Discussion:
POET and APE as Equidistant Letter Sequences on Sonnets' Title Page
(too old to reply)
Peter Nockolds
2016-11-22 07:14:13 UTC
Permalink
'Poet' and 'Ape' appear as Equidistant Letter Sequences on the Title page of 'Shakespeare's Sonnets'

https://poetape.wordpress.com/about/
A***@germanymail.com
2016-11-22 20:22:52 UTC
Permalink
Post by Peter Nockolds
'Poet' and 'Ape' appear as Equidistant Letter Sequences on the Title page of 'Shakespeare's Sonnets'
https://poetape.wordpress.com/about/
Art N
Arthur Neuendorffer
2016-11-25 21:07:34 UTC
Permalink
Post by Peter Nockolds
'Poet' and 'Ape' appear as Equidistant Letter Sequences
on the Title page of 'Shakespeare's Sonnets'
https://poetape.wordpress.com/about/
---------------------------------------------------
The Defence of Poesie. Sir Philip Sidney.
William Ponsonby. London. 1595.
http://tinyurl.com/ztbr3d2
.
So that since the *EVER* praise woorthie Poesie
is full of VER(tu)e breeding delightfulnesse, and
voyd of no gift that ought to be in the *NOBLE NAME*
of learning, since the blames layd against it,
are either false or [FEEBLE], since
the cause why it is not esteemed in England,
is the fault of (POET-APE)S, not {POETS}.
---------------------------------------------------
Probability of [FEEBLE] showing up in the first
line of the Sonnet's dedication: ~ 1 in 1,000,000
.................................................
t{O}.th{E}.on[L]ie.[B]eg[E]tt[E]r.o[F].
-----------------------------------------
SH(A)KE-S(P)EAR(E)S {S}ONNE{T}S.
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
------------------------------------------------
Epigr[AMS: ON] my First Son (1616)

Epigram No.56: On (POET-APE), Ben Jonson,

P{O}ore (POET-APE)*, that would be thought our chief{E},
Whose workes are eene the frip(P)erie of wit,
F[R|O)m brocage is b(E)come so bold a (T)hiefe,
As we, th[E] rob'd, leave rage, and pittie it.
At first he mad[E] low shifts, would picke and gleane,
Buy th{E REVE}rsion of old (P)layes; n(O)w grown(E)
To a lit(T)le w[E]alth, and credit in the scene,
He takes up all, makes each mans wit his owne.
..................................................
. <= 37 =>

. P{O}o r e(P O E T)A p e,t h a t w o u l d b e t h o u g h t o u r c h
. i e f{E}W h o s e w o r k e s a r e e e n e t h e f r i p(P)e r i e o f w
. i t, F[R|O)m b r o c a g e i s b(E)c o m e s o b o l d a(T)h i e f e,A s w
. e,t h[E]r o b'd,l e a v e r a g e,a n d p i t t i e i t.A t f i r s t h e
. m a [D|E]l o w s h i f t s,w o u l d p i c k e a n d g l e a n e,B u y t h
.{E(R)[E|V]E}r s i o n o f o l d(P)l a y e s;n(O)w g r o w n(E)T o a l i t(T)
. l(E) w[E]a l t h,a n d c r e d i t i n t h e s c e n e,H e t a k e s u p a
. l(L) m a k e s e a c h m a n s w i t h i s o w n e.

[E.VEER,E.O.] -37 : Prob. at top ~ 1 in 1450
(POET) 12,7 : Prob. of both at top ~ 1 in 185
(REL) 37 : Prob. in array ~ 2 in 25
----------------------------------------------------------
(REL) refer to (R)obert, 1st (E)arl of (L)eicester
(both uncle & brother to the First Folio's "Incomparable Pair"):
-----------------------------------------------------------
https://en.wikipedia.org/wiki/Robert_Dudley,_1st_Earl_of_Leicester

<<(R)obert Dudley, 1st (E)arl of (L)eicester (24 June 1532 – 4 Sept. 1588)
was an English nobleman and the favourite and close friend of (ER)
Elizabeth Regina's, from her first year on the throne until his death.

From 1561 (REL) advocated and supported the HUGUEnot cause, and the French
ambassador described him as "totally of the Calvinist religion" in 1568.
After the St. Bartholomew's Day Massacre in 1572 this trait in him became
more pronounced, and he continued as the chief patron of English Puritans.

Since Dudley died without heirs, the title became extinct at his death.
The title was again created in 1618 for Robert Sidney, his nephew.
Along with the earldom Robert Sidney was granted
the subsidiary title of Viscount Lisle on 4 May 1605.>>
-----------------------------------------------------------
https://en.wikipedia.org/wiki/Robert_Sidney,_1st_Earl_of_Leicester

<<(R)obert Dudley Sidney, 1st (E)arl of (L)eicester
(19 November 1563 – 13 July 1626), second son of Sir Henry Sidney.
(REL) was a patron of the arts and an interesting poet.
His mother, Mary Sidney, was a lady-in-waiting to Queen Elizabeth I
and a sister of (R)obert Dudley, 1st (E)arl of (L)eicester.
His brothers were the First Folio's "Incomparable Pair.">>
-----------------------------------------------------------
Art Neuendorffer
Arthur Neuendorffer
2016-11-25 22:09:32 UTC
Permalink
Post by Peter Nockolds
'Poet' and 'Ape' appear as Equidistant Letter Sequences
on the Title page of 'Shakespeare's Sonnets'
https://poetape.wordpress.com/about/
---------------------------------------------------
The Defence of Poesie. Sir Philip Sidney.
William Ponsonby. London. 1595.
http://tinyurl.com/ztbr3d2
.
So that since the *EVER* praise woorthie Poesie
is full of VER(tu)e breeding delightfulnesse, and
voyd of no gift that ought to be in the *NOBLE NAME*
of learning, since the blames layd against it,
are either false or [FEEBLE], since
the cause why it is not esteemed in England,
is the fault of (POET-APE)S, not {POETS}.
---------------------------------------------------
Probability of [FEEBLE] showing up in the first
line of the Sonnet's dedication: ~ 1 in 1,000,000
.................................................
t{O}.th{E}.on[L]ie.[B]eg[E]tt[E]r.o[F].
-----------------------------------------
SH(A)KE-S(P)EAR(E)S {S}ONNE{T}S.
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
------------------------------------------------
Epigr[AMS: ON] my First Son (1616)

Epigram No.56: On (POET-APE), Ben Jonson,

P{O}ore (POET-APE)*, that would be thought our chief{E},
Whose workes are eene the frip(P)erie of wit,
F[R|O)m brocage is b(E)come so bold a (T)hiefe,
As we, th[E] rob'd, leave rage, and pittie it.
At first he mad[E] low shifts, would picke and gleane,
Buy th{E REVE}rsion of old (P)layes; n(O)w grown(E)
To a lit(T)le w[E]alth, and credit in the scene,
He takes up all, makes each mans wit his owne.
..................................................
. <= 37 =>

. P{O}o r e(P O E T)A p e,t h a t w o u l d b e t h o u g h t o u r c h
. i e f{E}W h o s e w o r k e s a r e e e n e t h e f r i p(P)e r i e o f w
. i t, F[R|O)m b r o c a g e i s b(E)c o m e s o b o l d a(T)h i e f e,A s w
. e,t h[E]r o b'd,l e a v e r a g e,a n d p i t t i e i t.A t f i r s t h e
. m a [D|E]l o w s h i f t s,w o u l d p i c k e a n d g l e a n e,B u y t h
.{E(R)[E|V]E}r s i o n o f o l d(P)l a y e s;n(O)w g r o w n(E)T o a l i t(T)
. l(E) w[E]a l t h,a n d c r e d i t i n t h e s c e n e,H e t a k e s u p a
. l(L) m a k e s e a c h m a n s w i t h i s o w n e.

[E.VEER,E.O.] -37 : Prob. at top ~ 1 in 1450
(POET) 12,7 : Prob. of both at top ~ 1 in 185
(REL) 37 : Prob. in array ~ 2 in 25
----------------------------------------------------------
(REL) refer to (R)obert, 1st (E)arl of (L)eicester
(both uncle & brother to the First Folio's "Incomparable Pair"):
-----------------------------------------------------------
https://en.wikipedia.org/wiki/Robert_Dudley,_1st_Earl_of_Leicester

<<(R)obert Dudley, 1st (E)arl of (L)eicester (24 June 1532 – 4 Sept. 1588)
was an English nobleman and the favourite and close friend of (ER)
Elizabeth Regina's, from her first year on the throne until his death.

From 1561 (REL) advocated and supported the HUGUEnot cause, and the French
ambassador described him as "totally of the Calvinist religion" in 1568.
After the St. Bartholomew's Day Massacre in 1572 this trait in him became
more pronounced, and he continued as the chief patron of English Puritans.

Since Dudley died without heirs, the title became extinct at his death.
The title was again created in 1618 for Robert Sidney, his nephew.
Along with the earldom Robert Sidney was granted
the subsidiary title of Viscount Lisle on 4 May 1605.>>
-----------------------------------------------------------
https://en.wikipedia.org/wiki/Robert_Sidney,_1st_Earl_of_Leicester

<<(R)obert Dudley Sidney, 1st (E)arl of (L)eicester
(19 November 1563 – 13 July 1626), second son of Sir Henry Sidney.
(REL) was a patron of the arts and an interesting poet.
His mother, Mary Sidney, was a lady-in-waiting to Queen Elizabeth I
and a sister of (R)obert Dudley, 1st (E)arl of (L)eicester.
His brothers were the First Folio's "Incomparable Pair.">>
-----------------------------------------------------------
Art Neuendorffer
Arthur Neuendorffer
2016-11-25 22:31:02 UTC
Permalink
---------------------------------------------------
Post by Peter Nockolds
'Poet' and 'Ape' appear as Equidistant Letter Sequences
on the Title page of 'Shakespeare's Sonnets'
https://poetape.wordpress.com/about/
---------------------------------------------------
The Defence of Poesie. Sir Philip Sidney.
William Ponsonby. London. 1595.

http://tinyurl.com/ztbr3d2
.
So that since the *EVER* praise woorthie Poesie
is full of *VER(tu)E* breeding delightfulnesse, and
voyd of no gift that ought to be in the *NOBLE NAME*
of learning, since the blames layd against it,
are either false or [FEEBLE], since
the cause why it is not esteemed in England,
is the fault of (POET-APE)S, not {POETS}.
---------------------------------------------------
Probability of [FEEBLE] showing up in the first
line of the Sonnet's dedication: ~ 1 in 1,000,000 :
.................................................
t{O}.th{E}.on[L]ie.[B]eg[E]tt[E]r.o[F].
-----------------------------------------
SH(A)KE-S(P)EAR(E)S {S}ONNE{T}S.
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
------------------------------------------------
Epigr[AMS: ON] my First Son (1616)

Epigram No.56: On (POET-APE), Ben Jonson,

P{O}ore (POET-APE)*, that would be thought our chief{E},
Whose workes are eene the frip(P)erie of wit,
F[R|O)m brocage is b(E)come so bold a (T)hiefe,
As we, th[E] rob'd, leave rage, and pittie it.
At first he mad[E] low shifts, would picke and gleane,
Buy th{{E(R)[E|V]E}rsion of old (P)layes; n(O)w grown(E)
To a lit(T)l(E) w[E]alth, and credit in the scene,
He takes up al(L), makes each mans wit his owne.
..................................................
. <= 37 =>
.
. P{O}o r{E|P{O}E T-A P E)t h a t w{O}u l d b e t h o u g h t o u r c h
. i e f{E}W h{O}s{E}w o r k e s a r e{E|E}n e t h{E}f r i p(P)e r i e o f w
. i t, F[R|O)m b r{O}c a g e i s b(E)c{O}m e s o b{O}l d a(T)h i e f e,A s w
. e,t h[E]r o b'd,l e a v e r a g e,a n d p i t t i e i t.A t f i r s t h e
. m a [D|E]l o w s h i f t s,w o u l d p i c k{E}a n d g l e a n{E}B u y t h
.{E(R)[E|V]E}r s i o n o f o l d(P)l a y e s;n(O)w g r{O}w n(E)T{O}a l i t(T)
. l(E) w[E]a l t h,a n d c r e d i t i n t h{E}s c e n{E}H e t a k e s u p a
. l(L) m a k e s e a c h m a n s w i t h i s{O}w n e.

[E.VEER,E.O.] -37 : Prob. at top ~ 1 in 1450
(POET) 12,7 : Prob. of both at top ~ 1 in 185
{E.O.} 11 ± 37 : Prob. of 11 ~ 1 in 30
(REL) 37 : Prob. in array ~ 2 in 25
----------------------------------------------------------
(REL) may refer to (R)obert, 1st (E)arl of (L)eicester
(both uncle & brother to the First Folio's "Incomparable Pair"):
-----------------------------------------------------------
https://en.wikipedia.org/wiki/Robert_Dudley,_1st_Earl_of_Leicester

<<(R)obert Dudley, 1st (E)arl of (L)eicester (24 June 1532 – 4 Sept. 1588)
was an English nobleman and the favourite and close friend of (ER)
Elizabeth Regina's, from her first year on the throne until his death.

From 1561 (REL) advocated and supported the HUGUEnot cause, and the French
ambassador described him as "totally of the Calvinist religion" in 1568.
After the St. Bartholomew's Day Massacre in 1572 this trait in him became
more pronounced, and he continued as the chief patron of English Puritans.

Since Dudley died without heirs, the title became extinct at his death.
The title was again created in 1618 for Robert Sidney, his nephew.
Along with the earldom Robert Sidney was granted
the subsidiary title of Viscount Lisle on 4 May 1605.>>
-----------------------------------------------------------
https://en.wikipedia.org/wiki/Robert_Sidney,_1st_Earl_of_Leicester

<<(R)obert Dudley Sidney, 1st (E)arl of (L)eicester
(19 November 1563 – 13 July 1626), second son of Sir Henry Sidney.
(REL) was a patron of the arts and an interesting poet.
His mother, Mary Sidney, was a lady-in-waiting to Queen Elizabeth I
and a sister of (R)obert Dudley, 1st (E)arl of (L)eicester.
His brothers were the First Folio's "Incomparable Pair.">>
-----------------------------------------------------------
Art Neuendorffer
g***@btinternet.com
2016-11-26 01:05:19 UTC
Permalink
Post by Arthur Neuendorffer
---------------------------------------------------
The Defence of Poesie. Sir Philip Sidney.
William Ponsonby. London. 1595.
Art Neuendorffer
Philip Sidney died in 1586. He left an untitled manuscript, which many years later TWO people published under different titles. One by Henry Olney under the title of "An Apologie for Poetrie" published the same year as the above book.
Sidney in these books makes it clear that he has seen several of the Shakespeare plays and gives references to the plays which were NOT acted according to the Stratfordian people for many years after the death of Sidney.
Likewise the Sonnets were all complete by 1588. But as we see from the above a printed material on a dead person, dates on a publication can be many years after the work was written.
marco
2016-11-27 17:56:25 UTC
Permalink
Post by g***@btinternet.com
Post by Arthur Neuendorffer
---------------------------------------------------
The Defence of Poesie. Sir Philip Sidney.
William Ponsonby. London. 1595.
Art Neuendorffer
Philip Sidney died in 1586. He left an untitled manuscript, which many years later TWO people published under different titles. One by Henry Olney under the title of "An Apologie for Poetrie" published the same year as the above book.
Sidney in these books makes it clear that he has seen several of the Shakespeare plays and gives references to the plays which were NOT acted according to the Stratfordian people for many years after the death of Sidney.
Likewise the Sonnets were all complete by 1588. But as we see from the above a printed material on a dead person, dates on a publication can be many years after the work was written.
.
A***@germanymail.com
2016-12-06 19:14:59 UTC
Permalink
Post by g***@btinternet.com
Post by Arthur Neuendorffer
---------------------------------------------------
The Defence of Poesie. Sir Philip Sidney.
William Ponsonby. London. 1595.
Art Neuendorffer
Philip Sidney died in 1586. He left an untitled manuscript, which many years later TWO people published under different titles. One by Henry Olney under the title of "An Apologie for Poetrie" published the same year as the above book.
Sidney in these books makes it clear that he has seen several of the Shakespeare plays and gives references to the plays which were NOT acted according to the Stratfordian people for many years after the death of Sidney.
Likewise the Sonnets were all complete by 1588. But as we see from the above a printed material on a dead person, dates on a publication can be many years after the work was written.
.
Art N
Arthur Neuendorffer
2016-12-06 20:00:30 UTC
Permalink
Post by Arthur Neuendorffer
---------------------------------------------
The Defence of Poesie. Sir Philip Sidney.
William Ponsonby. London. 1595.
---------------------------------------------
***@btinternet.com wrote:

<<Philip Sidney died in 1586. He left an untitled manuscript, which many years later TWO people published under different titles. One by Henry Olney under the title of "An Apologie for Poetrie" published the same year as the above book. Sidney in these books makes it clear that he has seen several of the Shakespeare plays and gives references to the plays which were NOT acted according to the Stratfordian people for many years after the death of Sidney.>>
-------------------------------------------------------
An Apology For Poetry (Or The Defence Of Poesy)
By Philip Sidney, Geoffrey Shepherd, R.W. Maslen

The few English writers [Sidney] praises include
[Freemason Grandmaster] Sir Thomas Sackville
and Henry Howard, Earl of Surrey.
-------------------------------------------------------
Sketch Book of Geoffrey Crayon, Gent. by Washington Irving.
http://www.bartleby.com/109/6.html

THE MUTABILITY OF LITERATURE.
A COLLOQUY IN WESTMINSTER ABBEY.

I had taken down a little thick quarto, curiously bound in
parchment, with brass *CLASPS*, and seated myself at the table
in a venerable elbow-chair. Instead of reading, howEVER, I was
beguiled by the solemn monastic air and lifeless quiet of the
place, into a train of musing. As I looked around upon the old
volumes in their mouldering covers, thus ranged on the shelves
and apparently nEVER disturbed in their repose, I could not but
consider the library a kind of literary catacomb, where authors,
like mummies, are piously entombed and left to blacken and
moulder in dusty oblivion.

While I sat half-murmuring, half-meditating, these unprofitable
speculations with my head resting on my hand, I was thrumming
with the other hand upon the quarto, until I accidentally
loosened the *CLASPS*; when, to my utter astonishment, the
little book gave two or three yawns, like one awaking from
a *DEEP* sleep, then a husky hem, and at length began to talk.
............................................................
“Ah,” said the little quarto, with a heavy sigh, “I see how it is;
these modern scribblers have superseded all the good old authors.
I suppose nothing is read now-a-days but Sir Philip Sydney’s Arcadia,
Sackville’s stately plays, and Mirror for Magistrates, or
the fine-spun euphuisms of the ‘unparalleled John Lyly.”’
“There you are again mistaken,” said I; “the writers whom you
suppose in vogue, because they happened to be so when you were last
in circulation, have long since had their day. Sir Philip Sydney’s
Arcadia, the immortality of which was so fondly predicted by his
admirers, and which, in truth, is full of noble thoughts, delicate
images, and graceful turns of language, is now scarcely ever
mentioned. Sackville has strutted into obscurity; and even Lyly,
though his writings were once the delight of a court, and apparently
perpetuated by a proverb, is now scarcely known even by name.
............................................................
"My very good sir," said the little quarto, yawning most drearily
in my face, "excuse my interrupting you, but I perceive you are
rather given to prose. I would ask the fate of an author who
was making some noise just as I left the world. His reputation,
however, was considered quite temporary. The learned shook their
heads at him, for he was a poor, half-educated varlet, that knew
little of Latin, and nothing of Greek, and had been obliged to
run the country for deer-stealing. I think his name was
Shakespeare. I presume he soon sunk into oblivion."

"On the contrary," said I, "it is owing to that *VERy man* that
the literature of his period has experienced a duration beyond the
ordinary term of English literature. There rise authors now and
then who seem proof against the mutability of language because
they have rooted themselves in the unchanging principles of
human nature. They are like gigantic trees that we sometimes
see on the banks of a stream, which by their vast and *DEEP* roots,
penetrating through the mere surface and laying hold on the VERy
foundations of the earth, preserve the soil around them from
being swept away by the EVER-flowing current, and hold up many
a neighboring plant, and perhaps WORTHless WEED, to perpetuity.
Such is the case with Shakespeare, whom we behold defying the
encroachments of time, retaining in modern use the language and
literature of his day, and giving duration to many an indifferent
author, merely from having flourished in his vicinity. But even
he, I grieve to say, is gradually assuming the tint of age,
and his whole form is overrun by a profusion of commentators,
who, like clambering vines and creepers, almost
*bury the NOBLE plant* that upholds them."
.........................................................
{W}hat (D)reary waste{S} of m(E)taphysics! H[E]re a(N)d there o(N)ly
[D]o we behold th(E) he[A]ven-illumine(D) ba[R]ds, elevated like
[B]eacons on their w[I]dely-separated h[E]ights, to transmit
the pure light of poetical intelligence from age to age."

I was just about to launch *FORTH* into eulogiums upon the poets
of the day, when the sudden opening of the door caused me to
turn my head. It was the VERgEr, who came to inform me that
it was time to close the library. I sought to have a parting
word with the quarto, but the worthy little tome was silent;
the *CLASPS* were closed: and it looked perfectly
unconscious of all that had passed.
.........................................................
. <= 15 =>
.
. {W} h a t(D)r e a r y w a s t e
. {S} o f m(E)t a p h y s i c s!H
. [E] r e a(N)d t h e r e o(N)l y
. [D] o w e b e h o l d t h(E)h e
. [A] v e n-i l l u m i n e(D)b a
. [R] d s,e l e v a t e d l i k e
. [B] e a c o n s o n t h e i r w
. [I] d e l y-s e p a r a t e d h
. [E] i g h t s,t o t r a n s m i
. t t h e p u r e l i g h t o f
. p (O)e t i c a l i n t e l l i
. g (E)n c e f r o m a g e t o a
. g e.
.
(NED) -15,15 : Prob. both in array ~ 1 in 150
[{W.S.} E.DARBIE] 15
.
Prob. of [{W.S.} E.DARBIE] in last 2 sentences ~ 1 in 57,000,000.
-----------------------------------------------------------------
A [NEAT] monument of that famous English Poet,
Mr. WILLiam Shakespeere; who was borne heere.
And one of an old Gentleman a Batchelor, Mr. Combe,
upon whose name, the sayd Poet, did merrily fann
up some witty, and facetious verses, which
ti(M)e wou(L)d nott g(IVE) us (LE)ave {TO SACKE U}p .
- [Chambers, William Shakespeare, II, 242]
--------------------------------------------------
___ Hamlet (Quarto 2, 1604) Act 3, Scene 4

Ham. It will b{U}t skin and filme (T)he vlcerous place
. Whiles ra(N)c{K} corruption mining (A)ll within
. Infects vns[E]en(E), {C}onfesse you[R] selfe to h(E)auen,
. R[E]pent what's past, {A|V]oyd what is to com[E],
. And doe (N)ot sprea[D] the compo{S|T) on th[E] weedes
. To make them rancker, forgiue me t{H}is my *VERTUE*,
. For in the fatnesse of these pursie {T}imes
. *VERTUE* it selfe of vice must *PARDON* beg,
. Yea curbe and wooe for leaue to doe him good.
...........................................
. <= 40 =>
.
. I t w i l l b {U} t ski n a ndfi l meth e vlcerousp l aceW h i
. l e s r a n c {K} c orr u p tion m inin g allwithin I nfec t s
. v n s[E]e n e {C} o nfe s s eyou [R]self e toheauenR[E]pent w h
. a t s p a s t {A}[V]oyd w h atis t ocom[E]Anddoenot s prea[D]t
. h e c o m p o {S} t ont h[E]weed e sTom a kethemran c kerf o r
. g i u e m e t {H} i smy *V E RTUE* F orin t hefatness e ofth e s
. e p u r s i e {T} i mes *V E RTUE*

{TH.SACKU.} -40
(NEAT) 41, -43
...........................................
. <= 15 =>
.
. I n f e c t s v n s [E] e n e{C}
. o n f e s s e y o u [R] s e l f
. e t o h e a u e n R [E] p e n t
. w h a t s p a s t{A}[V] o y d w
. h a t i s t o c o m [E] A n d d
. o e n o t s p r e a [D] t h e c
. o m p o{S}t o n t h [E] w e e d
. e s T o m a k e t h -e- m r a n
. c k e r f o r g i u -e- m e t{H}
. i s m y v e r t u e -F- o r i n
. t h e f a t n e s s -e- o f t h
. e s e p u r s i e{T}-i- m e s
.
[E.DE VERE] Skip: -15
{A find by Dr. James Ferris}
.
The probability of finding [E.DE VERE] with
a Skip of 15 or less in Hamlet Q2 ~ 1 in 40.
---------------------------------------------------------------
http://internetshakespeare.uvic.ca/Annex/Texts/Ham/Q2/scene/3.1
.
___ Hamlet (Quarto 2, 1604) Act 3, Scene 1
.
Oph.: *O what a noble mind* is heere orethrowne!
. The Courtiers, souldiers, schollers, eye, tongue, {S}word,
. Th'expectation, and Rose of the faire state,
. The g{L}asse of fashion, and the mould of forme,
. Th'obseru'd of a{L}l obseruers, quite quite downe,
. And I of Ladie[S] most de{I}ect and wretched,
. That suckt the honny of [H]is musickt {V}owes;
. Now see what noble and most soue[R]aigne reason
. Li{K}e sweet bells iangled out of tim[E], and harsh,
. That vnmat{C}ht forme, and stature of blo[W]ne youth
. Blasted with ext{A}cie, ô woe is mee
. T'haue s[E]ene what I haue seene, see what I {S}ee.
----------------------------------------------------------------
*O what a noble mind* is heere orethrowne!
The Courtiers, souldiers, schollers, eye, tongue,
........................................................
. <= 44 =>
.
.{s}w-o-r-d)ThexpectationandR-o-se-o-ft-h-ef-a-ir-e-st-a-teTheg
.{L}a-s-s-e-offashionandthemo-u-ld-o-ff-o-rm-e-Th-o-bs-e-rudofa
.{L}l_o_b_s_eruersquitequited_o_wn_e_An-d-Io-f-La-d-ie[S]mostde
-{I}e-c_t_a_ndwretchedThatsuc_k_tt_h_eh-o-nn-y-of[H]is-m-usickt
.{V}o.w.e-s-Nowseewhatnoblean.d.mo.s.ts.o.ue[R]ai-g-ne-r-easonL
.-i{K}e-s_w_eetbellsiangledou_t_of_t_im[E]an-d-ha-r-sh-T-hatvnm
.-a-t{C}h_t_formeandstatureof_b_lo[W]ne-y-ou-t-hB-l-as-t-edwith
.-e-x-t{A}c-ieôwoeismeeThaues[E]en-e-wh-a-tI-h-au-e-se-e-neseew
.-h-a-t-I{S}ee

{SACKV} -45 (Prob. ~ 1 in 5000)
{VILLs} -44
[SHREWE] 41 (Prob. ~ 1 in 400)
-----------------------------------------------------
Post by Arthur Neuendorffer
. Geneva Bible
.
Esther 4:1 Now when Mordecai perceived all that was done, Mordecai rent his
clothes, and put on sackcloth and ashes, and went out in to the midst of the
city, and cried with a great cry, and a bitter. And he came even before the
King's gate, but he might not enter within the King's gate, being clothed
wi{TH. SACK}cloth.
.
Lamentations 2:10 The Elders of the daughter of Zion sit upon the ground,
and keep silence: they have cast up *DUST* upon their heads: they have girded
themselves wi{TH. SACK}cloth: the virgins of Jerusalem hang down their heads
to the ground.
.
Jonah 3:6 For word came unto the King of Nineveh, and he rose from his
throne, and he laid his robe from him, *and coVERED him wi{TH. SACK}cloth*,
and sat in ashes.
Lea wrote:

<<Fascinating, Art. So you think that the translators
of the Geneva Bible (which was published when Thomas Sackville
was a mere stripling of 24 years of age, and which had been in
preparation years earlier) *deliberately* chose the wording "with
sackcloth" in order to encode an exceedingly lame reference to Thomas
Sackville -- and one that does not even name him explicitly, at that?!>>

. Of course not, Dave.

I think that the ELS: "{TH. SACK}" that I found in Hamlet
might have been chosen as a designator for "{TH. SACK}ville"
because it had already been observed in the Bible.

{TH. SACK}ville lived until 1608 so he could have
been involved in (Quarto 1, 1603) & (Quarto 2, 1604).
- hide quoted text -
-----------------------------------------------------
___ Hamlet (Quarto 1, 1603) Act 3, Scene 1
.
HAMLET: And doe you heare? let not your Clowne speake
. More then is set downe, there be of them I can tell you
. That will laugh themselues, to set on some
. Quantitie of barren spectators to laugh with them,
. Albeit there is some necessary point in the Play
. Then to be obserued: O t'is vile, and shewes
. A pittifull ambition in the foole that vseth it.
. And then you haue some agen, that keepes one sute
. Of ieasts, as a man is knowne by one sute of
. Apparell, and Gentlemen quotes his ieasts downe
. In their tables, before they come to the play, as thus:
. Cannot you stay till I eate my porrige? and, you owe me
. A quarters wages: and, my coate wants a cullison:
. And, your beere is sowre: and, blabbering with his lips,
. And thus keeping in his cinkapase of ieasts,
. When, God [K]nows, the warme [C]lowne cannot m[A]ke a iest
. Unles[S]e by chance, as t[H]e blinde man ca[T]cheth a hare:
. Ma(I)sters tell him of it.
...........................................
_____ <= 13 =>
.
. W h e n,G o d {K} n o w s,t
. h e w a r m e {C} l o w n e
. c a n n o t m {A} k e a i e
. s t U n l e s {S} e b y c h
. a n c e,a s t {H} e b l i n
. d e m a n c a {T} c h e t h
. a h a r e:M a (I) s t e r s
. t e l l h i m o f i t.
.
{TH.SACK.} -13 : Prob. in Hamlet Q1 ~ 1 in 100 to 200
-----------------------------------------------------
___ Hamlet (Quarto 2, 1604) Act 2, Scene 2
.
POLONIUS: I went round to worke,
. And my young Mistris thus I did bespeake,
. Lord Hamlet is a Prince out of thy star,
. This must not be: and then I prescripts gaue her
. That she should locke her selfe from her resort,
. Admit no messengers, receiue no tokens,
. Which done, she tooke the fruites of my aduise:
. And he repell'd, a short tale to make,
. Fell in[T]o a sadnes, t[H]en into a fa[S]t,
. Thence to [A] watch, then[C]e into a wea[K]enes,
. Thence to lightnes, and by this declension,
. Into the madnes wherein now he raues,
. And all we mourne for.
...........................................
_____ <= 10 =>
.
. F e l l i n {T} o a s
. a d n e s,t {H} e n i
. n t o a f a {S} t,T h
. e n c e t o {A} w a t
. c h,t h e n {C} e i n
. t o a w e a {K} e n e s,
.
{TH.SACK.} 10 : Prob. in Hamlet Q2 ~ 1 in 125 to 250
---------------------------------------------------------
# finds in skips from ±2 to ±1001
..........................................
String NT OT M.D./R.C. (4,150,000,000)
------------------------------------------------------
THSACK 8 27 11 / 1 (1 in 90,000,000)
EDEVERE 13 34 8 / 0 (1 in 75,500,000)
SACKV 7 28 21 / 1 (1 in 74,000,000)
SHREWE 141 417 159 / 8 (1 in 5,700,000)
---------------------------------------------------------------
Many Elizabethans (e.g., Edward Dyer, Francis Bacon,
_____________ John Dee & (maybe) William Stanley)
were Rosicrucians {Rosencrantz => Rosenkreutz}

In _Hamlet_ the Hermetic side is represented by Rosencrantz
The Masonic side is represented by Guildenstern
--------------------------------------------------------------
[In first Quarto (1603) Guildenstern was GILDERSTONE]

Thomas Sackville, Lord Buckhurst, (1536-1608)
was the English dramatist that paved the way for Shakespeare.
Sackville was Grandmaster Freemason (1561-1567)
{Freemason => Stone Guild => Guildensteen}
--------------------------------------------------------------
http://91.1911encyclopedia.org/S/SH/SHAKESPEARE.htm
Loading Image...

<<The Stratford bust & monument must have been
erected on the N. wall. The design in its general aspect
was one often adopted by the "tombe-makers "of the period,
and according to Dugdale was executed by a *Fleming* resident
in London since 1567, Garratt Johnson (Gerard JANssen),
who was occasionally a collaborator with *NICK Stone*.
.............................................................
. Gerard JANssen / NICK Stone

. Q1 Rossencraft Gilderstone
. Q2 Rosencrans Guyldensterne
. F1 Rosincrane Guildensterne
. F2,3,4 Rosincross(e) Guildenstare

. Rosy Cross Stone Guild
. Rosicrucians Freemasons / the Craft
--------------------------------------------------------------------
<<In 1484, (legendary Rosicrucian founder) Christian Rosencreutz
(C.R.) died at the age of 106 years, and was buried in secrecy.>>

Shakespeare(106 yrs) = Oxford(54 yrs) + Shakspere(52 yrs)

Aubrey's _Antiquities_ was published on Oxford's 106th birthday.
---------------------------------------------------------------
[Seligmann's _The History of Magic & the Occult_ p.288]

Rosicrucians should: 1) wear no special habit.
. 2) choose their successors.
. 3) use R.C. as their only seal and character.
----------------------------------------------------------------
http://shakespeareauthorship.com/howdowe.html

In 1630 an anonymous volume was published, entitled A Banquet of
Jeasts or Change of Cheare. Jest no. 259 in this volume is as follows:

One travelling through Stratford upon AvOn, a Towne most remarkeable
for the birth of famous William Shakes[P]eare, and walking in
the Church to doe h{I|S} devotion, es[PYE]d a {T}hing {T|H]ere worthy
{O}bservation, {W}hich {W}as a tombestone la{I}d more that thr[E]e
hundr{ED} {YEaR}s agoe, on which was ingraven an Epitaph to this
purp[O]se, I Thomas such a one, and Elizabeth my wife here under
lye buried, a[N]d know Reader I. R. C. and I. Chrystoph. Q.
are alive at this houre to witne[S]se it.
.................................................
_______ <= 55 =>
.
. OnetravellingthroughStratforduponAv O naTown emostr emarkea
. bleforthebirthoffamousWilliamShakes [P] earean dwalki nginthe
. ChurchtodoehisdevotionesPYEdathingt [H] erewor thyobs ervatio
. nwhichwasatombestonelaidmorethatthr [E] ehundr{EDYEaR}sagoeon
. whichwasingravenanEpitaphtothispurp [O] seITho massuc haonean
. dElizabethmywifehereunderlyeburieda [N] dknowR eaderI RCandIC
. hrystophQarealiveatthishouretowitne [S] seit
.
[PHEONS] 55 : Prob. (any skip) ~ 1 in 1250
----------------------------------------------------------------
. Captain Morgan's Exposition on Freemasonry

. <<"How did you gain admission?"

Ans: "By three distinct *KNOCKS* from WITHOUT,
. answered by the same WITHIN."

. "What was said to you from WITHIN?"

Ans: "Who *COMES* there? Who *COMES* there? Who *COMES* there?>>
.............................................................
. MACBETH Act 2, Scene 3

. Knocking WITHIN

. *KNOCK*, *KNOCK*, *KNOCK*!
. Who's there, i' the name of
. Beelzebub? Here's a farmer, that *HANGED* himself
. on the expectation of plenty: come in time;
. have napkins enow about you; here you'll sweat for't.
------------------------------------------------------
[M]usic, [A]stronomy, [R]hetoric, [LO]gic (G)eometry, (A)rithmetic, (G)rammar!
.....................................................
http://freemasonry.bcy.ca/symbolism/seven.html

<<Albert G. Mackey, in his Encyclopaedia of Freemasonry writes two
pages on the number seven, claiming : "Seven is a sacred number in
Masonic symbolism." Geometry was considered one of the seven noble
or liberal arts and sciences, the others being Grammar, Rhetoric,
Logic, Arithmetic, Music & Astronomy. In ancient Kemet, or Egypt,
the number seven represented completion. Creation took place
in seven time periods. There are seven colours in the rainbow,
seven notes in a musical scale, seven days in a week, &c.

In Ancient Kemet, there were also seven cardinal principles/virtues
of the Goddess Ma'at to achieve human perfectibility. These principles
are Truth, Justice, Balance, Order, Compassion, Harmony & Reciprocity.

In Freemasonry seven brethren are required to open or work a *LODGE*:
three *MASTER MASONS*, two Fellowcraft and two Entered apprentice.
Seven tassels found on most *MASTER MASON APRONS*.
--------------------------------------------------------------
"When you get home, you put him in a better coffin and
you bury him in a *MASON'S APRON*." - Kim Darby, True Grit
------------------------------------------------------------
. Julius Caesar Act 1, Scene 1
.
MARULLUS: Where is thy *LEATHER APRON and thy RULE*?
-----------------------------------------------------
Coriolanus Act 4, Scene 6
.
MENENIUS: You have made good work, You and your *APRON-MEN*;
-----------------------------------------------------
King Henry VI, Part ii Act 4, Scene 2

HOLLAND: The nobility think scorn to go in *LEATHER APRONS*.
-----------------------------------------------------
King Henry VI, Part ii Act 2, Scene 3

PETER: Here, Robin, an if I die, I give thee my *APRON*:
and, WILL, thou shalt have my hammer:
-----------------------------------------------------
Antony and Cleopatra Act 5, Scene 2

CLEOPATRA: With greasy *APRONS, RULES*, and hammers,
-----------------------------------------------------
Pericles Prince of Tyre Act 4, Scene 6

Bawd: Pray you, without any more virginal fencing,
WILL you use him kindly? He WILL line your *APRON* with gold.
---------------------------------------------------------------
http://users.erols.com/volker/Shakes/DatgTmpt.htm.
.
<<[Kathman states:] Strachey also mentions *HOODWINKED* men ,
. and Shakespeare's use of the word *HOODWINK* at 4.1.206
. ( *HOODWINK* this mischance ) is one of three in the canon.
.
[Volker's reply:] Not true.
. *HOODWINK* occurs six times in the canon.>>
--------------------------------------------------------------
<<I was now ready to be made a Freemason...I was *HOODWINKED*
and dressed in loose fitting white trousers and top. One
foot was in a simple slipper (i.e., slipshod), my left leg
was exposed to the knee, and the left breast of the tunic
had been drawn aside so that my chest was bared on that side.
.
. A hangman's noose (known as a *CABLE* tow)
. had been put around my neck and draped down my back.>>
.
. -- _The HIRAM Key_ by Knight & Lomas
------------------------------------------------------
. . The Tempest Act 4, Scene 1
.
CALIBAN: Be patient, for the prize I'll bring thee to
. Shall *HOODWINK* this mischance: therefore speak softly.
. All's hush'd as *MIDNIGHT* yet.
------------------------------------------------------------
Captain Morgan's Exposition on Freemasonry:

"How were you prepared?"

Ans. "By being divested of all metals, neither naked nor clothed,
barefoot nor shod, *HOODWINKED* , with a *CABLE* Tow about my neck,
in which situation I was conducted to the door of *THE LODGE*."

"What time was (HIRAM) [Abif] slain?"

Ans. "At *HIGH TWELVE* at NOON, when the *CRAFTS*
were from labor to refreshment."

Ans. "Three burning tapers, or *CANDLES, on CANDLESTICKS*."
"What do they represent?"

Ans. "The Sun, Moon, and *MASTER OF THE LODGE*."
----------------------------------------------------------------
Lord Chief-Justice: you are as a *CANDLE*, the better part burnt out.
.
FALSTAFF: A wassail *CANDLE*, my lord, all tallow:
..........................................................
ROMEO: I'll be a *CANDLE-holder* , and look on.
........................................................
MACBETH: Out, out, brief *CANDLE*!
---------------------------------------------------------
http://shakespeareauthorship.com/oxbib.html

_Annotations in Edward de Vere's Geneva Bible_ by David Kathman

Book |Chap|Verse|Verse Marks
-------|----|-----|--------------------------------------------
2 Cor | 8 | 1-4 | The verse numbers underlined in red ink.
| 8 |10-17| The verse numbers underlined in red ink.

10 And I shew my mind herein, for this is expedient for you,
which have begun not to do only, but also to [WILL], a year ago.

11 Now therefore perform to do it also, that as there was a readiness
to [WILL], even so ye may perform it of that which ye have.

12 For if there be first a [WILL]ing mind, it is accepted according
to that a man hath, and not according to that he hath not.
...................................................................
{13 Douay-Rheims: Non enim {UT} [A]LII[S] sit remissio,
vobis autem tribulatio, sed ex aequalitate.}

13 Neither is it that other men should be eased and you grieved;
----------------------------------------------------------------
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
------------------------------------------------------
Art Neuendorffer
marco
2016-12-11 17:19:08 UTC
Permalink
Post by Arthur Neuendorffer
Post by Arthur Neuendorffer
---------------------------------------------
The Defence of Poesie. Sir Philip Sidney.
William Ponsonby. London. 1595.
---------------------------------------------
<<Philip Sidney died in 1586. He left an untitled manuscript, which many years later TWO people published under different titles. One by Henry Olney under the title of "An Apologie for Poetrie" published the same year as the above book. Sidney in these books makes it clear that he has seen several of the Shakespeare plays and gives references to the plays which were NOT acted according to the Stratfordian people for many years after the death of Sidney.>>
-------------------------------------------------------
An Apology For Poetry (Or The Defence Of Poesy)
By Philip Sidney, Geoffrey Shepherd, R.W. Maslen
The few English writers [Sidney] praises include
[Freemason Grandmaster] Sir Thomas Sackville
and Henry Howard, Earl of Surrey.
-------------------------------------------------------
Sketch Book of Geoffrey Crayon, Gent. by Washington Irving.
http://www.bartleby.com/109/6.html
THE MUTABILITY OF LITERATURE.
A COLLOQUY IN WESTMINSTER ABBEY.
I had taken down a little thick quarto, curiously bound in
parchment, with brass *CLASPS*, and seated myself at the table
in a venerable elbow-chair. Instead of reading, howEVER, I was
beguiled by the solemn monastic air and lifeless quiet of the
place, into a train of musing. As I looked around upon the old
volumes in their mouldering covers, thus ranged on the shelves
and apparently nEVER disturbed in their repose, I could not but
consider the library a kind of literary catacomb, where authors,
like mummies, are piously entombed and left to blacken and
moulder in dusty oblivion.
While I sat half-murmuring, half-meditating, these unprofitable
speculations with my head resting on my hand, I was thrumming
with the other hand upon the quarto, until I accidentally
loosened the *CLASPS*; when, to my utter astonishment, the
little book gave two or three yawns, like one awaking from
a *DEEP* sleep, then a husky hem, and at length began to talk.
............................................................
“Ah,” said the little quarto, with a heavy sigh, “I see how it is;
these modern scribblers have superseded all the good old authors.
I suppose nothing is read now-a-days but Sir Philip Sydney’s Arcadia,
Sackville’s stately plays, and Mirror for Magistrates, or
the fine-spun euphuisms of the ‘unparalleled John Lyly.”’
“There you are again mistaken,” said I; “the writers whom you
suppose in vogue, because they happened to be so when you were last
in circulation, have long since had their day. Sir Philip Sydney’s
Arcadia, the immortality of which was so fondly predicted by his
admirers, and which, in truth, is full of noble thoughts, delicate
images, and graceful turns of language, is now scarcely ever
mentioned. Sackville has strutted into obscurity; and even Lyly,
though his writings were once the delight of a court, and apparently
perpetuated by a proverb, is now scarcely known even by name.
............................................................
"My very good sir," said the little quarto, yawning most drearily
in my face, "excuse my interrupting you, but I perceive you are
rather given to prose. I would ask the fate of an author who
was making some noise just as I left the world. His reputation,
however, was considered quite temporary. The learned shook their
heads at him, for he was a poor, half-educated varlet, that knew
little of Latin, and nothing of Greek, and had been obliged to
run the country for deer-stealing. I think his name was
Shakespeare. I presume he soon sunk into oblivion."
"On the contrary," said I, "it is owing to that *VERy man* that
the literature of his period has experienced a duration beyond the
ordinary term of English literature. There rise authors now and
then who seem proof against the mutability of language because
they have rooted themselves in the unchanging principles of
human nature. They are like gigantic trees that we sometimes
see on the banks of a stream, which by their vast and *DEEP* roots,
penetrating through the mere surface and laying hold on the VERy
foundations of the earth, preserve the soil around them from
being swept away by the EVER-flowing current, and hold up many
a neighboring plant, and perhaps WORTHless WEED, to perpetuity.
Such is the case with Shakespeare, whom we behold defying the
encroachments of time, retaining in modern use the language and
literature of his day, and giving duration to many an indifferent
author, merely from having flourished in his vicinity. But even
he, I grieve to say, is gradually assuming the tint of age,
and his whole form is overrun by a profusion of commentators,
who, like clambering vines and creepers, almost
*bury the NOBLE plant* that upholds them."
.........................................................
{W}hat (D)reary waste{S} of m(E)taphysics! H[E]re a(N)d there o(N)ly
[D]o we behold th(E) he[A]ven-illumine(D) ba[R]ds, elevated like
[B]eacons on their w[I]dely-separated h[E]ights, to transmit
the pure light of poetical intelligence from age to age."
I was just about to launch *FORTH* into eulogiums upon the poets
of the day, when the sudden opening of the door caused me to
turn my head. It was the VERgEr, who came to inform me that
it was time to close the library. I sought to have a parting
word with the quarto, but the worthy little tome was silent;
the *CLASPS* were closed: and it looked perfectly
unconscious of all that had passed.
.........................................................
. <= 15 =>
.
. {W} h a t(D)r e a r y w a s t e
. {S} o f m(E)t a p h y s i c s!H
. [E] r e a(N)d t h e r e o(N)l y
. [D] o w e b e h o l d t h(E)h e
. [A] v e n-i l l u m i n e(D)b a
. [R] d s,e l e v a t e d l i k e
. [B] e a c o n s o n t h e i r w
. [I] d e l y-s e p a r a t e d h
. [E] i g h t s,t o t r a n s m i
. t t h e p u r e l i g h t o f
. p (O)e t i c a l i n t e l l i
. g (E)n c e f r o m a g e t o a
. g e.
.
(NED) -15,15 : Prob. both in array ~ 1 in 150
[{W.S.} E.DARBIE] 15
.
Prob. of [{W.S.} E.DARBIE] in last 2 sentences ~ 1 in 57,000,000.
-----------------------------------------------------------------
A [NEAT] monument of that famous English Poet,
Mr. WILLiam Shakespeere; who was borne heere.
And one of an old Gentleman a Batchelor, Mr. Combe,
upon whose name, the sayd Poet, did merrily fann
up some witty, and facetious verses, which
ti(M)e wou(L)d nott g(IVE) us (LE)ave {TO SACKE U}p .
- [Chambers, William Shakespeare, II, 242]
--------------------------------------------------
___ Hamlet (Quarto 2, 1604) Act 3, Scene 4
Ham. It will b{U}t skin and filme (T)he vlcerous place
. Whiles ra(N)c{K} corruption mining (A)ll within
. Infects vns[E]en(E), {C}onfesse you[R] selfe to h(E)auen,
. R[E]pent what's past, {A|V]oyd what is to com[E],
. And doe (N)ot sprea[D] the compo{S|T) on th[E] weedes
. To make them rancker, forgiue me t{H}is my *VERTUE*,
. For in the fatnesse of these pursie {T}imes
. *VERTUE* it selfe of vice must *PARDON* beg,
. Yea curbe and wooe for leaue to doe him good.
...........................................
. <= 40 =>
.
. I t w i l l b {U} t ski n a ndfi l meth e vlcerousp l aceW h i
. l e s r a n c {K} c orr u p tion m inin g allwithin I nfec t s
. v n s[E]e n e {C} o nfe s s eyou [R]self e toheauenR[E]pent w h
. a t s p a s t {A}[V]oyd w h atis t ocom[E]Anddoenot s prea[D]t
. h e c o m p o {S} t ont h[E]weed e sTom a kethemran c kerf o r
. g i u e m e t {H} i smy *V E RTUE* F orin t hefatness e ofth e s
. e p u r s i e {T} i mes *V E RTUE*
{TH.SACKU.} -40
(NEAT) 41, -43
...........................................
. <= 15 =>
.
. I n f e c t s v n s [E] e n e{C}
. o n f e s s e y o u [R] s e l f
. e t o h e a u e n R [E] p e n t
. w h a t s p a s t{A}[V] o y d w
. h a t i s t o c o m [E] A n d d
. o e n o t s p r e a [D] t h e c
. o m p o{S}t o n t h [E] w e e d
. e s T o m a k e t h -e- m r a n
. c k e r f o r g i u -e- m e t{H}
. i s m y v e r t u e -F- o r i n
. t h e f a t n e s s -e- o f t h
. e s e p u r s i e{T}-i- m e s
.
[E.DE VERE] Skip: -15
{A find by Dr. James Ferris}
.
The probability of finding [E.DE VERE] with
a Skip of 15 or less in Hamlet Q2 ~ 1 in 40.
---------------------------------------------------------------
http://internetshakespeare.uvic.ca/Annex/Texts/Ham/Q2/scene/3.1
.
___ Hamlet (Quarto 2, 1604) Act 3, Scene 1
.
Oph.: *O what a noble mind* is heere orethrowne!
. The Courtiers, souldiers, schollers, eye, tongue, {S}word,
. Th'expectation, and Rose of the faire state,
. The g{L}asse of fashion, and the mould of forme,
. Th'obseru'd of a{L}l obseruers, quite quite downe,
. And I of Ladie[S] most de{I}ect and wretched,
. That suckt the honny of [H]is musickt {V}owes;
. Now see what noble and most soue[R]aigne reason
. Li{K}e sweet bells iangled out of tim[E], and harsh,
. That vnmat{C}ht forme, and stature of blo[W]ne youth
. Blasted with ext{A}cie, ô woe is mee
. T'haue s[E]ene what I haue seene, see what I {S}ee.
----------------------------------------------------------------
*O what a noble mind* is heere orethrowne!
The Courtiers, souldiers, schollers, eye, tongue,
........................................................
. <= 44 =>
.
.{s}w-o-r-d)ThexpectationandR-o-se-o-ft-h-ef-a-ir-e-st-a-teTheg
.{L}a-s-s-e-offashionandthemo-u-ld-o-ff-o-rm-e-Th-o-bs-e-rudofa
.{L}l_o_b_s_eruersquitequited_o_wn_e_An-d-Io-f-La-d-ie[S]mostde
-{I}e-c_t_a_ndwretchedThatsuc_k_tt_h_eh-o-nn-y-of[H]is-m-usickt
.{V}o.w.e-s-Nowseewhatnoblean.d.mo.s.ts.o.ue[R]ai-g-ne-r-easonL
.-i{K}e-s_w_eetbellsiangledou_t_of_t_im[E]an-d-ha-r-sh-T-hatvnm
.-a-t{C}h_t_formeandstatureof_b_lo[W]ne-y-ou-t-hB-l-as-t-edwith
.-e-x-t{A}c-ieôwoeismeeThaues[E]en-e-wh-a-tI-h-au-e-se-e-neseew
.-h-a-t-I{S}ee
{SACKV} -45 (Prob. ~ 1 in 5000)
{VILLs} -44
[SHREWE] 41 (Prob. ~ 1 in 400)
-----------------------------------------------------
Post by Arthur Neuendorffer
. Geneva Bible
.
Esther 4:1 Now when Mordecai perceived all that was done, Mordecai rent his
clothes, and put on sackcloth and ashes, and went out in to the midst of the
city, and cried with a great cry, and a bitter. And he came even before the
King's gate, but he might not enter within the King's gate, being clothed
wi{TH. SACK}cloth.
.
Lamentations 2:10 The Elders of the daughter of Zion sit upon the ground,
and keep silence: they have cast up *DUST* upon their heads: they have girded
themselves wi{TH. SACK}cloth: the virgins of Jerusalem hang down their heads
to the ground.
.
Jonah 3:6 For word came unto the King of Nineveh, and he rose from his
throne, and he laid his robe from him, *and coVERED him wi{TH. SACK}cloth*,
and sat in ashes.
<<Fascinating, Art. So you think that the translators
of the Geneva Bible (which was published when Thomas Sackville
was a mere stripling of 24 years of age, and which had been in
preparation years earlier) *deliberately* chose the wording "with
sackcloth" in order to encode an exceedingly lame reference to Thomas
Sackville -- and one that does not even name him explicitly, at that?!>>
. Of course not, Dave.
I think that the ELS: "{TH. SACK}" that I found in Hamlet
might have been chosen as a designator for "{TH. SACK}ville"
because it had already been observed in the Bible.
{TH. SACK}ville lived until 1608 so he could have
been involved in (Quarto 1, 1603) & (Quarto 2, 1604).
- hide quoted text -
-----------------------------------------------------
___ Hamlet (Quarto 1, 1603) Act 3, Scene 1
.
HAMLET: And doe you heare? let not your Clowne speake
. More then is set downe, there be of them I can tell you
. That will laugh themselues, to set on some
. Quantitie of barren spectators to laugh with them,
. Albeit there is some necessary point in the Play
. Then to be obserued: O t'is vile, and shewes
. A pittifull ambition in the foole that vseth it.
. And then you haue some agen, that keepes one sute
. Of ieasts, as a man is knowne by one sute of
. Apparell, and Gentlemen quotes his ieasts downe
. Cannot you stay till I eate my porrige? and, you owe me
. And, your beere is sowre: and, blabbering with his lips,
. And thus keeping in his cinkapase of ieasts,
. When, God [K]nows, the warme [C]lowne cannot m[A]ke a iest
. Ma(I)sters tell him of it.
...........................................
_____ <= 13 =>
.
. W h e n,G o d {K} n o w s,t
. h e w a r m e {C} l o w n e
. c a n n o t m {A} k e a i e
. s t U n l e s {S} e b y c h
. a n c e,a s t {H} e b l i n
. d e m a n c a {T} c h e t h
. a h a r e:M a (I) s t e r s
. t e l l h i m o f i t.
.
{TH.SACK.} -13 : Prob. in Hamlet Q1 ~ 1 in 100 to 200
-----------------------------------------------------
___ Hamlet (Quarto 2, 1604) Act 2, Scene 2
.
POLONIUS: I went round to worke,
. And my young Mistris thus I did bespeake,
. Lord Hamlet is a Prince out of thy star,
. This must not be: and then I prescripts gaue her
. That she should locke her selfe from her resort,
. Admit no messengers, receiue no tokens,
. And he repell'd, a short tale to make,
. Fell in[T]o a sadnes, t[H]en into a fa[S]t,
. Thence to [A] watch, then[C]e into a wea[K]enes,
. Thence to lightnes, and by this declension,
. Into the madnes wherein now he raues,
. And all we mourne for.
...........................................
_____ <= 10 =>
.
. F e l l i n {T} o a s
. a d n e s,t {H} e n i
. n t o a f a {S} t,T h
. e n c e t o {A} w a t
. c h,t h e n {C} e i n
. t o a w e a {K} e n e s,
.
{TH.SACK.} 10 : Prob. in Hamlet Q2 ~ 1 in 125 to 250
---------------------------------------------------------
# finds in skips from ±2 to ±1001
..........................................
String NT OT M.D./R.C. (4,150,000,000)
------------------------------------------------------
THSACK 8 27 11 / 1 (1 in 90,000,000)
EDEVERE 13 34 8 / 0 (1 in 75,500,000)
SACKV 7 28 21 / 1 (1 in 74,000,000)
SHREWE 141 417 159 / 8 (1 in 5,700,000)
---------------------------------------------------------------
Many Elizabethans (e.g., Edward Dyer, Francis Bacon,
_____________ John Dee & (maybe) William Stanley)
were Rosicrucians {Rosencrantz => Rosenkreutz}
In _Hamlet_ the Hermetic side is represented by Rosencrantz
The Masonic side is represented by Guildenstern
--------------------------------------------------------------
[In first Quarto (1603) Guildenstern was GILDERSTONE]
Thomas Sackville, Lord Buckhurst, (1536-1608)
was the English dramatist that paved the way for Shakespeare.
Sackville was Grandmaster Freemason (1561-1567)
{Freemason => Stone Guild => Guildensteen}
--------------------------------------------------------------
http://91.1911encyclopedia.org/S/SH/SHAKESPEARE.htm
http://www.stratford-upon-avon.org/images/memorial.jpg
<<The Stratford bust & monument must have been
erected on the N. wall. The design in its general aspect
was one often adopted by the "tombe-makers "of the period,
and according to Dugdale was executed by a *Fleming* resident
in London since 1567, Garratt Johnson (Gerard JANssen),
who was occasionally a collaborator with *NICK Stone*.
.............................................................
. Gerard JANssen / NICK Stone
. Q1 Rossencraft Gilderstone
. Q2 Rosencrans Guyldensterne
. F1 Rosincrane Guildensterne
. F2,3,4 Rosincross(e) Guildenstare
. Rosy Cross Stone Guild
. Rosicrucians Freemasons / the Craft
--------------------------------------------------------------------
<<In 1484, (legendary Rosicrucian founder) Christian Rosencreutz
(C.R.) died at the age of 106 years, and was buried in secrecy.>>
Shakespeare(106 yrs) = Oxford(54 yrs) + Shakspere(52 yrs)
Aubrey's _Antiquities_ was published on Oxford's 106th birthday.
---------------------------------------------------------------
[Seligmann's _The History of Magic & the Occult_ p.288]
Rosicrucians should: 1) wear no special habit.
. 2) choose their successors.
. 3) use R.C. as their only seal and character.
----------------------------------------------------------------
http://shakespeareauthorship.com/howdowe.html
In 1630 an anonymous volume was published, entitled A Banquet of
One travelling through Stratford upon AvOn, a Towne most remarkeable
for the birth of famous William Shakes[P]eare, and walking in
the Church to doe h{I|S} devotion, es[PYE]d a {T}hing {T|H]ere worthy
{O}bservation, {W}hich {W}as a tombestone la{I}d more that thr[E]e
hundr{ED} {YEaR}s agoe, on which was ingraven an Epitaph to this
purp[O]se, I Thomas such a one, and Elizabeth my wife here under
lye buried, a[N]d know Reader I. R. C. and I. Chrystoph. Q.
are alive at this houre to witne[S]se it.
.................................................
_______ <= 55 =>
.
. OnetravellingthroughStratforduponAv O naTown emostr emarkea
. bleforthebirthoffamousWilliamShakes [P] earean dwalki nginthe
. ChurchtodoehisdevotionesPYEdathingt [H] erewor thyobs ervatio
. nwhichwasatombestonelaidmorethatthr [E] ehundr{EDYEaR}sagoeon
. whichwasingravenanEpitaphtothispurp [O] seITho massuc haonean
. dElizabethmywifehereunderlyeburieda [N] dknowR eaderI RCandIC
. hrystophQarealiveatthishouretowitne [S] seit
.
[PHEONS] 55 : Prob. (any skip) ~ 1 in 1250
----------------------------------------------------------------
. Captain Morgan's Exposition on Freemasonry
. <<"How did you gain admission?"
Ans: "By three distinct *KNOCKS* from WITHOUT,
. answered by the same WITHIN."
. "What was said to you from WITHIN?"
Ans: "Who *COMES* there? Who *COMES* there? Who *COMES* there?>>
.............................................................
. MACBETH Act 2, Scene 3
. Knocking WITHIN
. *KNOCK*, *KNOCK*, *KNOCK*!
. Who's there, i' the name of
. Beelzebub? Here's a farmer, that *HANGED* himself
. on the expectation of plenty: come in time;
. have napkins enow about you; here you'll sweat for't.
------------------------------------------------------
[M]usic, [A]stronomy, [R]hetoric, [LO]gic (G)eometry, (A)rithmetic, (G)rammar!
.....................................................
http://freemasonry.bcy.ca/symbolism/seven.html
<<Albert G. Mackey, in his Encyclopaedia of Freemasonry writes two
pages on the number seven, claiming : "Seven is a sacred number in
Masonic symbolism." Geometry was considered one of the seven noble
or liberal arts and sciences, the others being Grammar, Rhetoric,
Logic, Arithmetic, Music & Astronomy. In ancient Kemet, or Egypt,
the number seven represented completion. Creation took place
in seven time periods. There are seven colours in the rainbow,
seven notes in a musical scale, seven days in a week, &c.
In Ancient Kemet, there were also seven cardinal principles/virtues
of the Goddess Ma'at to achieve human perfectibility. These principles
are Truth, Justice, Balance, Order, Compassion, Harmony & Reciprocity.
three *MASTER MASONS*, two Fellowcraft and two Entered apprentice.
Seven tassels found on most *MASTER MASON APRONS*.
--------------------------------------------------------------
"When you get home, you put him in a better coffin and
you bury him in a *MASON'S APRON*." - Kim Darby, True Grit
------------------------------------------------------------
. Julius Caesar Act 1, Scene 1
.
MARULLUS: Where is thy *LEATHER APRON and thy RULE*?
-----------------------------------------------------
Coriolanus Act 4, Scene 6
.
MENENIUS: You have made good work, You and your *APRON-MEN*;
-----------------------------------------------------
King Henry VI, Part ii Act 4, Scene 2
HOLLAND: The nobility think scorn to go in *LEATHER APRONS*.
-----------------------------------------------------
King Henry VI, Part ii Act 2, Scene 3
-----------------------------------------------------
Antony and Cleopatra Act 5, Scene 2
CLEOPATRA: With greasy *APRONS, RULES*, and hammers,
-----------------------------------------------------
Pericles Prince of Tyre Act 4, Scene 6
Bawd: Pray you, without any more virginal fencing,
WILL you use him kindly? He WILL line your *APRON* with gold.
---------------------------------------------------------------
http://users.erols.com/volker/Shakes/DatgTmpt.htm.
.
<<[Kathman states:] Strachey also mentions *HOODWINKED* men ,
. and Shakespeare's use of the word *HOODWINK* at 4.1.206
. ( *HOODWINK* this mischance ) is one of three in the canon.
.
[Volker's reply:] Not true.
. *HOODWINK* occurs six times in the canon.>>
--------------------------------------------------------------
<<I was now ready to be made a Freemason...I was *HOODWINKED*
and dressed in loose fitting white trousers and top. One
foot was in a simple slipper (i.e., slipshod), my left leg
was exposed to the knee, and the left breast of the tunic
had been drawn aside so that my chest was bared on that side.
.
. A hangman's noose (known as a *CABLE* tow)
. had been put around my neck and draped down my back.>>
.
. -- _The HIRAM Key_ by Knight & Lomas
------------------------------------------------------
. . The Tempest Act 4, Scene 1
.
CALIBAN: Be patient, for the prize I'll bring thee to
. Shall *HOODWINK* this mischance: therefore speak softly.
. All's hush'd as *MIDNIGHT* yet.
------------------------------------------------------------
"How were you prepared?"
Ans. "By being divested of all metals, neither naked nor clothed,
barefoot nor shod, *HOODWINKED* , with a *CABLE* Tow about my neck,
in which situation I was conducted to the door of *THE LODGE*."
"What time was (HIRAM) [Abif] slain?"
Ans. "At *HIGH TWELVE* at NOON, when the *CRAFTS*
were from labor to refreshment."
Ans. "Three burning tapers, or *CANDLES, on CANDLESTICKS*."
"What do they represent?"
Ans. "The Sun, Moon, and *MASTER OF THE LODGE*."
----------------------------------------------------------------
Lord Chief-Justice: you are as a *CANDLE*, the better part burnt out.
.
..........................................................
ROMEO: I'll be a *CANDLE-holder* , and look on.
........................................................
MACBETH: Out, out, brief *CANDLE*!
---------------------------------------------------------
http://shakespeareauthorship.com/oxbib.html
_Annotations in Edward de Vere's Geneva Bible_ by David Kathman
Book |Chap|Verse|Verse Marks
-------|----|-----|--------------------------------------------
2 Cor | 8 | 1-4 | The verse numbers underlined in red ink.
| 8 |10-17| The verse numbers underlined in red ink.
10 And I shew my mind herein, for this is expedient for you,
which have begun not to do only, but also to [WILL], a year ago.
11 Now therefore perform to do it also, that as there was a readiness
to [WILL], even so ye may perform it of that which ye have.
12 For if there be first a [WILL]ing mind, it is accepted according
to that a man hath, and not according to that he hath not.
...................................................................
{13 Douay-Rheims: Non enim {UT} [A]LII[S] sit remissio,
vobis autem tribulatio, sed ex aequalitate.}
13 Neither is it that other men should be eased and you grieved;
----------------------------------------------------------------
Terry Ross wrote: <<The emblematic device at the head
........................................................
"{UT} [A]LIJ[S], ME C[ONS]U[M]E"
("as you burn I consume myself")
and its picture of two lighted *CANDLES*.>>
https://hankwhittemore.files.wordpress.com/2011/07/minerva-1.jpeg
.
. "{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
------------------------------------------------------
Art Neuendorffer
.
marco
2016-12-18 21:40:00 UTC
Permalink
fat men

A gross fat man. King Henry IV, part I: II, iv

Old fat man; a tun of man is thy companion. why King Henry IV, part I: II, iv

Did you not tell me this fat man was dead? King Henry IV, part I: V, iv


William Shakespeare, balding man
Arthur Neuendorffer
2016-12-18 22:15:13 UTC
Permalink
---------------------------------
. S H
. (A) K
. [E] S
. {P} E
. [A] R
. (E)

[APE] -2,4 : Prob. ~ 1 in 70
---------------------------------
Art Neuendorffer
Arthur Neuendorffer
2016-12-18 22:19:37 UTC
Permalink
---------------------------------
. S H
. (A) K
. [E] S
. {P} E
. [A] R
. (E)

[APE] -2,4 : Prob. ~ 1 in 35
---------------------------------
Art Neuendorffer

Loading...