the bottomless depths of Niflheim
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Arthur Neuendorffer
2017-05-15 01:44:08 UTC
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Plutarch's Lives Englished by Sir THOMAS NORTH
in Ten Volumes, Vol. 5 *LYSANDER* (1595)


To him selfe they sent immediately that which they call Scytala...
The Scytala is in this sort. When the Ephori doe send a Generall,
or an Admirall to the warres, they cause two litle round staues
to be made [etc.]... These two litle staues they call Scytales.
Ibid., This litle scrowle of parchment
also is called as the rowle of wodde, Scytala.
<<The *SCYTALE* is the oldest known military ciphering method.
In the year 404 B.C. only one of five messengers survived the
grueling march from Persia back to the Spartan general *LYSANDER*.
The messenger gave *LYSANDER* his belt and *LYSANDER* winded his
belt around the so-called *SCYTALE*. Thus he was informed that
the Persians planned an attack, he prepared for this attack
and was able to fend it successfully.>> - Simon Singh

. Now much beshrew my MANNERS and my pride,
. If Hermia meant to say *LYSANDER LIED*.
_The MINERVA BRITANNA_ Banner Folding clearly demonstrates
how the Equidistant Linear Sequence decoding is to be performed:
"all thinges perish and come to theyr last end, but workes
of learned WITS & monuments of Poetry abide *for EVER* ."
_______ <= 7 =>
. [V]I __\V\ I T U R
. [I]N G __\E\ N I O
. [C]Æ|T| E \R\ A M
. [O]R|T| I S __\E\ R
. [U N T]
{VERE} 8 : Prob. ~ 1 in 140
1579: Dedication to Oxford in the only edition of
. Geoffrey Gates' The Defence of Militarie profession.
. TO THE RIGHT honorable, Edward de \VERE\, Earle of
. Oxenford, [VICOUNT] Bulbecke, Lod of Escales
. and Baldesmere, and Lord great Chamberlaine of England.
Ben Jonson's: To the memory of my beloved,
That I not mixe thee so, my b(R)aine exc(U)ses;
I mea(N)e with gr(E)at, but di(S)proportion'd Muses:
. <= 7 =>
. T h a t I n O
. t m i x e t h
. E e s o, m y b
. (R) a i n e e x
. c (U) s e s; I m
. e a (N) e w i t
. h g r (E) a t, b
. u t d i (S) p r
. o p o r t i o
. n' d M u s e S
(RUNES) 8 : Prob. ~ 1 in 42
<<Odin, the god of *FATE, POETRY & UNCHAINING*, hung upon
the *SHAKING* branches of Yggdrasil, the sacred Tree.
For *nine days* and nine nights he suffered.
Self wounded by his *SPEAR*, sacrificed by his hand, an
offering unto himself. In agony & torment he stared into the
bottomless depths of Niflheim, searching the dark pool in
silence. Finally, with great effort, he reached down before
him. His hand was chilled to the bone in the ice cold waters.
With a cry of triumph he grasped the knowledge he sought
. the Sacred *RUNES* , their magic and their power.
. He took the *RUNES* and he used them well.
He carved them upon the shaft of his *SPEAR*; he carved *RUNES*
. upon all things. By this means he obtained power over all.>>
(S)hake-sp(E)ares So(N)Nets. Ne(V)Er befo(R)E ImprinTED.
. <= 6 =>
. (S) h a k e -s
. p (E) a r e s
. S o (N) N E t
. s. N e (V) E R
. b e f o (R) E
. I m p r i n
. T E D.
(RVNES) -7: Prob. ~ 1 in 353
Nev{E}r bef{O}re Im{P}rinted.
. <= 5 =>
. S H A K E -
. S P E A R
. E S {S} O N
. N E {T} S. N
. e v {E} r b
. e f {O} r e
. I m {P} r i
. n t e d.
{POETS} -5 : Prob. ~ 1 in 960
. <= 34 =>

(RUNES) -33 : Prob. in Roper array ~ 1 in 4930
[E.DENE] -35
the probability of David Roper's: {DE} next to {E.UERE}

assuming that the 34 letters of the

provide the # key to the ELS array is ~ 1 in 106,000
. <= 19 =>
. {T H E S E I N(S)U I N G S O N N E T S} (2rd line)
. M r W h a L L(H)A P P I N S 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 u[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)u R e R I N S E
. t T I N G f o r t H(T)T
the probability of the [de.VERE] "T cross"
assuming that the 19 letters of the 2nd line:
provide the # key to the ELS array is ~ 1 in 978
________ <= 17 =>
. [M]R{W H}A L L {H} A P<P>I N E S S E (3rd line)
. [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}U 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
[MARI{He}] 17 : Prob. ~ 1 in 4700 (any skip)
[M]R. William
H<I>sto[R|I}es &
<P>ubl[I|S}hed accor(D)ing to
t{H e} True Orig(I)nal Co<PIES>
________ <= 17 =>
. [M]R.W i l l i a m S H A K E S P E
. [A]R E S C o m e d I E s,H I s t o
. [R]I e s&T r a g e D I e s P u b l
. [I]S h e d a c c o r D i n g t o t
. {H e}T r u e O r i g I n a l C o P I E S

[MARI{He}] 17 : Prob. ~ 1 in 2000 (any skip)

Josephus: Antiquities of the Jews — Book VIII

3. [An. 1032.] The King of Tyre sent sophisms and enigmatical sayings to Solomon, and desired he would solve them, and free them from the ambiguity that was in them. Now so sagacious and understanding was Solomon, that none of these problems were too hard for him; but he conquered them all by his reasonings; and discovered their hidden meaning, and brought it to light. Menander also, one who translated the Tyrian archives out of the dialect of the Phenicians, into the Greek language, makes mention of these two Kings, where he says thus; “When Abibalus was dead his son *HIRAM* received the Kingdom from him: who when he had lived 53 years, reigned 34. He raised a bank in the large place, and dedicated the golden pillar which is in Jupiter’s *TEMPLE*. He also went and cut down materials of timber out of the mountain called Libanus, for the roof of *TEMPLES*: and when he had pulled down the ancient *TEMPLES*, he both built the *TEMPLE* of Hercules, and that of Astarte: and he first set up the *TEMPLE* of Hercules in the month Peritius...

Moreover he went up to mount Libanus, and cut down materials of wood for the building of the *TEMPLES*.” He says also, that “Solomon, who was then King of Jerusalem, sent *RIDDLES to HIRAM*; and desired to receive the like from him: but that he who could not solve them should pay money to them that did solve them: and that *HIRAM* accepted the conditions; and when he was not able to solve the *RIDDLES*, [proposed by Solomon,] he paid a great deal of money for his fine. But that he afterward did solve the proposed *RIDDLES* by means of Abdemon, a man of Tyre: and that *HIRAM* proposed other *RIDDLES*; which when Solomon could not solve, he paid back a great deal of money to *HIRAM*.” This it is which Dius wrote.>>
_____ *SEALD & DOONE*
Cecil Papers 88/101 (bifolium, 232mm x 170mm),
Oxford to Cecil; 7 October 1601 (W337;F593).
...for I am aduised, that I may passe *MY BOOKE* from her
Magestie, yf a warrant may be procured to my cosen *BACON*
and Seriant [=Sergeant] *HARRIS* to perfet [= *PERFECT* ] yt.
Whic[HE BE]inge *DOONE* , I know to whome formallye to
thanke, but reallye they shalbe, and are from me, and myne,
*to be SEALED VP* in an *AETERNALL REMEMBRANCE* to yowre selfe.
And thus *WISHINGE ALL HAPPINES* to yow, and sume fortunat
meanes to me, wherby I myght recognise soo *DIEPE* merites,
I take my leaue this 7th of October from my House at HAKNEY. 1601.
Yowre most assured and louinge Broother.
(signed) Edward Oxenford (ital.; 4+7)
Addressed (O): To the ryghte honorable & my very good Broother
Sir Robert Cecill on [=one] of her Magestyes pryvie Councel
and principall Secretarie giue thes at the Coorte. [seal]
Endorsed: 1601 7 October: Erle of Oxenford to my Master.
______ Hamlet (Q2, 1604)
King: Follow him at foote,
. Tempt him with speede abord,
. Delay it not, Ile haue him hence
. to nig[H]t. Aw[A]y, fo[R] eue[R]y th[I]ng i[S]
. *SEALD and DONE*
. That els leanes on th'affayre, pray you make hast,
______ Hamlet (Folio, 1623)
King: Follow him at foote,
. Tempt him with speed aboord:
. Delay it not, Ile haue him hence to
. nig[H]t. Aw[A]y, fo[R] eue[R]y th[I]ng i[S]
. *SEAL'D and DONE*
. That else leanes on th'Affaire, pray you make hast.
Ile haue him hence to
. --- n i g
. [H]{t A w}
. [A] y f o
. [R] e u e
. [R] y t h
-. [I] n g i
. [S] *SEAL'D and DONE*
[HARRIS] 4 {2,300,000}
__ Hamlet Q1 (1603: Bad Quarto 1) Act 1 Scene 4
Hamlet: I *MARY* i'st and though I am Natiue here,
. and to t[H]e m[A]ne[R] bo[R]ne, [I]t i[S]
. a custome, more honourd in the breach,
. Then in the obseruance.
(1611 KJV) Job 38:30 T[H]e w[A]te[R]s a[R]e h[I]d a[S]
. with a stone, and the face of the deepe is frozen.
. Canst thou bind the sweete influences of Pleiades?
. or loose the bands of Orion?
[HARRIS] 3 : only [HARRIS] skip <8 in KJV

The contract for building _The Fortune Playhouse_

Sealed and deliu(r)ed by the saide Peter Streete in
the p(r)sence of me *william HARRIS* Pub Scr
And me Frauncis Smyth appr to the said Scr /

[seal wanting ; endorsed :]
Peater Streat ffor The Building of the ffortune
HARRIS, William.

(Autograph ' Harris ', Henslowe ' m'' hares, harys '.) Public
scrivener. Received payment from the Admiral's men, 6 Mar. 1 600/1 ;
draft letter from Henslowe to him concerning a bond, before 4 May
1601. He also appears as witness, 12 Mar. 1602 ?, and received
payment, in an undated account, ' for mackynge al the writtinges'
for Malthouse. He seems to have negotiated the sale of the
Lordship of Dulwich from Sir Francis Calton to Alleyn in 1605,
and witnessed documents dated 26 Apr. 1595, 2 July 1596,
and 8 Jan. 1 599/1600 (Mun. 106, in, 22).
Henslowe employed William HARRIS as legal adviser.

_Poets impalled wt Lawrell coranets_

Jonson's Inviting a Friend to Supper refers to
. "*A pure cup of rich Canary wine*,
. Which is the Mermaid's now, but shall be mine".
. Twelfth Night (Folio 1, 1623) I,iii
SIR TOBY BELCH: O knight, thou lack'st *a cup of Canarie*:
___ Chapter 9 James Joyce's Ulysses (1922)
And sir William Davenant of *Oxford's mother* with her cup
o{F} c{A|n|R}y f<O|R> {A|N]y {c|O)ck[C|a|N|A]ry. <B>uck Mulligan,
his pious eyes upturned, prayed: Blessed Margaret Mary Anycock!
. <= 5 =>
. c u p o {F}
. c (A) {n} (A) {r}
. y f <O> (r) {A}
. [N] y {c} (O) c
. k [C] {a} (N) [A]
. r y <B> u c k

(NOrA) Skip -5
{FRA} Skip 5
{<B>acon} Skip -5
[<B>ACON] Skip -3
{N<O>rA} Skip -3
Prob. of 2 [<B>ACON]s skip<6 in Ulysses ~ 1 in 2300
(NOrA) (B)arna(C)le (March 1884 - April 10, 1951)
(BACON) nar earl
was the muse & wife of author James Joyce.
The "Shakespeare" Chap. 9 of James Joyce's Ulysses (1922)
The plays o{F} Shakespea{R}e's later ye{A}rs which
Re{N}an admired so much breathe another spirit.
The spirit of reconciliation,

the quaker li[B]rarian bre[A]thed.

-- Ther{E} [C]an be no re{C|O]nciliati{O|N],

Stephen sa[I]d, if there has not been a sundering.
____ <= 10 x 19 =>
. T h e p l a y s o {F}
. S h a k e s p e a {R}
. e' s l a t e r y e {A}
. r s w h i c h R e {N}
. a n a d m i r e d s
. o m u c h b r e a t
. h e a n o t h e r s
. p i r i t. T h e s p
. i r i t o f r e c o
. n c i l i a t i o n,
. t h e q u a k e r l
. i [B] r a r i a n b r
. e [A] t h e d T h e r
.{E}[C] a n b e n o r e
.{C}[O] n c i l i a t i
.{O}[N],S t e p h e n s
. a [I] d, i f t h e r e
. h a s n o t b e e n
. a s u n d e r i n g.

-- If you want to know what are the events which cast their
SHADOW over the hell of time of King Lear, Othello, Hamlet,
Troilus and Cressida, look to see when and how the SHADOW lifts.
What softens the heart of a man, Shipwrecked in storms dire,
Tried, like another Ulysses, PERICLES, PRINCE of TYRE?
{FRAN}c. [BACONI] de Verulamio.
Historia regni Henrici septimi Angliae regis.

Loading Image...
Finnegans Wake p.332 (8th 100 letter *THUNDER* word)
Snip snap snoody. *Noo err historyend goody*.
Of a lil trip trap and a big treeskooner for he
put off the ketyl and they made three (for fie!) and
if hec dont love alpy then lad you annoy me. For hanigen
with hunigen still haunt ahunt to finnd their hinnigen

where - Pappappapparrassannuaragheallach[N]atullaghm[O]ngan
Joyce would have been familiar with the
simple gematria cipher the letters of [BACON] = #33
and :FRANCIS BACON: = #100

[BACON] cipher starts on the #33rd letter of #100 letters:
_____ <= 10 x 10 =>

. P a p (p) a p p a p p
. a r r (a) s s a n n u
. a r a (g) h e a l l a
. c h [N](a) t u l l a g
. h m [O](n)(g) a n m a c
. m a [C] m (a) c w h a c
. k f [A] l (l) t h e r d
. e b [B] l (e) n o n t h
. e d u b b l a n d a
. d d y d o o d l e d
Prob. of [BACON] in one of FW's 10 perfect 10 x 10 arrays: ~ 1 in 855
and anruly person *CREEKED A JEST*. Gestapose to
*PARRY off CHEEKARS* or frankfurters on the odor.
. King Lear (Quarto 1, 1608) Act 3, Scene 2
. Enter Lear and Foole.
Lear: Blow wind & *CRACKE YOUR CHEEKES*, rage, blow
. You caterickes, & Hircanios spout til you haue drencht,
. The steeples drown'd the *COCKES*,
. you su[L]pher[O]us an[D] Thou[G]ht ex[E]cuting fires,
. vaunt-currers to Oke-cleauing *THUNDERboults*,
. singe my white head, And thou *ALL SHAKING THUNDER*,
. smite flat The thicke Rotunditie of the world, *CRACKE* natures
. Mold, all Germains spill at once that make Ingratefull man.
[LODGE] 5 : Prob. in speech ~ 1 in 1855
<<In 1704 Thomas Plume (1630 – 20 November 1704) founded the chair
of Plumian Professor of Astronomy and Experimental Philosophy at
the University of Cambridge in order to "erect an Observatory and
to maintain a studious and learned Professor of Astronomy and
Experimental Philosophy, and to buy him and his successors
utensils and instruments quadrants telescopes etc".>>
. _Who Wrote Shakespeare?_ by John Michell.
<<Only one person claimed that he saw John Shakspere.
In the middle of the 17th century, Archdeacon Thomas Plume
of Rochester wrote down some legends about Shakspere:
. 'He was a glover's son.
*Sir John MENNES* saw once his old father in his shop -
. a *MERRY-CHEEKT* OLD MAN, that said,
. "Will was a good honest FELLOW, but
He durst have *CRACKT A JESST* with him att any time."'
This reference was discovered among the Plume Mss. (1657-1663)
of Maldon, Essex, by Dr. Andrew Clark, in October, 1904.
But *Sir John MENNES* was only 2½ when John Shakspere died;>>
. https://en.wikipedia.org/wiki/John_Mennes
<<Vice Admiral *Sir John MENNES* (1 March 1599 – 18 Feb. 1671)
figures prominently in the Diary of Samuel Pepys; Pepys,
who reported directly to Mennes, thought him an incompetent
civil servant but a delightful social companion. He died
while still in the post of Controller of the Navy. The bulk
of his estate passed to his nephew *Lt. Francis Hammond*.>>
{STOW Monument}: Loading Image...

In 1634 a military company of Norwich was travelling through the
English countryside. One *Lieutenant Hammond* of the company
kept a diary of what he encountered during his travels,
and on or about September 9 he made the ollowing entry:

. In that dayes travell we came by Stratford upon Avon, where
. in the Church in that Towne there are some Monuments which
. Church was built by Archbishop Stratford; Those worth
. observing and of which wee tooke notice were these....

_____ <= 51 =>
. A *[N] E A T*{Monument} ofthatfamousEnglishPoetMrWilliamShakes
.(P) [E] e r e {W} howasborneheereAndoneofanoldGentlemanaBatchel
.(O) [R] M r C {O} mbeuponwhosenamethesaydPoetdidmerrilyfannupso
.(M) [E] w i t {T} yandfacetiousverseswhichtimewouldnottgiveusle
.(A) [V] e t o {S} ackeup.
[VERE] -51
[NERE] 51 : (Latin) to *WEAVE* , interlace, entwine.
(POMA) 51 : (Latin) *Fruits*
Historian John {STOW} died: April 6, 1605
on BRIDGET Vere's 21st birthday.
John {STOW} had recorded Ferdinando Stanley's
. fatal illness in great detail.
Good [BACON]: gone musty. Shakespeare [BACON]'s wild oats.
Cypherjugglers going the highroads.
*SEEKERS* on the great quest. What town, good *MASTERS*?
When Rutland[BACON]southamptonshakespeare or another poet of the same
name in the comedy of errors wrote Hamlet he was not the father of
his own son merely but, being no more a son, he was and felt himself
the father of all his race, the father of his own grandfather, the
father of his unborn grandson who, by the same token, nEVER was
born for nature, as Mr Magee understands her, *abhors PERFECTION*

<<In Greek mythology, Pallas was the daughter of Triton. Acting as a foster parent to Zeus' daughter Athena, Triton raised her alongside Pallas. During a friendly fight between the two goddesses, Athena was protected from harm by Zeus but Pallas was mortally wounded. Out of sadness and regret, she created the palladium, a statue in the likeness of Pallas.>>

<<The palladium was a cult image of great antiquity on which the safety of Troy and later Rome was said to depend, the wooden statue (xoanon) of Pallas Athena (Minerva) that Odysseus and Diomedes stole from the citadel of Troy and which was later taken to the future site of Rome by Aeneas. In English, since around 1600, the word palladium has been used figuratively to mean anything believed to provide protection or safety.

The arrival at Troy of the Palladium, fashioned by Athena in remorse for the death of Pallas, as part of the city's founding myth. The Greeks learned from Helenus, the prophetic son of Priam, that Troy would not fall while the Palladium, image or statue of Athena, remained within Troy's walls. Diomedes and Odysseus made their way to the citadel in Troy by a secret passage and carried it off.>>

Loading Image...
Nike (Victory) offers an egg to a snake entwined around
a column surmounted by the Trojan Palladium.


'After many years have slipped by, the leaders of the Greeks, opposed by the Fates, and damaged by the war, build a horse of mountainous size, through Pallas's divine art, and weave planks of fir over its ribs: they pretend it's a votive offering: this rumour spreads. They secretly hide a picked body of men, chosen by lot, there, in the dark body, filling the belly and the huge cavernous insides with armed warriors. Some were amazed at virgin *MINERVA's fatal gift*, and marvel at the horse's size: and at first Thymoetes, whether through treachery, or because Troy's fate was certain, urged that it be dragged inside the walls and placed on the citadel. But Capys, and those of wiser judgement, commanded us to either hurl this deceit of the Greeks, this suspect gift, into the sea, or set fire to it from beneath, or pierce its hollow belly, and probe for hiding places. The crowd, uncertain, was split by opposing opinions. Then Laocoön rushes down eagerly from the heights of the citadel, to confront them all, a large crowd with him, and shouts from far off: 'O unhappy citizens, what madness? Do you think the enemy's sailed away? Or do you think any Greek gift's free of treachery? Is that Ulysses's reputation? Either there are Greeks in hiding, concealed by the wood, or it's been built as a machine to use against our walls, or spy on our homes, or fall on the city from above, or it hides some other trick: Trojans, don't trust this horse. Whatever it is, I'm afraid of Greeks even those bearing gifts.' So saying he hurled his great spear, with extreme force, at the creature's side, and into the frame of the curved belly. The spear stuck quivering, and at the womb's reverberation the cavity rang hollow and gave out a groan. And if the gods' fate, if our minds, had not been ill-omened, he'd have incited us to mar the Greeks hiding-place with steel: Troy would still stand: and you, high tower of Priam would remain. See, meanwhile, some Trojan shepherds, shouting loudly, dragging a youth, his hands tied behind his back, to the king.

Priam himself is the first to order his manacles and tight bonds removed, and speaks these words of kindness to him: "Why have they built this huge hulk of a horse? Who created it? What do they aim at? What religious object or war machine is it?" He spoke: the other, schooled in Pelasgian art and trickery, raised his unbound palms towards the stars, saying: "All the hopes of the Greeks and their confidence to begin the war always depended on Pallas's aid. But from that moment when the impious son of Tydeus, Diomede, and Ulysses inventor of wickedness, approached the fateful Palladium to snatch it from its sacred temple, killing the guards on the citadel's heights, and dared to seize the holy statue, and touch the sacred ribbons of the goddess with blood-soaked hands: from that moment the hopes of the Greeks receded, and slipping backwards ebbed: their power fragmented, and the mind of the goddess opposed them. Pallas gave sign of this, and not with dubious portents, for scarcely was the statue set up in camp, when glittering flames shone from the upturned eyes, a salt sweat ran over its limbs, and (wonderful to tell) she herself darted from the ground with shield on her arm, and spear quivering [hastamque trementem]. Calchas immediately proclaimed that the flight by sea must be attempted, and that Troy cannot be uprooted by Argive weapons, unless they renew the omens at Argos, and take the goddess home, whom they have indeed taken by sea in their curved ships. And now they are heading for their native Mycenae with the wind, obtaining weapons and the friendship of the gods, re-crossing the sea to arrive unexpectedly. Warned by him, they've set up this statue of a horse for the wounded goddess, instead of the Palladium, to atone severely for their sin. And Calchas ordered them to raise the huge mass of woven timbers, raised to the sky, so the gates would not take it, nor could it be dragged inside the walls, or watch over the people in their ancient rites. Since if your hands violated Minerva's gift, then utter ruin would come to Priam and the Trojans: yet if it ascended into your citadel, dragged by your hands, Asia would come to the very walls of Pelops, in mighty war, and a like fate would await our children."

Through these tricks and the skill of perjured Sinon, the thing was credited, and we were trapped, by his wiliness, and false tears, we, who were not conquered by Diomede, or Larissan Achilles, nor by the ten years of war, nor those thousand ships. Then something greater and more terrible befalls us wretches, and stirs our unsuspecting souls. Laocoön, chosen by lot as priest of Neptune, was sacrificing a huge bull at the customary altar. See, a pair of serpents with huge coils, snaking over the sea from Tenedos through the tranquil deep (I shudder to tell it), and heading for the shore side by side: their fronts lift high over the tide, and their blood-red crests top the waves, the rest of their body slides through the ocean behind, and their huge backs arch in voluminous folds. There's a roar from the foaming sea: now they reach the shore, and with burning eyes suffused with blood and fire, lick at their hissing jaws with flickering tongues. Blanching at the sight we scatter. They move on a set course towards Laocoön: and first each serpent entwines the slender bodies of his two sons, and biting at them, devours their wretched limbs: then as he comes to their aid, weapons in hand, they seize him too, and wreathe him in massive coils: now encircling his waist twice, twice winding their scaly folds around his throat, their high necks and heads tower above him. He strains to burst the knots with his hands, his sacred headband drenched in blood and dark venom, while he sends terrible shouts up to the heavens, like the bellowing of a bull that has fled wounded, from the altar, shaking the useless axe from its neck. But the serpent pair escape, slithering away to the high temple, and seek the stronghold of fierce Pallas, to hide there under the goddess's feet, and the circle of her shield.>>

<<The statue of Laocoön and His Sons has been one of the most famous ancient sculptures ever since it was excavated in Rome in 1506 and placed on public display in the Vatican. Michelangelo is known to have been particularly impressed by the massive scale of the work and its sensuous Hellenistic aesthetic, particularly its depiction of the male figures. Titian appears to have had access to a good cast or reproduction from about 1520, and echoes of the figures begin to appear in his works, two of them in the Averoldi Altarpiece of 1520-22. A woodcut, probably after a drawing by Titian, parodied the sculpture by portraying three apes instead of humans.>>
RÆNI (Icelandic) I rob, steal
RANI (Icelandic) a SNOUT
*THOMA(s) SNOUT* was the FF(1623) "WALL"
*THOMA(s) SNOUT* , tinker
. {anagram}
*F[RAN]cis F[LUTE]* was the Q1(1600) "WALL"
*F[RAN]cis F[LUTE]*, bello(WS MENDER)
. {anagram}
. cis: short of, before (Latin)
. {sice}: 6 {six} (Old English)
The 6th Earl of *RUTLANd* paid Richard
Burbage (i.e., Boar-Badge) & Mr. Shakespeare each
F(orty) F(our) shillings for impreso work. (1613).
. Enter Gower.
. TO sing a Song that old w[A]s sung,
.(F)rom ashes, auntient Gower is come,
.(A)ssuming mans infir[M]ities,
.(T)o glad your eare, and please your eyes:
.(I)t hath been sung [A]t Feastiuals,
.(O)n Ember eues, and Holydayes:
. And Lords and Ladye[S] in their liues,
. Haue red it for restoratiues:
. The purchase is t[O] make men glorious,
. Et bonum quo Antiquius eo melius:
. If you, borne i[N] those latter times,
. When Witts more ripe, accept my rimes;
. And that to heare an old man sing,
. May to your Wishes pleasure bring:
. I life would wish, and that I might
. Waste it for you, like Taper light.
(FATIO) I cut into slices
[A MASON] skip 51 : Prob. at top ~ 1 in 530
Pericles: Lord Gouernour, for so wee heare you are,
. Let not our Ships [A]nd number of our men,
. Be like a (B)e(ACON) fier'de, t'amaze your eyes,
. Wee haue heard your [M]iseries as farre as Tyre,
. And seene the desolation of your streets,
. Nor come we to [A]dde sorrow to your teares,
. But to relieue them of their heauy loade,
. And these our [S]hips you happily may thinke,
. Are like the *TROIAN HORSE*, was stuft within
. With blo[O]dy veines expecting ouerthrow,
. Are stor'd with Corne, to make your needie bread,
. A[N]d giue them life, whom hunger-staru'd halfe dead.
[A MASON] skip 51 : Prob. in *TROIAN HORSE* speech ~ 1 in 1800
Pericles: The tombe where griefe stould sleepe can breed me quiet,
. Here pleasures court mine eies, and mine eies s[H]un them,
. And daunger which I fearde is at [A]ntioch,
. Whose arme seemes farre too sho[R]t to hit me here,
. Yet neither pleasures A[R]t can ioy my spirits,
. Nor yet the others d[I]stance comfort me,
. Then it is thus, the pa[S]sions of the mind,
. That haue their first conception by misdread,
. Haue after nourishment and life, by care
. And what was first but feare, what might be done,
. Growes elder now, and cares it be not done.
. And so with me the great Antiochus,
. Gainst whom I am too little to contend,
. Since hee's so great, can make his will his act,
. Will thinke me speaking, though I sweare to silence,
. Nor bootes it me to say, I honour,
. If he suspect I may dishonour him.

Masonic Royal Arch Degree, Ritual & Secrets Exposed and Revealed

<<The Royal Arch degree catechism asks,
"Are you a Royal [A]rch [MASON]?"
To which the reply is made, "I - AM - THAT - I - AM."
The candidate is then honoured with a *PURPLE*/crimson Royal
Arch sash & apron. Upon the apron is the Triple Tau, which the
candidate learns "is one of the most ancient of emblems; and
as Masonry is the science of sciences, so this emblem may be
styled the emblem of emblems, for it is the grand emblem of
Royal Arch Masonry; and its depth of meaning reaches to
the creation of the world, and all that is therein." >>
. Hamlet V,i (1604 Quarto 2)

Clown: Wha(T) is he tha(T) builds {S|T)ronger
{T}hen eyth{E}r the [MAS{O}N],
the Shy{P}wright, or the Carpenter.
. <= 8 =>
. W h a (T) i s h
. e t h a (T) b u i
. l (d) s {S}(T) r o n
. g (e) r {T} h e n e
. y (t) h {E} r t h e
. [M (A) S {O} N] t h e
. S (h) y {P} w r i g
. h t, o r t h e C
. a r p e n t e r.

{POETS} -8: Prob. in question: ~ 1 in 660

Answer: (hated) [M(A)S{O}N] {POETS} ?

<<*HIRAM I* (Hebrew: חִירָם, "high-born") according to the Hebrew Bible, was the Phoenician king of Tyre. His regnal years have been calculated by some as 980 to 947 BC, in succession to his father, Abibaal. *HIRAM* was succeeded as king of Tyre by his son Baal-Eser I. *HIRAM I's* also mentioned in the writings of Menander of Ephesus (early 2nd century BC), as preserved in Josephus's Against Apion, which adds to the biblical account.

According to Josephus, *HIRAM lived 53 years and reigned 34*.

The beginning date of *HIRAM'S* reign is derived from a statement by Josephus relating that 143 years passed between the start of construction of Solomon's *TEMPLE* until Dido's flight that led to the founding of Carthage. The so-called "*TOMB of HIRAM*" dates from the Persian period, 4–6 centuries after the presumed time of *HIRAM*. It has the form of a colossal limestone sarcophagus on a pedestal.>>
Thomas PLATTer (b.1574) of

[BA]sle [C]ant[ON]
[BACON] latens:
(Latin present participle of lateō) lurking, skulking, hiding

[BASL]e c[ANT]on
[ST. ALBAN] once
<<In (1909) a series of remarkable documents concerning the Globe
came to light. In the German-language journal of English philology,
Anglia, Dr. Gustav Binz published excerpts from a traveler's
account of a visit to England in 1599. Thomas PLATTer
(b.1574), a Swiss of [BA]sle [C]ant[ON], had written:
On September 21st after lunch, about two o'clock, I and my party
crossed the water, and there in the house with the thatched
roof witnessed an excellent performance of the tragedy of
the 1st Emperor JC with a cast of some *15 people* ....>>
. (Schanzer, "PLATTer's Observations" 466-7)
Twain's Baconiana: _Is Shakespeare Dead?_ (1909)
Thomas Platter, a native of Basel, visited England in 1599. The
following excerpt from his diary, translated from the German,
describes the many popular amusements and spectacles to be
witnessed in Elizabethan London. (~8112 letters)
T[He]re are a great many [I]nns, taverns, and
bee[R]-gardens scatt(E)red [A]bout the city,
where [M]uch amusement {m}ay b(E) had with eating, drinking,
fiddling, {a}nd the rest, as for instance in our hostel{r}y,
which was visited by players almost da{i}ly. And what is
pa[r]ticularly curious is t{h}at the women as w[e]ll as the men, in
fact more often than they, [w]ill frequent the taverns or ale-houses
f[o]r enjoyment. They count it a great honour [t]o be taken there
and given wine with sugar to drink; and if one woman only is
invited, then she will bring three or four other women along and
they gaily toast each other; the husband afterwards thanks him who
has given his wife such pleasure, for they deem it a real kindness.
_________ <= 17 =>

. T {H e} r e a r e a g r e a t m a n
. y [I] n n s,t a v e r n s, a n d b e
. e [R] g a r d e n s s c a t t (E) r e
. d [A] b o u t t h e c i t y,w h e r
. e [M] u c h a m u s e m e n t {M} a y
. b (E) h a d w i t h e a t i n g, d r
. i n k i n g,f i d d l i n g {A} n d
. t h e r e s t,a s f o r i n s t a
. n c e i n o u r h o s (T) e l {R} y,w
. h i c h w a s v i s i (T) e d b y p
. l a y e r s a l m o s (T) d a {I} l y.
. A n d w h a t i s p a [R] t i c u l
. a r l y c u r i o u s i s t {H} a t
. t h e w o m e n a s w [E] l l a s t
. h e m e n,i n f a c t m o r e o f
. t e n t h a n t h e y [W] i l l f r
. e q u e n t t h e t a v e r n s o
. r a l e-h o u s e s f [O] r e n j o
. y m e n t.T h e y c o u n t i t a
. g r e a t h o n o u r [T] o b e t a
. k e n t h e r e a n d g i v e n

- wine with sugar to drink;

[HIRAM(E)] 17
{HIRAM(E)} -34
[TOWER] -34
*RAM(E)* : To complain; moan; weep, cry.
[From Northern Middle English ramen ("to cry out, scream"),
. from Old English *hrāmian ("to scream")]
*RAM(E)* : (Dutch) singular present subjunctive of ramen.
. To guess, reckon
________ <= 11 =>
. [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}
. U 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
<PHEON> 11
. Sweet swan of Avon! what a fight it were
. To see thee in our waters yet appeare,
. And make those flights upon the bankes of Tha[M]es,
. That so did t[A]ke Eliza, and ou[R] James !
. But stay, [I S]ee thee in t(He) {He}misphere
_____ <= 13 =>
. S w e e t s w a n o f A v
. o n! w h a t a S I G H t i
. t w e r e T O s e E t h e
. e i n o u R w a T e r s y
. e t a p p e a r e, A n d m
. a k e t h o s e f l i g h
. t s u p o n t {H e} B a n k
. e S o f T H a [M] e s, T h a
. T s o d I d t [A] k e E l I
. z a, a N d o u [R] J a m E s!
. B u T s t a y [I S] e e t h
. e E i n t (H e){H e} m i s p
. H e r e
[MARI{He}] 13 : Prob. (at end) ~ 1 in 1524

By W. Shakespeare. AT LONDON
Printed for W. Iaggard, and are to be sold by W. Leake,
at the Greyhound in Paules Churchyard. 1599.
. By Christopher Marlowe
. LIue with me and be my Loue,
. And we will all the pleasures proue
. That hilles and vallies, dales and fields,
. And all the craggy mountaines yeeld.
. There will we sit vpon the Rocks,
. And see the Shepheards feed their flocks,
. By shallow Riuers, by whose fals
. Melodious birds sing [M]adrig[A]ls.
. The[R]e will [I] make t{He}e a bed of Roses,
. With a thousand fragrant poses,
. A cap of flowers, and a Kirtle
. Imbrodered all with leaues of Mirtle.
. A belt of straw and Yuye buds,
. With Corall Clasps and Amber studs,
. And if these pleasures may thee moue,
. Then liue with me, and be my Loue.
. <= 6 =>
. M e l o d i
. o u s b i r
. d s s i n g
. [M] a d r i g
. [A] l s.T h e
. [R] e w i l l
. [I] m a k e t
. {H e} e a b e
. d o f R o s
. e s,

[MARI{He}] 6 : Prob. in Marlowe sonnet ~ 1 in 1765
[MARI{He}] ELS occurs only 5 times in modern KJV w. skip < 18
*HIRAM* helped David build his Palace and
Solomon his TEMPLE [i.e., TYRING-roome-houses]:
. 2 Samuel 1
11: And *HIRAM* king of TYRE sent messengers to David, and cedar
trees, and *carpenters, & MASONS*: and they built David an house.
Table of the Annotations in Edward de Vere's Geneva Bible
Book |Chap|Verse|Verse Marks | Markings in the Margin
2 Sam | 1 |12 | U(R) |
2 Sam | 1 |14 | U(R) |
The term *MASONS* occurs 7 times in KJV.
The term *RECKONING* occurs only twice in KJV.
These terms appear together in 2 Kings 22:
6: Unto *carpenters* , and builders, and *MASONS* and to buy timber
and hewn stone to repair the house. Howbeit *there was NO RECKONING*
made with them of the money that was *DEliVERED* into their hand,
because they dealt faithfully. And Hilkiah the high priest said
unto Shaphan the scribe, I have found the book of the law
in the house of the LORD.

<<Hiram Abiff (other spellings "Huram", "Abif", and "Huram-Abi"; also
known as "the Widows's Son") is a character who figures prominently in
an allegorical play that is presented during the third degree of Craft
Freemasonry. In this play, Hiram is presented as being the chief
architect of King Solomon's Temple, who is murdered by three ruffians
during an unsuccessful attempt to force him to divulge the Master
Masons' secret password. It is explained in the lecture that follows
this play that the story is a lesson in fidelity to one's word, and in
the brevity of life.

Numerous scholars, both Masonic and non-Masonic, have speculated that
the character may have been based upon one or more Hirams that appear
in the Bible.

The Masonic Legend of Hiram Abiff

The tale of Hiram Abiff as passed down in Masonic Lodges underpins the
third degree. It starts with his arrival in Jerusalem, and his
appointment by Solomon as chief architect and master of works at the
construction of his temple. As the temple is nearing completion, three
fellowcraft masons from the workforce ambush him as he is alone in the
building, demanding the secrets of a master mason. Hiram is challenged
by each in turn, and at each refusal to divulge the information his
assailant strikes him with a mason's tool (differing between
jurisdictions). He is injured thus at the South and North entrances
(leading to the ante-rooms in the wooden construction surrounding the
temple proper), and finally at the main entrance in the East he is
struck dead. His murderers hide his body under a pile of rubble,
returning at night to move the body outside the city, where they bury
it in a shallow grave marked with a sprig of acacia. As the Master is
missed the next day, Solomon sends out a group of fellowcraft masons
to search for him. The loose acacia is accidentally discovered, and
the body exhumed to be given a decent burial. The hiding place of the
"three ruffians" is also discovered, and they are brought to justice.
Solomon informs his workforce that the secrets of a master mason are
now lost, and replaces them with the gestures and ejaculations of
the masons who discovered his body. Such is the general legend
as related in the Anglo-American jurisdictions.

Where lodges are descended from the original Grand Lodge of England
there is a large number of master masons (not just Hiram) working on
the Temple, and the three ruffians are seeking the passwords and signs
that will give them a higher wage. The result is the same, but this
time it is master masons who find the body. The secrets are not lost,
but Solomon orders them buried under the Temple, inscribed on Hiram's
grave, and the same substitution is made as a mark of respect. The
secrets "lost" in the other tradition are here given to new master
masons as part of their ritual. In this version, Hiram is often
re-named Adoniram.

Hirams in the Bible

There are three separate references to people named Hiram that
were involved in the construction of the temple of Solomon:

Hiram, King of Tyre, is credited in 2 Samuel 5:11 and 1 Kings
5:1-10 for having sent building materials and men for the original
construction of the Temple in Jerusalem. In the Masonic drama,
"Hiram, King of Tyre" is clearly distinguished from "Hiram Abiff".
The former is clearly a king and the latter clearly a master
craftsman. They can be confused in other contexts.

In 1 Kings 7:13–14, Hiram is described as the son of a widow from
the tribe of Naphtali who was the son of a Tyrian bronze worker, sent
for by Solomon to cast the bronze furnishings and ornate decorations
for the new temple. From this reference, Freemasons often refer to
Hiram (with the added Abiff) as "the widow's son." Hiram cast these
bronzes in clay ground in the plain of the Jordan between Succoth
and Zarethan/Zeredathah (1 Kings 7:46-47).

2 Chronicles 2:13-14 relates a formal request from King Solomon of
Jerusalem to King Hiram I of Tyre, for workers and for materials to
build a new temple. King Hiram (Huram in Chronicles) responds "And now
I have sent a skillful man, endowed with understanding, Ḥuram 'abi.
(the son of a woman of the daughters of Dan, and his father was a man
of Tyre), skilled to work in gold and silver, bronze and iron, stone
and wood, purple and blue, fine linen and crimson, and to make any
engraving and to accomplish any plan which may be given to him, with
your skillful men and with the skillful men of my lord David your
father." The phrase italicised above is translated in the New King
James Version as "Huram my master craftsman". Most translations of
this passage take the "'ab-" in "'abi" as the construct state of
'abba, here translated as master. Older translations preferred to
translate "'ab-" as father. The common translation of the -i suffix is
"my", giving the problematic reading that Hiram was sending his own
father, also called Hiram. This is found in the Vulgate, the Douay–
Rheims Bible and in Wycliffe's Bible. The other reading is as the old
Hebrew genitive, and some variant of "of my father" is found in the
Septuagint, the Bishop's Bible and the Geneva Bible. In his 1723
"Constitutions", James Anderson announced that many problems with this
text would be solved by reading "'abi" as the second part of a proper
name, which he rendered as "Hiram Abif", agreeing with the
translations of Martin Luther and Miles Coverdale's reading of 2
Chronicles 4:16.

Other accounts of a Biblical Hiram

Flavius Josephus in his Antiquities of the Jews (Chapter 8:76) refers
to Hiram as τεχνίτης, artificer, craftsman. "Now Solomon sent for an
artificer out of Tyre, whose name was Hiram: he was by birth of the
tribe of Naphtali, on his mother's side (for she was of that tribe);
but his father was Ur, of the stock of the Israelites."

The most elaborate version of the legend occurs in Gérard de Nerval's
1851 account, Voyage en Orient, where he relates the tale, inserting
all the masonic passwords, as part of the story of the Queen of the
Morning and "Soliman", Prince of the Genii. This is an elaboration of
the second version above, where the Master Craftsman is named
Adoniram. Before his death, he undergoes mystical adventures as his
tale is interwoven with that of Solomon and Balkis, the Queen of
Sheba. The ruffians who kill him are under the instruction of Solomon
himself. De Nerval relates the story as having been told in an Eastern
coffee house over a two week period. A similar account is given in
Heckethorn's "The Secret Societies of all Ages and Countries", where
Solomon plots to destroy Hiram because of the mutual love between
Hiram and the Queen of Sheba.
Other theories

According to authors Robert Lomas and Christopher Knight, Hiram Abiff
would have been Egyptian king Seqenenre Tao II, who met an extremely
similar death. This idea is dismissed by most Masonic scholars.

In his book The Sufis, the Afghan scholar Idries Shah suggested that
Dhul-Nun al-Misri might have been the origin of the character Hiram
Abiff in the Freemasonic Master Mason ritual. The link, he believes,
was through the Sufi sect Al-Banna ("The Builders") who built the Al-
Aqsa Mosque and the Dome of the Rock in Jerusalem. This fraternity
could have influenced some early masonic guilds which borrowed heavily
from the Oriental architecture in the creation of the Gothic style.>>

The late, and much admired Play, called Pericles, Princ(E)
of Tyre. With the TRUE Relatio(N) of the whole Historie,
advent(U)res, and fortunes of the said P(R)ince: As also,
the *{N}o l{E}ss{E} ST{R}AN{G}E*, and worthy accidents,
in the Birth and Life, of his Daughter [MAR]Iana.
As it hath been diuers and sundry times acted by his
Maiest[I]es Seruants, at the Globe on the Banck-side.
By William S[H]akespeare. Imprinted at London,
for Henry Gosson, and are to be sold at the signe
of the Sunne in Pater-noster row, &c. 1609.
{GREEN} -3
(RUNE) -25
[HIR/AM] -49
Henry Frederick, Prince of Wales (19 February 1594 – 6 November 1612)
Pericles: So I bequeath a happy peace to you,
. And all good men, as euer[Y] P[R]i[N]c[E] s[H]ould doe;
. My ritches to the earth, from whence they came;
. But my vnspotted fire of Loue, to you:
. Thus ready for the way of life or death,
. I wayte the sharpest blow (Antiochus)
. Scorning aduice; read the conclusion then:
. Which read and not expounded, tis decreed,
. As these before thee, thou thy selfe shalt bleed.
Daughter: Of all sayd yet, mayst thou prooue prosperous,
. Of all sayd yet, I wish thee happinesse.
Peri. Like a bold Champion I assume the Listes,
. Nor aske aduise of any other thought,
. But faythfulnesse and courage.
. The Riddle.
I am no Viper, yet I feed
On mothers flesh which did me breed:
I sought a Husband, in which labour,
I found that kindnesse in a Father;
Hee's Father, Sonne, and Husband milde;
I, Mother, Wife; and yet his child:
How they may be, and yet in two,
As you will liue resolue it you.
Sharpe Phisicke is the last: But o you powers!
That giues heauen countlesse eyes to view mens actes,
Why cloude they not their sights perpetually,
If this be true, which makes me pale to read it?
Faire Glasse of light, I lou'd you, and could still,
Were not this glorious Casket stor'd with ill:
But I must tell you, now my thoughts reuolt,
For hee's no man on whom perfections waite,
That knowing sinne within, will touch the gate.
You are a faire Violl, and your sense, the stringes;
Who finger'd to make man his lawfull musicke,
Would draw Heauen downe, and all the Gods to harken:
But being playd vpon before your time,
Hell onely daunceth at so harsh a chime:
Good sooth, I care not for you.

Thomas Platter, A Swiss Tourist in London

Thomas Platter, a native of Basel, visited England in 1599. The
following excerpt from his diary, translated from the German,
describes the many popular amusements and spectacles to be
witnessed in Elizabethan London. (~8112 letters)

<<On September 21st after lunch, about two o'clock, I and my party
crossed the water, and there in the house with the thatched roof
witnessed an excellent performance of the tragedy of the first Emperor
Julius Caesar with a cast of some fifteen people; when the play was
over, they danced VERy marvellously and gracefully together as is
their wont, two dressed as men and two as women.

On another occasion not far from our inn, in the suburb at
Bishopsgate, if I remember, also after lunch, I beheld a play in which
they presented diverse nations and an Englishman struggling together
for a maiden; he overcame them all except the German who won the girl
in a tussle, and then sat down by her side, when he and his servant
drank themselves tipsy, so that they were both fuddled and the servant
proceeded to hurl his shoe at his master's head, whereupon they both
fell asleep; meanwhile the Englishman stole into the tent and
absconded with the German's prize, thus in his turn outwitting the
German; in conclusion they danced VERy charmingly in English and Irish
fashion. Thus daily at two in the afternoon, London has two, sometimes
three plays running in different places, competing with each other,
and those which play best obtain most spectators. The playhouses are
so constructed that they play on a raised platform, so that EVERyone
has a good view. There are different galleries and places, howEVER,
where the seating is better and more comfortable and therefore more
expensive. For whoEVER cares to stand below only pays one English
penny, but if he wishes to sit he enters by another door and pays
another penny, while if he desires to sit in the most comfortable
seats, which are cushioned, where he not only sees EVERything well,
but can also be seen, then he pays yet another English penny at
another door. And during the performance food and drink are carried
round the audience, so that for what one cares to pay one may also
have refreshment. The actors are most expensively and elaborately
costumed; for it is the English usage for eminent lords or knights at
their decease to bequeath and leave almost the best of their clothes
to their serving men, which it is unseemly for the latter to wear,
so that they offer them then for sale for a small sum to the actors.

How much time then they may merrily spend daily at the play
EVERyone knows who has EVER seen them play or act.

There is also in the city of London not far from the horse-market,
which occupies a large site, a house where cock-fights are held
annually throughout three quarters of the year (for in the remaining
quarter they told me it was impossible since the feathers are full of
blood), and I saw the place, which is built like a theatre. In the
center on the floor stands a circular table covered with straw and
with ledges round it, where the cocks are teased and incited to fly
at one another, while those with wagers as to which cock will win sit
closest around the circular disk, but the spectators who are merely
present on their entrance penny sit around higher up, watching with
eager pleasure the fierce and angry fight between the cocks, as these
wound each other to death with spurs and beaks. And the party whose
cock surrenders or dies loses the wager; I am told that stakes on a
cock often amount to many thousands of crowns, especially if they have
reared the cock themselves and brought their own along. For the master
who inhabits the house has many cocks besides, which he feeds in
separate cages and keeps for this sport, as he showed us. He also
had sEVERal cocks, none of which he would sell for less than twenty
crowns; they are VERy large but just the same kind as we have in our
country. He also told us that if one discovered that the cocks' beaks
had been coated with garlic, one was fully entitled to kill them at
once. He added too, that it was nothing to give them brandy before
they began to fight, adding what wonderful pleasure there was in
watching them.

EVERy Sunday and Wednesday in London there are bearbaitings on the
other side of the water. . . . The theatre is circular, with galleries
round the top for the spectators; the ground space down below, beneath
the clear sky, is unoccupied. In the middle of this place a large bear
on a long rope was bound to a stake, then a number of great English
mastiffs were brought in and shown first to the bear, which they
afterwards baited one after another: now the excellence and fine
temper of such mastiffs was evinced, for although they were much
struck and mauled by the bear, they did not give in, but had to
be pulled off by sheer force, and their muzzles forced open with
long sticks to which a broad iron piece was attached at the top.
The bears' teeth were not sharp so they could not injure the dogs;
they have them broken short. When the first mastiffs tired,
fresh ones were brought in to bait the bear.
. * * *
With these and many more amusements the English pass their time,
learning at the play what is happening abroad; indeed men and
womenfolk visit such places without scruple, since the English
for the most part do not travel much, but prefer to learn
foreign matters and take their pleasures at home.

In the ale-houses tobacco or a species of wound-wort are also
obtainable for one's money, and the powder is lit in a small pipe, the
smoke sucked into the mouth, and the saliva is allowed to run freely,
after which a good draught of Spanish wine follows. This they regard
as a curious medicine for defluctions, and as a pleasure, and the
habit is so common with them, that they always carry the instrument on
them, and light up on all occasions, at the play, in the taverns or
elsewhere, drinking as well as smoking together, as we sit over wine,
and it makes them riotous and merry, and rather drowsy, just as if
they were drunk, though the effect soon passes — and they use it so
abundantly because of the pleasure it gives, that their preachers cry
out on them for their self-destruction, and I am told the inside of
one man's veins after death was found to be covered in soot just like
a chimney. The herb is imported from the Indies in great quantities,
and some types are much stronger than others, which difference one can
immediately taste; they perform queer antics when they take it. And
they first learned of this medicine from the Indians, as Mr. Cope, a
citizen of London who has spent much time in the Indies, informed me;
I visited his collection with Herr Lobelus, a London physician,
and saw the following objects.

This same Mr. Cope inhabits a fine house in the Snecgas;
he led us into an apartment stuffed with queer foreign objects
in EVERy corner, and amongst other things I saw there,
the following seemed of interest.

. An African charm made of teeth.
. Many weapons, arrows, and other things made of fishbone.
. Beautiful Indian plumes, ornaments, and clothes from China.
. A handsome cap made out of goosefoots from China.
. A curious Javanese costume.
. A felt *CLOAK* from Arabia.
. Shoes from many strange lands.
. An Indian stone axe, like a thunderbolt.
. Beautiful coats from Arabia.
. A string instrument with but one string.
. Another string instrument from Arabia.
. The horn and tail of a rhinoceros,
____ is a large animal like an elephant.
. A fan made out of a single leaf.
. Curious wooden and stone swords.
. The twisted horn of a bull seal.
. A round horn which had grown on an English woman's forehead.
. An embalmed child (Mumia).
. Leathern weapons.
. The bauble and bells of Henry VIII's fool.
. A unicorn's tail.
. * * *

This city of London is not only brimful of curiosities but so populous
also that one simply cannot walk along the streets for the crowd.

Especially EVERy quarter when the law courts sit in London and they
throng from all parts of England for the terms to litigate in numerous
matters which have occurred in the interim, for EVERything is saved up
till that time; then there is a slaughtering and a HANGing, and from
all the prisons (of which there are sEVERal scattered about the town
where they ask alms of the passers by, and sometimes they collect so
much by their begging that they can purchase their freedom) people are
taken and tried; when the trial is over, those condemned to the {ROPE}
are placed on a cart, each one with a {ROPE} about his neck, and the
HANGman drives with them out of the town to the *GALLOWS*, called
Tyburn, almost an hour away from the city; there he fastens them up
one after another by the {ROPE} and drives the cart off under the
*GALLOWS*, which is not VERy high off the ground; then the criminals'
friends come and draw them down by their feet, that they may die
all the sooner. They are then taken down from the *GALLOWS* and buried
in the neighboring cemetery, where stands a house haunted by such
MONSTERS that no one can live in it, and I myself saw it. Rarely
does a law day in London in all the four sessions pass without some
twenty to thirty persons — both men and women — being gibbeted.
Art Neuendorffer
2017-05-17 18:13:45 UTC
Raw Message
On Sunday, May 14, 2017 at 9:44:10 PM UTC-4, Arthur Neuendorffer (aka Noonedafter) wrote:

The "bottomless depths" of Nilfheim would have been of no interest whateVER to Oxford, Art. He was more interested probing the depths of bottoms -- those of the boys in his entourage, at any rate.

[Scores of screenfuls of lunatic logorrhea snipped]
Post by Arthur Neuendorffer
Art Neuendorffer (aka Noonedafter)