• flanked on each side by a dried cat (1/2)

    From Arthur Neuendorffer@21:1/5 to Phil Innes on Mon Feb 7 12:54:34 2022
    ---------------------------------------------------------------
    . LITTLE BRITAIN. [Sketch Book of Geoffrey Crayon, Gent.]

    What I write is most true..... I have a whole booke of cases
    lying by me, which if I should sette foorth, some grave auntients
    (within the hearing of Bow Bell) would be out of charity with me. NASH. ..................................................
    These surmises were passing through my mind as
    my eye glanced i[N]t[O] a [C]h[A]m[B]e[r] hung
    round with all kinds of *STRANGE* and uncouth
    objects--implements of savage warfare, *STRANGE IDOLS*
    and stuffed alligators; bottled serpents and monsters
    decorated the mantelpiece; while on the high TESTER
    of an old-fashioned bedstead grinned *A HUMAN SKULL*
    , flanked on each side by a dried cat. .......................................................
    What was still worse, the Lambs gave a grand ball, to which
    they neglected to invite any of their old neighbors; but they
    had a great deal of genteel company from Theobald'[S] [R]oad,
    Red Lion Sq[U|A]re, and other pa[R|T]s towards the w[E|S]t.
    There were sE[V]ERal beaux of th[E|I]r brother's
    acquaintance from Gray's Inn Lane and Hatton Garden, .................................................
    . . . . . . . . . . . . <= 14 =>
    .
    . . f r o m T h e o b a l d [S|R]
    . o a d R e d L i O n {S} q [U|A]
    . r e a n d o t h E r {P} a [R|T]
    . s t o w a r d s T h {E}(W)[E|S]
    . t T h e r e w e R e {S}(E)[V]E
    . r a l b e a u x O f. t (H)[E|I]
    . r b r o t h e r S

    [E.VERUS] [I..STAR] -14
    (HEW) -14
    {SPES} 14 : hope (latin)
    .................................................
    and not less than three aldermen's ladies with their daughters.
    This was not to be forgotten or forgiven. All Little Britain
    was in an uproar with the smacking of whips, the lashing of in
    miserable horses, and the rattling and jingling of HACKNEY-coaches.
    The gossips of the neighborhood might be seen popping their
    night-caps out at EVERy window, watching the crazy vehicles rumble
    by; and there was a knot of virulent old cronies that kept a
    look-out from a house just opposite the retired BUTCHER's
    and scanned and criticised EVERy one that knocked at the door. ---------------------------------------------------
    Oxford Anagram in "Minerva Britanna" by Terry Ross http://shakespeareauthorship.com/peachmb.html
    .
    <<The Latin form of [O]xford's family name
    is not "de Vere" but *VERUS* . >> ----------------------------------------------------
    _____ King Richard II Act 5, Scene 3
    .
    BOLINGBROKE: If any plague hang *OVER US*, 'tis he. ................................................
    _____ Julius Caesar Act 3, Scene 2
    .
    ANTONY: O, what a fall was there, my countrymen!
    . Then I, and you, and all of us fell down,
    . Whilst bloody treason flourish'd *OVER US*. -------------------------------------------------
    . JOYCE: Ulysses, Scylla & Charybdis
    .
    STEPHEN ( *Stringendo* .) He has hidden his own name,
    a fair name, William, in the plays, a *SUPER HERE* ,
    a clown there, as a painter of old Italy set
    his face in a DARK CORNER of his canvas ................................................
    ____ *SUPER* : *OVER* (Latin)
    ____ *HERE* : *ECO* (Venetian)
    .
    ___ "[E]dwardus [C]omes [O]xon{iensis}" .......................................................
    He has *REVE(al)ED* it in the sonnets where
    there is *Wil{L IN OVER}pl{US}* [anagram: {NIL VERO}] .....................................................
    ____ *VERUS LINO RIVE*
    ____ *VERO NIL VERIUS*
    .................................................
    . *LINO* : to *DAUB* , besmear, anoint.
    . *RIVE* : a small stream of water, a brook. (vocative) .......................................................
    Exodus 2:3. And when she could not longer hide him,
    . she took for him an ARK of bulrushes [i.e., BASKET],
    . and *DAUBED* it with *SLIME* and with PITCH,
    . and put the child therein; and she laid it
    . in the flags by the *RIVER's BRINK* .
    .
    [Anne Hathaway gave birth in 6 months like the mother of Moses] ...................................................
    *Ma.S.He.H.* : Ma(ry) S(idney) He(nry) H(erbert) ------------------------------------------------------------
    EXODUS 2:10 And she called his name *Moses* and
    . she said, because I *drew him out of the water* . ...................................................
    *Moses* is from the Hebrew/Aramaic:
    *MoSHeH* : "drawing out (of the water)" --------------------------------------------------------
    . Antony and Cleopatra > Act I, scene III
    .
    MARK ANTONY: By the {FIRE}
    . That quickens *NILUS' SLIME*, I go from hence
    . Thy soldier, servant; making peace or war
    . As thou affect'st. .............................................................. _______________..... <= 19 =>

    .. T. OTHEO_ - (N) l ___{I} __ <E> B. E. G __ E. T. T. ERO
    .. F. THESE__- (I) n __ {S} __. U <I> N. G __ S. O. N. NET
    .. S. MrWha__- (L) L __ [H]A ____. P <P> I _ (N) E. S. SEA
    .. N. Dthat___ (E) T __ [E]R ____. N <I> T _ (I) E <P> ROM
    .. I. SEDB 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 __ R. e. R. INS
    . <E> tTIN G fort----____________. H (T) t .........................................................
    . Probability of Upper & Lower (NILE)'s ~ 1/176,000
    ..... Probability of 4 oven <PIE>'s ~ 1/38,000
    . Antony and Cleopatra > Act V, scene II
    .
    CLEOPATRA: Rather a ditch in Egypt
    . Be gentle grave unto me! rather on *NILUS' MUD*
    . Lay me *STARk naked* , and let the water-flies
    . Blow me into abhorring! rather make
    . My country's high pyramides my gibbet,
    . And *HANG ME UP IN CHAINS* !
    .
    CLEOPATRA: Hast thou the pretty *WORM of NILUS* there,
    . That kills and pains not?
    ...........................................
    ____ *NILUS VERI* : *WORM of NILUS*
    ____ *NIL VERIUS*
    ...............................................
    . *HEBE* , Cup-bearer of the Gods http://www.perseus.tufts.edu/Herakles/hebe.html
    .
    <<*HEBE* was worshipped as a goddess of *PARDONs* or
    forgiveness; freed prisoners would *HANG their CHAINS*
    in the sacred grove of her sanctuary at Phlius.>> ....................................................
    . 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.
    .
    http://library.thinkquest.org/5175/images/grave1.jpg -------------------------------------------------------- http://www.philological.bham.ac.uk/anagrams/ .............................................
    . HENRICUS URIOTHESLEUS
    _____ per anagramma
    . THESEUS NIL REUS HIC RUO
    .
    . [I]ure quidem poteras hanc fundere ab ore querelam,
    . [S]ors tibi dum ficto crimine dura fuit:
    ."[N]IL reus en Theseus censura sortis iniquae
    . [H]ic ruo, livoris traditus arbitrio."
    . [A]t nunc mutanda ob mutata pericla querela est.
    . [I]nclite, an innocuo pectore teste rues?
    . [N]on sane. Hac haeres vacuo dat *VIVERE* cura,
    . [C]ollati imperii sub Iove sceptra gerens. .............................................
    . *ISNHAINC* {anagram} *IN CHAINS*
    .
    *Victorious though IN CHAINS* ) "In Vinculus Invictus"
    Motto in Tower Painting: http://www.gorki.net/Art/fa12.html .............................................
    . HENRY WRIOTHESLEY by an anagram
    . ('HERE I FALL, *THESEUS, GUILTY OF NOTHING* ')
    .
    Justly you were able to pour forth this complaint from
    your mouth, your lot was harsh while a false accusation
    prevailed. *L.O. , Theseus is guilty of NOTHING, HERE*
    I fall by an unfair lot's censure, betrayed by ENVY's whim.'
    But now the complaint is to be altered, because of
    altered perils. Great man, do you take a fall
    with an innocent heart bearing witness? Not at all.
    The *HEIR* , wielding the scepter of rule conferred
    under Jove's auspices, grants you to live free of this ............................................. http://www.philological.bham.ac.uk/anagrams/text.html --------------------------------------------------------
    . Poems of Edward deVere:
    ...................................................
    . Although indeed it sprung of *JOY* ,
    . Yet others thought it was *ANNOY* ;
    . Thus contraries be used, I find,
    . *Of WISE to CLOAK the coVERT mind.* --------------------------------------------------------------- http://www.sewerhistory.org/misc/harington2.htm

    Sir John Harington invented the first known valve closet (a precursor
    to the modern toilet) in the late 1500s. Elizabeth I (a relative
    of Harington's) had the device installed in *Richmond Palace* .
    The following John Harington poem was reportedly placed in
    the "privy chamber"at *Richmond Palace* to point out to court
    ladies that Harington's privy design "hath freed this noysome
    place from *all ANNOYance* ." It mentions *MISACMOS* Muse,
    a reference to Harington's book about the privy,
    which was *CHAINED* to the wall alongside the poem: .................................
    Faire Dames, if any look in scorn, and spites
    .
    Me, that *MISACMOS* Muse in mirth did write,
    .
    To satisfy the sinne, *L.O., HERE IN CHAINS* ,
    .
    For aye *TO HANG* , my Master me ordaines. -------------------------------------------------
    . JOYCE: Ulysses, Scylla & Charybdis
    .
    Like John O'Gaunt his name is dear to him, as dear
    as the coat of arms he toadied for, *on a BEND* sable
    a *SPEAR or steeled argent, honorificabilitudinitatibus* ,
    dearer than his glory of greatest SHAKESCENE in the country.
    What's in a name? That is what we ask ourselves in
    childhood when we write the name that we are told is ours.
    .
    A *STAR* , a daystar, a firedrake rose at his birth.
    It shone by day in the *HEAVENS* alone, brighter
    than Venus in the night, and by night it shone *OVER*
    delta in Cassiopeia, the recumbent constellation
    which is *the signature of his initial among the STARS* .
    His eyes watched it, lowlying on the horizon, eastward
    of the bear, as he walked by the slumberous summer fields
    at midnight, returning from Shottery and from her arms. ...................................................
    The earliest (1599) use listed in the OED of
    Honorificabilitudinitatibus is by *THOMAS NASHE* :
    .
    "Physitions *DEAFEN OUR EARES* with the
    Honorificabilitudinitatibus of their *HEAUENLY*
    Panachaea, their sOUERaign Guiacum." ...................................................
    ____ *DEAF IN MY EAR, I SEE*

    http://www.philological.bham.ac.uk/anagrams/text.html
    .
    ____ *EDOUARUS V(ei)ERUS*
    _____ per anagramma
    ____ *AURE SURDUS V(id)EO*
    ------------------------------------------
    _ Moby-Dick by Herman Melville
    ..........................................
    He n[EVER US]ed to swear....
    ..........................................
    ___ Chapter 21: Going Aboard
    .
    “NEVER mind him,” said I, “Queequeg, come on.”
    .
    But he stole up to us again, and suddenly clapping
    his hand on my shoulder, said—“Did ye see anything
    looking like men going towards that ship a while ago?”
    .
    Struck by this plain matter-of-fact question, I answered,
    saying, “Yes, I thought I did see four or five men;
    but it was too dim to be *SURE* .” “[VE]ry dim,
    . very dim,” said *ELI(j)AH* . “Morning to ye.” -------------------------------------------------------
    *ELI(j)AH* took his *CLOAK* , rolled it up & struck the water
    with it. The water divided to the right and to the left, and
    the two of them crossed over on dry ground." (2 Kings 2:8);
    .
    "Then he took the *CLOAK* that had fallen from him & struck
    the water with it. "Where now is the Lord, the God of *ELIjAH*?"
    he asked. When he struck the water, it divided to the right
    and to the left, and he crossed over." (2 Kings 2:14). ....................................................
    . *R-ALEI(g)H*
    . *R-ELI(g)AH*
    . *R-ELI(j)AH*
    ............................................................ http://www.trivia-library.com/b/sir-walter-raleigh-never-laid-his-clo...

    <<Sir Walter Raleigh was the unquestionable favorite of Queen
    Elizabeth I, even though he was endowed with a long face, a high
    forehead, and "pig eyes." However, that he once stepped forth from a
    crowd, gallantly doffed his *CLOAK* , and threw it over a mud puddle
    to protect the feet of the passing queen is fiction. The story
    probably originated with historian Thomas Fuller. Later, Sir Walter
    Scott kept the myth alive in his 1821 Elizabethan romance, Kenilworth.
    "Hark ye, Master Raleigh, see thou fail not to wear thy muddy
    *CLOAK* ," the queen exhorts Sir Walter, "in token of penitence,
    till our pleasure be further known." Sir Walter vows never to clean
    the *CLOAK* , and later the queen, delighted with his gallantry,
    invites him to visit the royal wardrobe keeper that he may be
    fitted for "a suit, and that of the newest cut.">> .........................................................
    . John Aubrey on Beaumont & Fletcher:
    .
    <<They lived together on the *Banke side* ,
    not far from the Playhouse, both batchelors; lay
    together...; had one wench in the house between them...;
    the same cloathes & *CLOAKE* , betweene them>> ....................................................
    . GOOD FREND FO_.. {R} [IE] {SUS}'_S(AKE)__ FOR[BE]ARE,
    ___ TO DIGG THE D_ {U} [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. ............................................... http://library.thinkquest.org/5175/images/grave1.jpg ------------------------------------------------------- http://en.wikipedia.org/wiki/Cynthia%27s_Revels
    .
    <<Cynthia's REVEls was one element in the so-called Poetomachia or War
    of the Theatres between Jonson and rival playrwights John Marston and
    Thomas Dekker. The play was first performed in 1600 at the Blackfriars
    Theatre by the Children of the Chapel, one of the troupes of boy
    actors active in that era. The Children acted the play at the English
    Royal Court during the 1600–1 Christmas season. Judson argued that
    Jonson modeled this play (for him, an atypically unrealistic work) on
    the plays of John Lyly, specifically Lyly's Galathea, Midas, Sapho and
    Phao, and Endymion. Jonson's pages in Cynthia, "Cupid, Morus, and the
    rest, are repetitions of Samias, Dares, and Epiton" in Endymion, the
    Man in the Moon (1591). The play begins with three pages disputing
    over the black *CLOAK* usually worn by the actor who delivers the
    prologue. They draw lots for the *CLOAK*, and one of the losers,
    Anaides, starts telling the audience what happens in the play to
    come; the others try to suppress him, interrupting him and putting
    their hands over his mouth. Soon they are fighting over the
    *CLOAK* and criticizing the author and the spectators as well.>>

    ~ 100,000 letters
    ------------------------------------------------- http://www.sourcetext.com/sourcebook/Star/41-60/ch48.html

    THIS STAR OF ENGLAND "William Shakes-speare"
    Man of the Renaissance by Dorothy and Charlton Ogburn

    http://www.sourcetext.com/sourcebook/Star/ch17.html
    Chapter Seventeen

    <<Oxford was, indeed, a complex, many-sided person and must have been inexplicable to many people. Some years before he had written a verse beginning, "I am not as I seem to be." He is a little nervous about
    his "visor," or mask. It so happened that, in a play which he must
    have been writing at this very time, since it was produced before
    the year was up, The Two Gentlemen of Verona, he presented one aspect
    of himself as Proteus, from Ovid's Proteus Ambiguus, the man of
    undefined form, or, it might be said, of many forms; and it was
    from this that Jonson got the name *AMORPHUS*, which he gave
    the character who represented Oxford in Cynthia's REVEls.>> ........................................................
    AMORPH(o)US, a. [Gr. ; priv. + form.]
    . Having no determinate form; of irregular; shapeless. ---------------------------------------------------- http://hollowaypages.com/jonson1692cynthia.htm
    .
    Cynthia's REVEls. OR, The Fountain of Self-Love.
    A COMICAL SATYR. First Acted in the Year 1600.
    By the then CHILDREN of QUEEN ELIZABETH's CHAPPEL.
    With the Allowance of the Master of REVEls.
    .
    The Author B. J.
    Nasutum volo, nolo polyposum. Mart.
    .
    TO THE SPECIAL *FOUNTAIN of MANNERS* , ........................................................
    AMORPHUS: ...infinite more of
    *inferiour Persons, as COUNTS* and others: it was my
    chance (the Emperor detain'd by some exorbitant Af-
    fair) to wait him the fifth part of an Hour, or much
    near it. In which time (retiring my self into a Bay-
    window) the beauteous Lady Annabel, Niece to the
    Empress, and Sister to the King of Arragon, who having
    nEVER before eyed me, (but only heard the common re-
    port of my VERtuE, Learning, and Travel) fell into that
    extremity of Passion, for my love, that she there imme-
    diately swooned: Physicians were sent for, she had
    to her Chamber, so to her Bed; where (languishing
    some few Days) after many times calling upon me,

    *with my Name in her LIPS* , she expir'd.

    As that (I must mourningly say)
    is the only Fault of my Fortune, that, as it
    hath *EVER* been my hap to be sued to, {B}y all
    La[D]ies, and Be{A}uties, w(H|E]re I have {C}ome;
    so, I n(E|V]er yet s{O}journ'd, or (R|E]sted i{N}
    that place, (O|R] part of the World, wh[E]re some
    high-born, admirable, fair Feature died not for my Love. ....................................................
    _______ <= 16 =>
    .
    . {B}y_a_l_l L a[D]i e S A n d B e
    . {A}u_t_i e s w(H|E]r E I h a v e
    . {C O M E S}o I n(E|V]E R y e t s
    . {O}j_o u r n d o r(R|E]s t e d i
    . {N}t_h a t p L a c e(O|R]p a r t
    . {O}f_t h e W O r l d w h[E]r e s
    . -o-m e

    high-born, admirable, fair Feature died not for my Love.

    {BACONO} 16 {1,900,000} = from BACON ("F.B.")
    [DEVERE] 17. {640,000}
    (HERO) 17
    .......................................................
    Much Ado About Nothing (Quarto 1, 1600) Act 3, Scene 4

    (HERO): These gloues the Counte sent me,
    they are an excellent perfume.
    ......................................
    Much Ado About Nothing (Quarto 1, 1600) Act 5, Scene 4
    .
    FRIAR *FRANCIS* :
    . When after that the *HOLY RITES* are ended,
    . Ile tell you largely of faire (HERO)es death, .......................................................
    . As You Like It Act 4, Scene 1

    ROSALIND: No faith, die by Attorney: the poore world is
    . almost six thousand yeeres old, and in all this time there
    . was not anie man died in his owne person (videlicet) in
    . a loue cause: Troilous had his braines dash'd out with a
    . Grecian club, yet he did what hee could to die before,
    . and he is one of the patternes of loue. Leander, he would
    . haue liu'd manie a faire yeere though (HERO) had turn'd
    . Nun; if it had not bin for a hot Midsomer-night, for
    . (good youth) he went but forth to wash him in the Hel-
    . lespont, and being taken with the crampe, was droun'd,
    . and the foolish Chronoclers of that age, found it was
    . Hero of Cestos. But these are all lies, men haue died
    . from time to time, and wormes haue eaten them,
    . but not for loue.
    ...................................... http://en.wikipedia.org/wiki/Hero_and_Leander_%28poem%29

    <<Marlowe's poem relates the Greek legend of Hero and Leander, youths
    living in cities on opposite sides of the Hellespont. Hero is a
    priestess or devotee of Venus (goddess of love and beauty) in Sestos,
    who lives in chastity despite being devoted to the goddess of love.
    At a festival in honor of her deity, Venus & Adonis, she is seen by
    Leander. Hero lives in a high *TOWER* overlooking the water; Leander
    asks her to light a lamp in her window, and he promises to swim the
    Hellespont each night to be with her. She complies. On his first
    night's swim, Leander is spotted by Neptune (Roman god of the sea),
    who confuses him with Ganymede and carries him to the bottom of
    the ocean. Discovering his mistake, the god returns him to shore
    with a bracelet supposed to keep him safe from drowning.
    Leander emerges from the Hellespont, finds *HERO's TOWER*
    and knocks on the door, which *HERO* then opens to find him
    standing stark naked. She lets him "whisper in her ear,
    / Flatter, entreat, promise, protest, and swear," and after a
    series of coy, half-hearted attempts to "defend the fort" she yields
    to bliss. The poem breaks off as dawn is breaking. No consensus exists
    on the issue of how Marlowe, had he lived, would have finished the
    poem, or indeed if he would have finished it at all. In the Greek myth
    the routine swims lasted through the warm summer. But one stormy
    winter night, the waves tossed Leander in the sea and the breezes
    blew out Hero's light, and Leander lost his way, and was drowned.
    When Hero saw his dead body, she threw herself over the edge
    of the *TOWER* to her death to be with him.>> -------------------------------------------
    II. Lacrime. (Dowland's "Second Booke Songs or AYres," 1600)

    Flow my teares fall from your springs, Exilde for EUER: Let mee
    morne where nights black bird hir sad infamy sings, there let
    mee li[V]e forlorne. Downe vain[E]lights shine you no mo[R]e,
    No nights are duk eno[U]gh for those that in di[S]paire ..........................................
    ________ <= 19 =>

    [V] E f o r l o r n e D o w n e v a i n
    [E] l i g h t s s h i n e y o u n o m o
    [R] e N o n i g h t s a r e d u k e n o
    [U] g h f o r t h o s e t h a t i n d i
    [S] p a i r e

    Prob. in Dowland's "2nd Booke" ~ 1 in 22 ..........................................
    their Last fortuns deplore, light doth but shame disclose. NEUER may
    my woes be relieued, since pittie is fled, and teares, and sighes, and
    grones my wearie dayes, of all ioyes haue depriued. Frō the highest
    spire of contentment, my fortune is throwne, and feare, and griefe,
    and paine for my deserts, are my hopes since hope is gone. Harke you
    shadowes that in darcknesse dwell, learne to contemne light, Happie,
    happie they that in hell feele not the worlds despite. ------------------------------------------------
    IX. (Dowland's "Second Booke Songs or AYres," 1600)

    Praise blindnesse eies, for seeing is deceit,
    Bee dumbe vaine tongue, words are but flattering windes,
    Breake hart & bleed for ther is no receit,
    To purge inconstancy from most mens mindes.

    Lenuoy:
    And so I wackt amazd and could not moue,
    I know my *DREAME was TRUE* , and yet I loue.

    And if thine eares false Haralds to thy hart,
    Conuey into thy head hopes to obtaine,
    Then tell thy hearing thou art deafe by art,
    Now loue is art that wonted t[O] be plaine,
    Now none is bald e[X]cept they see his braines,
    A[F]fection is not knowne till [O]ne be dead,
    [R]eward for loue are labours for his paines,
    Loues quiuer made of gold his shafts of leade. ..............................................
    Now loue is art that wonted <= 23 =>

    __ t[O]b e p l a i n e N o w n o n e i s b a l d
    _. e[X]c e p t t h e y s e e h i s b r a i n e s
    _. A[F]f e c t i o n i s n o t k n o w n e t i l
    __ l[O]n e b e d e a d R e w a r d f o r l o u e
    _. a[R]e l a b o u r s f o r h i s p a i n e s L
    . {O(V)E}s

    quiVER made of gold his shafts of leade.

    Prob. [OXFOR.] in Dowland's "2nd Booke" ~ 1 in 400 ..............................................
    Loues quiuer made of gold his shafts of leade.

    And so I wackt amazd and could not moue,
    I know my *DREAME was TRUE* , and yet I loue.

    VIII. When others sings Venite exultemus, stand by and turne to Noli
    . emulari, For quare fremuerunt vse oremus Viuat Eliza, Viuat Eliza,
    . For an aue mari, and teach those swains [T]h[A]t [L]i[V]e[S]
    . about thy cell, to say Amen Amen when thou dost pray so well.
    . Heere endeth the Songs of two parts.

    XV. [T]h[A]t [L]o[V]e [S]hould haue the art,
    . By surmises, And *DISGUISES* ,
    . To destroy a faithfull hart,
    . Or that wanton looking women,
    . Should reward their friends as foemen. .........................................................
    "Phil Innes" <aongh...@sover.net> wrote

    SHAPE: A dress of *DISGUISE*
    a VERy common term in old plays.
    ---------------------------------------------------------
    XIV. Edward de Vere's _CUPID AND FORTUNE_
    Set to music in Dowland's "Second Booke Songs or AYres," 1600

    Faction that EUER dwelles, in Court, where wit excelles,
    Hath set defiance:

    Fortune and Loue haue sworne, that they were nEUER borne,
    Of one alliance.

    Cupid which doth aspire, to be God of Desire,
    Sweares he giues lawes:

    That where hi[S] arrowes hit, some ioy, some sorrow it,
    Fort[U]ne no cause.

    Fortune sweares weakest hea[R]ts (the bookes of Cupid's arts)
    Turnd with h[E]r wheele,

    Senseles themselues shall pro[V]e: venter hath place in Loue,
    Aske them that feele.
    ..........................................
    That where - <= 34 =>

    _ hi[S]arroweshitsomeioysomesorrowitFo
    __ rt[U]nenocauseFortuneswearesweakesth
    . ea[R]tsthebookesofCupidsartsTurndwit
    . hh[E]rwheeleSenselesthemseluesshallp
    _ ro[V]EventerhathplaceinLoueAskethemt
    . ha-t-feele
    ..........................................
    This discord it begot Atheists, that honor not:
    Nature, thought good,

    Fortune should EUER dwell, in Court where witts excell:
    Loue keepe the wood.

    So to the wood went I, with Loue to liue and lie,
    Fortune's forlorne:

    Experience of my youth, made me thinke humble Truth,
    In desarts borne.

    My Saint I keepe to me, and Joane herselfe is she,
    Joane faire and true:

    She that doth onley moue passions of loue with Loue,
    Fortune adieu.
    --------------------------------------------
    _The Choice of Valentines_ by Thomas Nashe

    In IEST? quoth I; that terme it *AS YOU WILL* ,
    I com for game, therfore gi[V]e me my Jill,
    Why Sir, quoth shee, if that be your demand[E],
    {COME}, laye me a Gods-PENnie in my hand;
    For, in our Orato[R]ie siccarlie,
    None enters heere to doe his nicerie,
    B[U]t he must paye his offertorie first,
    And then perhap[S] wee'le ease him of his thirst. .........................................
    In IEST? quot <= 43 =>

    . -H-IthattermeitASYOUWILLIcomforgametherforegi
    . [V]ememyJillWhySirquothsheeifthatbeyourdemand
    . {E|COME}layemeaGodspennieinmyhandForinourOrato
    . [R]iesiccarlieNoneentersheeretodoehisnicerieB
    . [U]themustpayehisoffertoriefirstAndthenperhap
    . [S]weeleeasehimofhisthirst
    .................................
    . {E}douardus *VERUS* , {COMES} Oxoniae,
    . Vice{COMES} Bulbeck, Dominus de Scales
    . & Badlismer, D. Magnus Angliae Ca-
    . merarius: Lectori. S. D.

    Prob. of [VERUS] w\{COME} skip ≤ 43 (~1 in 61,500) --------------------------------------
    17th-century References to Shakespeare's Stratford Monument http://shakespeareauthorship.com/monrefs.html
    .
    <<In 1631, a year before his death, John Weever published the massive
    Ancient Funerall Monuments, which recorded many inscriptions from
    monuments around England, particularly in Canterbury, Rochester,
    London, and Norwich. Shakespeare's monument does not appear in the
    published book, but two of Weever's notebooks, containing his drafts
    for most of the book as well as many unpublished notes, survive as
    Society of Antiquaries MSS. 127 and 128. In one of these notebooks,
    under the heading "Stratford upon Avon," Weever recorded the
    poems from Shakespeare's monument and his gravestone, as follows:
    .
    . Iudcio Pilum, Genio Socratem, Arte Maronem
    . Terra tegit, populus maeret, Olympus habet.
    . Stay Passenger, why goest thou by so fast
    . Read if your canst whome envious death hath plac'd
    . Within this monument Shakespeare with whome
    . Quick Nature dy'd whose name doth deck his Tombe
    . far more then cost, sith all yt hee hath writt
    . Leaves living Art but page to serve his witt.
    . ob Ano doi 1616 AEtat. 53. 24 die April
    .
    . Good frend for Iesus sake forbeare
    . To digg the dust enclosed heare
    . Blest bee ye man that spares these stones
    . And curst bee hee that moves my bones. ------------------------------------------
    Prob. of *UERUS* ~ 1/1090 (any skip)
    .
    . G o o d f r e n d f o r I e s u s s
    . a k e f o r b e a r e T o d i g g t
    . h e d[U]s t e n c l o s e d h e a r
    _ e B l[E]s t b e e y e m a n t h a t
    . s p a[R]e s t h e s e s t o n e s A
    . n d c[U]r s t b e e h e e t h a t m
    - o v e[S]m y b o n e s
    .
    ______ <= 18 =>
    --------------------------------------
    - 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
    .
    Prob. of *EVERUS* ~ 1/12,240 (any skip) ..............................................
    . {E}douardus *VERUS* , {COMES} Oxoniae,
    . Vicecomes Bulbeck, Dominus de Scales
    . & Badlismer, D. Magnus Angliae Ca-
    . merarius: Lectori. S. D.
    ---------------------------------------------
    P. Ovidius Naso, Metamorphoses
    Arthur Golding, Ed.

    Of *SHAPES* transformde to *bodies STRAUNGE*,
    I purpose to entreate,
    Ye gods vouchsafe (for you are they ywrought this wondrous feate)
    To further this mine enterprise. And from the world begunne,
    Graunt that my verse may to my time, his course directly runne.
    Before the Sea and Lande were made, and Heaven that all doth hide,
    In all the worlde one onely face of nature did abide,
    Which Chaos hight, a huge rude heape, and nothing else but even
    A heavie lump and clottred clod of seedes togither dri[V]en,
    Of things at strif[E] among themselves, fo[R] want of order due.
    No s[U]nne as yet with light[S]ome beames the SHAPElesse world did
    vew. No Moone in growing did repayre hir hornes with borowed light. ..............................................
    A heavie lump and clottred clod of seedes togither dri-
    .
    . . . . . <= 18 =>
    .
    . [V] e n O f t h i n g s a t s t r i f
    . [E] a m o n g t h e m s e l v e s f o
    . [R] w a n t o f o r d e r d u e N o s
    . [U] n n e a s y e t w i t h l i g h t
    . [S] o m e b e a m e s t h e S H A P E

    -lesse world did vew.
    No Moone in growing did repayre hir hornes with borowed light.

    Probability of [VERUS] in first 10 lines with skip<19 ~ 1 in 522 ..............................................
    The simple Oxe with sorie sighes, to heavie yoke was bound. ..............................................
    And as light hame when corne is reapt, or hedges burne with brandes,
    That passers by when day drawes neere throwe loosely fro their handes,
    So into flames the God is gone an[D] burneth in his br[E]st
    And feedes his [V]aine and barrain[E] love in hoping fo[R] the best.
    Hir hair[E] unkembd about hir necke downe flaring did he see, ..............................................
    So into flames the God is gone an-
    .
    . . . . . <= 15 =>
    .
    . [D] b u r n e t h i n h i s b r
    . [E] s t A n d f e e d e s h i s
    . [V] a i n e a n d b a r r a i n
    . [E] l o v e i n h o p i n g f o
    . [R] t h e b e s t H i r h a i r
    . [E] u n k e m b d a b o u t h i r

    - necke downe flaring did he see, -------------------------------------------------------------------
    "The xi Bookes of the Golden Asse,
    conteininge the Metamorphosie of Lucius Apuleius." .................................................
    First Edition Adlington's translation, 1566

    "Imprinted at London in Fleetstreate at the signe
    of the Oliphante, by Henry Wykes, Anno. 1566." .................................................
    . . THE EIGHTH BOOKE THE THIRTY-SECOND CHAPTER
    .
    Then Thrasillus having found opportunity to worke his treason,
    . said to Lepolemus:
    .
    . {What} stand we her[E] amazed?
    . W{h}y show we oursel[V]es like d{a}stards?
    . Why lees[E] we so wor{t}hy a prey
    . with ou[R] feminine hearts?
    . Let us mo[U]nt upon our Horses,
    . and pur[S]ue him incontinently:
    .
    take you a hunting staffe, and I will take a chasing *SPEARE*. .............................................
    . . . . . . . . . . . . . .<= 22 =>
    .
    . {W h a t} s t a n d w e h e r [E] a m a z e d?W
    . {h} y s h o w w e o u r s e l [V] e s l i k e d
    . {a} s t a r d s?W h y l e e s [E] w e s o w o r
    . {t} h y a p r e y w i t h o u [R] f e m i n i n
    . .e .h e a r t s?L e t u s m o [U] n t u p o n o
    . .u .r H o r s e s,a n d p u r [S] u e h i m i n

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