FUSTIAN* (n.) : "thick cotton cloth," c. 1200, from Old French fustaigne, fustagne, from Medieval Latin fustaneum, perhaps from Latin fustis "staff, stick of wood; cudgel, club" (see fustigate) as a loan-translation of
Greek xylina lina "linens of wood" (i.e. "cotton"). Figurative
sense of "pompous, inflated language" recorded by 1590s.>> --------------------------------------------------------
. Othello (1623, First Folio) II, iii
.
Cas. I will rather sue to be despis'd, then to deceiue
. so good a Commander, with so slight, so drunken, and so
. indiscreet an Officer. Drunke? And speake Parrat? And
. squabble? Swagger? Sweare? And *discourse FUSTIAN*
. with ones owne shadow? Oh thou invisible spirit of
. Wine, if thou hast no name to be knowne by, let vs call
. thee Diuell.
----------------------------------------------------------------
. . I stumbled across a long youtube:

Alan Green - presenting "Dee-Coding Shakespeare" https://www.youtube.com/watch?v=upzjM7-83LE

and it got me thinking about the mispagination of page: 273/265 http://internetshakespeare.uvic.ca/Library/facsimile/book/SLNSW_F1/283/?zoom=850

So I did an ELS search for the top of page: 264 http://internetshakespeare.uvic.ca/Library/facsimile/book/SLNSW_F1/282/?zoom=850

...and discovered: {M}[MASONS]{r} skip 33 = 264/(273-265) : --------------------------------------------------------------
. Twelfth Night (First Folio, 1623) top of page 264: II, v
.
{M}al. Ioue knowes I loue, but who, Lips do not [M]ooue, no
. man must know. No man must know. Wh[A]t followes?
. The numbers alter'd: No man mu[S]t know,
. If this should be thee Maluolio?
.
T[O]. Marrie hang thee brock(E).
.
Mal. I may comma[N]d where I adore, but silenc(E) like a Lucre[S]se knife:
. . With bloodlesse st(R)oke my hea{r}t doth gor(E),
. {M}.O.A.I. d{O}th sw{A}y my l{I|F|E).
.
Fa. *A FUSTIAN RIDDLE*! ........................................................
............ <= 33 = 264/(273-265) =>
.
. {M} alIou. e kn o. w e s I l. o. uebu. t w h o L i p. sdonot
. [M] oouen. o ma n. m u s t k. n. owNo. m a n m u s t. knowWh
. [A] tfoll. o we s. T h e n u. m. bers. a l t e r d N. omanmu
. [S] tknow. I ft h. i s s h o. u. ldbe. t h e e M a l. uolioT
. [O] Marri. e ha n. g t h e e. b. rock (E)M a l I m a. ycomma
. [N] dwher. e Ia d. o r e b u. t. sile. n c(E)l i k e. aLucre
. [S] sekni (F)eW i. t h b l o. o. dles. s e s t(R)o k. emyhea
. {r} tdoth. g or(E){M O A I}d {O} thsw {A}y m y l{I|F)(E)
.
{M}[MASONS]{r} 33 : [MASONS] Prob. here ~ 1 in 1470
(FREE) -35,18 : Prob. of both here ~ 1 in 135
{MOAI} 5,1
-------------------------------------------------------- http://hollowaypages.com/jonson1692alchemist.htm

THE ALCHEMIST. A COMEDY. First Acted in the Year 1610.
. . . By the KINGS MAJESTY'S Servants.

With the Allowance of the Mast[E]r of RE[V]ELS. Th[E] Autho[R] B. J.

---------- pet[E]re inde coronam,
. . Unde prius nulli verlarint tempora Musæ. Lucret. .....................................................
. . . <= 6 =>
.
. *M A S (T) [E] R*
. .o f R (E) [V] E
. .L S.T (H) [E] A
. .u t h .o. [R] B.
. .J.p e .t. [E] r
. .e i n .d . e. c
. .o r o .n . a. m,
.
[E.VERE] 6
..............................................................
To the L A D Y most deserving Her N A M E and B L O O D,

Mary Lady Wroth. MADAM,

IN the (A)ge of Sacrifices, the Truth of (R)eligion was not in the Greatn(E)ss and Fat of the Offerings, bu(T) in the Devotion and Zeal of th(E) Sacrificers: Else what could a Handful of Gums have done in the sight of a Hecatomb? Or, how might I appear
at this Altar, except with those Affections that no less love the Light and Witness, than they have the Conscience of your *VER(tu)E*? If what I offer bear (A)n acceptable Odour, and hold the first St(R)ength, it is your Value of it, which rememb(E)rs
where, when, and to whom it was kindled. O(T)herwise, as the Times are, there comes rar(E)ly forth that Thing so full of Authority or Example, but by Assiduity and Custom grows less, and loses. This, yet, safe in your Judgment (which is a SIDNEYS) is
forbidden to speak more, lest it talk or look like one of the Ambitious Faces of the Time, who the more they paint, are the less themselves.

Your Ladiships *TRUE* Honourer, BEN. JOHNSON.

(ARETE) 25,34 : Prob. both ~ 1 in 110 ......................................................
. T he Sickness hot, a *MASTER* quit, for fear,
. H is House in Town, and left one Servant there.
. E ase him corrupted, and gave [M]e[A]n[S] t[O] k[N]ow
.
. A Cheater, and his Punk; who, now brought low,
. L eaving their narrow Practice, were become
. C os'ners at large; and only wanting some
. H ouse to set up, with him they here contract,
. E ach for a Share, and all begin to act.
. M uch Company they draw, and much abuse,
. I n casting Figures, telling Fortunes, News,
. S elling of Flies, flat Bawd'ry, with the Stone;
. T ill it, and they, and all in Fume are gone.

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