[continued from previous message]
tree from which Adam & Eve ate. This tree had blackened and withered
away when they had committed their "happy sin" or Felix culpa, but
had burst forth anew when Michael promised man's future salvation.
But Adam had died when *SETH* returned, so he planted
the branch on Adam's grave, where it lasted until
Solomon's time as a mighty tree. Solomon cut it down to build,
but IT ALWAYS CHANGED SHAPE and was thrown down as a BRIDGE.>> ------------------------------------------------------------
<<As Great SHAPE-SPHERE puns it.>> -- FW ...........................................................
<<Out of syght, out of {MYND}>> -Googe: Eglogs. 1563. ---------------------------------------------------------
Francis Bacon, Novum Organum, Bk I, Aph.120.
<<Existence, or pure Being, is the divine Word. It simply is-
The cabalistic formula for this is the expression, 'I AM'.
Just -as the image of sound is its *EchO* ,
so the image of existence is the knowl-edge of
that existence-self-consciousness, in other words.
There are two -basic types of consciousness:
INNOCENT or pure consciousness that contai-ns
the wisdom but doesn't yet know it, and
self-consciousness or se-lf-knowledge that does know.
Pure consciousness is associated with the pu-re but INNOCENT
intelligence-the intelligence of the HEART-which has the
capacity to know the wisdom that exists within it as its
lif-e or being, but as yet is ignorant of it and what it means. .- .
We might say, 'Oh, but I knew that already!' HowEVER, the re-ality
is that we did not know it before, as such, and yet we had -the
TRUTH of it already in our HEARTs. We needed something, how-EVER,
to wake it up and bring it to our mind as knowledge of that -TRUTH.
The cabalistic NAME for this knowledge, image or *ECHO* is 'ThaT':
hence the complete formula or god-NAME for both the
Holy Trinity and the SON of God is 'I AM ThaT I AM' >> ----------------------------------------------------
. . . King John Act 5, Scene 2
BASTARD: Indeed your drums, being beaten, will cry out;
And so shall you, being beaten: do but start
An *ECHO* with the clamour of thy drum,
And even at hand a drum is ready braced
That shall rEVERberate all as loud as thine; ------------------------------------------------------------
I saw a fair young (LADY) come, her secret fears to wail,
Clad all in colour of a NUN, and coVERED with a VEIL;
-- The Earle of Oxforde.
-----------------------------------------------------
IN the VAILE of restles {MYND}
I sowght in mownteyn & in mede,
trustyng a TREUlofe for to fynd:
vpon an hyll than toke I hede;
a voise I herd (and nere I yede)
in gret dolour complaynyng tho,
'see, dere soule, my sydes blede
Quia amore langueo.'
-- by Anonymous (c15th century) ---------------------------------------------------
To the right Honourable the Earle
of Oxenford, Lord high Chamberlayne of
England. &c.
.
REc(E)iue most Noble Lord in gentle gree,
The vnripe fruit of an v(N)ready wit:
Which BY THY COUNT{E|N}aunc[E| D}oth cra[V|e} to bee
D[E]f(E)nded f[R]om foule [E]n{V|I}es poisnous bit.
Which so to doe may th(E)e right w{E|L}l befit,
Sith th'antique glory of thine auncest{R}y
Vnder a *SHADY VELE* is therein writ,
And eke thin{E} owne lon(G) liuing memory,
Succeeding them in TRUE nobility:
And also for the loue, which thou doest beare
To *th'Heliconian YMPS* , and they to thee,
They vnto thee, and thou to them most dear[E]:
Deare as thou a[R]t unto thy self[E], so loue
That lo[V]es & honours the[E], as doth behoue. .............................................
And also for the loue, which thou doest beare
To *th'Heliconian YMPS* , and they to thee,
They vnto thee, and thou to them most dear
____ <= 13 =>
.
. [E]{D e}a r e a s t h o u a
. [R] t u n t o t h y s e l f
. [E] s o l o u e T h a t l o
. [V] e s h o n o u r s t h e
. [E] a s d o t h b e h o u e
.
[EVERE] -13 (Prob.~ 1 in 91)
....................................
. Rec- <= 8 =>
.
. (E)i u e m o s t
. -N o b l e L o r
. -d i n g e n t l
. -e g r e e T h e
. -v n r i p e f r
. -u i t o f a n v
. (N)r e a d y w i
. -t W h i c h b y
.....................
. -T H Y C O U N T
.....................
. {E|N}a u n c[E|D}
_. o t h c r a[V|e}
_. t o b e e-D[E]f
. (E)n d e d_f[R]o
_. m-f o u l E[E]n
. {V|I}e-s_p O[I]s
_. n o u s b i(T)W
_- h i c h s o(T)o
.. d o e m a y(T)h
. (E)e_r i-g h(T)w
. {E|L}l b e f i t
. -S i t h t h a n
. -t i q u e g l o
. -r y o f t h i n
. -e a u n c e s t
. {R}y V n d e r a
. -s h a d y v e l
. -e i s t h e r e
. -i n w r i t A n
. -d e k e t h i n
. {E}o w n e l o n
. (G)l i u i n g m
. -e m o r y
.
Succeeding them in true nobility:
.
[EVERE] 8, 40 (Prob.~ 1 in 4400)
(GREENE). -48
.
Robert *GREENE* died in the house
of a SHOEMAKER named (ISAM) (1592) ----------------------------------------------------------
http://home.att.net/~tleary/GIFS/MINERVA.GIF
_The MINERVA BRITANNA_ Banner Folding clearly demonstrates
how the Equidistant Linear Sequence decoding is to be performed: ............................................................
http://f01.middlebury.edu/FS010A/students/Minerva/title.jpg
.
. [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]
.
"all thinges perish and come to theyr last end, but workes
of learned WITS and monuments of Poetry abide *for EUER* ." ...................................................................
1577 Dedication in John *BROOKE's _The Staff of Christian Faith_*
. To the Right honourable and his singular good Lorde
. and maister Edwarde de \VERE\, Lorde d'Escales, and
. Badlesinere, [VICOUNT] Bulbecke, Earle of Oxenforde,
. and Lorde great Chamberlayne of Englande,
. Iohn Brooke wisheth long lyfe,
. with the increase of honor.&c.
ALTHOUGH VER(tu)E the roote of well doing (Right honorable Lorde) hath
of it selfe, sufficient force to withstande, repell, and ouerthrowe,
both the open m{ALICE}, and secrete slaunders of euill tongues, yet notwithstanding considering howe dangerous, yea howe vnpossible a
thing it is to escape that poysoned sting of Zoilus, and also that
nothing hath eue[R] ben s[O] well [D]one, b[U]t tha[T] this Scorpion
hath eyther openly or priuily stong, I nede not to doubt, nay I may
be right sure, that these my labors shal come into the hands of some,
more curious than *WYSE* , more ready to nippe and tant
(yea euen withoute fault) then frendly to admonsihe or amende.
{ALICE} 1
[TUDOR] -5
---------------------------------------------------
_The Faerie Queene_ dedication (1590/6) To {HENRY} Carey
Rumours stated: He was an illegitimate child of {HENRY} VIII ..............................................
To the right honourable the Lord of Hunsdon,
high Chamberlaine to her Maiest{Y}.
.
REnowmed Lord, that fo{R} your worthi(N)esse
And {N}oble deeds haue your d{E}serue[D] place,
High in t{H|E) fa[V|O)ur of that Empress[E],
The worlds sole glo[R]y and her se(X)es grac[E],
Here eke of right ha[V]e you a worthie plac[E],
B(O)th f(O)r {Y}our nearnes to that Faerie Queene,
And for your owne high me{R}it in like cace,
Of which, apparaunt proofe was to be sene,
Whe{N} that tumultuous rage and fearfull deene
Of Northerne reb{E}ls ye did pacify,
And their disloiall powre defaced clene,
T{H}e record of enduring memory.
Liue Lord for *EvER* in this lasting verse,
That all posteritie thy honor may reherse. .............................................
To the right honourable the Lord of Hunsdon,
high Chamberlaine to her Maiest-
. . . . . . <= 18 =>
. {Y}R E n o w m e d L o r d t h a t f
. -o{R}y o u r w o r t h i(N)e s s e A
. _n d{N}o b l e d e e d s h a u e y o
_ _u r d{E}s e r u e[D]p l a c e H i g
__ h i n t{H|E)f a[V|O)u r o f t h a t
. -E m p r e s s[E]T h e w o r l d s s
_- o l e g l o[R]y a n d h e r s e(X)e
. -s g r a c[E]H e r e e k e o f r i g
. -h t h a[V]e y o u a w o r t h i e p
. -l a c[E]
.
[E-VEREV-D] -17
{HENRY} . . -19
Prob. of [EVEREV] skip < 18 ~ 1200 .......................................................
REnowmed Lord, that fo{R} your wo- <= 48 =>
.
r t h i(N)e s s e And{N}obledeedshaueyourd{E}serue[D]place,Highi
n t{H|E)f a[V|O)u r o f thatEmpress[E],Theworldssoleglo[R]yandher
s e(X)e s grac[E]Hereekeofrightha[V]eyoua worthieplac[E],B(O)th
f(O)R{Y}o u r n e a rnes tothatFaerieQueene,Andforyourownehi
g h m e{R}i t i n like cace,Of w(H)ich,apparauntproofewastobese
n e W h e{N}t h a t tumul(T)uous rage and fearfulldeeneOfNorthe
r n e r e b{E}l s y e did pacify,Andtheirdisloiallpowredeface
d c l e n e T{H}e record of enduring memory.
{HENRY} -49 Prob. of 2 {HENRY}s skip < 50 ~ 600
(OXEN) -47 Prob. of 2 (OXEN/OXON)s skip < 48 ~ 167 ..........................................................
REnowmed Lord, that fo{R} your worthi(N)esse And <= 43 =>
.
. [N] obledeedshaueyourdEserueDp {L} a .ceHighintHEfaV
. [O] urofthatEmpressETheworldss {O} l .egloRyandherse
. [X] esgracEHereekeofrighthaVey {O} u .aworthieplacEB
. [O] thfORYournearnestothatFaer. I .e .QueeneAndforyo
.. u .rownehighmeRitinlikecaceOf. w (H) ichapparauntpr
.. o .ofewastobeseneWheNthattumu. l (T) uousrageandfea
. {R} fulldeeneOfNorthernerebEls. y (E) didpacifyAndth
. {E} irdisloiallpowredefacedcle. n (E) THerecordofend
. {U} ringmemoryLiueLordforEvERi. n (T) hislastingvers
. {E} Thatallposteritiethyhonorm. a .y .reherse.
{LOO} 43
[OXON] -43
{EUER} -43
(TEETH) -43
----------------------------------------------------------------
1580: Dedication to Oxford in John Lyly's Euphues $ His England.
THE first picture that Phydias the first Paynter *SHADOWED* ,
was the protraiture of his owne person, {S}aying thus:
if it be well, I W{I}LL paint many besides Phy{D}ias, if ill,
it shall offend {N}one but Phydias. In the lik{E} MANNER
fareth it with me (R{I}ght Honourable) who nEVER before
handling the *PENsill* , did for my fyrst counterfaite, coulour
mine owne Euphues, being of this minde, that if it wer lyked,
I would draw more b(E)sides Eup[H]ues, if loathed, grieue. none but
E(U)phues. S[I]nce that, some th(E)re ha(V)e ben(E), that (E)ithe[R] dissembling th{E} faultes they saw, fo(R) fe[A|R}e to discourage me,
or n<O>t {E|X>am<I>ni<N>g th(E|M], for the lo{V}e they bore me,
that prais{E}d mine olde worke, and vrg{E}d me to make a new,
whose wo{R}ds I thus answered of his ....................................................
. . . . . . . . . . <= 21 =>
.
. o w n e p e r s o n{S}a y i n g t h u s i
. f i t b e w e l l I-w{I}l l p a i n t m a
. n y b e s i d e s P-h y{D}i a s i f i l l
. i t s h a l l o f f-e n d{N}o n e b u t P
. h y d i a s I n t h-e l i k{E}M A N N E R
. f a r e t h i t w i-t h m e R{I}g h t H o
. n o u r a b l e w h-o n e u e r b e f o r
. e h a n d l i n g t-h e p e n s i l l d i
. d f o r m y f y r s-t c o u n t e r f a i
. t e c o u l o u r m-i n e o w n e E u p h
. u e s b e i n g o f-t h i s m i n d e t h
. a t i f i t w e r l-y k e d I w o u l d d
. r a w m o r e b(E)s-i d e s E u p[H]u e s
. i f l o a t h e d g-r i e u e n o n e b u
. t E(U)p h u e s S[I]n c e t h a t s o m e
. t h(E)r e h a(V)e b-e n(E)t h a t(E)i t h
. e[R]d i s s e m b l-i n g t h{E}f a u l t
. e s t h e y s a w f-o(R)f e[A|R}e t o d i
. s c o u r a g e m e-o r n<O>t{E|X>a m<I>n
. i<N>g t h(E|M]f o r_t h e l o{V}e t h e y
. b o r e m e t h a t_p r a i s{E}d m i n e
. o l d e w o r k e a-n d v r g{E}d m e t o
. m a k e a n e w w h-o s e w o{R}d s I t h
. u s a n s w e r e d,
.
<OXIN> 3
(EVEER) 5
{SIDNEI} 22
{EREVEER} 21
....................................................
being of this . . . . <= 35 =>
.
. m i n d e t h a t i f itwe r lyked I w o uld d r a w m o r e
. b(E)s-i d e s E u p[H]uesi f loath e d g-rie u e n o n e b u
. t E(U)p h u e s S[I]n ceth a tsome t h(E)reh a(V)e b-e n(E)t
. h a t(E)i_t h e[R]d i ssem b lingt h{E}f aul t e s t h e y s
. a w f o(R)f e[A|R}e t odis c ourag e m e-orn<O>t{E|X>a m<I>n
. i<N>g t h(E|M]f o r-t helo{V}ethey b o r eme t h a t-p r a i
. s{E}d m i n e o l d e work e andrg{E}d m eto m a k e a n e w
. w h-o s e w o{R}d s Ithu s answe r e d
[HIRAM] 34
(EUERE) 36 ......................................................................
If I should coyne a wor[S]e, it would be thought that the former was
framed by chaunce, as [P]rotogenes did the foame of his dogge, if a
better, for flatteri[E], as Narcissus did, who only was in loue with
his own face, if none [A]t ail, as froward as the Musition, who being entreated, will sca[R]se sing sol fa, but hot desired, straine aboue
Ela. But their importu<N>itie adm<I>tted no e<X>cuse, in-s<O>
much that I was enforced to preferre their friendship before
mine owne faine, being more carefull to satisfie
their requestes, then fearefull of others ....................................................
If I should coyne a ... <= 51 =>
.
. w o r [S]e .it w ouldbet h oughtth a tthefor m erwasframedbychaunc
. e a s [P|R] ot o genesdi d thefoam e ofhisdo g geifabetterforflatt
. e r i [E|A] sN a rcissus d idwhoon l ywasinl o uewithhisownfaceifn
. o n e [A|T] ai l asfrowa r dastheM u sitionw h obeingentreatedwill
. s c a [R|S] es i ngsolfa b uthotde s iredstr a ineaboueElaButtheir
. i m p .o r .tu<N>itieadm<I>ttednoe<X>cuseins<O>muchthatIwasenforce
. d t o .p r .ef e rrethei r friends h ipbefor e mineownefainebeingm
. o r e .c a .re f ulltosa t isfieth e irreque s testhenfearefullofo
. t h e .r s
.
[SPEAR] 51
[STAR] -51
<OXIN> -8
----------------------------------------------------------------
http://shakespeareauthorship.com/rep.html
.
<<William Covell's _Polimanteia_ (1595) lists SIDNEY , Spenser,
. Alabaster, Daniel, and Shakespeare -- but not Oxford?>> -----------------------------------------------------------------
. "Oxford thou maist extoll thy court[E]-[DE]are-[VER]s[E]" .............................................................
.
http://home.earthlink.net/~mark_alex/1596.htm
.
<<1595 Printed marginal note in an epistle by William Covell appended
to _Polimanteia, or the meanes lawfull and unlawfull to judge of the
fall of a Commonwealth, against the frivolous and foolish conjectures
of this age_: The author is eulogizing the poets of England as
superior to those of foreign nations. The marginal notes appear
to be illustrative examples in support of the main text:
.
. All praise Let divine Bartasse, eternally
. worthy. praiseworthie for his weeks worke,
. Lucrecia say the best thinges were made first
. Sweet Shak- : Let other countries (sweet
. speare. Cambridge) *ENUIE* , (yet admire) my
. Eloquent *Virgil* , thy petrarch, diuine *SPENSer* .
.*GAVESTON* . And Vnlesse I erre, (a thing easie in
. Wanton such simplicitie) deluded by dearlie
. Adonis. beloued {DELIA}, and fortunatelie
.*WATSOns* fortunate Cleopatra ; *OXFORD* thou
. heyre. maist extoll thy court(E-DE)are-(VERsE)
. So well gra- happie Daniell, whose *SWEETE*
. nie deser- refined muse, in *contracted shape* ,
. veth immor- were sufficient amongst men, to
. tall praise gaine *PARDON* of the sinne to
. from the hand Rosemond, pittie to distressed
. of that di- Cleopatra, and *EVERliuing praise* to
. uine (LADY) her louing {DELIA}.
. who like Co-
. rinna conten-
. ding with
. Pindarus
. was oft vi-
. ctorious.
-----------------------------------------------------
There's an interesting relationship between:
.
. Publius *Vergilius MARO* &
. Marlo's Piers *GAVESTON*
.
. The former was born in a *DITCH*
. [
http://www.virgil.org/vitae/a-donatus.htm]
. while the latter died in one. ------------------------------------------------------------------
http://www.quns.cam.ac.uk/Queens/Record/1997/History/Shakes.html
.
<<Weever has read Venus and Adonis (published in 1593 and 1594, just
before he came up) and the Rape of Lucrece (1594). He has either read
or seen performances of Romeo & Juliet and Richard II or Richard III
(all three published in 1597, in his third year), and I suggest that,
since the next epigram is addressed to the great actor and close
associate of Shakespeare's, Edward Alleyn, and alludes to the 'Swan'
on the Thames, Weever had been down to London to take in some shows,
and actually seen Shakespeare in performance.
.
Given that we know so tantalisingly little about Shakespeare's first
audiences and readers, these are interesting facts in themselves.
But most fascinating of all is something hidden in this poem, and
recently brought to the surface in a brilliant piece of literary
detective-work by Professor E. A. G. Honigmann. Any reader of the
Epigrammes will feel that this particular one stands out from the
others, not just because it is about Shakespeare, not because of
its more elevated subject-matter (most of the verses are about
student japes or jibes at the Senior Proctor and so on) but
because of its different literary form. Most of the epigrams
are fairly shapeless doggerel but this one, alone, is a sonnet
- and the kind of sonnet known in the trade as 'Shakespearean'
(three quatrains rhyming abab and a final couplet) after
its greatest practitioner. Now Shakespeare's Sonnets were not
published until ten years later, in 1609, but we know from other
sources that they circulated in the 1590's amongst a few of his
"private friends". Honigmann suggests that Weever is sending a
boastful coded signal that he is part of that privileged circle.
.
How would a Cambridge undergraduate know Shakespeare personally? The
clue may be in Weever's dedication of the Epigrammes to "Richard
Houghton of Houghton Tower, Knight" Who was Houghton? He was High
Sherrif of Lancashire and the chief landowner in Weever's part of the
County, someone whose patronage the impoverished young writer would
be glad to have. But he was also the nephew of Alexander Houghton,
previous owner of Houghton Tower, who, in a paragraph of his will
that deals with the 'players' he retained, mentions that he has a
servant called 'William Shakeshafte'. Professor Honigmann argues
that Shakeshafte might have been Shakespeare and that some of his
mysterious 'lost years', after leaving Stratford Grammar School and
before we first hear of his successes on the London stage, could have
been spent as a tutor at Houghton Tower. If this is so, and the young
Weever had seen Shakespeare about the place, & had later, in hope of
patronage, kept up his contacts with the Houghtons, it would explain
both his enthusiasm for Shakespeare's success and his eagerness to
imply that he had inside knowledge: he is basking in reflected glory.
And if that is so, then Queens' can help to supply an important
missing piece in the most mysterious puzzle in English literary
history, the true identity of William Shakespeare.>> - IAIN WRIGHT --------------------------------------------------
___ Hamlet (Quarto 2, 1604) Act II, scene II
.
Hamlet: Y'are welcome *MASTERS*, welcome all. I am glad
. to see thee well: Welcome good Friends. O my olde Friend?
. Th{Y} face is valiant since I saw th{E}e last: Com'st thou
. to beard me i{N} Denmarke? What, my yong (LADY) an{D} Mi-
. stris? Byr(LADY) your (LADISH{I}P) is neerer Heauen then when
. I {S}aw you last, by the a[L]titude of (A) Choppine. Pray God
. [Y]our voice (L)ike a peece of vncu[R]rant Gold be not crack'd
. withi[N] the ring. *MASTERS*, you are all w[E]lcome: wee'l e'ne
. to't like Frenc[H] Faulconers, flie at any thing we see: wee'l
. haue a Speech straight. Come giue vs a tast of your qua-
. lity: come, a passionate speech. ..........................................................
______________ <= 25 =>
.
.. Y'a r e w. e. l .c .o m e *M A S T E R S* w e l c. o .m e
.. a l l.I a. m. g .l .a d t. o s e e t h e .e w e l. l: W e
.. l c o m e. g. o .o .d F r. i e n d s.O m .y o l d. e .F r
.. i e n d?T. h {Y} f .a c e. i s v a l i a .n t s i. n .c e
.. I s a w t. h {E} e .l a s. t:C o m's t t .h o u t. o .b e
.. a r d m e. i {N} D .e n m. a r k e?W h a .t,m y y. o .n g
. (L A D Y)a. n {D} M .i-s t. r i s?B y r(L .A D Y)y. o .u r
. (L A D I S. H {I} P) i s n. e e r e r H e .a u e n. t .h e
.. n w h e n. I {S} a .w y o. u l a s t,b y .t h e a [L] t i
.. t u d e o. f (A) C .h o p. p i n e.P r a .y G o d [Y] o u
.. r v o i c. e (L) i .k e a. p e e c e o f .v n c u [R] r a
.. n t G o l. d. b. e .n o t. c r a c k'd w .i t h i [N] t h
.. e r i n g *M. A. S .T E R. S*y o u a r e .a l l w [E] l c
.. o m e:w e. e 'l. e' n e t. o't l i k e F .r e n c [H] F a
.. u l c o n. e. r. s, f l i. e a t a n y t .h i n g. w .e s
.. e e:
.
[HENRY L.]. -25
{LA.SIDNEY} -25
...................................................
Dedications to (LADY) MARIe COUNTESSE OF PEMBROOKE. --------------------------------------------------------------
One & only [SIDNEY] with Skip of 20 or less in the entire KJV: ...............................................
Judges 5:28-30 The mother of Sisera looked out at
a window, and cried through the lattice, Why is his
chariot so long in coming? why tarry the wheels of his
.
chariot[S]? Her w[I]se la[D]ies a[N]swer[E]d her, [Y]ea,
.
she returned answer to herself, Have they not sped? have they
not divided the prey; to *EVERy* man a damsel or two; to
Sisera a prey of *DIVERS* colors, a prey of *DIVERS* colors
of needlework, of *DIVERS* colors of needlework on both
sides, meet for the necks of them that take the spoil? ...............................................
__ Barnes' Notes on Judges 5:30
.
<<Render the latter part of the verse "a booty of *DYED* garments
for Sisera, a booty of *DYED* garments and of party-colored cloth,
a *DYED* garment and two party-colored clothes for the necks of
the booty," the spoil or booty being either captive damsels, or
captive cattle on whose necks these clothes are to be placed
(either as ornament or as a burden).>> --------------------------------------------------------------
The Tragedie of King Richard the third. Conteining his
treacherous Plots against his brother Clarence : the pittifull
murther of his innocent Nephewes : his tyrannicall vsurpation :
w(I)th the whole course of his d[E]tested life, and most deser[V]ed
death. As it hath bene lat[E]ly Acted by the Right Honou[R]able
the Lord Chamberlain[E] his seruants. Newly augmented,
By William Shakespeare. London Printed by Thomas Creede,
for Andrew Wise, dwelling in Paules Church-yard,
at the signe of the Angell. 1602.
...........................................
.......... <= 23 =>
.
. w (I) t h t h e w h o l e c o u r s e o f h i s
. [D E] T E S T E D l i f e a n d m o s t d e s e
. r [V] E D D E a t h A s i t h a t h b e n e l a
. t [E] l y A c t e d b y t h e R i g h t H o n o
. u [R] a b l e t h e L o r d C h a m b e r l a i
. n [E] h i s s e r u a n t s.
.
[EVERE] 23 {22,000} Q3(1602)
------------------------------------------
# finds in skips from ±2 to ±1001 ..............................................
String.. NT . . OT . Moby Dick (4,150,000,000) ------------------------------------------------
SIDNEY.. 57 .. 131 . . . 50 (1 in 17,400,000)
SIDNEI. 138 .. 445 . .. 199 (1 in 5,300,000)
MARYS.. 208 .. 583 . .. 260 (1 in 4,000,000)
HIRAM.. 833 . 2881 . .. 898 (1 in 900,000)
EDYER. 1185 . 3610 . . 1091 (1 in 705,000)
EVERE. 1697 . 4951 . . 1773 (1 in 493,000)
EVEER. 1697 . 4951 . . 1773 (1 in 493,000) -------------------------------------------------
Benson & Cotes's
.
TO THE READ[E]R. The[R]e presu{M|E] (under f{A|V]our)
to p{R|E]sent to {Y|O]ur view {S|o]me excel[L]ent and
sweetely composed Poems, of Master William Shakespeare, Which
in themselves appeare of the same purity, the Authour himselfe
then living avouched ; they had not the fortune by reason of
their Infancie in his death to have the due accomodatio of
proportionable glory with the rest of his *EVER-living*
Workes, yet the lines of themselves WILL afFORD you
a more authentick approbation than my assurance any way can,
to invite your allowance, in your perusall you shall find them
Seren, cleere and eligantly plaine, such gentle straines as shall
recreate and not perplexe your braine, no intricate or cloudy stuffe
to puzzell intellect, but perfect eloquence ; such as will raise your admiration to his praise: this assurance I know will not differ from
your acknowledgment. And certaine I am, my opinion will be seconded
by the sufficiency of these ensuing lines ; I have beene somewhat
solicitus to bring this forth to the perfect view of all men ;
and in so doing glad to be serviceable for the continuance
of glory to the *DEsERVEd Author* in these his Poems. .....................................................
____ . . <= 8 =>
.
.. T O T H E R [E] A
.. D E R T H e [R] e
.. p r e s u {M|E] u
.. n d e r f {A|V] o
.. u r t o p {R|E] s
.. e n t t o {Y|O] u
.. r v i e w {S|o] m
.. e e x c e l [L] e
.. n t a n d s. w. e
.. e t e l y c. o. m
.. p o s e d P. o. e
.. m s
.
{MARY S} . . . . . 8
[Lo. O., E. VERE] -8
--------------------------------------------
.... The Rape of Lucrece
.
Into the chamber wickedly he stalks,
And gazeth on her yet unstained bed.
The curtains being close, about he walks,
*Rolling his greedy eyeballs* in his head.
By their high treason is his heart misled,
Which gives the watch-word to his hand full soon
To draw the cloud that hides the silver moon.
Look as the fair and fiery-pointed sun,
Rushing from forth a cloud, bereaves our sight, .....................................
To draw the cloud that hides the silver
.
____ <= 8 =>
.
. [M] o o n L o o k
. [A] s t h e f a i
. [R] a n d f i e r
. [Y] p o i n t e d
. [S] u n R u s h i
- -n- g f r o m f o
- -r- t h a c l o u
- -d- b e r e a v e
- -s- o u r s i g h t,
.
Even so, the curtain drawn, his *EYES* begun
To WINK, being blinded with a greater light ;
Whether it is that she reflects so bright
That *DAZZLETH* them, or else some shame supposed,
But blind they are and keep themselves enclos'd. ---------------------------------------------------
Newsgroups: humanities.lit.authors.shakespeare
From:
kmack2...@my-deja.com
Subject: Re: Sidney Marlowe : 2000/05/07
.
Shakespeare's predilection for the ideal society in
the magical forest (for example, the forest of Arden)
can be found in Sidney's "Old Arcadia":
.
."O sweet woods, the delight of solitariness!
. O how much do I like your solitariness!
. Here no treason is hid, veiled in innocence,
. Nor *ENVY's snaky EYE* finds any harbour here,
. Nor flatterers'venomous insinuations,
. Nor cunning humorists' puddled opinions,
. Nor courteous ruin of proffered usury,
. Nor time prattled away, cradle of ignorance,
. Nor causeless duty, nor cumber of arrogance,
.
. Nor trifling title of vanity *DAZZLETH* us,
.
. Nor golden manacles stand for a paradise,
. Here wrong's name is unheard; slander a monster is.
. Keep they sprite from abuse, here no abuse doth haunt.
. What man grafts in a tree dissimulation?" -------------------------------------------------------
http://tinyurl.com/4p2w6mp {1719}
.
The life and STRANG[E] surprizing adventu[R]es
. . of Robinson Cruso[E], a York mariner:
. . Who li[V]ed eight and twenty y[E]ars,
................................
. . . . . . <= 18 =>
.
. T h e l i f e a n d S T R A N G [E] s
. u r p r i z i n g a d v e n t u [R] e
. s o f R o b i n s o n C r u s o [E] a
. Y o r k m a r i n e r W h o l i [V] E
. D e i g h t a n d t w e n t y y [E] a
. r s
................................
all alone in an un-inhabited island
on the coast of America, near the mouth
of the great river of Oroonoque;
.
having been cast on shore by shipwreck,
wherein all the men perished but himself.
.
With account how he was at last as
*STRANGELY DEliVER'D by PYRATES.
.
Written by himself.
.
London
Printed for W. Taylor at the
Ship-in-Pater-Noster-Row.
MDCCXIX.
................................
http://tinyurl.com/4p2w6mp Preface
.
If Ever th{E} story of aNy private man's aduentures i{N} the woRld
were *WORTH* making publick, an{D} were acceptable when published,
the ed{I}tor of this account thinks this will be {S}o.
.
The wonde[R]s of this man's lif[E] exceed all that (h[E] thinks)
is to be fo[U]nd extant; the lif[E] of one {M}an being scarce
c{A}pable of a greate{R} variety. The stor{Y} is told with mode{S}ty, ................................
_______. <= 15 =>
.
.. I f E v e r t h{E}s t o r y o
.. f a N y p r i v a t e m a n s
.. a d V e n t u r e s i{N}t h e
.. w o R l d w e r e W O R T H m
.. a k i n g p u b l i c k a n{D}
.. w e r e a c c e p t a b l e w
.. h e n p u b l i s h e d t h e
.. e d{I}t o r o f t h i s a c c
.. o u n t t h i n k s t h i s w
.. i l l b e{S}o T h e w o n d e
. [R]s o f t h i s m a n s l i f
. [E]e x c e e d a l l t h a t h
. [E]t h i n k s i s t o b e f o
. [U]n d e x t a n t t h e l i f
. [E]o f o n e{M}a n b e i n g s
_. c a r c e c{A}p a b l e o f a
_. g r e a t e{R}v a r i e t y T
__ h e s t o r{Y}i s t o l d w i
.. t h m o d e{S}t y
................................
with seriousness, and with a religious application of events to the uses
to which wise men always apply them, viz., to the instruction of others
by this example, and to justify and honour the wisdom of Providence in
all the variety of our circumstances, let them happen how they will.
.
The edito[R] believes the thing to be a just history o[F] fact; neither
is there any appearance of [F]iction in it: And however thinks, because
[A]ll such things are dispatched, that the i[M]provement of it,
as well to the diversion [A]s
................................
....... <= 34 =>
.
. Theedito {R} believesthethingtobeajust
. historyo {F} factneitheristhereanyappe
. aranceof [F] ictioninitAndhoweverthink
. sbecause [A] llsuchthingsaredispatched
. thatthei [M] provementofitaswelltothed
. iversion [A] s
.
[FAMA] {FR}aternitatis RC
................................
to the instruction of the reader, will be the same; and as
such, he thinks, without farther compliment to the world,
he does them a great service in the publication. -----------------------------------------------
*THE REST IS* silence" - Hamlet
*THE REST IS FAME* " - Sidney motto
[ *CÆTERA FAMA* ]
.................................................
Hamlet = Sidney in _Shadowplay_ by Clare Asquith --------------------------------------------------
Marlovian Peter Bull wrote HLAS:
.
<<[Shakespeare's *A LOVER'S COMPLAINT*
. starts with the acrostic *FAMA*
. A Rosicrucian call to FAME? >>
..........................................
. A Lover's Complaint Stanza 1
.
[F|R}OM off a hill whose concave womb reworded
[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; -------------------------------------------------
. Or spun out Riddles, and weav'd fitty Tomes
. Of Logogriphes, and curious Palindromes,
. Or pomp'd for those hard Trifles Anagrams,
. Or Eteostichs, or those finer Flams
. Of Eggs, and Halberds, Cradles, and a Hearse,
. A pair of Scisars, and a Comb in Verse;
. Acrostichs, and Telestichs, on jump Names,
. Thou then hadst had some colour for thy Flames,
. On such my serious Follies; But, thou'lt s[A]y,
. There were so[M]e Pieces of as b[A]se allay,
. And as [F]alse stamp the{R}e; parcels of a Play,
. Fitter to see the Fire-light, than the day;
. Adulterate Moneys, such as might not go:
. Thou should'st have stay'd, till publick *FAME* said so. ................................................
........ <= 13 =>
.
. B u t,t h o u'l t s [A] y T
. h e r e w e r e s o [M] e P
. i e c e s o f a s b [A] s e
. a l l a y A n d a s [F] a l
. s e s t a m p t h e {R} e p
. a r c e l s o f a P. l .a y
-----------------------------------------------
<<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) -------------------------------------------------------------
http://spenserians.cath.vt.edu/TextRecord.php?action=GET&textsid=32802
.
{DELIA} and Rosamond Augmented. Cleopatra. (1594) *Samuel Daniel*
.
To the Right Honourable, the (LADY) MARIe COUNTESSE OF PEMBROOKE.
.
[continued in next message]
--- SoupGate-Win32 v1.05
* Origin: fsxNet Usenet Gateway (21:1/5)