Arthur Neuendorffer
2017-04-02 22:38:36 UTC
----------------------------------------------------------
WHATE-VER (pron.) mid-14c., "what in the world," emphatic of what,
. with ever. From late 14c. as "anything at all; all of; no matter
. what or who." From late 14c. as an adjective, "any sort of,
. any, every; no matter what, regardless of what."
----------------------------------------------------------
. Wm Shaxpere & Anna *WHATEley* of Temple Grafton
....................................................
<<There is an old English word *WHATE* ,
. meaning fortune, *FATE* , or destiny,
I think that in a desperate moment of inspiration,
confused before the clerk, Shakespeare reached into
his heart and came out with the name of that Anne
who would have been his choice, his *FATE*, his destiny.>>
...................................................
. - _The Late Mr. Shakespeare_ by Robert Nye
----------------------------------------------------
(1603) Francis Davison’s
Anagrammata in Nomina Illustrissimorum Heroum
.............................................
http://www.philological.bham.ac.uk/anagrams/text.html
.
____ *EDOUDARUS V(e)IERUS*
_____ per anagramma
____ *AURE SURDUS VIDEO*
.
{A} uribus hisce licet studio, Fortuna, susurros
{PE} rfidiae et technas efficis esse procul,
. Attamen accipio (quae mens horrescit et auris)
. Rebus facta malis corpora surda tenus.
. Imo etiam cerno Catilinae¶ fraude propinquos
. Funere solventes [FATA] aliena suo.
.............................................
_______ *EDWARD VERE*
______ by an anagram
____ *DEAF IN MY EAR, I SEE*
Though by your zeal, FORTUNE, you keep perfidy's
murmurs & schemings at a distance, nonetheless I learn
(at which my mind & ear *QUAKE*) that our bodies have
been deafened with respect to evil affairs. Indeed,
I perceive men who come close to Catiline* in deception,
freeing other men's [FATES] by their death.
------------------------------------------------------
. [ON POET-{APE}] EPIGRAMS by Ben Jonson
.
Poor POET-{APE}, that would be thought our chief,
. Whose works are e'en the frippery of wit,
[F]rom brokage is become so bold a thief,
. As we, the robb'd, leave rage, and pity it.
[A]t first he made low shifts, would pick and glean,
. Buy the rEVERsion of old plays ; now grown
[T]o a little wealth, and credit in the scene,
. He takes up all, makes each man's wit his own :
[A]nd, told of this, he slights it. Tut, such crimes
. The sluggish gaping auditor devours ;
. He marks not whose 'twas first : and after-times
. May judge it to be his, as well as ours.
. Fool ! as if half eyes will not know a fleece
. From locks of wool, or shreds from the whole piece ?
----------------------------------------------------
. Sonnet 87
.
[F]or how do I hold thee but by thy granting,
[A]nd for that ritches where is my deseruing?
[T]he cause of this *FAIRE* guift in me is wanting,
[A]nd so my pattent back againe is sweruing.
-----------------------------------------------------------
____ SONNET 60
.
. LIke as the waues make towards the pibled shore,
. So do our minuites hasten to [T]heir end,
. Each [C]hanging plac[E] with that whi[C]h goes before,
. [I]n sequent toi[L]e all forwards do contend.
................................................
___ <= 12 =>
. S o d o o u r m i n u (I)
. t e s h a s t e n t o [T]
. h e i r e n d,E a c h [C]
. h a n g i n g p l a c [E]
. w i t h t h a t w h i [C]
. h g o e s b e f o r e,[I]
. n s e q u e n t t o i [L]
. e a l l f o r w a r d s
. d o c o n t e n d.
[T.CECIL] 12 prob. in Sonnets ~ 1 in 67
................................................
. Natiuity once in the maine of light.
. Crawles to maturity, wherewith being crown'd,
. *CROOKED ECLIPSES* gainst his glory fight,
. [A]nd time that gaue, doth now his gift confound.
. [T]ime doth transfixe the florish set on youth,
. [A]nd delues the paralels in beauties brow,
.([F]EEDE)s on the rarities of natures *TRUTH* ,
. And nothing stands but for his sieth to mow.
. And yet to times in hope, my verse shall stand
. Praising thy *WORTH*, dispight his cruell hand.
.
[T]homas [CECIL]: only Garter vote for Oxford.
Robert CECIL: *CROOKED ECLIPSES* ?
-----------------------------------------------------
http://tinyurl.com/jq8h944
. This Shadow is renowned Shakespear's? Soule of th' age
. The applause? Delight? The wonder of the Stage.
. Nature her selfe, was proud of his designs
. [A]nd joy'd to weare the dressing of his lines,
. [T]he learned will confess his works as such
. [A]s neither man, nor Muse can praise to much
. [F]or ever live thy fame, the world to tell,
. Thy like, no age, shall ever paralell
-------------------------------------------------------------
. http://home.freeuk.net/sidsoft/pensinfo.html
.
The Sidney Family arms shows a *PORCUPINE* & a lion
. on either side of the Sidney PHEON.
.
"Whither the *FATES* call" is the meaning of Sidney's motto:
____ *QUO FATA VOCANT*
"Whither the *FATES* carry" is the meaning of Bermuda's motto:
____ *QUO FATA FERUNT*
----------------------------------------------------------------
https://en.wikipedia.org/wiki/Coat_of_arms_of_Bermuda
<<The coat of arms of Bermuda depicts a red lion holding a shield that
has a depiction of a wrecked ship upon it. The red lion is a symbol of
Great Britain and alludes to Bermuda’s relationship with that country.
The wrecked ship is that of a French ship under the command of Captain
M. de la Barbotiere, not the Sea {VENTURE}, the flagship of the Virginia
Company. On 30 November 1593, Captain de la Barbotiere sailed from
Laguna, Hispaniola, and on 17 December of that same year, at midnight,
the ship struck the north-west reefs off of Bermuda and were so badly
damaged that out of 55 men, only *26* reached the shore alive. Henry
May and Captain de la Barbotiere were among the survivors. It is the
wreck of this French ship on the Bermuda coat of arms.
It is widely believed that the wrecked ship on the Coat of Arms is
that of the Sea {VENTURE}, the flagship of the Virginia Company,
but it is not. This ship was deliberately driven on to the reefs of
Bermuda, by Admiral Sir [G]eorge [SOMERS], in 1609, to prevent it
from foundering in a storm. All aboard survived, resulting in the
settlement of the island. The Latin motto under the coat of arms,
*QUO FATA FERUNT*, means “Whither the Fates Carry [Us]”.
In the 20th century, the coat of arms—without the banner holding the
motto—was added to the Red ensign to create the distinguishing colonial
flag (the national flag is the Union Jack, which appears in its upper,
left corner), and on the Governor's Flag. The coat of arms features on
the cover of the 1624 edition of The Generall Historie of Virginia,
New-England, and the Summer Isles (the Somers Isles is another name
for Bermuda, commemorating Admiral [G.SOMERS]), by Captain John Smith.>>
----------------------------------------------------------------
http://docsouth.unc.edu/southlit/smith/smith.html
But the first English-man that was euer in them,
was one Henry May, a worthy Mariner that went with
Captaine Lancaster to the East-Indies 1591. and in their
returne by the West-Indies, being in some distresse,
sent this Henry May for England by one Mounsier de la
Barbotier, to acquaint the Merchants with their estate.
The last of Nouember, saith May, we departed from
aguna in Hispaniola, and the seuenteenth of December
following, we were cast away vpon the North-west of
the Bermudas; the Pilots about noone made themselues
Southwards of the Iles twelue leagues, and demanded of
the Captaine their Wine of hight as out of all danger,
which they had: but it seemes they were either drunke,
or carelesse of their charge; for through their
negligences a number of good men were cast away. I being
but a stranger amongst fiftie and odde French-men, it
pleased God to appoint me to be one of them should be
saued. In this extremity we made a raft, which we towed
with our Boat, there were but six and twentie of vs
saued; and I seeing scarce roome for the one halfe,
durst not passe in amongst them till the Captaine called
me along with him, leauing the better halfe to the seas
mercy: that day we rowed till within two houres of night
ere we could land, being neere dead with thirst, euery
man tooke his way to seeke fresh water, at length, by
searching amongst many weeds, we found some raine water,
but in the maine are many faire Baies, where we had
enough for digging.
.........................................................
Sometimes are also seene Falcons & Iar-
falcons, Ospraies, a Bird like a Hobby, but because they
come seldome, they are held but as passengers; but aboue
all the[S]e, most deseruing obseruation and respect are
those two so[R]ts of Birds, the one for the tune of his
voice, the other for th[E] effect, called the Cahow, and
Egge bird, which on the first of [M]ay, a day constantly
obserued, fall a laying infinite store [O]f Eggs neere as
big as Hens, vpon certaine small sandie baie[S] especially
in Coupers Ile; and although men sit downe amon[G]st them
when hundreds haue bin gathered in a morning, yet there
is hath stayed amongst them till they haue gathered as
many more: they continue this course till Midsummer, and
so tame & feareles, you must thrust them off from their
Eggs with your hand; then they grow so faint with laying,
they suffer them to breed & take infinite numbers of
their young to eat, which are very excellent meat.
....................................................
. <= 49 =>
.
. SometimesarealsoseeneFalcons I arfalconsOspraiesaBi
. rdlikeaHobbybutbecausetheyco m eseldometheyareheldb
. utaspassengersbutaboueallthe [S] emostdeseruingobseru
. ationandrespectarethosetwoso [R] tsofBirdstheoneforth
. etuneofhisvoicetheotherforth [E] effectcalledtheCahow
. andEggebirdwhichonthefirstof [M] ayadayconstantlyobse
. ruedfallalayinginfinitestore [O] fEggsneereasbigasHen
. svponcertainesmallsandiebaie [S] especiallyinCoupersI
. leandalthoughmensitdowneamon [G] stthemwhenhundredsha
. uebingatheredinamorningyetth e reishathstayedamongs
. tthemtilltheyhauegatheredasm a nymoretheycontinueth
. iscoursetillMidsummer
[G.SOMERS] -49 : Prob. ~ 1 in 45
-------------------------------------------------------------
http://docsouth.unc.edu/southlit/smith/smith.html
Betwixt Sagadahock, & Sawocatuck, there is but two or three
Sandy Bayes, but betwixt that and Cape Iames very many: especially
the Coast of the Massachusets is so indifferently mixed with high
Clay or Sandy clifts in one place, and the tracts of large long
ledges of diuers sorts, and Quaries of stones in other places, so
strangely diuided with tinctured veines of diuers colours: as Free-
stone for building, Slate for tyling, smooth stone to make Furnasses
and Forges for Glasse and Iron, and Iron Ore sufficient conueniently
to melt in them; but the most part so resembleth the Coast of
Deuonshire, I thinke most of the clifts would make such Lime-stone:
if they bee not of these qualities, they are so like they may
deceiue a better iudgement then mine: all which are so neere
adioyning to those other aduantages I obserued in these parts, that
if the Ore proue as good Iron and Steele in those parts as I know it
is within the bounds of the Countrey, I dare ingage my head (hauing
but men skilfull to worke the Simples there growing) to haue all
things belonging to the building and rigging of ships of any
proportion and good Merchandise for their fraught, within
a square of t{E}n o{R} fo{U}re{T}ee{N}e l{E}ag{U}es, and
it were no hard matter to proue it within a lesse limitation.
.
{UENTURE} -3
............................................................
............................................................
if I had gone a begging to build an Vniuersitie: where had
men beene as forward to ad{VENTURE} their purses, and performe
the conditions they promised mee, as to crop the fruits of my
labours, thousands ere this had beene bettered by these designes.
Thus betwixt the spur of desire and the bridle of reason, I am
neere ridden to death in a ring of despaire; the reines are in
your hands, therefore I intreat you ease me, and those that thinke
I am either idle or vnfortunate, may see the cause and know:
vnlesse I did see better dealing, I haue had warning enough not
to be so forward againe at euery motion vpon their promises,
{U}nless{E} I inte{N}ded no{T}hing b{U}t to ca{R}ie new{E}s;
for now they dare ad{VENTURE} a ship, that when
I went first would not ad{VENTURE} a groat, so they may be
at home againe by Michaelmas, which makes me remember and
say with Master Hackluit; Oh incredulitie the wit of fooles,
that slouingly doe spit at all things faire, a sluggards
Cradle, a Cowards Castle, how easie it is to be an Infidell.
{UENTURE} 6 : Prob. of 2 {UENTURE}s ~ 1 in 300
ad{VENTURE} : 3 of 110 in book
------------------------------------------------------------
https://en.wikipedia.org/wiki/On_the_Beach_(1959_film)
<<In early 1964, in the months following World War III, the conflict
has devastated the Northern Hemisphere, polluting the atmosphere with
nuclear fallout, killing all life there. From Australia, survivors
detect an incomprehensible Morse code signal coming from the West
Coast of the United States. The last American nuclear submarine, USS
Sawfish, under Royal Australian Navy command, is ordered to sail north
to make contact with the sender of the Morse signal. The submarine is
commanded by Captain Dwight *TOWERS* (Gregory Peck), who must leave
his new friend, the alcoholic *MOIRA* Davidson (Ava Gardner).>>
------------------------------------------------------------
https://en.wikipedia.org/wiki/Moirai
<<The *MOIRAI* (Greek: Μοῖραι, "apportioners"), often known in
English as the *FATES* (Latin: FATAe), were the white-robed
incarnations of destiny; their Roman equivalent was the Parcae
(euphemistically the "sparing ones"). Their number became fixed
at 3: Clotho (spinner), Lachesis (allotter) & Atropos (unturnable).
They controlled the mother thread of life of every mortal from birth
to death. They were independent, at the helm of necessity, directed
*FATE*, and watched that the *FATE* assigned to every being by
eternal laws might take its course without obstruction. The gods and
men had to submit to them, although Zeus's relationship with them
is a matter of debate: some sources say he is the only one who can
command them, yet others suggest he was also bound to the *MOIRAI's*
dictates. In the Homeric poems *MOIRA* or Aisa, is related with the
limit and end of life, and Zeus appears as the guider of destiny.
In the Theogony of Hesiod, the three *MOIRAI* are personified,
daughters of Nyx and are acting over the gods. Later they are
daughters of Zeus & Themis, who was the embodiment of divine order
& law. In Plato's Republic the 3 *FATES* are daughters of *ANANKE*
(necessity).
It seems that *MOIRA* is related with Tekmor (proof, ordinance)
and with *ANANKE* (destiny, necessity), who were primeval goddesses
in mythical cosmogonies. The ancient Greek writers might call this
power *MOIRA* or *ANANKE*, and even the gods could not alter what
was ordained. The concept of a universal principle of natural
order has been compared the Egyptian Maat.
In earliest Greek philosophy, the cosmogony of Anaximander is
based on these mythical beliefs. The goddess Dike (justice, divine
retribution), keeps the order and sets a limit to any actions.>>
-----------------------------------------------------------------
<<*ANAKIN* Skywalker is the son of Shmi Skywalker and no father, due
to being conceived through the force. Anakin is discovered on Tatooine
by Jedi Master Qui-Gon Jinn who is sure that the boy is the "Chosen One"
of Jedi Prophecy, who will bring balance to the Force. After the death
of Qui-Gon, he becomes the *PADAWAN* of Obi-Wan Kenobi.>>
-------------------------------------------------------------------
. *ANAGKH* : *DOOM* : *FATE*
.......................................................
. PREFACE. _The Hunchback of Notre Dame_ by Victor Hugo
.
A few years ago, while visiting or, rather, rummaging
about Notre-Dame, the author of this book found, in an
obscure nook of one of the *TOWERS*, the following word,
engraved by hand upon the wall:--
.
. ~ *ANAGKH* ~
.
These Greek capitals, black with age, and quite deeply
graven in the stone, with I know not what signs peculiar
to Gothic caligraphy imprinted upon their forms and upon
their attitudes, as though with the purpose of revealing
that it had been a hand of the Middle Ages which had
inscribed them there, and especially the fatal & melancholy
meaning contained in them, struck the author DEEPly.
.
He questioned himself; he sought to divine who could have
been that soul in torment which had not been willing to
quit this world without leaving this stigma of crime
or unhappiness upon the brow of the ancient church.
.
Afterwards, the wall was WHITEWASHed or scraped down, I know
not which, and the inscription disappeared. For it is thus
that people have been in the habit of proceeding with the
marvellous churches of the Middle Ages for the last two
hundred years. Mutilations come to them from every
quarter, from within as well as from without. The priest
*WHITEWASHes* them, the archdeacon scrapes them down;
then the populace arrives and demolishes them.
.
It is upon this word that this book is founded.
.
. -- Victor Hugo March, 1831
---------------------------------------------------------------
<<And so down to the heart of [Stratford] the nexus of buildings
. dominated by the grey-stone tower of the Gild-Chapel built
. by Hugh Clopton. When Leland was here,
.
. 'about the body of this chapel was
. curiously painted the Dance of Death.'
.
The interior was sadly ravaged by the Reformation -
paintings *WHITE-WASHed* . We have with much
effort recovered something of the painted *DOOM* .>>
.
_William Shakespeare, a biography_ by A.L. Rowse. p. 18
-------------------------------------------------------
<<On the titlepage of the first edition
. of Venus & Adonis is the Ovidian phrase
.
. *Vilia miretur vulgus* ... "
.
or, "allow the public to admire that which is sordid.">>
. - Rowse, A.L. ed., The Annotated Shakespeare, 1984.
....................................................
. . P. Ovidius Naso, Amores
http://www.thelatinlibrary.com/ovid/ovid.amor1.shtml
.
XV *Vilia miretur vulgus* ; mihi flavus Apollo+
. Pocula Castalia plena ministret aqua,
. Sustineamque coma metuentem frigora myrtum,
. Atque a sollicito multus amante legar!
. Pascitur in vivis Livor; post *FATA* quiescit+,
. Cum suus ex merito quemque tuetur honos.
. Ergo etiam cum me supremus adederit ignis++,
. Vivam, parsque mei multa superstes erit.
.
. . Marlowe translation:
.
. Let base conceited wits admire vilde things,
. *FAIRE* Phoebus leade me to the Muses springs.
. About my head be QUIVERING Mirtle wound,
. And in sad lovers heads let me be found.
. The living, not the dead can ENVIE bite,
. For after death all men receive their right:
. Then though death rackes my bones in funerall fler,
. lie live, and as he puls me downe, mount higher
-------------------------------------------------------------
. Notre Dame de *PARIS* Chapter II. This Will Kill That.
.
It is printing. Let the reader make no mistake; architecture is dead;
irretrievably slain by the printed book,--slain because it endures
for a shorter time,--slain because it costs more. Every cathedral
represents millions. Let the reader now imagine what an investment
of funds it would require to rewrite the architectural book; to
cause thousands of edifices to swarm once more upon the soil;
to return to those epochs when the throng of monuments
was such, according to the statement of an eye witness,
"that one would have said that the world in *SHAKING*
itself, had cast off its old garments in order to
coVER itself with a white vesture of churches."
.
_ *ERAT ENIM UT si mundus, IPSE excutiendo semet*
rejecta vetustate, candida ecclesiarum vestem indueret.
.
. Chapter IV. *ANAGKH*.
.
Oh! *CONSUL CICERO* ! this is no calamity from which one extricates
one's self with periphrases, *QUEMADMODUM*, and *VERUM ENIM VERO* !"
---------------------------------------------------------------
_______ *ENIM* : *TRULY* (Latin)
................................................
. "dicitur *ENIM* PALLAS quasi Vibratrix dea.
. & quidem hastae vibratrix, utpote bellicosa"
.
- Gabriel Harvey's 168-line poem an Apostrophe ad eundem
. (Apostrophe to the same man, i.e. De Vere),
. printed in Gratulationis Valdinensis Liber Quartus
(The *FOURTH* Book of Walden Rejoicing), London, 1578, September.
http://www.sourcetext.com/sourcebook/essays/harvey.html
-------------------------------------------------------
http://shakespeareauthorship.com/eulogies.html
The Second Folio of Shakespeare's works (1632), in addition to the
eulogies from the First Folio, contains three additional ones. The
first of these, "An Epitaph on the admirable Dramaticke Poet, W.
Shakespeare," was unsigned in the Folio, but later appeared in John
Milton's 1645 Poems with the date 1630. The second eulogy, also
unsigned, is entitled "Upon the Effigies of my *WORTHy* Friend,
the Author Maister William Shakespeare, and his Workes." The 3rd,
signed only with the initials "I.M.S.," is a well-written 77-line
poem called "On *WORTHy* Master Shakespeare and his Poems."
.....................................
http://blog.iloveshakespeare.com/?page_id=49
On *WORTHy* Master Shakespeare and his Poems.
A mind reflecting ages past,whose cleere
And equall surface can make things appeare
Distant a Thousand yeares,and represent
Them in their lively colours,just extent.
To out-run hasty Time, retrive {THE FATES},
Rowle backe the heavens,blow ope the i[R]on gates
Of death and Leth[E]. where (confused) ly[E]
Great heapes of ruino[U]s mortalitie.
In that d[E]epe duskie dungeon to [D]iscerne
A royal Ghost[E] from Churles; By art to learne
The Physiognomie of shades, and give
Them suddaine birth, wondring how oft they live;
What story coldly tells, what {POETS} faine
At second hand, and picture without braine,
Senselesse and soullesse showes.
..............................................
__________ <= 19 =>
.
. T o o u t -r u n h a s t y T i m e,r e
. t r i v e {T H E F A T E S} R o w l e b
. a c k e t h E h e a v e n s b l o w o
. p e t h e i [R] o n g a t e s O f d e a
. t h a n d L [E] t h e w h e r e c o n f
. u s e d l y [E] G r e a t h e a p e s o
. f r u i n o [U] s m o r t a l i t i e I
. n t h a t d [E] e p e d u s k i e d u n
. g e o n t o [D] i s c e r n e A r o y a
. l G h o s t [E] f r o m C h u r l e s B
. y a r t t t o l e a r n e
..................................
[E.DE UEER] -19
-----------------------------------------------------
. . . Sonnet 70
. That thou are b{L}am'd sh{A}ll not {B}e thy d{E}fect,
[F|O}r slanders m{A}rke was EUER yet the *FAIRE* ,
. The [ORNAMENT] of {B}eauty is (SUS)pect,
[A] Crow that fli[E]s in hea[V|E}ns swe[E]{TEST} ay[R]e.
. {SO} tho[U] be good,[S]lander d{O}th but approue,
[T]heir *WORTH* the greater beeing woo'd of TIME,
. {F}or Canker vice the sweetest buds doth loue,
[A]nd thou present'st a pure vnstayined prime.
. {T}hou hast past by the ambush of young daies,
{E}ither not assayld, or victor beeing charg'd,
. Yet this thy *PRAISE* cannot be soe thy *PRAISE* ,
To tye vp *ENUY*, EUERmore inlarged,
. If some (SUS)pect of ill *MASKT not thy show*,
. Then thou alone kingdomes of hearts shouldst owe.
....................................................
. <= 7 =>
.
. A C r o w
. t h a t f l i
. [E] s i n h e a
. [V] e n s s w e
. [E]{T E S T}a y
. [R] e{S O}t h o
. [U] b e g o o d,
. [S] l a n d e r
.................................................
. [E.VERUS] 7 : Prob. in any Sonnet ~ 1 in 55
.................................................
__ <= 35 =>
.
. thouareb {L} amdsh{A}llnot{B}et h yd{E}fect[F|O}rs
. landersm {A} rkewa s EUERy e tt h eF A IRET h e OR
. NAMENTof {B} eauty i sSUSp e ct[A]Cr o wtha t f li
. esinheau {E} nsswe e testa y re.S ot h oube g o od
. slanderd {O} thbut a pprou e
.
{LABEO} 6,35 : Prob. 2{LABEO}s start any Sonnet ~ 1 in 740
.........................................................
. *John Marston* Satire note:
.
. So {LABEO} did complain his love was *STONE*,
. Obdurate, flinty, so relentless none:
. Yet Lynceus knows that in the end of this
. He wrought as *STRANGE* a metamorphosis.
--------------------------------------------------------
http://www.poetrynook.com/poem/satire-9-0
. *John Marston* Satire nine:
.
Grim-fac'd Reproofe , sparkle with threatning eye
Bend thy sower browes in my tart po[E]sie.
A[V]ant y[E]e cur[R]es, ho[U|L)e in [S|o)me cl(O)udie mist,
*QUAKE* to behold a sharp-fang'd Satyrist.
...........................................
. <= 5 =>
.
. m y t a r
. t p o [E] s
. i e. A [V] a
. n t y [E] e
. c u r [R] e
. s, h o [U](L)
. e i n [S](o)
. m e c l (O)
. u d i e m
. i s t, Q u
. a k e t o
. b e h o l
. d a s h a
. r p- f a n
. g' d S a t
. y r i s t.
[E.VERUS] 5: Prob. at start or end ~ 1 in 42,000
(Lo.O) 5
...............................................
...............................................
Ill-tutor'd pe[D]ant, Mortimers numb[E]rs
With muck-pit esc[U]line filth bescumb[E]rs.
Now th'{APE} chatte[R]s, and is as malecont[E]nt
As a bill-patch'd doore, whose entrailes out haue sent
And spewd theyr tenant.
...........................................
. <= 17 =>
.
. I l l-t u t o r'd p[E|D] a n t,M o
. r t i m e r s n u m b[E] r s W i t
. h m u c k-p i t e s c[U] l i n e f
. i l t h b e s c u m b[E] r s.N o w
. t h'A p e c h a t t e[R] s,a n d i
. s a s m a l e c o n t[E] n t
[E/DEUERE] 17: Prob. at start ~ 1 in 1,675
...........................................
My soule adores iudiciall schollership,
But when to seruile imitatorship
Some spruce Athenian pen is prentized,
Tis WORSE then Apish. Fie, bee not flattered
With seeming *WORTH*, fond affectation
Befits an {APE}, and mumping Babilon.
. O what a tricksie lerned (NICKI)ng straine
. Is this applauded, sencles, modern vain!
. When late I heard it from sage Mutius lips
. How il me thought such wanton Iigging skips
. Beseem'd his *GRAVER* speech. Farre flie thy *FAME*
. Most, most, of me belou'd,
...............................................
. {whose silent name One letter bounds.}
...............................................
. Thy TRUE iudiciall stile
. I EVER honour, and if my loue beguile
. Not much my hopes, then thy unvalued *WORTH*
. Shall mount faire place, when {APES} are turned *FORTH*.
--------------------------------------------------------
. Edward [DE UERE] (born April 12 1550)
. Shepheardes Calender Aprill (G-LOSS-E)
.
Yfere) together. By the mingling of the redde rose and the white is meant the uniting of the two principall houses of Lancaster and of Yorke: by whose longe discord and deadly debate this realm many yeares was sore traveiled, and almost cleane decayed. Til the famous Henry the Seventh, of the line of Lancaster, taking to wife the most vertuous Princesse Elisabeth, daughter to THE FOURTH [E|D]WARD of the house of Yorke, begat the most royal {H|E]NRY} the Eyght aforesayde, in whom was the first{E} [U]nion of the whyte rose and the redde.
Calliope) o{N|E] of the nine Muses; to whome they assigne the hon(o|R] of all poetical invention, and the firste glor{Y|E] of the heroicall verse.
..................................................
. <= 40 =>
.
.*THEFOURTH [E|D]WARD* ofthehouseofYorkebegatthe
. mostroyal {H|E]NRY}t heEyghtaforesaydeinwhomwa
. sthefirst {E|U]nio n ofthewhyteroseandtheredde
. Calliopeo {N|E]oft h enineMusestowhometheyassi
. gnethehon (o|R]ofa l lpoeticalinventionandthef
. irsteglor {Y|E]oft h eheroicallverse
.
[E/DE UERE] 40
{HEN(o)Y} 40
...................................................
Other say that shee is the goddesse of rhetorick:
but by Virgile it is manifeste, that they mystake the thyng. For there, in hys Epigrams, that arte semeth to be attributed to Polymnia, saying, ‘Signat cuncta manu loquiturque Polymnia gestu:’ which seemeth specially to be meant of action and elocution, both special partes of rhetorick: besyde that her name, which (as some construe it) importeth great remembraunce, conteineth another part; but I holde rather with them, which call her Polymnia, or Polyhymnia, of her good singing.
Bay branches) be the signe of honor and victory, and therfore of myghty conquerors worn in theyr triumphes, and eke of famous poets, as saith Petrarch in hys Sonets, ‘Arbor vittoriosa triomphale, Honor d’imperadori e di poeti,’ &c.
The Graces) be three sisters, the daughters of Jupiter, (whose names are Aglaia, Thalia, Euphrosyne; and Homer onely addeth a fourth, sc. Pasithea) otherwise called Charites, that is, thanks: whom the poetes feyned to be the goddesses of al bountie and comelines, which therefore (as sayth Theodontius) they make three, to wete, that men first ought to be gracious and bountiful to other freely, then to receive benefits at other mens hands curteously, and thirdly, to requite them thankfully: which are three sundry actions in liberalitye. And Boccace saith, that they be paint[E|D] naked (as they were inde[E]de on the tombe of C. Juli[U]s CÆsar) the one having h[E]r backe toward us, and he[R] face fromwarde, as proc[E]eding from us: the other two toward us, noting double thanke to be due to us for the benefit we have done.
..................................................
. <= 20 =>
.
. t h a t t h e y b e p a i n t [E|D] n a k
. e d(a s t h e y w e r e i n d e[E] d e o
. n t h e t o m b e o f C.J u l i[U] s C Æ
. s a r)t h e o n e h a v i n g h[E] r b a
. c k e t o w a r d u s,a n d h e[R] f a c
. e f r o m w a r d e,a s p r o c[E] e d i
. n g f r o m u s
[E/DE UERE] 20 : Prob. of both in this GLOSSE ~ 1 in 16,500
-----------------------------------------------------------
http://www.adamghooks.net/2011/04/sidneys-porcupine.html
Sidney's porcupine by Adam G. Hooks : http://tinyurl.com/zescbqg
<<The emblem in the compartment at the bottom of [The Countesse of Pembrokes Arcadia_ the title-page once caused some confusion --
Corbett provides a lengthy explanation for the emblem, which shows a boar backing away from a marjoram bush, with the motto "{SPIRO} NON TIBI" ("I breathe out [sweet scents] but not for thee"). The general meaning is a condemnation of ignorance, that something wholesome or profitable (i.e., the marjoram bush) is perceived as poisonous by those with poor judgment (i.e., the boar). The emblem was relatively common; Erasmus, in his Adagia, included several proverbs, including this one, on a similar theme: dogs flee from baths, jackdaws from lutes, pigs from both trumpets and marjoram, and asses from lyres.
.
. McKerrow & Ferguson cite the preface
. to {T}homas {NASHE}'s Lenten Stuffe:
. http://tinyurl.com/je8x23l
.
. Most courteous unlearned lo[VER O]f Poetry, and yet a
. Po[E]t thy selfe, of no lesse p[R]ice then H.S. that in
. hono[U]r {O}f Maid-marrian gives [S]w{E}ete Margera for
. his Emp{R}esse, and puttes the Sow{E} most sawcily uppon
. som{E} great personage, what e{V}er she bee, bidding her
. (as it runnes in the old song) Go from my Garden go,
. for there no flowers for thee dooth grow.>>
...................................................
. <= 20 =>
.
. M o s t c o u r t e o u s u n l e a r n
. e d l o [V E R O]f P o e t r y,a n d y e
. t a P o [E]t t h y s e l f e,o f n o l e
. s s e p [R]i c e t h e n H.S.t h a t i n
. h o n o [U]r{O}f M a i d-m a r r i a n g
. i v e s [S]w{E}e t e M a r g e r a f o r
. h i s E m p{R}e s s e,a n d p u t t e s
. t h e S o w{E}m o s t s a w c i l y u p
. p o n s o m{E}g r e a t p e r s o n a g
. e,w h a t E{V}E R s h e b e e,
.
[VERUS] 20 : Prob. ~ 1 in 750
{VEER, E.O.}
--------------------------------------------
_ Sonnet 76 : 4 X 19 (Metonic Cycle)
.
Why write I still all one,
...........................................
. <= 19 =>
.
. E V E R {T} h e s a m e[A]n d k(E|E)p e
. i n u(E){N}(T)i o n i n a*N O T(E)D W(E)
. E D*T h {A}(T)E V E R y w o r(D|D]o t h
. a l m o {S}(T)F E L m[Y]n a m<E>S h e w
. i n g t {H}[E]i r b i r t h a n d w h e
. [R]e t h {E} y(D)i d p r o c e[E]d
.
{T.NASHE} 19 Prob. skip < 20 ~ 1 in 450
[only *TNASHE* in Sonnets!]
--------------------------------------------
. <= 19 =>
.
. {T H E S E I N(S)U I N G S O N N E T S}
----------------------------------------
. M r W h a L L(H)A P P I N S S S E A N
. D t h a t E T[E]R N I T I E P R O M I
. S E D B Y O u[R]E V[E]R L I V I N G P
. O E t W I s h[E]T H(T)H E W E L L W I
. S h I N G a[d V e]N(T)u R e R I N S E
. t T I N G f o r t H(T)T
..........................................
the probability of the [de.VERE] "T cross"
assuming that the 19 letters of the 2nd line:
{THESE INSUING SONNETS}
provide the # key to the ELS array is ~ 1 in 978
---------------------------------------------------------
. <= 34 =>
.
.{TERRATE (G) ITPOPUL U S M (Æ) R ETO LYMPUSHABE T}
........................................................
. STAYPAS [S] ENGERWH Y G O E (S) TTH OVBYSOFAST R
. EADIFTH [O] UCANSTW H O M {E} N VIO USDEATHHAT H
. PLASTWI [T] HINTHIS M O (N){U} M ENT {SHAKSPEARE} W
. ITHWHOM [E] QUICKNA T (U) R {E}{D} IDE {WHOSENAMED} O
. THDeCKY [S] TOMBEFA (R) M O {R}{E} tHE NCOSTSIEHA L
. LYTHEHA [T] HWRITTL E A V {E} S LIV INGARTBVTP A
. GETOSER V EHISWIT T
..........................................................
the probability of David Roper's: {DE} next to {E.UERE}
assuming that the 34 letters of the
2nd line: {TERRA TEGIT POPULUS MÆRET OLYMPUS HABET}
provide the # key to the ELS array is ~ 1 in 106,000
-------------------------------------------------------
Art Neuendorffer
WHATE-VER (pron.) mid-14c., "what in the world," emphatic of what,
. with ever. From late 14c. as "anything at all; all of; no matter
. what or who." From late 14c. as an adjective, "any sort of,
. any, every; no matter what, regardless of what."
----------------------------------------------------------
. Wm Shaxpere & Anna *WHATEley* of Temple Grafton
....................................................
<<There is an old English word *WHATE* ,
. meaning fortune, *FATE* , or destiny,
I think that in a desperate moment of inspiration,
confused before the clerk, Shakespeare reached into
his heart and came out with the name of that Anne
who would have been his choice, his *FATE*, his destiny.>>
...................................................
. - _The Late Mr. Shakespeare_ by Robert Nye
----------------------------------------------------
(1603) Francis Davison’s
Anagrammata in Nomina Illustrissimorum Heroum
.............................................
http://www.philological.bham.ac.uk/anagrams/text.html
.
____ *EDOUDARUS V(e)IERUS*
_____ per anagramma
____ *AURE SURDUS VIDEO*
.
{A} uribus hisce licet studio, Fortuna, susurros
{PE} rfidiae et technas efficis esse procul,
. Attamen accipio (quae mens horrescit et auris)
. Rebus facta malis corpora surda tenus.
. Imo etiam cerno Catilinae¶ fraude propinquos
. Funere solventes [FATA] aliena suo.
.............................................
_______ *EDWARD VERE*
______ by an anagram
____ *DEAF IN MY EAR, I SEE*
Though by your zeal, FORTUNE, you keep perfidy's
murmurs & schemings at a distance, nonetheless I learn
(at which my mind & ear *QUAKE*) that our bodies have
been deafened with respect to evil affairs. Indeed,
I perceive men who come close to Catiline* in deception,
freeing other men's [FATES] by their death.
------------------------------------------------------
. [ON POET-{APE}] EPIGRAMS by Ben Jonson
.
Poor POET-{APE}, that would be thought our chief,
. Whose works are e'en the frippery of wit,
[F]rom brokage is become so bold a thief,
. As we, the robb'd, leave rage, and pity it.
[A]t first he made low shifts, would pick and glean,
. Buy the rEVERsion of old plays ; now grown
[T]o a little wealth, and credit in the scene,
. He takes up all, makes each man's wit his own :
[A]nd, told of this, he slights it. Tut, such crimes
. The sluggish gaping auditor devours ;
. He marks not whose 'twas first : and after-times
. May judge it to be his, as well as ours.
. Fool ! as if half eyes will not know a fleece
. From locks of wool, or shreds from the whole piece ?
----------------------------------------------------
. Sonnet 87
.
[F]or how do I hold thee but by thy granting,
[A]nd for that ritches where is my deseruing?
[T]he cause of this *FAIRE* guift in me is wanting,
[A]nd so my pattent back againe is sweruing.
-----------------------------------------------------------
____ SONNET 60
.
. LIke as the waues make towards the pibled shore,
. So do our minuites hasten to [T]heir end,
. Each [C]hanging plac[E] with that whi[C]h goes before,
. [I]n sequent toi[L]e all forwards do contend.
................................................
___ <= 12 =>
. S o d o o u r m i n u (I)
. t e s h a s t e n t o [T]
. h e i r e n d,E a c h [C]
. h a n g i n g p l a c [E]
. w i t h t h a t w h i [C]
. h g o e s b e f o r e,[I]
. n s e q u e n t t o i [L]
. e a l l f o r w a r d s
. d o c o n t e n d.
[T.CECIL] 12 prob. in Sonnets ~ 1 in 67
................................................
. Natiuity once in the maine of light.
. Crawles to maturity, wherewith being crown'd,
. *CROOKED ECLIPSES* gainst his glory fight,
. [A]nd time that gaue, doth now his gift confound.
. [T]ime doth transfixe the florish set on youth,
. [A]nd delues the paralels in beauties brow,
.([F]EEDE)s on the rarities of natures *TRUTH* ,
. And nothing stands but for his sieth to mow.
. And yet to times in hope, my verse shall stand
. Praising thy *WORTH*, dispight his cruell hand.
.
[T]homas [CECIL]: only Garter vote for Oxford.
Robert CECIL: *CROOKED ECLIPSES* ?
-----------------------------------------------------
http://tinyurl.com/jq8h944
. This Shadow is renowned Shakespear's? Soule of th' age
. The applause? Delight? The wonder of the Stage.
. Nature her selfe, was proud of his designs
. [A]nd joy'd to weare the dressing of his lines,
. [T]he learned will confess his works as such
. [A]s neither man, nor Muse can praise to much
. [F]or ever live thy fame, the world to tell,
. Thy like, no age, shall ever paralell
-------------------------------------------------------------
. http://home.freeuk.net/sidsoft/pensinfo.html
.
The Sidney Family arms shows a *PORCUPINE* & a lion
. on either side of the Sidney PHEON.
.
"Whither the *FATES* call" is the meaning of Sidney's motto:
____ *QUO FATA VOCANT*
"Whither the *FATES* carry" is the meaning of Bermuda's motto:
____ *QUO FATA FERUNT*
----------------------------------------------------------------
https://en.wikipedia.org/wiki/Coat_of_arms_of_Bermuda
<<The coat of arms of Bermuda depicts a red lion holding a shield that
has a depiction of a wrecked ship upon it. The red lion is a symbol of
Great Britain and alludes to Bermuda’s relationship with that country.
The wrecked ship is that of a French ship under the command of Captain
M. de la Barbotiere, not the Sea {VENTURE}, the flagship of the Virginia
Company. On 30 November 1593, Captain de la Barbotiere sailed from
Laguna, Hispaniola, and on 17 December of that same year, at midnight,
the ship struck the north-west reefs off of Bermuda and were so badly
damaged that out of 55 men, only *26* reached the shore alive. Henry
May and Captain de la Barbotiere were among the survivors. It is the
wreck of this French ship on the Bermuda coat of arms.
It is widely believed that the wrecked ship on the Coat of Arms is
that of the Sea {VENTURE}, the flagship of the Virginia Company,
but it is not. This ship was deliberately driven on to the reefs of
Bermuda, by Admiral Sir [G]eorge [SOMERS], in 1609, to prevent it
from foundering in a storm. All aboard survived, resulting in the
settlement of the island. The Latin motto under the coat of arms,
*QUO FATA FERUNT*, means “Whither the Fates Carry [Us]”.
In the 20th century, the coat of arms—without the banner holding the
motto—was added to the Red ensign to create the distinguishing colonial
flag (the national flag is the Union Jack, which appears in its upper,
left corner), and on the Governor's Flag. The coat of arms features on
the cover of the 1624 edition of The Generall Historie of Virginia,
New-England, and the Summer Isles (the Somers Isles is another name
for Bermuda, commemorating Admiral [G.SOMERS]), by Captain John Smith.>>
----------------------------------------------------------------
http://docsouth.unc.edu/southlit/smith/smith.html
But the first English-man that was euer in them,
was one Henry May, a worthy Mariner that went with
Captaine Lancaster to the East-Indies 1591. and in their
returne by the West-Indies, being in some distresse,
sent this Henry May for England by one Mounsier de la
Barbotier, to acquaint the Merchants with their estate.
The last of Nouember, saith May, we departed from
aguna in Hispaniola, and the seuenteenth of December
following, we were cast away vpon the North-west of
the Bermudas; the Pilots about noone made themselues
Southwards of the Iles twelue leagues, and demanded of
the Captaine their Wine of hight as out of all danger,
which they had: but it seemes they were either drunke,
or carelesse of their charge; for through their
negligences a number of good men were cast away. I being
but a stranger amongst fiftie and odde French-men, it
pleased God to appoint me to be one of them should be
saued. In this extremity we made a raft, which we towed
with our Boat, there were but six and twentie of vs
saued; and I seeing scarce roome for the one halfe,
durst not passe in amongst them till the Captaine called
me along with him, leauing the better halfe to the seas
mercy: that day we rowed till within two houres of night
ere we could land, being neere dead with thirst, euery
man tooke his way to seeke fresh water, at length, by
searching amongst many weeds, we found some raine water,
but in the maine are many faire Baies, where we had
enough for digging.
.........................................................
Sometimes are also seene Falcons & Iar-
falcons, Ospraies, a Bird like a Hobby, but because they
come seldome, they are held but as passengers; but aboue
all the[S]e, most deseruing obseruation and respect are
those two so[R]ts of Birds, the one for the tune of his
voice, the other for th[E] effect, called the Cahow, and
Egge bird, which on the first of [M]ay, a day constantly
obserued, fall a laying infinite store [O]f Eggs neere as
big as Hens, vpon certaine small sandie baie[S] especially
in Coupers Ile; and although men sit downe amon[G]st them
when hundreds haue bin gathered in a morning, yet there
is hath stayed amongst them till they haue gathered as
many more: they continue this course till Midsummer, and
so tame & feareles, you must thrust them off from their
Eggs with your hand; then they grow so faint with laying,
they suffer them to breed & take infinite numbers of
their young to eat, which are very excellent meat.
....................................................
. <= 49 =>
.
. SometimesarealsoseeneFalcons I arfalconsOspraiesaBi
. rdlikeaHobbybutbecausetheyco m eseldometheyareheldb
. utaspassengersbutaboueallthe [S] emostdeseruingobseru
. ationandrespectarethosetwoso [R] tsofBirdstheoneforth
. etuneofhisvoicetheotherforth [E] effectcalledtheCahow
. andEggebirdwhichonthefirstof [M] ayadayconstantlyobse
. ruedfallalayinginfinitestore [O] fEggsneereasbigasHen
. svponcertainesmallsandiebaie [S] especiallyinCoupersI
. leandalthoughmensitdowneamon [G] stthemwhenhundredsha
. uebingatheredinamorningyetth e reishathstayedamongs
. tthemtilltheyhauegatheredasm a nymoretheycontinueth
. iscoursetillMidsummer
[G.SOMERS] -49 : Prob. ~ 1 in 45
-------------------------------------------------------------
http://docsouth.unc.edu/southlit/smith/smith.html
Betwixt Sagadahock, & Sawocatuck, there is but two or three
Sandy Bayes, but betwixt that and Cape Iames very many: especially
the Coast of the Massachusets is so indifferently mixed with high
Clay or Sandy clifts in one place, and the tracts of large long
ledges of diuers sorts, and Quaries of stones in other places, so
strangely diuided with tinctured veines of diuers colours: as Free-
stone for building, Slate for tyling, smooth stone to make Furnasses
and Forges for Glasse and Iron, and Iron Ore sufficient conueniently
to melt in them; but the most part so resembleth the Coast of
Deuonshire, I thinke most of the clifts would make such Lime-stone:
if they bee not of these qualities, they are so like they may
deceiue a better iudgement then mine: all which are so neere
adioyning to those other aduantages I obserued in these parts, that
if the Ore proue as good Iron and Steele in those parts as I know it
is within the bounds of the Countrey, I dare ingage my head (hauing
but men skilfull to worke the Simples there growing) to haue all
things belonging to the building and rigging of ships of any
proportion and good Merchandise for their fraught, within
a square of t{E}n o{R} fo{U}re{T}ee{N}e l{E}ag{U}es, and
it were no hard matter to proue it within a lesse limitation.
.
{UENTURE} -3
............................................................
............................................................
if I had gone a begging to build an Vniuersitie: where had
men beene as forward to ad{VENTURE} their purses, and performe
the conditions they promised mee, as to crop the fruits of my
labours, thousands ere this had beene bettered by these designes.
Thus betwixt the spur of desire and the bridle of reason, I am
neere ridden to death in a ring of despaire; the reines are in
your hands, therefore I intreat you ease me, and those that thinke
I am either idle or vnfortunate, may see the cause and know:
vnlesse I did see better dealing, I haue had warning enough not
to be so forward againe at euery motion vpon their promises,
{U}nless{E} I inte{N}ded no{T}hing b{U}t to ca{R}ie new{E}s;
for now they dare ad{VENTURE} a ship, that when
I went first would not ad{VENTURE} a groat, so they may be
at home againe by Michaelmas, which makes me remember and
say with Master Hackluit; Oh incredulitie the wit of fooles,
that slouingly doe spit at all things faire, a sluggards
Cradle, a Cowards Castle, how easie it is to be an Infidell.
{UENTURE} 6 : Prob. of 2 {UENTURE}s ~ 1 in 300
ad{VENTURE} : 3 of 110 in book
------------------------------------------------------------
https://en.wikipedia.org/wiki/On_the_Beach_(1959_film)
<<In early 1964, in the months following World War III, the conflict
has devastated the Northern Hemisphere, polluting the atmosphere with
nuclear fallout, killing all life there. From Australia, survivors
detect an incomprehensible Morse code signal coming from the West
Coast of the United States. The last American nuclear submarine, USS
Sawfish, under Royal Australian Navy command, is ordered to sail north
to make contact with the sender of the Morse signal. The submarine is
commanded by Captain Dwight *TOWERS* (Gregory Peck), who must leave
his new friend, the alcoholic *MOIRA* Davidson (Ava Gardner).>>
------------------------------------------------------------
https://en.wikipedia.org/wiki/Moirai
<<The *MOIRAI* (Greek: Μοῖραι, "apportioners"), often known in
English as the *FATES* (Latin: FATAe), were the white-robed
incarnations of destiny; their Roman equivalent was the Parcae
(euphemistically the "sparing ones"). Their number became fixed
at 3: Clotho (spinner), Lachesis (allotter) & Atropos (unturnable).
They controlled the mother thread of life of every mortal from birth
to death. They were independent, at the helm of necessity, directed
*FATE*, and watched that the *FATE* assigned to every being by
eternal laws might take its course without obstruction. The gods and
men had to submit to them, although Zeus's relationship with them
is a matter of debate: some sources say he is the only one who can
command them, yet others suggest he was also bound to the *MOIRAI's*
dictates. In the Homeric poems *MOIRA* or Aisa, is related with the
limit and end of life, and Zeus appears as the guider of destiny.
In the Theogony of Hesiod, the three *MOIRAI* are personified,
daughters of Nyx and are acting over the gods. Later they are
daughters of Zeus & Themis, who was the embodiment of divine order
& law. In Plato's Republic the 3 *FATES* are daughters of *ANANKE*
(necessity).
It seems that *MOIRA* is related with Tekmor (proof, ordinance)
and with *ANANKE* (destiny, necessity), who were primeval goddesses
in mythical cosmogonies. The ancient Greek writers might call this
power *MOIRA* or *ANANKE*, and even the gods could not alter what
was ordained. The concept of a universal principle of natural
order has been compared the Egyptian Maat.
In earliest Greek philosophy, the cosmogony of Anaximander is
based on these mythical beliefs. The goddess Dike (justice, divine
retribution), keeps the order and sets a limit to any actions.>>
-----------------------------------------------------------------
<<*ANAKIN* Skywalker is the son of Shmi Skywalker and no father, due
to being conceived through the force. Anakin is discovered on Tatooine
by Jedi Master Qui-Gon Jinn who is sure that the boy is the "Chosen One"
of Jedi Prophecy, who will bring balance to the Force. After the death
of Qui-Gon, he becomes the *PADAWAN* of Obi-Wan Kenobi.>>
-------------------------------------------------------------------
. *ANAGKH* : *DOOM* : *FATE*
.......................................................
. PREFACE. _The Hunchback of Notre Dame_ by Victor Hugo
.
A few years ago, while visiting or, rather, rummaging
about Notre-Dame, the author of this book found, in an
obscure nook of one of the *TOWERS*, the following word,
engraved by hand upon the wall:--
.
. ~ *ANAGKH* ~
.
These Greek capitals, black with age, and quite deeply
graven in the stone, with I know not what signs peculiar
to Gothic caligraphy imprinted upon their forms and upon
their attitudes, as though with the purpose of revealing
that it had been a hand of the Middle Ages which had
inscribed them there, and especially the fatal & melancholy
meaning contained in them, struck the author DEEPly.
.
He questioned himself; he sought to divine who could have
been that soul in torment which had not been willing to
quit this world without leaving this stigma of crime
or unhappiness upon the brow of the ancient church.
.
Afterwards, the wall was WHITEWASHed or scraped down, I know
not which, and the inscription disappeared. For it is thus
that people have been in the habit of proceeding with the
marvellous churches of the Middle Ages for the last two
hundred years. Mutilations come to them from every
quarter, from within as well as from without. The priest
*WHITEWASHes* them, the archdeacon scrapes them down;
then the populace arrives and demolishes them.
.
It is upon this word that this book is founded.
.
. -- Victor Hugo March, 1831
---------------------------------------------------------------
<<And so down to the heart of [Stratford] the nexus of buildings
. dominated by the grey-stone tower of the Gild-Chapel built
. by Hugh Clopton. When Leland was here,
.
. 'about the body of this chapel was
. curiously painted the Dance of Death.'
.
The interior was sadly ravaged by the Reformation -
paintings *WHITE-WASHed* . We have with much
effort recovered something of the painted *DOOM* .>>
.
_William Shakespeare, a biography_ by A.L. Rowse. p. 18
-------------------------------------------------------
<<On the titlepage of the first edition
. of Venus & Adonis is the Ovidian phrase
.
. *Vilia miretur vulgus* ... "
.
or, "allow the public to admire that which is sordid.">>
. - Rowse, A.L. ed., The Annotated Shakespeare, 1984.
....................................................
. . P. Ovidius Naso, Amores
http://www.thelatinlibrary.com/ovid/ovid.amor1.shtml
.
XV *Vilia miretur vulgus* ; mihi flavus Apollo+
. Pocula Castalia plena ministret aqua,
. Sustineamque coma metuentem frigora myrtum,
. Atque a sollicito multus amante legar!
. Pascitur in vivis Livor; post *FATA* quiescit+,
. Cum suus ex merito quemque tuetur honos.
. Ergo etiam cum me supremus adederit ignis++,
. Vivam, parsque mei multa superstes erit.
.
. . Marlowe translation:
.
. Let base conceited wits admire vilde things,
. *FAIRE* Phoebus leade me to the Muses springs.
. About my head be QUIVERING Mirtle wound,
. And in sad lovers heads let me be found.
. The living, not the dead can ENVIE bite,
. For after death all men receive their right:
. Then though death rackes my bones in funerall fler,
. lie live, and as he puls me downe, mount higher
-------------------------------------------------------------
. Notre Dame de *PARIS* Chapter II. This Will Kill That.
.
It is printing. Let the reader make no mistake; architecture is dead;
irretrievably slain by the printed book,--slain because it endures
for a shorter time,--slain because it costs more. Every cathedral
represents millions. Let the reader now imagine what an investment
of funds it would require to rewrite the architectural book; to
cause thousands of edifices to swarm once more upon the soil;
to return to those epochs when the throng of monuments
was such, according to the statement of an eye witness,
"that one would have said that the world in *SHAKING*
itself, had cast off its old garments in order to
coVER itself with a white vesture of churches."
.
_ *ERAT ENIM UT si mundus, IPSE excutiendo semet*
rejecta vetustate, candida ecclesiarum vestem indueret.
.
. Chapter IV. *ANAGKH*.
.
Oh! *CONSUL CICERO* ! this is no calamity from which one extricates
one's self with periphrases, *QUEMADMODUM*, and *VERUM ENIM VERO* !"
---------------------------------------------------------------
_______ *ENIM* : *TRULY* (Latin)
................................................
. "dicitur *ENIM* PALLAS quasi Vibratrix dea.
. & quidem hastae vibratrix, utpote bellicosa"
.
- Gabriel Harvey's 168-line poem an Apostrophe ad eundem
. (Apostrophe to the same man, i.e. De Vere),
. printed in Gratulationis Valdinensis Liber Quartus
(The *FOURTH* Book of Walden Rejoicing), London, 1578, September.
http://www.sourcetext.com/sourcebook/essays/harvey.html
-------------------------------------------------------
http://shakespeareauthorship.com/eulogies.html
The Second Folio of Shakespeare's works (1632), in addition to the
eulogies from the First Folio, contains three additional ones. The
first of these, "An Epitaph on the admirable Dramaticke Poet, W.
Shakespeare," was unsigned in the Folio, but later appeared in John
Milton's 1645 Poems with the date 1630. The second eulogy, also
unsigned, is entitled "Upon the Effigies of my *WORTHy* Friend,
the Author Maister William Shakespeare, and his Workes." The 3rd,
signed only with the initials "I.M.S.," is a well-written 77-line
poem called "On *WORTHy* Master Shakespeare and his Poems."
.....................................
http://blog.iloveshakespeare.com/?page_id=49
On *WORTHy* Master Shakespeare and his Poems.
A mind reflecting ages past,whose cleere
And equall surface can make things appeare
Distant a Thousand yeares,and represent
Them in their lively colours,just extent.
To out-run hasty Time, retrive {THE FATES},
Rowle backe the heavens,blow ope the i[R]on gates
Of death and Leth[E]. where (confused) ly[E]
Great heapes of ruino[U]s mortalitie.
In that d[E]epe duskie dungeon to [D]iscerne
A royal Ghost[E] from Churles; By art to learne
The Physiognomie of shades, and give
Them suddaine birth, wondring how oft they live;
What story coldly tells, what {POETS} faine
At second hand, and picture without braine,
Senselesse and soullesse showes.
..............................................
__________ <= 19 =>
.
. T o o u t -r u n h a s t y T i m e,r e
. t r i v e {T H E F A T E S} R o w l e b
. a c k e t h E h e a v e n s b l o w o
. p e t h e i [R] o n g a t e s O f d e a
. t h a n d L [E] t h e w h e r e c o n f
. u s e d l y [E] G r e a t h e a p e s o
. f r u i n o [U] s m o r t a l i t i e I
. n t h a t d [E] e p e d u s k i e d u n
. g e o n t o [D] i s c e r n e A r o y a
. l G h o s t [E] f r o m C h u r l e s B
. y a r t t t o l e a r n e
..................................
[E.DE UEER] -19
-----------------------------------------------------
. . . Sonnet 70
. That thou are b{L}am'd sh{A}ll not {B}e thy d{E}fect,
[F|O}r slanders m{A}rke was EUER yet the *FAIRE* ,
. The [ORNAMENT] of {B}eauty is (SUS)pect,
[A] Crow that fli[E]s in hea[V|E}ns swe[E]{TEST} ay[R]e.
. {SO} tho[U] be good,[S]lander d{O}th but approue,
[T]heir *WORTH* the greater beeing woo'd of TIME,
. {F}or Canker vice the sweetest buds doth loue,
[A]nd thou present'st a pure vnstayined prime.
. {T}hou hast past by the ambush of young daies,
{E}ither not assayld, or victor beeing charg'd,
. Yet this thy *PRAISE* cannot be soe thy *PRAISE* ,
To tye vp *ENUY*, EUERmore inlarged,
. If some (SUS)pect of ill *MASKT not thy show*,
. Then thou alone kingdomes of hearts shouldst owe.
....................................................
. <= 7 =>
.
. A C r o w
. t h a t f l i
. [E] s i n h e a
. [V] e n s s w e
. [E]{T E S T}a y
. [R] e{S O}t h o
. [U] b e g o o d,
. [S] l a n d e r
.................................................
. [E.VERUS] 7 : Prob. in any Sonnet ~ 1 in 55
.................................................
__ <= 35 =>
.
. thouareb {L} amdsh{A}llnot{B}et h yd{E}fect[F|O}rs
. landersm {A} rkewa s EUERy e tt h eF A IRET h e OR
. NAMENTof {B} eauty i sSUSp e ct[A]Cr o wtha t f li
. esinheau {E} nsswe e testa y re.S ot h oube g o od
. slanderd {O} thbut a pprou e
.
{LABEO} 6,35 : Prob. 2{LABEO}s start any Sonnet ~ 1 in 740
.........................................................
. *John Marston* Satire note:
.
. So {LABEO} did complain his love was *STONE*,
. Obdurate, flinty, so relentless none:
. Yet Lynceus knows that in the end of this
. He wrought as *STRANGE* a metamorphosis.
--------------------------------------------------------
http://www.poetrynook.com/poem/satire-9-0
. *John Marston* Satire nine:
.
Grim-fac'd Reproofe , sparkle with threatning eye
Bend thy sower browes in my tart po[E]sie.
A[V]ant y[E]e cur[R]es, ho[U|L)e in [S|o)me cl(O)udie mist,
*QUAKE* to behold a sharp-fang'd Satyrist.
...........................................
. <= 5 =>
.
. m y t a r
. t p o [E] s
. i e. A [V] a
. n t y [E] e
. c u r [R] e
. s, h o [U](L)
. e i n [S](o)
. m e c l (O)
. u d i e m
. i s t, Q u
. a k e t o
. b e h o l
. d a s h a
. r p- f a n
. g' d S a t
. y r i s t.
[E.VERUS] 5: Prob. at start or end ~ 1 in 42,000
(Lo.O) 5
...............................................
...............................................
Ill-tutor'd pe[D]ant, Mortimers numb[E]rs
With muck-pit esc[U]line filth bescumb[E]rs.
Now th'{APE} chatte[R]s, and is as malecont[E]nt
As a bill-patch'd doore, whose entrailes out haue sent
And spewd theyr tenant.
...........................................
. <= 17 =>
.
. I l l-t u t o r'd p[E|D] a n t,M o
. r t i m e r s n u m b[E] r s W i t
. h m u c k-p i t e s c[U] l i n e f
. i l t h b e s c u m b[E] r s.N o w
. t h'A p e c h a t t e[R] s,a n d i
. s a s m a l e c o n t[E] n t
[E/DEUERE] 17: Prob. at start ~ 1 in 1,675
...........................................
My soule adores iudiciall schollership,
But when to seruile imitatorship
Some spruce Athenian pen is prentized,
Tis WORSE then Apish. Fie, bee not flattered
With seeming *WORTH*, fond affectation
Befits an {APE}, and mumping Babilon.
. O what a tricksie lerned (NICKI)ng straine
. Is this applauded, sencles, modern vain!
. When late I heard it from sage Mutius lips
. How il me thought such wanton Iigging skips
. Beseem'd his *GRAVER* speech. Farre flie thy *FAME*
. Most, most, of me belou'd,
...............................................
. {whose silent name One letter bounds.}
...............................................
. Thy TRUE iudiciall stile
. I EVER honour, and if my loue beguile
. Not much my hopes, then thy unvalued *WORTH*
. Shall mount faire place, when {APES} are turned *FORTH*.
--------------------------------------------------------
. Edward [DE UERE] (born April 12 1550)
. Shepheardes Calender Aprill (G-LOSS-E)
.
Yfere) together. By the mingling of the redde rose and the white is meant the uniting of the two principall houses of Lancaster and of Yorke: by whose longe discord and deadly debate this realm many yeares was sore traveiled, and almost cleane decayed. Til the famous Henry the Seventh, of the line of Lancaster, taking to wife the most vertuous Princesse Elisabeth, daughter to THE FOURTH [E|D]WARD of the house of Yorke, begat the most royal {H|E]NRY} the Eyght aforesayde, in whom was the first{E} [U]nion of the whyte rose and the redde.
Calliope) o{N|E] of the nine Muses; to whome they assigne the hon(o|R] of all poetical invention, and the firste glor{Y|E] of the heroicall verse.
..................................................
. <= 40 =>
.
.*THEFOURTH [E|D]WARD* ofthehouseofYorkebegatthe
. mostroyal {H|E]NRY}t heEyghtaforesaydeinwhomwa
. sthefirst {E|U]nio n ofthewhyteroseandtheredde
. Calliopeo {N|E]oft h enineMusestowhometheyassi
. gnethehon (o|R]ofa l lpoeticalinventionandthef
. irsteglor {Y|E]oft h eheroicallverse
.
[E/DE UERE] 40
{HEN(o)Y} 40
...................................................
Other say that shee is the goddesse of rhetorick:
but by Virgile it is manifeste, that they mystake the thyng. For there, in hys Epigrams, that arte semeth to be attributed to Polymnia, saying, ‘Signat cuncta manu loquiturque Polymnia gestu:’ which seemeth specially to be meant of action and elocution, both special partes of rhetorick: besyde that her name, which (as some construe it) importeth great remembraunce, conteineth another part; but I holde rather with them, which call her Polymnia, or Polyhymnia, of her good singing.
Bay branches) be the signe of honor and victory, and therfore of myghty conquerors worn in theyr triumphes, and eke of famous poets, as saith Petrarch in hys Sonets, ‘Arbor vittoriosa triomphale, Honor d’imperadori e di poeti,’ &c.
The Graces) be three sisters, the daughters of Jupiter, (whose names are Aglaia, Thalia, Euphrosyne; and Homer onely addeth a fourth, sc. Pasithea) otherwise called Charites, that is, thanks: whom the poetes feyned to be the goddesses of al bountie and comelines, which therefore (as sayth Theodontius) they make three, to wete, that men first ought to be gracious and bountiful to other freely, then to receive benefits at other mens hands curteously, and thirdly, to requite them thankfully: which are three sundry actions in liberalitye. And Boccace saith, that they be paint[E|D] naked (as they were inde[E]de on the tombe of C. Juli[U]s CÆsar) the one having h[E]r backe toward us, and he[R] face fromwarde, as proc[E]eding from us: the other two toward us, noting double thanke to be due to us for the benefit we have done.
..................................................
. <= 20 =>
.
. t h a t t h e y b e p a i n t [E|D] n a k
. e d(a s t h e y w e r e i n d e[E] d e o
. n t h e t o m b e o f C.J u l i[U] s C Æ
. s a r)t h e o n e h a v i n g h[E] r b a
. c k e t o w a r d u s,a n d h e[R] f a c
. e f r o m w a r d e,a s p r o c[E] e d i
. n g f r o m u s
[E/DE UERE] 20 : Prob. of both in this GLOSSE ~ 1 in 16,500
-----------------------------------------------------------
http://www.adamghooks.net/2011/04/sidneys-porcupine.html
Sidney's porcupine by Adam G. Hooks : http://tinyurl.com/zescbqg
<<The emblem in the compartment at the bottom of [The Countesse of Pembrokes Arcadia_ the title-page once caused some confusion --
Corbett provides a lengthy explanation for the emblem, which shows a boar backing away from a marjoram bush, with the motto "{SPIRO} NON TIBI" ("I breathe out [sweet scents] but not for thee"). The general meaning is a condemnation of ignorance, that something wholesome or profitable (i.e., the marjoram bush) is perceived as poisonous by those with poor judgment (i.e., the boar). The emblem was relatively common; Erasmus, in his Adagia, included several proverbs, including this one, on a similar theme: dogs flee from baths, jackdaws from lutes, pigs from both trumpets and marjoram, and asses from lyres.
.
. McKerrow & Ferguson cite the preface
. to {T}homas {NASHE}'s Lenten Stuffe:
. http://tinyurl.com/je8x23l
.
. Most courteous unlearned lo[VER O]f Poetry, and yet a
. Po[E]t thy selfe, of no lesse p[R]ice then H.S. that in
. hono[U]r {O}f Maid-marrian gives [S]w{E}ete Margera for
. his Emp{R}esse, and puttes the Sow{E} most sawcily uppon
. som{E} great personage, what e{V}er she bee, bidding her
. (as it runnes in the old song) Go from my Garden go,
. for there no flowers for thee dooth grow.>>
...................................................
. <= 20 =>
.
. M o s t c o u r t e o u s u n l e a r n
. e d l o [V E R O]f P o e t r y,a n d y e
. t a P o [E]t t h y s e l f e,o f n o l e
. s s e p [R]i c e t h e n H.S.t h a t i n
. h o n o [U]r{O}f M a i d-m a r r i a n g
. i v e s [S]w{E}e t e M a r g e r a f o r
. h i s E m p{R}e s s e,a n d p u t t e s
. t h e S o w{E}m o s t s a w c i l y u p
. p o n s o m{E}g r e a t p e r s o n a g
. e,w h a t E{V}E R s h e b e e,
.
[VERUS] 20 : Prob. ~ 1 in 750
{VEER, E.O.}
--------------------------------------------
_ Sonnet 76 : 4 X 19 (Metonic Cycle)
.
Why write I still all one,
...........................................
. <= 19 =>
.
. E V E R {T} h e s a m e[A]n d k(E|E)p e
. i n u(E){N}(T)i o n i n a*N O T(E)D W(E)
. E D*T h {A}(T)E V E R y w o r(D|D]o t h
. a l m o {S}(T)F E L m[Y]n a m<E>S h e w
. i n g t {H}[E]i r b i r t h a n d w h e
. [R]e t h {E} y(D)i d p r o c e[E]d
.
{T.NASHE} 19 Prob. skip < 20 ~ 1 in 450
[only *TNASHE* in Sonnets!]
--------------------------------------------
. <= 19 =>
.
. {T H E S E I N(S)U I N G S O N N E T S}
----------------------------------------
. M r W h a L L(H)A P P I N S S S E A N
. D t h a t E T[E]R N I T I E P R O M I
. S E D B Y O u[R]E V[E]R L I V I N G P
. O E t W I s h[E]T H(T)H E W E L L W I
. S h I N G a[d V e]N(T)u R e R I N S E
. t T I N G f o r t H(T)T
..........................................
the probability of the [de.VERE] "T cross"
assuming that the 19 letters of the 2nd line:
{THESE INSUING SONNETS}
provide the # key to the ELS array is ~ 1 in 978
---------------------------------------------------------
. <= 34 =>
.
.{TERRATE (G) ITPOPUL U S M (Æ) R ETO LYMPUSHABE T}
........................................................
. STAYPAS [S] ENGERWH Y G O E (S) TTH OVBYSOFAST R
. EADIFTH [O] UCANSTW H O M {E} N VIO USDEATHHAT H
. PLASTWI [T] HINTHIS M O (N){U} M ENT {SHAKSPEARE} W
. ITHWHOM [E] QUICKNA T (U) R {E}{D} IDE {WHOSENAMED} O
. THDeCKY [S] TOMBEFA (R) M O {R}{E} tHE NCOSTSIEHA L
. LYTHEHA [T] HWRITTL E A V {E} S LIV INGARTBVTP A
. GETOSER V EHISWIT T
..........................................................
the probability of David Roper's: {DE} next to {E.UERE}
assuming that the 34 letters of the
2nd line: {TERRA TEGIT POPULUS MÆRET OLYMPUS HABET}
provide the # key to the ELS array is ~ 1 in 106,000
-------------------------------------------------------
Art Neuendorffer