Arthur Neuendorffer
2017-02-25 22:42:59 UTC
http://shakespeareauthorship.com/verform.html
The Verse Forms of Shakespeare and Oxford
by Terry Ross
<<The following works were written entirely or substantially in "Shakespearean" sonnets and published between 1592 and 1597 (this list is not meant to be complete):
Samuel Daniel's Delia (first authorized edition published in 1592)
T. W.'s The Tears of Fancie (1593) [a version of
Oxford's only sonnet appeared in this volume]
Thomas Lodge's Phillis (1593)
Barnabe Barnes Parthenophil and Parthenophe (1593)
[includes many "Shakespearean" sonnets]
Henry Constable's Diana (1594)
William Percy's Coelia (1594)
the anonymous Zephiria (1594)
Michael Drayton's Idea (first published in 1594)
E.C.'s Emaricdulse (1595)
Richard Lynche's Diella (1596)
William Smith's Chloris (1596)
Bartholomew Griffin's Fidessa (1596)
[includes many "Shakespearean" sonnets]
Robert Tofte's Laura (1597) >>
--------------------------------------------------------
www.blackwellpublishing.com/content/BPL_Images/
Content_store/Sample_chapter/0631226354/001.pdf
<<The first book in which any of Shakespeare's sonnets appeared in
print [was] The Passionate Pilgrim, published by William Jaggard in
either 1598 or 1599. Only fragments of that first edition survive;
the title page is not among them. A second edition followed
in 1599 and a third in 1612, both proclaiming the entire book
to be ?by W. Shakespeare.? Despite that claim, only five of
the twenty verses in the first and second editions can be
attributed to Shakespeare *on the basis of other evidence* :
The Passionate Shepherd to His Love is a poem written by the English
poet Christopher Marlowe in the 1590s. It is considered one of the
earliest examples of the pastoral style of British poetry in the
late Renaissance period. The poem was the subject of a well-known
"reply" by Walter Raleigh, called The Nymph's Reply to the Shepherd.
.......................................................
as well as poems by
PP#8) Richard Barnfield (1598) &
PP#7) Bartholomew Griffin (1596).>>
--------------------------------------
https://en.wikipedia.org/wiki/Bartholomew_Griffin
<<Bartholomew Griffin (fl. 1596) was an English poet. He is known for his Fidessa sequence of sonnets, published in 1596.
In August 1572 the Queen made a progress to Warwick, spending several days at Kenilworth Castle as guest of the Earl of Leicester. At this time a portion of the entertainment for Elizabeth was the reading of some Latin verses composed by a “Mr. Griffin"[1] - this may have been Barthlomew Griffin. Griffin wrote a series of 62 sonnets entitled Fidessa, more chaste than kinde, London, 1596. The dedication to William Essex of Lamborn, Berkshire is followed by an epistle to the gentlemen of the Inns of Court, from which it might be inferred that Griffin himself belonged to an Inn, but no trace of him can be found in the registers. The third sonnet in Fidessa, beginning ‘Venus and yong Adonis sitting by her,’ was reproduced in 1599 in The Passionate Pilgrime.>>
--------------------------------------
The Passionate Shepherd:
Venus, with young Adonis sitting by her
Under a myrtle shade, began to woo him:
She told the youngling how god Mars did try her,
And as he fell to her, so fell she to him.
'Even thus,' quoth she, 'the warlike god embraced me,'
And then she clipp'd Adonis in her arms;
'Even thus,' quoth she, 'the warlike god unlaced me,'
As if the boy should use like loving charms;
'Even thus,' quoth she, 'he seized on my lips,'
And with her lips on his did act the seizure:
And as she fetched breath, away he skips,
And would not take her meaning nor her pleasure.
Ah, that I had my lady at this bay,
To kiss and clip me till I run away!
----------------------------------------------------------------
http://quod.lib.umich.edu/e/eebo/A20834.0001.001/1:3?rgn=div1;view=fulltext
Fidessa, more chaste then kinde.
By B. Griffin, gent (1596)
............................................
. Sonnet 3
.
VEnus, and yong Adonis sitting by her,
Vnder a Myrtle shade began to woe him:
She told the yong-ling how god Mars did trie her,
And as he fell to her, so fell she {T}o him.
Euen thus (quoth she) the wanto{N} god embrac'd me,
(And then she clasp'd {A}do[niS in] her armes)
Euen thus (quoth {S}he) the warlike god vnlac'd me,
As if t{H}e bo[Y] should vse like louing charm{E}s.
But he a wayward boy refusde her offe[R],
And ran away, the beautious Queene neglecting:
Shewing both folly to [A]buse her proffer,
And all his sex of cowardise detecting.
Oh that I had [M]y mistris at that bay,
To kisse and clippe me till I ranne away!
............................................................
. <= 57 =>
.
. a s h e f e l l t o h e r,s o f e l l s h e{T}o h i m.E u
. e n t h u s(q u o t h s h e)t h e w a n t o{N}g o d e m b
. r a c'd m e(A n d t h e n s h e c l a s p'd{A}d o n[i S i]
. n h e r a r m e s)E u e n t h u s(q u o t h{S}h e)t h e w
. a r l i k e g o d v n l a c'd m e,A s i f t{H}e b o[Y]s h
. o u l d v s e l i k e l o u i n g c h a r m{E}s.B u t h e
. a w a y w a r d b o y r e f u s d e h e r o f f e[R]A n d
. r a n a w a y,t h e b e a u t i o u s Q u e e n e n e g l
. e c t i n g:S h e w i n g b o t h f o l l y t o[A]b u s e
. h e r p r o f f e r,A n d a l l h i s s e x o f c o w a r
. d i s e d e t e c t i n g.O h t h a t I h a d[M]y m i s t
. r i s a t t h a t b a y,
.
[MARY Si.] -57 : Prob. in first 3 sonnets ~ 1 in 1400
{T.NASHE} 29 : Prob. in [MARY Si.] sonnet ~ 1 in 315
..............................................................
. Sonnet 6
VNhappie sentence, worst of worst of paines,
To lie in darksome silence out of ken:
Banisht fro[M] all th[A]t blis[S]e the w[O]rld co[N]taine[S],
And thrust from out the companies of men.
Vnhappie sentence, worse then worst of deaths,
Neuer to see Fidessaes louely face:
Oh better were I loose ten thousand breaths,
Then euer liue in such vnseene disgrace.
Vnhappie sentence, worse then paines of hell,
To liue in self-tormenting griefes alone:
Hauing my heart my prison and my cell,
And there consum'd, without reliefe to mone.
If that the sentence so vnhappie be,
Then what am I that gaue the same to me?
[MASONS] 6 : Prob. in first 6 sonnets ~ 1 in 925
............................................
. Sonnet 33
.
HE that would faine Fidessaes image see,
My face of force must be his looking glasse:
There is she portraide and her crueltie,
Which as a wonder through the world must passe.
But were I dead, she would not be betraide:
It's I that gainst my will shall make it knowne,
Her crueltie b[Y] me must be [B]ewraide,
O[R] I must hid[E] my head, an[D] liue alon[E].
Ile plucke my siluer haires from out my head,
And wash away the wrinkles of my face:
Closely immur'd I'le liue as I were dead,
Before she suffer but the least disgrace.
How can I hide that is alreadie knowne?
I haue been seene, and haue no face but one.
[E.DERBY] -9
............................................
. Sonnet 58
.
OH beautie Syren, kept with Cyrces rod:
The fairest good in se[E]me, but fowlest ill:
The sweetest plague ordain'd for man by Go[D],
The pleasing subiect of presumptuous will:
Th' alluring obi[E]ct of vnstaied eyes,
Friended of all, but vnto all a foe:
The dea[R]est thing that any creature buyes,
And vainest too: (it serues [B]ut for a shoe.)
In seeme a heauen, and yet from blisse exiling,
Pa[Y]ing for truest seruice, nought but paine:
Yong mens vndoing: yong and old beguiling,
Mans greatest losse, though thought his greatest gaine.
True, that all this with paine enough I proue:
And yet most true, I will Fidessa loue.
[E.DERBY] 50 : Prob. of 2 in 62 Sonnets ~ 1 in 810
--------------------------------------------------------
THE GRIFFIN of Gray's Inn
The arms of the Society are - Sable a Griffin sergeant
or, that is a golden griffin standing on a black field.
It is thought to be borrowed from Richard Aungier, thrice
Treasurer of the Inn, at the turn of the sixteenth
century, and it is a more spectacular heraldic device
than the plain bars of the de Grey arms which were
previously used -
they may be seen above the main entrance
to the Treasury Office in South Square.
A GRIFFIN is the offspring of a lion and eagle with the
body of the former and the head and shoulders of the latter,
but 'also with animal ears. It is sacred to the sun, being
seen, for example, on the Temple of Apollo at Miletus
and was used by the ancients to guard TREASURE.
Gray's Inn Alumnae:
Sir William Cecil (*TREASUREr* / Secret Service);
Sir Francis Walsingham ( Secret Service )
-------------------------------------------------------
SHOEMAKER son Kit Marlowe born in 1564
BUTCHER, GLOVER, TANNER son SHAKSPEr born in 1564
NOBLE STONECUTTER son Michelangelo died in 1564
--------------------------------------------------------
Michelangelo's _LAST JUDGEMENT_ contains his own face
on St. BARTHOLOMEW's flayed skin AS A SIGNATURE.
<<St. BARTHOLOMEW: patron of VINE-growers, DYERS
BOOKBINDERS, BUTCHERS, GLOVERS, LEATHER-workers,
PLASTERERS, SHOEMAKERS, TAILORS, & TANNERS.>>
<<In art, Saint Bartholomew is portrayed as a bearded,
sometimes middle-aged, sometimes venerable man,
with a book and a BUTCHER's knife used for his flaying.
At times he holds his own flayed skin>>
<<His father was a BUTCHER, and I have been told heretofore by some
of the neighbours that when he was a boy he exercised his father's
trade, but when he kill'd a calfe he would doe it in a high style,
and make a speech.>> -- AUBREY, JOHN, 1669-96, Brief Lives
------------------------------------------------------------
St.Bartholomew / Griffin's Egg
------------------------------------------------------------
Windsor, Berkshire
http://freespace.virgin.net/david.ford2/windsor.html
<<Windsor (meaning "Winch-furnished-Riverbank")is the largest
inhabited castle in the World. Legend says the Round Table stood atop
the motte of the Round Tower. The town is mentioned a couple of times
in Arthurian literature. William the Conqueror picked the site for a
defencive wooden motte and bailey castle, soon after 1066. A couple of
generations later it replaced Old Windsor as a Royal Palace as well.
It was totally rebuilt in stone during the 12th & 13th century when
the castle became more popular with the English Kings.>>
The Chapel Royal at Windsor Castle was built by King Henry III
and later enlarged by Edward III, in 1363, as a Canonical
Collegiate Chapel. St.George, the country's new patron saint,
was chosen for the dedication. The Royal Chapel had
a Silver-Gilt Cup in which is kept:
Part of the Skull of St.Bartholomew.
a Cup made of a Griffin's Egg, in which is kept:
Part of the Skull of St.Thomas the Apostle.>>
--------------------------------------------------
----------------------------------------------
Peirs Gaveston Earle of Cornwall
His life, death, and fortune.
by Drayton, Michael, 1563-1631.
FRom gloomy shaddowe of eternall night,
Where cole-black darknes keeps his lothsome cel,
And from those Ghostes, whose eyes abhorre the light,
From thence I come a wofull tale to tell:
Prepare the Stage, I meane to acte my parte,
Sighing the scenes from my tormented hart.
From Stygian lake, to gracelesse soules assign'd,
And from the floud of burning Acheron,
Where sinfull spirites are by the fier refinde,
The fearefull Ghost of wofull Gaueston:
With black-fac'd furies from the graues attended,
Vntill the tenor of my tale be ended.
Wing-footed Fame now sommons me from death,
In Fortunes triumph to aduance my glorie,
The blessed Heauens againe doe lend me breath,
Whilst I reporte this dolefull Tragick stori[E]:
That soule an[D] bodie, which d[E]ath once did s[U]nder,
Now meet[E] together to r[E]porte a wonde[R].
.................................................
. <= 12 =>
.
. W h i l s t I r e p o r
. t e t h i s d o l e f u
. l l T r a g i c k s t o
. r i [E]:T h a t s o u l e
. a n [D] b o d i e,w h i c
. h d [E] a t h o n c e d i
. d s [U] n d e r,N o w m e
. e t [E] t o g e t h e r t
. o r [E] p o r t e a w o n
. d e [R].
.
[E. DE UEER] 12 : Prob. at top ~ 1 in 1700
----------------------------------------------
Chapter 35 : THIS STAR OF ENGLAND
by Dorothy and Charlton Ogburn
<<The "Dead shepherd" passage (IlI.5.80-1), from which the line, "Who ever lov'd that lov'd not at first sight," has been assumed to be a quotation from Marlowe; while Touchstone's remark (IlI.3.13-14) that when a man's verses are not understood "it strikes a man more dead than a great reckoning in a little room," which has been said to refer to Marlowe's murder, definitely points to Philip Sidney. Marlowe, who did not leave Cambridge until 1587, was killed in 1593; and he is far more likely to have taken the love-at-first-sight line from the older poet than vice versa. However, Philip Sidney had died in Flanders in 1586, and he had written a sonnet to Penelope Devereux, wife of the "rich Lord Rich," in Astrophel and Stella, as follows:
Not at first sight, nor with a dribbled shot
Love gave the wound, which while I breathe will bleed;
But known worth did in time of mine proceed,
Till by degrees it had full conquest got;
I saw and liked, I liked but loved not.
I loved, but straight did not what love decreed.
At length to love's decree I, forced, agreed,
Yet with repining at so partial lot.
Sidney had addressed sonnets to Penelope as "Stella" simply, as many people believed, to give point to his poetical outpourings; and now it would seem that his friend Oxford had concluded he had not really loved her, since he had not loved her "at first sight." He puns on "saw" when he has Phebe say:
Dead shePherd, now I find thy saw of might:
Who ever lov'd that lov'd not at first sight?
As for "a great reckoning in a little room," it would appear to have reference rather to 1589 than a later date: either to a torture- chamber, the use of which had recently been revived, or, more specifically, to the trial, in 1589, of Philip Howard, Earl of Arundel, for treason, after four years' imprisonment in the Tower. The trial, at which Lord Oxford was one of the judges, was held in a small corner of one of the largest rooms in England, Westminster Hall. Although the dimensions of the hall were 100 yards by 20 yards, and 30 yards high, a space of only 10 yards square was allotted for the proceedings. This would naturally have struck the Earl of Oxford as worthy to be recorded in his "brief chronicles of the time."
It is significant that the characters, Jaques, Touchstone, Audrey, William, Martext--none of whom is concerned with the French story--do not appear in Thomas Lodge's Rosalynd, from which the dramatist has been supposed to have taken his play, according to the dreary canon. Lodge, a notorious borrower, and even plagiarist, is much more likely to have written his story, perhaps at someone's direction, from the French allegory of 1582. This is borne out by the fact that the title-page calls Rosalynd "Euphues' Golden Legacie," thus ostensibly implying derivation from Lyly, who was Oxford's secretary throughout the 1580's and who "compiled" Euphues. Jaques has been called Euphues Redivivus, as we have previously said; but of course Euphues is Oxford Redivivus. So it is Oxford's "Golden Legacie.">>
-----------------------------------------------------
Peirs Gaveston Earle of Cornwall
His life, death, and fortune.
by Drayton, Michael (1594)
.................................................
The fixed starr[S] in their repug[N]acie,
Had full c[O]ncluded of the[S]e endles iarrs,
[A]nd nature by so[M]e *STRANGE* Antipathy,
Had in our humors bred continuall warrs.
..........................................
. <= 13 =>
.
. T h e f i x e d s t a r r
. [S] i n t h e i r r e p u g
. [N] a c i e,H a d f u l l c
. [O] n c l u d e d o f t h e
. [S] e e n d l e s i a r r s,
. [A] n d n a t u r e b y s o
. [M] e*S T R A N G E*A n t i
. p a t h y,
[MASONS] -13
...........................................
...........................................
Or like th[E] twifold-twynned Geminy,
In their star-gilded [G]yrdle strongly tyed,
Chayn'd by their saffron[D] tresses in the sky,
Standing to guard the sun-c[O]che in his pride.
Like as the vine, his loue the E[L]me imbracing,
With nimble armes, our bodies in[T]erlacing.
.
[T.LODGE] -38
The Barrons hearing how I was arriVed,
And that my late abiVrement naVght preVailed,
By my retVrne, of all their hope depriVed,
Theyr bedlam rage no longer now concealed:
BVt as hote coles once pVffed with the wind,
Into a flame oVtbreaking by their kind.
Like to a man whose foote doth hap to light,
Into the nest where stinging Hornets ly,
Vext with the spleen, and rising with despight,
About his head these winged spirits fly.
Thus rise they vp with mortall discontent,
*BY DEATH* to end {M}y life and b{A}nis[H]ment.
O{R} lik[E] to sou{L}die[R]s in a T{OW}ne [O]f war,
When Sentinell the enemy discries,
Affrighted with this vnexpected iar,
All with the fearefull Larum-bell arise,
Thus muster they; (as Bees doe in a hyve,
The idle Drone out of their combes to dryve.)
..........................................
. <= 10 =>
.
. *B Y D E A T H* t o e
. n d {M} y l i f e a n
. d b {A} n i s [H] m e n
. t. O {R} l i k [E] t o s
. o u {L} d i e [R] s i n
. a T {O W} n e [O] f w a
. r,
----------------------------------------------
Art Neuendorffer
The Verse Forms of Shakespeare and Oxford
by Terry Ross
<<The following works were written entirely or substantially in "Shakespearean" sonnets and published between 1592 and 1597 (this list is not meant to be complete):
Samuel Daniel's Delia (first authorized edition published in 1592)
T. W.'s The Tears of Fancie (1593) [a version of
Oxford's only sonnet appeared in this volume]
Thomas Lodge's Phillis (1593)
Barnabe Barnes Parthenophil and Parthenophe (1593)
[includes many "Shakespearean" sonnets]
Henry Constable's Diana (1594)
William Percy's Coelia (1594)
the anonymous Zephiria (1594)
Michael Drayton's Idea (first published in 1594)
E.C.'s Emaricdulse (1595)
Richard Lynche's Diella (1596)
William Smith's Chloris (1596)
Bartholomew Griffin's Fidessa (1596)
[includes many "Shakespearean" sonnets]
Robert Tofte's Laura (1597) >>
--------------------------------------------------------
www.blackwellpublishing.com/content/BPL_Images/
Content_store/Sample_chapter/0631226354/001.pdf
<<The first book in which any of Shakespeare's sonnets appeared in
print [was] The Passionate Pilgrim, published by William Jaggard in
either 1598 or 1599. Only fragments of that first edition survive;
the title page is not among them. A second edition followed
in 1599 and a third in 1612, both proclaiming the entire book
to be ?by W. Shakespeare.? Despite that claim, only five of
the twenty verses in the first and second editions can be
attributed to Shakespeare *on the basis of other evidence* :
The Passionate Shepherd to His Love is a poem written by the English
poet Christopher Marlowe in the 1590s. It is considered one of the
earliest examples of the pastoral style of British poetry in the
late Renaissance period. The poem was the subject of a well-known
"reply" by Walter Raleigh, called The Nymph's Reply to the Shepherd.
.......................................................
as well as poems by
PP#8) Richard Barnfield (1598) &
PP#7) Bartholomew Griffin (1596).>>
--------------------------------------
https://en.wikipedia.org/wiki/Bartholomew_Griffin
<<Bartholomew Griffin (fl. 1596) was an English poet. He is known for his Fidessa sequence of sonnets, published in 1596.
In August 1572 the Queen made a progress to Warwick, spending several days at Kenilworth Castle as guest of the Earl of Leicester. At this time a portion of the entertainment for Elizabeth was the reading of some Latin verses composed by a “Mr. Griffin"[1] - this may have been Barthlomew Griffin. Griffin wrote a series of 62 sonnets entitled Fidessa, more chaste than kinde, London, 1596. The dedication to William Essex of Lamborn, Berkshire is followed by an epistle to the gentlemen of the Inns of Court, from which it might be inferred that Griffin himself belonged to an Inn, but no trace of him can be found in the registers. The third sonnet in Fidessa, beginning ‘Venus and yong Adonis sitting by her,’ was reproduced in 1599 in The Passionate Pilgrime.>>
--------------------------------------
The Passionate Shepherd:
Venus, with young Adonis sitting by her
Under a myrtle shade, began to woo him:
She told the youngling how god Mars did try her,
And as he fell to her, so fell she to him.
'Even thus,' quoth she, 'the warlike god embraced me,'
And then she clipp'd Adonis in her arms;
'Even thus,' quoth she, 'the warlike god unlaced me,'
As if the boy should use like loving charms;
'Even thus,' quoth she, 'he seized on my lips,'
And with her lips on his did act the seizure:
And as she fetched breath, away he skips,
And would not take her meaning nor her pleasure.
Ah, that I had my lady at this bay,
To kiss and clip me till I run away!
----------------------------------------------------------------
http://quod.lib.umich.edu/e/eebo/A20834.0001.001/1:3?rgn=div1;view=fulltext
Fidessa, more chaste then kinde.
By B. Griffin, gent (1596)
............................................
. Sonnet 3
.
VEnus, and yong Adonis sitting by her,
Vnder a Myrtle shade began to woe him:
She told the yong-ling how god Mars did trie her,
And as he fell to her, so fell she {T}o him.
Euen thus (quoth she) the wanto{N} god embrac'd me,
(And then she clasp'd {A}do[niS in] her armes)
Euen thus (quoth {S}he) the warlike god vnlac'd me,
As if t{H}e bo[Y] should vse like louing charm{E}s.
But he a wayward boy refusde her offe[R],
And ran away, the beautious Queene neglecting:
Shewing both folly to [A]buse her proffer,
And all his sex of cowardise detecting.
Oh that I had [M]y mistris at that bay,
To kisse and clippe me till I ranne away!
............................................................
. <= 57 =>
.
. a s h e f e l l t o h e r,s o f e l l s h e{T}o h i m.E u
. e n t h u s(q u o t h s h e)t h e w a n t o{N}g o d e m b
. r a c'd m e(A n d t h e n s h e c l a s p'd{A}d o n[i S i]
. n h e r a r m e s)E u e n t h u s(q u o t h{S}h e)t h e w
. a r l i k e g o d v n l a c'd m e,A s i f t{H}e b o[Y]s h
. o u l d v s e l i k e l o u i n g c h a r m{E}s.B u t h e
. a w a y w a r d b o y r e f u s d e h e r o f f e[R]A n d
. r a n a w a y,t h e b e a u t i o u s Q u e e n e n e g l
. e c t i n g:S h e w i n g b o t h f o l l y t o[A]b u s e
. h e r p r o f f e r,A n d a l l h i s s e x o f c o w a r
. d i s e d e t e c t i n g.O h t h a t I h a d[M]y m i s t
. r i s a t t h a t b a y,
.
[MARY Si.] -57 : Prob. in first 3 sonnets ~ 1 in 1400
{T.NASHE} 29 : Prob. in [MARY Si.] sonnet ~ 1 in 315
..............................................................
. Sonnet 6
VNhappie sentence, worst of worst of paines,
To lie in darksome silence out of ken:
Banisht fro[M] all th[A]t blis[S]e the w[O]rld co[N]taine[S],
And thrust from out the companies of men.
Vnhappie sentence, worse then worst of deaths,
Neuer to see Fidessaes louely face:
Oh better were I loose ten thousand breaths,
Then euer liue in such vnseene disgrace.
Vnhappie sentence, worse then paines of hell,
To liue in self-tormenting griefes alone:
Hauing my heart my prison and my cell,
And there consum'd, without reliefe to mone.
If that the sentence so vnhappie be,
Then what am I that gaue the same to me?
[MASONS] 6 : Prob. in first 6 sonnets ~ 1 in 925
............................................
. Sonnet 33
.
HE that would faine Fidessaes image see,
My face of force must be his looking glasse:
There is she portraide and her crueltie,
Which as a wonder through the world must passe.
But were I dead, she would not be betraide:
It's I that gainst my will shall make it knowne,
Her crueltie b[Y] me must be [B]ewraide,
O[R] I must hid[E] my head, an[D] liue alon[E].
Ile plucke my siluer haires from out my head,
And wash away the wrinkles of my face:
Closely immur'd I'le liue as I were dead,
Before she suffer but the least disgrace.
How can I hide that is alreadie knowne?
I haue been seene, and haue no face but one.
[E.DERBY] -9
............................................
. Sonnet 58
.
OH beautie Syren, kept with Cyrces rod:
The fairest good in se[E]me, but fowlest ill:
The sweetest plague ordain'd for man by Go[D],
The pleasing subiect of presumptuous will:
Th' alluring obi[E]ct of vnstaied eyes,
Friended of all, but vnto all a foe:
The dea[R]est thing that any creature buyes,
And vainest too: (it serues [B]ut for a shoe.)
In seeme a heauen, and yet from blisse exiling,
Pa[Y]ing for truest seruice, nought but paine:
Yong mens vndoing: yong and old beguiling,
Mans greatest losse, though thought his greatest gaine.
True, that all this with paine enough I proue:
And yet most true, I will Fidessa loue.
[E.DERBY] 50 : Prob. of 2 in 62 Sonnets ~ 1 in 810
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THE GRIFFIN of Gray's Inn
The arms of the Society are - Sable a Griffin sergeant
or, that is a golden griffin standing on a black field.
It is thought to be borrowed from Richard Aungier, thrice
Treasurer of the Inn, at the turn of the sixteenth
century, and it is a more spectacular heraldic device
than the plain bars of the de Grey arms which were
previously used -
they may be seen above the main entrance
to the Treasury Office in South Square.
A GRIFFIN is the offspring of a lion and eagle with the
body of the former and the head and shoulders of the latter,
but 'also with animal ears. It is sacred to the sun, being
seen, for example, on the Temple of Apollo at Miletus
and was used by the ancients to guard TREASURE.
Gray's Inn Alumnae:
Sir William Cecil (*TREASUREr* / Secret Service);
Sir Francis Walsingham ( Secret Service )
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SHOEMAKER son Kit Marlowe born in 1564
BUTCHER, GLOVER, TANNER son SHAKSPEr born in 1564
NOBLE STONECUTTER son Michelangelo died in 1564
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Michelangelo's _LAST JUDGEMENT_ contains his own face
on St. BARTHOLOMEW's flayed skin AS A SIGNATURE.
<<St. BARTHOLOMEW: patron of VINE-growers, DYERS
BOOKBINDERS, BUTCHERS, GLOVERS, LEATHER-workers,
PLASTERERS, SHOEMAKERS, TAILORS, & TANNERS.>>
<<In art, Saint Bartholomew is portrayed as a bearded,
sometimes middle-aged, sometimes venerable man,
with a book and a BUTCHER's knife used for his flaying.
At times he holds his own flayed skin>>
<<His father was a BUTCHER, and I have been told heretofore by some
of the neighbours that when he was a boy he exercised his father's
trade, but when he kill'd a calfe he would doe it in a high style,
and make a speech.>> -- AUBREY, JOHN, 1669-96, Brief Lives
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St.Bartholomew / Griffin's Egg
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Windsor, Berkshire
http://freespace.virgin.net/david.ford2/windsor.html
<<Windsor (meaning "Winch-furnished-Riverbank")is the largest
inhabited castle in the World. Legend says the Round Table stood atop
the motte of the Round Tower. The town is mentioned a couple of times
in Arthurian literature. William the Conqueror picked the site for a
defencive wooden motte and bailey castle, soon after 1066. A couple of
generations later it replaced Old Windsor as a Royal Palace as well.
It was totally rebuilt in stone during the 12th & 13th century when
the castle became more popular with the English Kings.>>
The Chapel Royal at Windsor Castle was built by King Henry III
and later enlarged by Edward III, in 1363, as a Canonical
Collegiate Chapel. St.George, the country's new patron saint,
was chosen for the dedication. The Royal Chapel had
a Silver-Gilt Cup in which is kept:
Part of the Skull of St.Bartholomew.
a Cup made of a Griffin's Egg, in which is kept:
Part of the Skull of St.Thomas the Apostle.>>
--------------------------------------------------
Peirs Gaveston Earle of Cornwall
His life, death, and fortune.
by Drayton, Michael, 1563-1631.
FRom gloomy shaddowe of eternall night,
Where cole-black darknes keeps his lothsome cel,
And from those Ghostes, whose eyes abhorre the light,
From thence I come a wofull tale to tell:
Prepare the Stage, I meane to acte my parte,
Sighing the scenes from my tormented hart.
From Stygian lake, to gracelesse soules assign'd,
And from the floud of burning Acheron,
Where sinfull spirites are by the fier refinde,
The fearefull Ghost of wofull Gaueston:
With black-fac'd furies from the graues attended,
Vntill the tenor of my tale be ended.
Wing-footed Fame now sommons me from death,
In Fortunes triumph to aduance my glorie,
The blessed Heauens againe doe lend me breath,
Whilst I reporte this dolefull Tragick stori[E]:
That soule an[D] bodie, which d[E]ath once did s[U]nder,
Now meet[E] together to r[E]porte a wonde[R].
.................................................
. <= 12 =>
.
. W h i l s t I r e p o r
. t e t h i s d o l e f u
. l l T r a g i c k s t o
. r i [E]:T h a t s o u l e
. a n [D] b o d i e,w h i c
. h d [E] a t h o n c e d i
. d s [U] n d e r,N o w m e
. e t [E] t o g e t h e r t
. o r [E] p o r t e a w o n
. d e [R].
.
[E. DE UEER] 12 : Prob. at top ~ 1 in 1700
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Chapter 35 : THIS STAR OF ENGLAND
by Dorothy and Charlton Ogburn
<<The "Dead shepherd" passage (IlI.5.80-1), from which the line, "Who ever lov'd that lov'd not at first sight," has been assumed to be a quotation from Marlowe; while Touchstone's remark (IlI.3.13-14) that when a man's verses are not understood "it strikes a man more dead than a great reckoning in a little room," which has been said to refer to Marlowe's murder, definitely points to Philip Sidney. Marlowe, who did not leave Cambridge until 1587, was killed in 1593; and he is far more likely to have taken the love-at-first-sight line from the older poet than vice versa. However, Philip Sidney had died in Flanders in 1586, and he had written a sonnet to Penelope Devereux, wife of the "rich Lord Rich," in Astrophel and Stella, as follows:
Not at first sight, nor with a dribbled shot
Love gave the wound, which while I breathe will bleed;
But known worth did in time of mine proceed,
Till by degrees it had full conquest got;
I saw and liked, I liked but loved not.
I loved, but straight did not what love decreed.
At length to love's decree I, forced, agreed,
Yet with repining at so partial lot.
Sidney had addressed sonnets to Penelope as "Stella" simply, as many people believed, to give point to his poetical outpourings; and now it would seem that his friend Oxford had concluded he had not really loved her, since he had not loved her "at first sight." He puns on "saw" when he has Phebe say:
Dead shePherd, now I find thy saw of might:
Who ever lov'd that lov'd not at first sight?
As for "a great reckoning in a little room," it would appear to have reference rather to 1589 than a later date: either to a torture- chamber, the use of which had recently been revived, or, more specifically, to the trial, in 1589, of Philip Howard, Earl of Arundel, for treason, after four years' imprisonment in the Tower. The trial, at which Lord Oxford was one of the judges, was held in a small corner of one of the largest rooms in England, Westminster Hall. Although the dimensions of the hall were 100 yards by 20 yards, and 30 yards high, a space of only 10 yards square was allotted for the proceedings. This would naturally have struck the Earl of Oxford as worthy to be recorded in his "brief chronicles of the time."
It is significant that the characters, Jaques, Touchstone, Audrey, William, Martext--none of whom is concerned with the French story--do not appear in Thomas Lodge's Rosalynd, from which the dramatist has been supposed to have taken his play, according to the dreary canon. Lodge, a notorious borrower, and even plagiarist, is much more likely to have written his story, perhaps at someone's direction, from the French allegory of 1582. This is borne out by the fact that the title-page calls Rosalynd "Euphues' Golden Legacie," thus ostensibly implying derivation from Lyly, who was Oxford's secretary throughout the 1580's and who "compiled" Euphues. Jaques has been called Euphues Redivivus, as we have previously said; but of course Euphues is Oxford Redivivus. So it is Oxford's "Golden Legacie.">>
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Peirs Gaveston Earle of Cornwall
His life, death, and fortune.
by Drayton, Michael (1594)
.................................................
The fixed starr[S] in their repug[N]acie,
Had full c[O]ncluded of the[S]e endles iarrs,
[A]nd nature by so[M]e *STRANGE* Antipathy,
Had in our humors bred continuall warrs.
..........................................
. <= 13 =>
.
. T h e f i x e d s t a r r
. [S] i n t h e i r r e p u g
. [N] a c i e,H a d f u l l c
. [O] n c l u d e d o f t h e
. [S] e e n d l e s i a r r s,
. [A] n d n a t u r e b y s o
. [M] e*S T R A N G E*A n t i
. p a t h y,
[MASONS] -13
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...........................................
Or like th[E] twifold-twynned Geminy,
In their star-gilded [G]yrdle strongly tyed,
Chayn'd by their saffron[D] tresses in the sky,
Standing to guard the sun-c[O]che in his pride.
Like as the vine, his loue the E[L]me imbracing,
With nimble armes, our bodies in[T]erlacing.
.
[T.LODGE] -38
The Barrons hearing how I was arriVed,
And that my late abiVrement naVght preVailed,
By my retVrne, of all their hope depriVed,
Theyr bedlam rage no longer now concealed:
BVt as hote coles once pVffed with the wind,
Into a flame oVtbreaking by their kind.
Like to a man whose foote doth hap to light,
Into the nest where stinging Hornets ly,
Vext with the spleen, and rising with despight,
About his head these winged spirits fly.
Thus rise they vp with mortall discontent,
*BY DEATH* to end {M}y life and b{A}nis[H]ment.
O{R} lik[E] to sou{L}die[R]s in a T{OW}ne [O]f war,
When Sentinell the enemy discries,
Affrighted with this vnexpected iar,
All with the fearefull Larum-bell arise,
Thus muster they; (as Bees doe in a hyve,
The idle Drone out of their combes to dryve.)
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. <= 10 =>
.
. *B Y D E A T H* t o e
. n d {M} y l i f e a n
. d b {A} n i s [H] m e n
. t. O {R} l i k [E] t o s
. o u {L} d i e [R] s i n
. a T {O W} n e [O] f w a
. r,
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Art Neuendorffer