• the man Piper met in Berlin (1/3)

    From Arthur Neuendorffer@21:1/5 to All on Sat Jul 31 11:23:47 2021
    -------------------------------------------------------
    Archbishop of Canterbury (1583-1603) John WHITgift
    founds WHITgift School in cROYDON (1596).
    (1597 was the 1000th anniversary of Christianity in England.)

    Archbishop WHITgift died on February 29th 1603/4
    [Exactly one century after Columbus used a lunar eclipse
    . to frighten hostile Jamaican Indians!]

    WHITgift formed a committee to censor plays in 1589;
    . later had Queen Elizabeth issue a proclamation
    . against *fiddamatorie and FANTASTICALL* writings! --------------------------------------------------------
    . . . Willobie his Avisa (1594) Cant. XLIIII
    . . . Henrico Willobego. Italo-Hispalensis.

    <<H.W. being sodenly infected with the contagion
    of a *FANTASTICALL FIT* , at the first sight of *A*, -------------------------------------------------------- http://www.gutenberg.org/files/10800/10800-h/ampart3.html

    . The Preface of "The Anatomy of Melancholy" (1621) Burton

    <<There will not be wanting, I presume, one or other that will much
    discommend some part of this treatise of love-melancholy, and object
    that it is too light for a divine, too comical a subject to speak of
    love symptoms, *TOO FANTASTICAL*, and fit alone for a wanton poet,
    a feeling young lovesick gallant, an effeminate courtier,
    or some such *IDLE* person.>> ------------------------------------------------------
    D. Roper's _Shakespeare, to be or not to be_ p.42

    <<Lady MANNERS thought Southampton *TOO FANTASTICAL*>>
    [i.e., *Elizabeth Sidney* (daughter of Sir Philip Sidney)] -------------------------------------------------------------- http://en.wikipedia.org/wiki/Roger_Manners,_5th_Earl_of_Rutland

    <<Roger Manners, 5th Earl of Rutland (6 October 1576 – 26 June 1612)
    was the son of John Manners, 4th Earl of Rutland. He married Elizabeth
    Sidney (daughter of Sir Philip Sidney and stepdaughter of Robert
    Devereux, 2nd Earl of Essex), on 5 March 1599. He died in 1612,
    aged 35 and his titles passed to his brother, Francis Manners.

    He was a student at Oxford and Cambridge, Gray's Inn, and University
    of Padua, Italy. He travelled across Europe, took part in military
    campaigns led by Essex, and was a participant of Essex's rebellion
    against Queen Elizabeth I. He was favoured by James I, and honoured
    by his contemporaries as a man of great intelligence & talent. He
    enjoyed the friendship of some of the most prominent writers and
    artists of the Elizabethan-Jacobean age. In 1602 he led an Embassy to
    Denmark, homeland of James' Queen Anne of Denmark. Evidence indicates
    that the Earl was a patron of Inigo Jones and probably introduced
    Jones to the Court of James I and Anne of Denmark, where Jones had
    his impact as both an architect and a designer of Court masques.

    Roger Manners (and his wife *Elizabeth Sidney*, daughter of poet
    Philip Sidney) are believed by some to be candidates for the author
    of Shakespeare's literary work in the Shakespearean authorship
    question. Karl {Bleibtreu} & Celestin Demblon supported this idea.>> ------------------------------------------------------------------------
    . . . Episode 9 - Scylla and Charybdis

    —Well, in that case, he said, I don’t see why you should expect payment for it
    since you don’t believe it yourself. Dowden believes there is some mystery in Hamlet
    but will say no more. Herr {Bleibtreu}, the man Piper met in Berlin, who is working
    up that Rutland theory, believes that the secret is hidden in the Stratford monument.
    He is going to visit the present duke, Piper says, and prove to him that his ancestor
    wrote the plays. It will come as a surprise to his grace. But he believes his theory.
    .............................................................
    . . . Episode 8 - Lestrygonians

    DLUGACZ: (Hoarsely.) {Bleibtreu}strasse, Berlin, W. 13.

    (J. J. O’Molloy steps on to a low plinth and holds the lapel of his coat with solemnity.
    His face lengthens, grows pale and bearded, with sunken eyes, the blotches of phthisis
    and hectic cheekbones of John F. Taylor. He applies his handkerchief to his [M]outh [A]nd sc[R]rutin[I]ses t[He] galloping tide of rosepink blood.)

    [MARIH/e] 5
    ----------------------------------------------------------
    Roger Manners: 5th Earl of Rutland
    http://tinyurl.com/3usnzkb

    The Case: This eccentric aristocrat enveloped his own person and
    his literary activities in mystery & secrecy. He never published
    anything in his own name, preferring to ascribe the authorship of his
    works to "live masks," i.e. semiliterate people like William Shakspere
    from Stratford-upon-Avon and Thomas Coryate from OLdcombe. This
    was his, his wife's and a few friends' Grand Game, Theatre in Life.

    Today we finally have a multitude of positively established facts
    witnessing beyond any doubt to the Earl of Rutland's direct connection
    with the Shakespeare oeuvre. For instance, the Belvoir Castle archives
    keep a variant of a chant from Twelfth Night written in the Earl of
    Rutland's hand, and a unique record of the Castle's steward about
    payment of money to Shakespeare. Poet and playwright Ben Jonson, who
    was well-acquainted with the Earl and Countess of Rutland, called them
    and their close circle "poets of the Belvoir Vale." The scene of some Shakespeare's plays is laid in the very towns of Northern Italy that
    Rutland had earlier visited during his European travels. The exact and
    accurate Danish realities appeared in Hamlet only after the Earl's
    trip to Denmark. The mysterious "Shake-Speare" ceased his creative
    work at the very same time when Roger Manners, the 5th Earl of
    Rutland, and his wife passed away in 1612 (in quick succession one
    after the other). The First Folio was to be released in 1622, the
    10th obit of the Earl and his platonic wife. The Second Folio was
    published in 1632, obviously to commemorate their 20th obit.>> ------------------------------------------------------------
    ___ The Rape of Lucrece Stanza 135
    .
    . Time's office is to fine the hate of foes,
    . To eat up err[O|R]s by opinion bred,
    . Not spend the dowry of a lawful bed.
    . Time's gl[O]ry is to calm contending kings,
    . To unmask falsehood and brin[G] *TRUTH to light* ,
    . To stamp the *seal of time* in aged things,
    . To wak[E] the morn and sentinel the night,
    . To wrong the wronger till he [R]ender right,
    . To ruinate proud buildings with thy hours,
    . And s[M]ear with dust their glittering golden towers ;

    Prob. of *O|ROGERM* with skip <50 ~ 1 in 70 .........................................................
    . . . . . . <= 50 =>

    . Toeatuperr [O|R] sbyop inionbredNotspendthedowryofalawfu
    . lbedTimesg l [O] ryist ocalmcontendingkingsTounmaskfalse
    . hoodandbri n [G]{TRUTH}tolightTostampthesealoftimeinaged
    . thingsTowa k [E] themo rnandsentinelthenightTowrongthewr
    . ongertillh e [R] ender rightToruinateproudbuildingswitht
    . hyhoursAnd s [M] earwi thdusttheirglitteringgoldentowers ............................................
    . To fill with WORM-holes stately monuments,
    . To feed oblivion with decay of things,
    . To *BLOT* old books and alter their contents,
    . To pluck the quills from ancient ravens' wings,
    . To dry the old oak's sap and cherish SPRINGS,
    . To spoil antiquities of hammer'd steel,
    . And turn the giddy round of Fortune's wheel ; -------------------------------------------------------------
    O, how thy *WO[R]TH* with *MANNERS* may I sing, [Sonnet: 39] -------------------------------------------------------------
    . . . . . . SONNET 83 *ROGER* : skip = 38
    .
    . Speaking of *WORTH* , what *WO[R]TH* in you doth grow,
    . This silence for my sinne y[O]u did impute,
    . Which shall be most my glory bein[G] dombe,
    . For I impaire not beautie being mute,
    . Wh[E]n others would giue life, and bring a tombe.
    . The[R]e liues more life in one of your faire eyes,
    . Then *BOTH YOUR POETS* can in praise deuise. ..................................................
    . . . . . . . . . . . <= 38 =>

    . SpeakingofworthwhatW [O|R] THinyoudothgrowT
    . hissilenceformysinne. y[O] udidimputeWhichs
    . hallbemostmyglorybei. n[G] dombeForIimpaire
    . notbeautiebeingmuteW. h[E] notherswouldgiue
    . lifeandbringatombeTh. e[R] eliuesmorelifein
    . oneofyourfaireeyesTh. e-n-*BOTHYOURPOETScan*
    . inpraisedeuise.
    --------------------------------------------------------
    <<The following passage by Mr. Pope stands as a preface
    . to the various readings at the end of the 8th volume
    . of his edition of Shakspeare, 1728.>> - Reed. .................................................
    .... Preface to Shakespeare By Alexander Pope

    "But to the end EVERy reader may judge for himself, we have
    annexed a compleat list of the rest; which if he shall think
    trivial, or erroneous, either in part, or in whole; at worst it
    can spoil but a half sheet of paper, that chances to be left
    vacant here. And we purpose for the future, to do the same
    with respect to any other persons, who thro' candor or vanity,
    shall co[M]municate o[R] publish, th[E] least thin[G]s
    tending t[O] the illust[R]ation of {OUR AUTHOR}." ..............................
    . . <= 10 =>
    .
    .. c o [M] m u n i c a t
    .. e o [R] p u b l i s h
    .. t h [E] l e a s t t h
    .. i n [G] s t e n d i n
    .. g t [O] t h e i l l u
    .. s t [R] a t i o n o f
    . {O U .R. A U T H O R}."
    .
    [ROGER M]
    ----------------------------------------------------------------
    . . . . As You Like It Act 3, Scene 2
    .
    Clo. Why, if thou nEVER was't at Court, thou nEVER saw'st good
    . *MANNERS*: if thou nEVER saw'st good *MANERS*, then thy *MANNERS*
    . must be wicked, and wickednes is sin, and sinne is damnation:
    . Thou art in a parlous state shep-heard.
    .
    Cor. Not a whit Touchstone, those that are good *MANNERS* at the
    . Court, are as ridiculous in the Countrey, as the behauiour of the
    . Countrie is most mockeable at the Court. You told me, you salute
    . not at the Court, but you kisse your hands; that courtesie would
    . be vncleanlie if Courtiers were shepheards. .................................................................
    ROSALIND: Yes, one, and in this *MANNER*. He was to imagine me
    . his love, his mistress; and I set him EVERy day to
    . woo me: at which time would I, being but a moonish
    . youth, grieve, be effeminate, changeable, longing
    . and liking, proud, *FANTASTICAL*, apish, shallow,
    . inconstant, full of tears, full of smiles, for EVERy
    . passion something and for no passion truly any
    . thing, as boys and women are for the most part
    . cattle of this colour; would now like him, now loathe
    . him; then entertain him, then forswear him; now weep
    . for him, then spit at him; that I drave my suitor
    . from his mad *HUMOUR* of love to a living *HUMOUR* of
    . madness; which was, to forswear the full stream of
    . the world, and to live in a nook merely monastic.
    . And thus I cured him; and this way will I take upon
    . me to wash your liver as clean as a sound sheep's
    . heart, that there shall not be one spot of love in't. -------------------------------------------------
    ____ SONNET 42 *ROGER M* : skip = 38

    . Louing offendors thus I will excuse yee,
    . Thou doost loue her, because thou knowst I loue her,
    . And for my sake euen so doth she abuse me,
    . Suff[R]ing my friend for my sake to approoue her,
    . If I l[O]ose thee, my losse is (M)y loues gaine,
    . And loosin[G] her, my friend hath f(O)und that losse,
    . Both find[E] each other, and I loo(S)e both *TWAINE* ,
    . And both fo[R] my sake *LAY ON ME THI(S) (CROSSE)* ,
    . But here's the ioy, [MY FRIEND AND I ARE *ON(E)*] ,
    . Sweete flattery, then she loues but me alone. ..................................................
    . . . . . . <= 38 =>

    . Suff [R] ingmyfriendformy s aketoa pprooueher
    . IfIl [O] osetheemylosseis (M) yloues gaineAndlo
    . osin [G] hermyfriendhathf (O) undtha tlosseBoth
    . find [E] eachotherandIloo (S) ebotht waineAndbo
    . thfo [R] mysakeLAYONMETHI (S)(CROSSE)Butheresth
    . eioy [M. YFRIENDANDIAREON (E)]

    [ROGER M] 38: Prob. of with skip <39 ~ 1 in 21
    (MOSSE) 38
    -------------------------------------------------
    __________. Sonnet 94
    .
    . THey that haue powre to hurt, an[D] will do[E] *NONE* ,
    . Th[A]t doe no[T] do t[H]e thing, they most do showe,
    . Who mouing others, ar{E} them{S}elue{S} as st{O}ne,
    . Vn{M}ooued, could, and to temptation *SLOW* :
    .
    [DEATH] 7
    {MOSSE} -5
    ----------------------------------------------------------------- http://en.wikipedia.org/wiki/John_Lovewell_%28Junior%29

    <<John Lovewell (October 14, 1691 – May 8, 1725) was a famous Ranger
    in the 18th century who fought during Dummer's War (also known as
    Lovewell's War). He lived in present-day Nashua, New Hampshire. He
    fought in Dummer's War as a militia captain, leading three expeditions
    against the Abenaki Indians. Lovewell was commemorated by Henry
    Wadsworth Longfellow with his poem, "The Battle of Lovells Pond",
    & by Nathaniel Hawthorne with his story, "Roger Malvin's Burial".>> ..........................................................
    _________ [Roger M]alvin .......................................................... http://en.wikipedia.org/wiki/Roger_Malvin%27s_Burial

    <<"Roger Malvin's Burial" is one of the lesser known short
    stories by Nathaniel Hawthorne, included in the collection
    {MOSSE}s from an Old Manse. It concerns two colonial survivors
    returning home after the battle known as Lovell's Fight.

    The story begins in the year 1725, after Lovewell's Fight (Hawthorne
    uses the name Lovell's Fight), a battle between the New Englanders and
    natives in Dummer's War. An elderly soldier, Roger Malvin and a young
    one, Reuben Bourne - survivors of the battle - try to get to a human
    settlement through the forest. However, since they are both wounded
    and weak, there is little hope that they will survive. They make a
    rest near a rock that looks like an enormous tombstone. The older man
    asks Reuben, whom he treats as a son, to leave him to die alone, since
    his wounds are mortal. He is unable to go any further and, although
    Reuben insists that he will drag Malvin further, the old man knows
    that this would mean death for both of them. Malvin manages to
    convince Reuben finally, and the young man leaves Malvin surely to
    die. Reuben survives, but he cannot feel at peace because he has not
    buried the old man as he had promised. Moreover, when he recovered,
    he did not have the courage to tell Dorcas, Roger Malvin's daughter
    and Reuben's fiancée, that he had left her father to die, even
    though it was Malvin's wish. Reuben is considered a brave man,
    but inside he feels that he has failed.

    Dorcas and Reuben get married, but Reuben cannot fit into the society.
    Many years later, when Reuben and Dorcas' son is already a grown boy,
    Reuben decided that they will move out from the town they lived in
    and that they will look for a free piece of land for themselves.
    They travel through wilderness. At a rest, Reuben and his son
    wander into the forest separately while Dorcas prepares a meal.

    At a certain moment, Reuben hears something in
    the bushes and shoots, *thinking it might be a deer* ,
    but it turns out that he has killed his own son.

    As he observes the terrain, it is obvious that this
    is the same place where he had left Roger Malvin. ..........................................................
    <<"In Shakespeare's tomb lies infinitely more than Shakepeare
    EVER wrote. And if I magnify Shakepeare it is not so much for
    what he did do but for what he did not do, or refrained from doing.

    For *in this world of LIES* ,

    *TRUTH* is forced to FLY like a scared white doe in the woodlands;
    and only by cunning glimpses *Will she REVEal herself* ,
    as in Shakespeare..">> -_Hawthorne and his {MOSSE}s_ (1850)

    . HerMAN Melville's review of Hawthorne's story
    . collection *{MOSSE}s from an Old MANSE*:

    << *MANSE* : Curse, or cursed house [unk. prob A.S.]>> ..........................................................
    As in "My Kinsman, Major Molineux" and "The May-Pole of Merry Mount",
    Hawthorne combines history and allegory. The background for "Roger
    Malvin's Burial" are historic events, but the story itself contains
    highly symbolic elements. The central theme of the story is guilt,
    a psychological state Hawthorne explores very frequently. ----------------------------------------------------------------
    .... Epilogue _ROSALYNDE OR, EUPHUES' GOLDEN LEGACY_

    Here, gentlemen, may you see in Euphues' Golden Legacy, that such as
    neglect their fathers' precepts, incur much prejudice; that division
    in nature, as it is a blemish in nurture, so 'tis a breach of good
    fortunes; that virtue is not measured by birth but by action; that
    younger brethren, though inferior in years, yet may be superior to
    honors; that concord is the sweetest conclusion, and amity betwixt
    brothers more forceable than fortune. If you gather any fruits by this
    Legacy, speak well of Euphues for writing it, and me for fetching it.
    If you grace me with that favor, you encourage me to be
    more forward; and as soon as I have overlooked my labors,
    expect the Sailor's Calendar.

    ..... *T. LODGE. FINIS* -----------------------------------------------------------
    .. Ben Jonson (1623) _To the Memory of Shakespeare_ ......................................................
    . My Shakespeare, rise; I will no[T LODGE] thee
    . by Chaucer, or Spenser, or bid Beaumont lye
    . A little further, to make thee a roome :
    . Thou art a Moniment, without a TOMBe,
    .
    [T LODGE] 1
    ............................................................... ...............................................................
    . Shine *FORTH*, thou Starr{E O}f Poets, and wi[T|H} rage,
    . Or inf[L]uence, chide, [O]r che{E}re the [D]rooping Sta[G]e;
    . Which, si{N}c[E] thy flight frõ hence, hath mou{R}n'd like night,
    . And despaires da{Y}, but for thy Volumes light. .............................................
    . . . . . <= 11 =>
    .
    .. S h i n e*F O R T H* t
    .. h o u S t a r r{E O} f
    .. P o e t s,a n d w i [T]
    . {H}r a g e.O r i n f [L]
    .. u e n c e,c h i d e,[O]
    .. r c h e{E}r e t h e [D]
    .. r o o p i n g S t a [G]
    .. e;W h i c h,s i{N}c [E]
    .. t h y f l i g h t f r õ
    .. h e n c e,h a t h m o
    .. u{R}n'd l i k e n i g
    .. h t,A n d d e s p a i
    .. r e s d a{Y}
    .
    [T LODGE] 11 : Prob. at end of poem ~ 1 in 19,000
    {HENRY} 26 : Prob. at end of poem ~ 1 in 185 ..................................................
    (Shortest positive ELS [T LODGE] skip in KJV = 25) -----------------------------------------------------
    . Henry IV, Part 1 (Quarto 1, 1598)

    Wor. Peace coosen, say no more.
    . And now I will vnclaspe a *SECRET BOOKE* ,
    . And to your quicke conceiuing discontents
    . Ile read[E] you matter deepe and daun[G]erous,
    . As full of perill an[D] aduenterous spirit,
    . As to [O]rewalke a Current roring [L]owd,
    . On the vnstedfast foo[T]ing of a *SPEARE*. ......................................................
    . . . . . . . . . . . . . . . . . <= 22 =>
    .
    . s a y n o m o. r e A n d n o w I W. I. L L v n
    . c l a s p e a *S E C R E T B O O K. E* A n d t
    . o y o u r q u. i c k e c o n c e i. u. i n g d
    . i s c o n t e. n t s I l e r e a d [E] y o u m
    . a t t e r d e. e p e a n d d a u n [G] e r o u
    . s,A s f u l l. o f p e r i l l a n [D] a d u e
    . n t e r o u s. s p i r i t,A s t o [O] r e w a
    . l k e a C u r. r e n t r o r i n g [L] o w d,O
    . n t h e v n s. t e d f a s t f o o [T] i n g o
    . f a*S P E A R. E*.
    .
    [T LODGE] -22 (one of 6 *SPEARE*s) (only *SECRET BOOKE*) --------------------------------------------------
    ... In his Frontline essay, William Murphy
    .. mentions *THOMAS LODGE* once and only once: ......................................................
    . Thirty-Six Plays in Search of an Author
    . by William M. Murphy, Union College Symposium 1964 .............................................................
    . There are those, like Delia Bacon, who are afflicted with what
    . has been called the "Corporation Syndrome," holding that such
    . distinguished literature must be the work of a commi[T]tee.
    . Its members wou[L]d include, in additi[O]n to BACON and
    . Oxfor[D], Robert {GREENE}, Geor[G]e PEELE, Samuel DANI[E]L,
    *THOMAS NASHE, [THOMAS LODGE], Michael Drayton, and THOMAS DEKKER.* ................................................................
    . . . . <= 17 =>
    .
    . .m u s t. b. e t h e w o r k o f a c
    . .o m m i [T] t e e.I t s m e m b e r
    . .s w o u [L] d i n c l u d e,i n a d
    . .d i t i [O] n t o B a c o n a n d O
    . .x f o r [D] R o b e r t{G R E E N E}
    . .G e o r [G] e P e e l e,S a m u e l
    . .D a n i [E] l,T h o m a s N a s h e,
    . [T H O M .A. S L O D G E]

    [T.LODGE] 17 : Prob. stuck on *THOMAS LODGE* ~ 1 in 100,000 .................................................................. ..................................................................
    It should be apparent to anyone possessing normal common sense, then, that Shakespeare's authorship of the works is not merely "pro[B]able" or "likely," as some softhe[A]ds have put it, but absolutely [C]ompelling. Yet it is
    common kn[O]wledge that after Delia [BACON] published her vague notions
    about authorship in 1856 defenders of her unorthodox views and creators
    of others multiplied like rabbits, and any reader of the modern newspaper
    knows that the tribe increases every year. ........................................................ ________............................. <= 25 =>
    .
    . S h a k e s p e a r e's a u t h o. r s h i. p. o f t
    . h e w o r k s i s n o t m e r e l. y"p r o.[B] a b l
    . e"o r"l i k e l y"a s s o m e s o. f t h e.[A] d s h
    . a v e p u t i t,b u t a b s o l u. t e l y.[C] o m p
    . e l l i n g.Y e t i t i s c o m m. o n k n.[O] w l e
    . d g e t h a t a f t e r D e l i a. [B A C O N] p u b
    . l i s h e d h e r v a g u e n o t i o n s
    .
    [BACON] 25 : Prob. stuck on [BACON] ~ 1 in 325 .................................................................. ..................................................................
    <<H[E REVE]eals in the Sonnets... that he had latent homosexual tendencies
    and that he carried on a protracted and degrading adulterous affair with a repulsive dark-skin(N)ed lady who probably gave him a l(O)athsome disease.
    In short, Shake(S)peare didn't write the plays bec(A)use we don't know enough about hi(M) -- or because we know too much. The l(A)yman takes his choice.>> ....................................................
    . . . . . . <= 27 =>
    .
    . a. f. f a i r w i t h a r e p u l s i v e d a r k-s k i
    . n (N) e d l a d y w h o p r o b a b l y g a v e h i m a
    . l (O) a t h s o m e d i s e a s e.I n s h o r t,S h a k
    . e (S) p e a r e d i d n't w r i t e t h e p l a y s b e
    . c (A) u s e w e d o n't k n o w e n o u g h a b o u t h
    . i (M) o r b e c a u s e w e k n o w t o o m u c h.T h e
    . l (A) y m a n t a k e s h i s c h o i c e.
    .
    (A MASON) -27 ----------------------------------------------------------------------- https://www.pbs.org/wgbh/pages/frontline/shakespeare/reactions/murphyarticle.html
    ..................................................................
    Most anti-Stratfordians believe that
    there is a vast conspiracy of silence by the members
    of what they call the "S(TR)atford Establi(S)hment." In May,
    1956, twen(T)y-two Oxfor{DIANS}, (I)ncluding nine la(W)yers,
    took a half-pag{E} ad in Th{E S}hakespea{R}e Newslett{E}r to
    berate {M}embers of the Establishment for refusing t{O} give
    their case a fair hearing. The fact is, of {C}ourse, that their
    case has been heard, thorou(G)hly explored, and found without merit. ..................................................................... _________________________. <= 37 =>
    .
    . t ha tth e reis a va s tc. onsp i r acy. of si l e n c e b. y
    . t he mem b erso f wh a tt. heyc a l lth. eS(TR)a t f o r d. E
    . s ta bli(S)hmen t In M ay *twen(T)y-two* OX FO R {D I A N S}(I)
    . n cl udi n gnin e la(W)ye. rsto o k aha. lf pa g {E}a d i n. T
    . h{ES}hak e spea{R}eN e ws. lett{E}r tob. er at e {M}e m b e. r
    . s of the E stab l is h me. ntfo r r efu. si ng t {O}g i v e. t
    . h ei rca s eafa i rh e ar. ingT h e fac. ti so f {C}o u r s. e
    . t ha tth e irca s eh a sb. eenh e a rdt. ho ro u (G)h l y e. x
    . p lo red a ndfo u nd w it. hout m e rit.
    .
    (G){COMED/IANS} -37
    {MERE/S} -10
    (WITS TR) -15 ..................................................................
    . {MERE/S}'s Palladis Tamia; (WITS TR)easury,
    . Being the Second Part of Wits Commonwealth (1598)
    .
    .... the best for {COMEDY} amongst vs bee,
    . Edward Earle of Oxforde, ..................................................................
    . Again, all the known evid[E]nce points to the STRATFO[R|D}
    . SHAKESPEARE as the writ[E|R} of Hamlet, Macbeth, Henry [V],
    {A}nd the other plays and po[E|M}s that have kept the worl[D]
    {A}t the author's knees for almost four hundred years. ....................................................
    . . . . . . <= *twenty-two* =>
    .
    . A g a i n,a l l t h e k n o w n e v i[D. E. N]
    . c e p o i n t s t o t h e S T R A T F O [R]{D}
    . S H A K E S P E A R E a s t h e w r i t [E]{R}
    . o f H a m l e t,M a c b e t h,H e n r y [V]{A}
    . n d t h e o t h e r p l a y s a n d p o [E]{M}
    . s t h a t h a v e k e p t t h e w o r l [D]{A}
    . t t h e a u t h o r's k n e e s f o r l. m
    . o s t f o u r h u n d r e d y e a r s.

    [DEVERE/NED] -22 : Prob. ~ 1 in 175 .................................................................. ..................................................................
    . But Shakespeare is not only a writer who expresses him[S]elf
    . beautif[U]lly: he is an o[R]acle, a proph[E]t, almost a
    . di[V]inity. No oth[E]r mortal writer shares his pinnacle. ...........................................
    . <= *twenty-two/two* =>
    .
    . S h a k e s p e a. r. e
    . i s n o t o n l y. a. w
    . r i t e r w h o e. x. p
    . r e s s e s h i m [S] e
    . l f b e a u t i f [U] l
    . l y:h e i s a n o [R] a
    . c l e,a p r o p h [E] t,
    . a l m o s t a d i [V] i
    . n i t y.N o o t h [E] r
    . m o r t a l w r i. t. e
    . r s h a r e s h i. s. p
    . i n n a c l e.
    .
    [E.VERUS] -11 : Prob. ~ 1 in 13,000 ............................................................ ............................................................
    . Of the plays in the First Folio of 1623, all of which
    . a[R]e univ[E]rsall[Y] conce[D]ed to b[E] by the same man... ............................................................ ............................................................
    . Hundreds of books and pamphlets have been produced in the
    . course of the cont[R]ov[E]rs[Y], an[D] th[E] literature
    . of the Baconians alone would stock a fair-sized library.
    .
    [E.DYER] -3, -6 -----------------------------------------------------------------------
    ____ SONNET 42 *ROGER M* : skip = 38
    .
    . Louing offendors thus I will excuse yee,
    . Thou doost loue her, because thou knowst I loue her,
    . And for my sake euen so doth she abuse me,
    . Suff[R]ing my friend for my sake to approoue her,
    . If I l[O]ose thee, my losse is (M)y loues gaine,
    . And loosin[G] her, my friend hath f(O)und that losse,
    . Both find[E] each other, and I loo(S)e both *TWAINE* ,
    . And both fo[R] my sake *LAY ON ME THI(S) (CROSSE)* ,
    . But here's the ioy, [MY FRIEND AND I ARE *ON(E)*] ,
    . Sweete flattery, then she loues but me alone. ..................................................
    . . . . . . <= 38 =>

    . Suff [R] ingmyfriendformy. s. aketoa pprooueher
    . IfIl [O] osetheemylosseis (M) yloues gaineAndlo
    . osin [G] hermyfriendhathf (O) undtha tlosseBoth
    . find [E] eachotherandIloo (S) ebotht waineAndbo
    . thfo [R] mysakeLAYONMETHI (S)(CROSSE)Butheresth
    . eioy [M. YFRIENDANDIAREON (E)]

    [ROGER M] 38: Prob. of with skip <39 ~ 1 in 21
    (MOSSE) 38
    ----------------------------------------------------
    http://tinyurl.com/jq8h944
    .
    . This Shadowe is renowned Shakespea{R}'s?
    . Soule o[F] th' [A]ge [T]he [A]pplause? delight?
    . The wonder {O}f the Stage.
    . Nature her selfe, was proud of his desi{G}nes
    . [A]nd joy'd to weare the dressing of his lines,
    . [T]h{E} learned will confess his works as such
    . [A]s neithe{R MAN, NOR MUSE} can praise to much
    . [F]or *EVER* live thy [FAME], the worl[D] to tell,
    . Th[Y] like, no ag[E], shall *EVE[R]* paralell ....................................................
    . . . . . . . . . . . . . . . <= 41 =>
    .
    . ThisShadoweisrenownedShakespe a {R} sSoule oFth
    . AgeTheApplausedelightThewonde r {O} ftheSt ageN
    . atureherselfewasproudofhisdes i {G} nesAnd joyd
    . towearethedressingofhislinesT h {E} learne dwil
    . lconfesshisworksassuchAsneith e {R. MANNOR MUSE}
    . canpraisetomuchForEVERlivethy F. A. MEthew orld
    . totellThylikenoageshallEVERpa r. a. lell
    .
    {ROGER/MANNOR} 41 : Prob. ~ 1 in 2,550
    [FATA] 3 : Prob. ~ 1 in 66
    [DYER] 9
    ------------------------------------------------------
    . Ben Jonson folio dedication:
    .
    . These are, as some infamous Baud, or *WHORE*,
    . Should praise a Matron. What could hurt her more?
    . But thou a[R]t proofe against them, and indeed
    . Above th' ill fortune [O]f them, or the need.
    . I, therefore will begin. Soule of the {A|G]e !
    . The applause ! delight ! the wonder of our Stage !
    . {My Sha{k|E]SPEARE}, rise; I will no{T LODGE} thee by
    . Chaucer, or [SPENS{E|R], or bid Beaumont lye
    . A little further, to make thee a roo[M]e :
    . Thou art a Moniment, without a tombe, ............................................
    . . . . . . <= 45 =>
    .
    . Bu. t t h o u a[R] tproof. eagainstthe. m andin. deedAbovethil
    . lf. o r t u n e[O] fthemo. rtheneedIth. e refor. ewillbeginSou
    . le. o f t h e{A|G] eTheap. plausedelig. h tthew. onderofourSta
    . ge {M y S H A{k|E] SPEARE} riseIwillno {T LODGE} theebyChaucer
    . or [S P E N S{E|R] orbidB. eaumontlyeA. l ittle. furthertomake
    . th. e e a r o o[M] eThoua. rtaMoniment, w ithou. tatombe
    .
    [ROGER M] 45 : Prob. ~ 1 in 280 ........................................................
    . And such wert thou. Looke how the fathers face
    . Lives in his issue, even so, the race
    . Of Shakespeares minde, and *MANNERS* brightly shines
    . In his well toned, and TRUE-filed lines : ------------------------------------------------------- http://hollowaypages.com/jonson1692pœtaster.htm
    .
    THE POETASTER: OR, HIS ARRAIGNMENT (FOLIO)
    .
    Author: It is not so.
    *I us'd no Name.* My Books have still been taught
    . To spare the Persons, and to speak the Vices.
    . These are meer Slanders, and enforc'd by such
    . As have no safer ways to Mens Disgraces,
    . But their own Lies, and loss of Honesty:
    . Fellows of practis'd and most laxative Tongues,
    . Whose empty and eager Bellies, i' the Year,
    . Compel their Brains to many desp'rate Shifts,
    (I spare to name 'em; for, their Wretchedness
    . Fury it self would pardon.) These, or such,
    . Whether of Malice, or of Ignorance,
    . Or Itch t' have me their Adversary, (I know not)
    . Or all these mixt; but sure I am, three Years
    . They did provoke me with their petulant Styles
    . On every Stage: And I at last, unwilling,
    . But weary, I confess, of so [M]uch t[R]oubl[E],
    . Thou[G]ht I w[O]uld t[R]y if Shame could win upon 'em; ............................................................
    . . <= 5 =>
    .
    .. B u t w e
    .. a r y, I c
    .. o n f e s
    .. s, o f s o
    . [M] u c h t
    . [R] o u b l
    . [E],T h o u
    . [G] h t I w
    . [O] u l d t
    . [R] y i f s
    . h a m e
    .
    [ROGER M.] -5 : Prob. near the end ~ 1 in 940 .......................................................
    . And therefore chose Augustus CÆsar's Times,
    . When Wit and Arts were at their height in Rome,
    . To shew that Virgil, Horace, and the rest
    . Of those great Master-spirits, did not want
    . Detractors then, or Practisers against them:
    . And by {T}his Line (although no Paralle{L})
    . I hop'd at last they would sit d{O}wn, and blush:
    . But nothing coul{D} I find more contrary.
    . And thou{G}h the Impudence of Flies be gr{E}at, ........................................................
    . . . . . <= 25 =>
    .
    . A n d b y {T} h i s L i n e(a l t h o u g h n o P a
    . r a l l e {L} I h o p'd a t l a s t t h e y w o u l
    . d s i t d {O} w n,a n d b l u s h:B u t n o t h i n
    . g c o u l {D} I f i n d m o r e c o n t r a r y.A n
    . d t h o u {G} h t h e I m p u d e n c e o f F l i e
    . s b e g r {E} a t,
    .
    {T.LODGE} 25 : Prob. near the end ~ 1 in 265 .....................................................
    . Yet this hath so provok'd the angry Wasps,
    . Or, as you said, of the next Nest, the Hornets,
    . That they fly buzzing, mad, about my Nostrils,

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