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2018-01-01 07:19:27 UTC
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'Tis true indeed; the collusion holds in the exchange.
- Dull LLL IV, ii

Arthur Neuendorffer
2018-01-01 18:34:41 UTC
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Post by g***@gmail.com
'Tis true indeed; the collusion holds in the exchange.
- Dull LLL IV, ii
collusion (n.) late 14c., from Old French collusion, from Latin collusionem (nominative collusio) "act of colluding," from colludere, from assimilated form of com "with, together" (see com-) + ludere "to play" (see ludicrous). "The notion of fraud or underhandedness is essential to collusion" .
(LEWD) (adj.) Middle English leued, from Old English læwede "nonclerical, unlearned," according to OED probably ultimately from Vulgar Latin *laigo-, from Late Latin laicus "belonging to the people" (see lay (adj.)). Sense of "unlettered, uneducated" (early 13c.) descended to "coarse, vile, lustful" by late 14c. In Middle English often paired alliteratively with learned. It also was a noun in Old English, "layman;" for nouns, Elizabethan English made (LEWD)ster, (LEWD)sby.
_________ <= 17 =>

. T O T H E (O) N (L) I E B E G E T T E
. R O F T H (E) S (E) I N S V I N G S O
. N N E T S [M] R (W) H A L L {H} A P P I
. N E S S E [A] N (D) T H A T {E} T {E}R N
. I T I E P [R] O M I S E D {B}(Y){O}V R
. E V E R L [I] V I N G P O {E}(T){W}I S
. H E T H T [H] E W E L L W I (S){H}I N
. G A D V E N T V R E R I N S E T T
. I N G F O R T H T T
[HIRAM(E.O.)] -17
(STY) -17
{(E.O.)(E.O.)} 17
{HEBE} 17
(LEWD) 17
Loading Image...
On the 14th anniversary of Anne Hathaway's death [Aug. 6, 1637].
Ben Jonson was BURIED UPRIGHT leaning against the WALL
. of his Westminster Abbey crypt as requested:
. *WILL* do for all I *WANT* '. - Ben Jonson
___________ [IE] [BE] [RE]
__________ [ST] [HE] [VE]
___ *STIE / HEBE* : *VERE*

. 1713d: GI *HEBE* IN
. 1714u: S *STY* TANE
. 1909u: R *VERE* HSI
STIE/STY, v.i. To soar; to ascend.
STIE/STY, n. 1. A pen or inclosure for swine.
. 2. A place of *BESTial* debauchery.
<< *William Hall* , and Oxford graduate, in 1694 stood beside
the grave and after he had read the rude, absurd, and ignorant
epitaph, wrote his Commentary contained in a letter to his
friend, Edward Thwaites, preserved in the Bodleian Library.
The letter has brought to light the significant fact
concerning the depth of Shakspere's grave, "they have laid
him full *17 FEET DEEP* , DEEP enough to secure him.">>
- Shakespeare: The Personal Phase_
by *William Hall* Chapman (1920)
Dear Neddy,

I very greedily embrace this occasion of acquainting you
with something which I found at Stratford-upon-Avon.
That place I came unto on Thursday night, and Ye next
day went to visit Ye ashes of the great Shakespear which
lye interr'd in that church. The verses which, in his
life-time, he ordered to be cut upon his tomb-stone,
for his monument have others, are these which follow;
. Reader, for Jesus's sake forbear
. To dig the dust enclosed here:
. *BLESSED* be he that Spares the[S]e Ston[E|S],
. And CU[R|S]ED be h[E] that mo[V]es my bones.
. <= 7 =>
. *B L E S S E D*
. b e h e 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}[E D]*b
. e h [E] t h a t
. m o [V] e s m y
. b o n e s.

[VERE] 7 : in *BLESSED/CURSED* array ~ 1 in 772
[SSS] 7 : in *BLESSED/CURSED* array ~ 1 in 14
The little learning these verses contain would be a very
strong argument of Ye want of it in the author; did not
they carry something in them which stands in need of a
comment. There is in this Church a place which they call
the bone-house, a repository for all bones they dig up, which
are so many that they would load a great number of waggons.
The Poet, being willing to preserve his bones unmoved, lays
a curse upon him that moves them, and haveing to do with
Clarks and Sextons, for Ye most part a very <i>gnorant sort
of people, he descends to Ye meanest of their capacitys; and
disrobes himself of that art which none of his Co-temporaryes
wore in greater perfection. Nor has the design mist of its
effect, for, lest they should not only draw this curse upon
themselves, but also entail it upon their posterity, they
have laid him full *SEVENTEEN FOOT DEEP*, deep enough to
secure him. And so much for Stratford, within a mile of
which Sir Robinson lives, but it was [SO LAT]e before
I knew, that I had not time to make him a visit.

Mr. Allen Hammond, the bearer hereof, my particular
acquaintance and schoolfellow, upon Mr. Dean's recommendation
designs for Queen's, and intends to have *Mr. Waugh*
for his tutor. I desire that you would assist him in
what you can as to a study, and make use of your interest
with the senior poor children to be kind to him in what
concerns the going about the fires. My bed, which is in
Pennington's chamber, I have ordered him to make use of,
if he need one, and do desire you to help him to it.

Pray give my service to Jacky White, Harry Bird, and to
all my Lichfield acquaintance, when you see them, and
to all those also that shall ask after me. As for the
Staffordshire words we talked of, I will take notice
of them and send them. Pray let me hear from you at Mr.
Hammond's man's return, wherein you will greatly oblige

Your friend and servant,
Wm. Hall.

Direct your letter for Wm. Hall, junr.,
at Ye White-hart in Lichfield.

For Mr. Edward Thwaites
in Queen's College
in Oxon.
The writer of the letter, William Hall,
was, observes Mr. Macray, when favoring me
with the copy, "a Queen's College man who
took his degree of B.A. in October, 1694,
and M.A. in July, 1697 ; he appears to have
been a well-informed and zealous antiquary."
The addressee, Edward Thwaites,
was a well-known Anglo-Saxon scholar.


*DUST* (n.) Old English dust, from Proto-Germanic *dunstaz (source
also of Old High German tunst "storm, breath," German Dunst "mist,
vapor," Danish dyst "milldust," Dutch duist), from PIE *dheu-
(1) "dust, smoke, vapor" (source also of Sanskrit dhu- "SHAKE,"
Latin fumus "smoke"). Meaning "that to which living matter decays"
was in Old English, hence, figuratively, "mortal life."*
*POLVERE* (Italian) : *DUST*
*POL VERE* (Latin) : by POLlux (i.e., truly) VERE!
WASHINGTON IRVING, 1819 - p.48, Stratford-On-Avon, Sketch Book.
<<A flat stone marks the spot where the bard is buried. There are
four lines inscribed on it, said to have been written by himself,
and which have in them something extremely AWFUL.

<<{HEBE} is the Greek goddess of youth and cupbearer for the gods
and goddesses of Mount Olympus. {HEBE} would move among them,
bearing the *EWER* of divine draught with which she would fill
the goblets. As a result of a fall in which {HEBE} exposed herself
to the eyes of all in a rather indecent posture, she lost her job
and was replaced by Ganymede/Aquarius the Water-carrier.

The name {HEBE} comes from Greek word meaning "youth"
or "prime of life". In Euripides' play Heracleidae,
{HEBE} granted Iolaus' wish to become young again in order
to fight Eurystheus. Hebe had two children with Heracles:
(A)lexiares & (A)nicetus. {HEBE} also drew baths
for Ares and helped Hera enter her chariot.>>

{HEBE} was also worshipped as
a goddess of {PARDONS} or forgiveness;
freed prisoners would *HANG their CHAINS*
in the sacred grove of her sanctuary at Phlius.>>
<<King Arthur, wounded in one of his battles, was taken to Glastonbury
to be cured of his wounds by these healing waters. And after his last
fatal battle, that of Camlan in Cornwall, in which he fell, he was
conveyed by sea to Glastonbury to be buried. In course of time the
spot where he slept was forgotten; but a Welsh bard singing to Henry
II., as he passed through Wales on his way to Ireland, of the great
British king, declared that Arthur slept between two pyramids at
Glastonbury. When the king returned to England he told the abbot
what the bard had sung, and search was at once made for the grave.
One of our chroniclers, Giraldus Cambrensis, was an eye-witness
of what ensued, and has recorded it.
Digging down seven feet below the surface, a huge broad stone
was found with a small thin plate of lead in the form of a cross,
bearing in rude letters the Latin inscription:
"Hic jacet sepultus Inclytus Rex Arturius in Insula Avalonia."
Loading Image...
Nine feet deeper [at 16 FEET DEEP*] they found the trunk
of a large tree hollowed out for a coffin, in which lay Arthur,
and by his side Guinever. The bones of the king were of
extraordinary size; the skull was covered with wounds,
ten distinct fractures were counted, one of great size,
probably the fatal blow.

The beautiful Guinever's form was singularly whole & perfect.
Her burnished gold hair fell in plaits on her shoulders,
but when touched fell instantly to *DUST* .
Here also are buried Coel, king of Britain,
father of the Empress Helena,
mother of Constantine the Great,
Edmund the Elder, King Edgar, Edmund Ironside,
St. Joseph of Arimathea (it is said), St. Patrick,
St. Dunstan, & Gildas, one of our earliest historians.>>
Sketch Book of Geoffrey Crayon, Gent.
#6 in our series by Washington Irving.


The inscription on the tombstone has not been without its effect.
It has prevented the removal of his remains from the bosom of
his native place to Westminster Abbey, which was at one time
contemplated. A few years since also, as some laborers were
digging to make an adjoining vault, the earth caved in, so as to
leave a vacant space almost like an arch, through which one might
have reached into his grave. No one, however, presumed to meddle
with his remains so awfully guarded by a malediction; and lest
any of the idle or the curious or any collector of relics should
be tempted to commit depredations, the old sexton kept watch
over the place for two days, until the vault was finished and
the aperture closed again. He told me that he had made bold
to look in at the hole, but could see neither coffin nor
bones--nothing but dust. It was something, I thought,
to have seen the dust of {Shakespeare}.

Next to this grave are those of his wife, his favorite daughter,
Mrs. Hall, and others of his family. On a tomb close by, also,
is a full-length effigy of his old friend John Combe, o[F]
usurious memo[R]y, on whom he is s[A]id to have writ[T]en
a ludicrous [E]pitaph. There a[R]e other monume[N]ts around,
but the mind refuses to dwell on anything that
is not connected with {Shakespeare}.
. <= 13 =>
. o [F] u s u r i o u s m e m
. o [R] y, o n w h o m h e i s
. s [A] i d t o h a v e w r i
. t [T] e n a l u d i c r o u
. s [E] p i t a p h. T h e r e
. a [R] e o t h e r m o n u m
. e [N] t s a r o u n d, b u t
. t h e m i n d r e f u s e
. s t o d w e l l o n a n y
. t h i n g t h a t i s n o
. t c o n n e c t e d w i t
. h {S h a k e s p e a r e}.
-- There's a {GENT}leman here, sir, the attendant said,
coming forward and offering a card. From the *FREEMAN*.
He wants to see the files of the Kilkenny People
[F]o[R] l[A]s[T] y[E]a[R].

The [FAMA] [FRATER]nitatis Rosae Crucis was first
published in German in 1614 and then in 1615 in Latin:
Underneath they had subscribed themselves,
1. Fra. I.A., Fra. C.H. electione [FRATER]nitatis caput.
2. Fra. G.V. M.P.C.
3. Fra. F.[R].C. Junior ha[E]res S. Spiri[T]us
4. Fra. F.B.M. P.[A]. Pictor et A[R]chitectus
5. [F]ra. G..G. M.P.I. Cabalista
. <= 10 =>
. [F R A T E R] n i t a
. t i s c a p u t. F r
. a. G. V. M. P. C. F r a. F.
. [R] C. J u n i o r h a
. [E] r e s S. S p i r i
. [T] u s F r a. F. B. M. P.
. [A] P i c t o r e t A
. [R] c h i t e c t u s
. [F] r a. G. G. M. P. I. C a
. b a l i s t a
[FRATER] -10 : Prob. in 1st name set ~ 1 in 600
Secundi Circuli.
1. Fra. P.[A]. Successor, Fra. I.O. [M]athematicus
2. Fra. [A]. Successor Fra. P.D.
3. [F]ra. R. Successor Patris C.R.C., cum Christo triumphantis.
. <= 15 =>
. F r a.P.[A].S u c c e s s o r,F
. r a.I.O.[M] a t h e m a t i c u
. s F r a.[A].S u c c e s s o r F
. r a.P.D.[F] r a.R.S u c c e s s
. o r P a t r i s C.R.C.c u m C
. h r i s t o t r i u m p h a n
. t i s.

[FAMA] -15 : Prob. in 2nd name set ~ 1 in 17
. <= 5 =>
. F r a. F. [R].
. C. J u n i
. o r h a [E]
. r e s S. S
. p i r i [T]
. u s. F r a.
. F. B. M. P. [A].
. P i c t o
. r e t A [R]
. c h i t e
. c t u s [F]
. r a. G..G. M.
. P. I. C a b
. a l i s t
. a S e c u
. n d i C i
. r c u l i.
. F r a. P. [A].
. S u c c e
. s s o r, F
. r a. I. O. [M]
. a t h e m
. a t i c u
. s F r a. [A].
. S u c c e
. s s o r F
. r a. P. D. [F]
. r a. R. S u
. c c e s s
. o r P a t
. r i s C. R.
. C.
Prob. of both in the same direction ~ 1 in 20,000
Ex Deo nascimur, in Jesu morimur, per Spiritum Sanctum revivscimus.

At that time was already dead Brother I.O. and Brother D., but their burial place where is it to be found? We doubt not but our Fra. Senior hath the same, and some especial thing layd in earth, and perhaps likewise hidden. We also hope that this our example will stir up others more diligently to inquire after their names (whom we have therefore published) and to search for the place of their burial; the most part of them, by reason of their practise and physick, are yet known and praised among very old folks; so might perhaps our Gaza be enlarged, or at least be better cleared.

Concerning Minutum Mundum, we found it kept in another little altar, truly more finer then can be imagined by any understanding man, but we will leave him undescribed, until we shall be truly answered upon this our true-hearted Fama. And so we have coVERED it again with the plates, and set the altar thereon, shut the door, and made it sure, wi{T}h {A}l{L} o{U}r {S}eals.
Final 2 sentences:

And this we say for a truth, that whosoever shall earnestly, and from his heart, bear affection unto us, it shall be beneficial {T}o him in goods, body, and soul; but he that is false-hearted, or only greedy of riches, the same first of al{L} shall not be able in any MANNER of wise to hurt us, b{U}t bring himself to utter ruin and destruction. Al{S}o our building, although one hundred thousand people had very near seen and beheld the same, shall

for EVER remain untouched, undestroyed, and hidden to the wicked world.
{TALUS} 41 : Prob. at end ~ 1 in 67
Terry Ross wrote: <<The emblematic device at the head
of the [*MINERVA* Britanna] title page with its motto:
"{UT} [A]LIJ[S], ME C[ONS]U[M]E"
("as you burn I consume myself")
and its picture of two lighted *CANDLES*.>>

Loading Image...
. "{UT} [A]LIJ[S], ME C[ONS]U[M]E"
________ {UT} [MASTER MASONS]
___ <= (Ezra?) 21 = 3 x 7 =>
. {U} P o n t h e L i n e s a n d L i f e o f
. {T} H e F a m o u s S c e n i c k e P o e t
. [M A S T E R] W I L L I A M S H A K E S P E
. [A] R E T h o s e h a n d s w h i c h y o u
. [S] O c l a p t g o n o w a n d w r i n g Y
. [O] u B r i t a i n e s b r a v e f o r d o
. [N] e a r e S h a k e s p e a r e s d a y e
. [S]

[MASONS] 21 : Prob. at start of poem ~ 1 in 9460

Colin Clo{UT}s Co (M|E)
Home Ag (A|I)ne

<<Masonic references in the Shakespeare plays are numerous, some fairly obvious and others extremely subtle, but all woven into the text in such a way that they form a natural part of the magical garment. A Freemason is referred to several times and in several ways, as, for instance, referring to the higher degrees, 'a brother of gracious Order, late come from the Sea, in special business from his Holinesse.

In Henry V the brethren are referred to as 'the singing [MASONS] building roofs of gold';

in King John as 'a worshipful society'; whilst Love's Labour's Lost not only mentions 'profound Solomon' but also the Lodge and a password, suitably disguised:

Ar. I will visit thee at the Lodge.

Maid. Thats hereby.

Ar. I know where it is situate.

Ma. Lord how wise you are.

Ar. I will tell thee wonders.

Bastard: he comes like the Catastrophe of the old Comedie:
. my Cue is villanous Melancholly, with a sighe like Tom
. o'Bedlam. ---O these Eclipses do portend these diui-
. sions. Fa, Sol, La, Me.

<<In the 11th century, the music theorist Guido of Arezzo developed a six-note ascending scale that went as follows: {UT}, re, mi, fa, sol, la. A seventh note, "si" was added shortly after. The names were taken from the first verse of the Latin hymn {UT} Queant Laxis:

{UT} queant laxīs resonāre fībrīs
Mīra gestõrum famulī tuõrum,
Solve pollūtī labiī reātum, Sancte Iõhannēs

This _Hymn of St. John_ translates as: So that these your servants can, with all their voice, sing your wonderful feats, clean the blemish of our spotted lips, O Saint John! {UT} was changed in the 1600s in Italy to the open syllable {DO} and Si (from the initials for "Sancte Iohannes") was added.

Elizabethan England used only four of the syllables: mi, fa, sol & la. In King Lear (Act 1, Scene 2) Edmund exclaims to himself right after Edgar's entrance: "O, these eclipses do portend these divisions". Then in the 1623 First Folio (but not in the 1608 Quarto) he adds "Fa, so, la, mi". This Edmund probably sang to the tune of F, G, A, B.>>
Shakespeare's two lines from Ovid's Amores
(Elegy 1, 15) at the head of Venus and Adonis:
. Filia miretur vulgus, mihi flavus Apollo
. Pocula Castalia plena minstret aquá.
Ben Jonson, in the first act of Poetaster translates:
. *KNEELE* hindes to trash : me let bright PHOEBVS swell,
. With cups full flowing from the MVSES well.
Odyssey - Homer (tr. Samuel Butler) ** BOOK VII

<<"First find the QUEEN her name is *ARETE* . ."

. Ulysses went straight through the court, still
. hidden by the *CLOAK of darkness* in which *MINERVA* had
. enveloped him, till he reached {ARETE} & King Alcinous;
. then he laid his hands upon the *KNEES* of {ARETE} and at
. that moment the miraculous darkness fell away from him.>>
_______________ <= 19 =>
. TOTHEO [N] li <E>B E (G) ET T ERO
. FTHESE__- [I] nS U<I>N (G) SO N NET
. SMrWha_- [L] LH [a] P <P> I [N] E S SEA
. NDthat____[E] (t|E|r] N <I> T__ [I] E<P>ROM
. ISEDB Y O (u|R|e] V <E> R [L]<I>V ING
. <P> OEtW I s h [E|t] H [T] H_- [E] W E LLW
. <I> ShIN- (G)a _ [d V e] N [T] u _____Re R INS
. <E> tTIN (G)fort_____ H [T] t
. The Greek goddess of *VER(tu)E*, excellence,
. goodness & valour is also named {ARETE}
<<[SOCRATES to Hermogenes]: *ARETE* signifying in the 1st place
ease of motion, then that the STREAM of the good soul is UNIMPEDED,
. and has therefore the attribute of *EVER FLOWING* without
. let or hindrance, and is therefore called *ARETE*, or,
more correctly, aeireite (EVER-FLOWING)>> - CRATYLUS by Plato
*Faire-VIR(tu)E* , the Mistresse of Phil' *ARETE*.
. Written by Him-Selfe. 1622 George Wither
Once, as Cynthia's games she Chased,
And for Aire, left halfe unlased,
Her light su{M}mer-robe of greene,
(Beauties s{A}fe, but slender skreene)
Unawa{R}es, I partly spide,
That faire L{I}lle field unhid,
Which you may {He}r Belly name;

{MARI.(He)} 25
All their Riches, Honours, Pleasures;
Poor unworthy trifl[E]s seeme;
(If compared with thy T[R]easures)
And, doe merit no este[E]me.
For, they true contents pro[V]ide thee,
And from them can non[E] divide thee.
Whether thralle[D], or exiled;
Whether poore, or rich thou be:
Whether praised, or reviled,
Not a rush, it is to thee.
This, nor that, thy rest doth win thee:
But, the mind, which is within thee.

[DEVERE] -25
Then, shall cowardly despaire,
Let the mo[S]t unblemisht faire,
For defa[U]lt of some poore Art
(Which he[R] favour may impart)
And the sw[E]etest Beauty fade,
That was e[V]er borne or made?
Shall, of all (T)he faire ones, shee
Onely so u(N)happy be;
As to live in such a T(I)me,
In so rude, so dull a Clime,
W(H)ere no spirit can ascend
High enough, to apprehend
Her unprized excellence,
Which lies hid from common sense?
N{EVER} shall a staine so vile
Blemish this, our Poets Ile.
I my selfe, will rather runne,
And seeke out for Helicon.

Faire Shepherdesses:
Let Garlands of sad Yewe,
Adorne your daintie golden Tresses.
I, that lovd you; and often with my Quill,
Made musick that delighted Fountain, Grove, and Hill:
I, whom you lo[V]ed so; and with a sw[E]et and chaste emb[R]ace,
(Yea, with a tho[U]sand rarer favor[S]) would vouchsaf to grace.
[VERUS] 15
I, now must leave you all alone, of Love to plaine:
And n{EVER} Pipe, nor n{EVER} Sing againe.
I must, for {EVER}more, bee gone;
And therefore, bid I you,
And {EVER}y one,
If therefore, Me, the sute may well become;
And, if to you it be not wearisome:
In name of all these Ladies, I entreat,
That one of those sad Straines you would repeate,
Which you composd; when greatest discontent
Un{S}ought-for helpe, to your Invention lent.
Fair N{Y}mph (said Philaret) I will doe so.
For, though you{R} Shepheard, doth no Courtship know,
He hath Hum{A}nity. And what's in me
To doe you Service, {M}ay commanded be.

{MARY S.} -38
Amaryllis, I did wooe;
And I courted Phyllis to.
Daphne, for her love I chose;
Cloris for that Damaske Rose,
In her Cheek(E), I held as dea(R)e;
Yea, a thous(A)nd likt weln(E)ere.
And, in lo(V)e with altog[E]ther,
Feared the enjoyi[N]g either;
Cause, to be of o[N]e possest,
Bar'd the hope [O]f all the rest.

Thu(S) I f(O)n[D|L)y f(A)r'd, (T)ill Fate,
Which ([I] must confesse in that
Did a greater favour to me,
Then the world can m[ALICE] doe me)
Shew'd to me that matchlesse Flowre,
Subject for this Song of our.
___ <= 10 =>
. I n h e r C h e e k
.(E)I h e l d a s d e
. a(R)e;Y e a,a t h o
. u s(A)n d l i k t w
. e l n(E)e r e.A n d,
. i n l o(V)e w i t h
. a l t o g[E]t h e r,
. F e a r e d t h e e
. n j o y i[N]g e i t
. h e r;C a u s e,t o
. b e o f o[N]e p o s
. s e s t,B a r'd t h
. e h o p e[O]f a l l
. t h e r e s t.T h u
.{S}I f{O}n[D|L}y f{A}
. r'd{T}i l l F a t e,
. W h i c h[I]m u s t
. c o n f e s s e i n

([E]VEARE) -11
[I.DONNE] 21
{TALOS} -3
Full rude it was, no doubt, but such a Song,
Those rusticke, and obscured shades among,
Was never heard (they say) by any eare;
Untill his Muses had inspir'd him there.
Though meane and plain, his Country habit seemd,
Yet by his Song the Ladies rightly deemd
That either he had traveiled abrode,
Where Swaines of better knowledge make abode,
Or els(E), that some bra(V)e Nimph who us(E)d that Grove,
H(A)d dained to in(R)ich him, with h(E)r love.

(E.VEARE) 12
She, can make the Sensuall Wights,
To restraine their Appetites.
And, (her beautie when they see)
Spite of Vice, in Love to be:
Yea (although themselves be bad)
Praise the good they never had.
She, hath to her service brought,
Those, that Her, have set at nought;
And can fayre enough appeare,
To enflame the most s(EVEARE).
*Faire-VIR(tu)E* , the Mistresse of Phil' *ARETE*.
Written by Him-Selfe. 1622 George Wither

Ere I had twice [F]our Springs, renewe[D] seene,
The force of B[E]autie I began to pro[V]e;
And, ere I nine year[E]s old, had fully been[E],
It taught me how to f[R]ame a Song of Love.
And, little thought I, this day should have come,
Before that I to love, had found out whom.

[F. DE VEER] 17
No place of office, o[R] Command I keepe,
But this my little Flocke of homely sh[E]epe.
And in a word; the summe of all my pelfe
Is this; I am th[E] Master of my selfe.

No doubt; in Courts of Princes you ha[V]e beene,
And all the pleasures of the Palace seene.
Ther[E], you beheld brave Courtly passages,
Between Heroes an[D] their Mistresses.
You, there perhaps (in presence of th[E] King)
Have heard his learned Bards and Poets sing.
And w[H]at contentment, then, can wood, or field,
To please your curious understandings yeeld?
[He. DE VEER] -45
Prince Henries Obsequies or Mournefull Elegies upon his death:
with a supposed Inter-locution betweene the Ghost of Prince
Henrie and Great Brittaine. By George Wyther. (1612)
. ELEG. 40. (By George Wither. 1612)
. But Brittaine, Brittaine, tell me, O tell {M}e this,
. Wh{A}t was the {R}eason th{Y} chiefe curse befell
. So just upon the time of thy chiefe blisse?
. Dost thou not know it? heare me then, Ile tell:
. Thou wert not halfe-halfe thankefull for his care
. And mercy that so well preserved thee,
. His owne he n{EVER} did so often spare:
. Yea [He] the Lor[D], himself[E] hath ser[V]ed thee,
. Y[E]t Laodic[E]a thou, no[R] hot nor c(O)ld
. Secur(E), and care(L)es dost n(O)t yet rep(E)nt,
. Thou w(I)lt be {EVER over}-daring bold:
. Till thou hast vengeance, upon vengeance hent,
. But (oh) see how Hipocrisie doth raigne:
.*I villaine, that am WORST* , doe first complaine.
. <= 8 =>
. (T)e l l m e,O t
. (E)l l {M} e t h i
. (S)W h {A} t w a(S)
. (T)h e {R} e a s(O)
. n t h {Y} c h i e
. f e c u r s e b
. e f e l l
. Y e a [He] t h e
. L o r [D] h i m s
. e l f [E](H)a t h
. s e r [V](E)d t h
. e e,Y [E](T)L a o
. d i c [E] a t h o
. u,n o [R] h o t n
. o r c (O) l d S e
. c u r (E),a n d c
. a r e (L) e s d o
. s t n (O) t y e t
. r e p (E) n t,T h
. o u w (I) l t b e
. {E V E R o v e r}
. -d a r i n g b o
. l d:

[He.DE VEER] skip 8 : Prob. in all Elegies ~ 1 in 757
*Faire-VIR(tu)E* , the Mistresse of Phil' *ARETE*.
Written by Him-Selfe. 1622 George Wither

<<A vast (over 4000 lines), sprawling, erotic hymn to Virtue
with interpolated lyrics and a pastoral frame narrative.
The young and obscure poet Philarete sings the praises of
his mistress Faire-Virtue (or Arete) before an audience of
courtly dames. The poem leaves hanging the question of
whether the lady is to be considered a person or a
personification, though Wither could perhaps be faulted
for oscillating in the matter rather than developing a
sustained ambiguity.

The poem opens with a striking topographic description of
Arlesford near Winchester, "In which brave Arthur kept his
royall Court" Sig. B1v. There a group of maidens overhear
Philarete singing to his mistress. He is a humble swain;
though his ancestors were dignified, he prefers to live in
rustic retirement. Wither introduces Philarete with an
allusion to Spenser's Colin Clout: "A Shepherds lad was
he, obscure and young, | Who (being first that ever there
had sung) | In homely Verse, expressed Countrey loves; |
And onely told them to the Beechy groves" Sig. B3. The
ladies beg him to sing for his mistress's sake, and he
agrees. His first song mounts a challenge to the court:
"See, if any palace yeelds | Ought more glorious, than the
Fields. | And consider well, if we | May not as high-
flying be | In our thoughts, as you that sing | In the
Chambers of a King" Sig. B8v. He then leads the ladies
homeward, entertaining them with a series of teasingly
ambiguous lyrics relating the history of his love. The
second day's song consists of a vast blazon running to 400
hundred lines, followed by additional love lyrics.
The singer perceives he is overheard and steals away;
Philarete praises the constancy of his mistress in
language that at times suggests early Keats: "Tis not,
those soft-snowie Brests, | Where Love rockt in pleasure,
rests; | (And by their continuall motions, | Draweth
hearts to vaine devotions) | Nor the Nectar that we sip |
From a hony-dropping Lip: | Nor those Eyes whence Beauties
Launces, | Wound the heart, with wanton glances: | Nor,
those sought Delights that lye | In Loves hidden
Treasurie: | That can liking gaine" Sig. L3-L3v. The poet
ends his song with a history of his search for feminine
beauty and an acknowledgement that his auditors may be

A group of satyrs enter, dancing a to a measure named,
after Wither's poem, the "Whipping of Abuse." Philarete
invites the ladies to partake of a feast that had been
preparing while he sung. A young woman asks Philarete for
another song, and he replies with a rather Spenserian
lyric in diamond stanzas. More songs follow, including the
comic pastoral making mention of "Collin" and "Willy." As
Philarete is completing a retirement ode, and the Ladies
are wondering who his mistress might be, three men dressed
like courtiers appear to inform the poet that he is wanted
elsewhere. He bids them farewell and the Ladies speculate
whether Faire-Virtue is a person, or the "Idea of a
Mistresse" Sig. N4v. One of them sings an ode lauding the
poet and praising retired virtue. Wither concludes with
a Postscript bidding defiance to those who would carp
at the length of his poem.>>
. Hamlet: IV, v (1603)

Ofelia: There is fennell for you, I would a giu'n you
. Some violets, but they all [WITHER]ed, when
. My father died: alas, they say the owle was
. A Bakers daughter, we see what we are,
. But can not tell what we shall be.
. For bonny sweete Robin is all my ioy.
234. On the Tombs in Westminster Abbey
Francis Beaumont. 1586-1616

MORTALITY, behold and fear!
What a change of flesh *IS HERE* !
Think how many royal bones
Sleep within this heap of stones:
Here they lie had realms and lands,
Who now want strength to stir their hands:
Wher[E] from thei[R] pulpits s[E]al'd with d[U]st
They pr[E]ach, 'In greatness is no trust.'
Here 's an acre sown indeed
With the richest, royall'st seed
That the earth did e'er suck in
Since the first man died for sin:
Here the bones of birth have cried--
'Though gods they were, as men they died.'
Here are sands, ignoble things,
Dropt from the ruin'd sides of kings;
Here 's a world of pomp and state,
Buried in *DUST*, once dead by *FATE* .
_______________ <= 19 =>
. TOTHEO [N] li (I) <E>B E (G) ET T ERO
. FTHESE__- [I] nS (S) U<I>N (G) SO N NET
. SMrWha_- [L] L [H|a] P <P> I [N] E S SEA
. NDthat____[E] (t|E|r] N <I> T__ [I] E<P>ROM
. ISEDB Y O (u|R|e] V <E> R [L]<I>V ING
. <P> OEtW I s h [E|t] H [T] H_- [E] W E LLW
. <I> ShIN- (G)a _ [d V e] N [T] u _____Re R INS
. <E> tTIN (G)fort_____ H [T] t
March 6, 1616 Francis Beaumont's non-Tomb in Westminster:
. <<MORTALITY, behold and FEAR!
_____ What a change of flesh ____ *IS HERE* !
__ Think how many royal ____ [BO]NES
____ Sleep within this heap of ____ [STON]ES:>>
. "[E]dwardus [C]omes [O]xon{iensis}"
. [ECO]: *HERE* (Venetian)
April 23, 1616 William Shakspere grave in Stratford:
. <<Good friend for Iesus sake F(orb)EAR(e)
__ To digg the *DUST* encloased ____ *HE(a)RE* :
_______ Blest be ye man yt spares thes__[STON]ES
__ And CURST be he yt moves my [BO]NES.>>
. Shakespeare & Cervantes died on St. George's day, 1616
. April 23 is preceded by 113 days
. September 9 precedes 113 days
Psalms 113:7 He raiseth up the poor out of the *DUST*,
. and lifteth the needy out of the DUNGHILL;
. That he may set him with princes,
. even with the princes of his people.
Benjamin Franklin: Write injuries in *DUST* , benefits in marble.
Horace: We are but *DUST* and shadow.
Sir Thomas Browne: Time which antiquates antiquities,
. and hath an art to make *DUST* of all things.

Thomas Carlyle:
The *DUST* of controversy is merely the falsehood flying off.
WASHINGTON IRVING, 1819 - p.48, Stratford-On-Avon, Sketch Book.
<<A flat stone marks the spot where the bard is buried. There are
four lines inscribed on it, said to have been written by himself,
and which have in them something extremely AWFUL. A few years since
also, as some laborers were digging to make an adjoining vault, the
earth caved in, so as to leave a vacant space almost like an arch,
through which one might have reached into his grave. No one, however,
presumed to meddle with his remains so awfully guarded by a
malediction; and lest any of the idle or the curious or any collector
of relics should be tempted to commit depredations, the old sexton
kept watch over the place for two days, until the vault was finished
and the aperture closed again. He told me that he had made bold to
look in at the hole, but could see neither coffin nor bones-
- *NOTHING BUT DUST* . It was something, I thought,
to have seen *THE DUST OF SHAKE SPEARE*.>>
____*NIENTE MA POLVERE* (Italian)
<<"In this Tirata, Milord of Oxford, amusingly enough, tilted against
Alvida, COUNTESS of Edenburg, who was mounted on a dapple grey,
was armed with *a Frankish LANCE* and was robed in lemon color.
In the end, Edward and Alvida, alas, threw one another
simultaneously, both landing face down in the *DUST*!.""
NeVERtheless, Emperor Polidor awarded to all the
To Elmond - Edward - was given the horn *oF ASTOLF*
paladin of Charlemagne, the magic horn to rout armies -
*a SPEAR of sorts to SHAKE* , with enchanted consequences.>>
It was not without some pleasurable imaginations
that I saw Stratford-upon-Avon,
the VERy hills and woods which the boy Shakespeare had looked upon,
the VERy church where his *DUST* reposes, nay,
the VERy house where he was born, the threshold oVER
which his staggering footsteps carried him in infancy;
the VERy stones where the urchin played marbles and flogged tops...
It is a small grim-looking house of BRICKS, bound, as was of old the
fashion, with beams of oak intersecting the BRICKS which are built
it and fill up its interstices as the GLASS does in a window. The old
tile roof is cast by age, and twisted into all varieties of curvature.
Half the house has been modernised and made a butcher's shop. The
street where it stands is a simple-looking, short, EVERyday village
street, with houses mostly new, and consisting, like the Shakespeare
house, of two low stories, or rather a story and a half. Stratford
itself is a humble, pleasant-looking place, the residence as formerly
of woolcombers and other quiet artisans, except where they have
brought an ugly black canal into it, and polluted this classical
borough by the presence of lighters or trackboats with famished
sooty driVERs, & heaps of coke and coal. It seems considerably larger
and less showy than Annan. Shakespeare, Breakspeare, and for aught
I know sundry other spears, are still common names in Warwickshire.
I was struck on my arrival at Birmingham by a sign not far from
Badams's, indicating the abode of William Shakespeare, boot & shoe
maker, which boots & shoes the modern Shakespeare also
professed his ability to mend "cheap and NEATly."
HOMER, I afterwards discoVERed, had settled in Birmingham
as a *BUTTON* maker. -- CARLYLE, THOMAS, 1824,
Letter to John Carlyle, Life, ed. Froude, vol. I. p. 191.
. Henry the Sixth, Part Three (Quarto , 1595)
War. What is pompe, rule, raigne, but earth and *DUST*?
And liue we how we can, yet die we must.
Sweet rest his soule, flie Lords and saue your selues,
For Warwike bids you all farewell to meet in Heauen,
He dies.
*OXF* : Come noble Summerset, lets take our horse,
And cause retrait be sounded through the campe,
That all our friends that yet remaine aliue,
Maie be awarn'd and saue themselues by flight.
That done, with them weele post vnto the Queene,
And once more trie our fortune in the field.
1851 MOBY DICK; OR THE WHALE by Herman Melville
(Supplied by a Late Consumptive *USHER* to a Grammar School)
The pale *USHER*- threadbare in coat, heart, body, and brain; I see
him now. He was *EVER DUSTing* his old lexicons and grammars, with
a QUEER HANDKERCHIEF, mockingly embellished with all the gay flags
of all the known nations of the world. He loved to *DUST* his
old grammars; it somehow mildly reminded him of his mortality.
"While you take in hand to school others, and to teach them by
what name a whale-fish is to be called in our tongue leaving out,
through ignorance, the letter H, which almost alone maketh the
signification of the word, *you DEliVER that which is NOT TRUE* "
<<That the order of the Rose-Cross was a Christian organization
these extracts from the Rosicrucian prayer alone prove:--
. Jesus Mihi Omnia
Oh Thou EVERywhere and good of all, whatsoEVER I do remember, I
beseech Thee, that *I am but DUST*, but as a vapour sprung from earth,
which even Thy smallest breath can scatter. Thou hast given me a soul
and laws to govern it; let that fraternal rule which Thou didst first
appoint to sway man order me; make me careful to point at Thy glory in
all my wayes, and where I cannot rightly know Thee, that not only my
understanding but my ignorance may honour Thee-- I cast myself as an
honourer of Thee at Thy feet, and because I cannot be defended by Thee
unless I believe after Thy laws, keep me, O my soul's Sovereign, in
the obedience of Thy Will, and that I wound not conscience with vice
and hiding Thy gifts and graces bestowed upon me, for this, I know,
will destroy me within, and make Thy illumination Spirit leave me. I
am afraid I have already infinitely swerved from the revelations of
that Divine Guide which Thou hast commanded to direct me to the TRUTH,
and for this I am a sad prostrate and penitent at the foot of Thy
throne. I appeal only to the abundance of Thy remissions, O God, my
God. For outward things I thank thee, and such as I have I give unto
others, in the name of the Trinity, freely and faithfully..... In what
Thou hast given me I am content--- I beg no more than Thou hast given,
and that to continue me uncontemnedly and upittiedly honest. Take me
from myself and fill me but with Thee. Sum up Thy blessings in these
two, that I may be rightly good and wise, and these, for Thy eternal
TRUTH's sake, grant and make grateful.(Waite, The Real History, et.,
pp. 444-61)
If the reader will compare this prayer with the acknowledged
and unquestioned prayers of Francis Bacon, we are confident that
he will not doubt that this is the coinage of the same brain
and the expression of the same heart.>>
--James Phinney Baxter
. John Heywood's Proverbes (1546):
"The *MOON* is made of a *GREENE CHEESE* ,"
_________ <= lunar 28 DAYS =>
. T O T H/E/ O /N/__LIEB/E/G E _____TTER *oF* THES E IN
_ \S\U I N/G/ S- /O/ NNET/S/MrW _ \H\ ALLH _*A* _PPI N ESS
_ \E\A N/D/ T /H/ ATET/E/RNITI___\E\ PRO_ *M* _IS E DBYO
__ \U\R/E/ V /E/ _RLIV/I/NGPOETW _ \I\ _SH_ *E* _T H THEWE
____ \F/ O /R/ TH
. ICH *G I E ? E* => I *POUR*
. *K ? S E* => *CHEESE*
The word *RUNE* comes from the Germanic *RUNA* : *SECRET*.
JOB 10:9 . . . wilt thou bring me into *DUST* again?
. Hast thou not *POURed* me out as milk,
. and curdled me like *CHEESE*?
Art Neuendorffer